Indholdsfortegnelse for March 2025 i UNCUT

“Your mind’s a machine/It’s deadly and dull” THE relationship between Uncut and Wilco stretches back to our very first issue in 1997. There, in the reviews pages alongside album releases from The Jam, Mark Eitzel, Prefab Sprout, Paul McCartney, Laura Nyro, Supergrass and Melvin Van Peebles, Uncut’s Tom Cox caught Wilco live at Wolverhampton’s Wulfrun Hall as they toured in support of Being There. “Suddenly, the whole thing explodes into clanging feedback and it’s as though the conflicting energies of punk and country have been tossed into a giant nuclear reactor,” Tom wrote. Since then, of course, Wilco have become an institution here at Uncut – a band who have continued to surprise and delight us in equal measure during an unbroken run of remarkable records and stunning live shows.…

THERE are many theories about the origins of the music we now know as krautrock. Was it an attempt to continue the utopian schemes of the Bauhaus? Can its seed be found in the austere electronic compositions of Karlheinz Stockhausen? Or maybe the chaotic art happenings of Fluxus? In his new book Krautrock Eruption, Wolfgang Seidel has another theory about where it all began: The Searchers at the Deutschlandhalle in 1963. “When you lived in West Berlin, you had the advantage of US and British army radio, but a live event is something very different,” he explains. “They played in one of the largest venues in the city with their three little box amplifiers. They had no chance against the screaming audience. After that concert, everyone had the same idea:…

WILCO have spun gold yet again with a spectacular CD for us hooked around their upcoming A Ghost Is Born 20th-anniversary edition. But first let Jeff Tweedy set the scene… “This record isn’t like any other record we’d done before,” says Tweedy of Wilco’s fifth album. “That’s the sort of thing I value in my own record collection. Those are the records that are the most unique.” A Ghost Is Born grew out of an intense period of upheaval for the band, who undertook a series of wild schemes and unusual creative exercises at Soma Electronic Sound Studios in Chicago. “I was already doing some cut-up techniques and free writing and things like that, which I really enjoyed,” says Tweedy. “I discovered that I liked the stuff I didn’t think…

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LIKE many artists, during lockdown David Grubbs became a provisional archivist. Together with Jim O’Rourke, he trawled Gastr Del Sol’s recordings, a process that resulted in the 2024 collection We Have Dozens Of Titles. Grubbs was so energised by the project it became the springboard for Whistle From Above, which he says was originally “more or less solo electric guitar, a kind of documentation of where I am with live performances. Going through the Gastr archive reminded me that everything can be in play, that I needn’tbe hindered by what can be rendered in a solo performance, and that I shouldn’t be shy about reaching out to friends whose contributions I’d love to see gathered in one place.” The new album is a mix of composition and improv playing: “I’ve…

Tonky 8/10 IT’S still early in 2025, but “Seeds”, the opening track from Lonnie Holley’s fifth studio album Tonky, might be one of the most powerful and affecting pieces of music you’ll hear all year. Across its nine minutes, the 75-year-old artist and musician tells the tale of his formative years at the Alabama Industrial School for Negro Children, a juvenile correctional facility that was run in conditions not far off those of a slave plantation. Over a minimalist pulse that gently builds in intensity, accruing layers of twinkling synth, strings and choral chants, Holley remembers it all. Picking cotton in the endless rolling fields. The savage beatings that left his bed sheets stained with blood. That feeling of being all alone in the world. The music is as rousing…

NONESUCH REISSUE OF THE MONTH 10/10 THE thunder lizards of classical and romantic music, from Haydn to Wagner, bestrode the Earth for hundreds of years. They achieved musical domination by imposing a sense of form and narrative upon western music, to express the warp and weft of human emotion and fate. Statement, development, recapitulation, climax, applause. A little over 120 years ago, music began to atomise, harmonies soured, familiar structures devolved into atonalism, spectral texture and formal experiments with microtones and alternative scales. Post-war, as avant-garde music drifted towards the hardiest of specialist audiences, another tendency took shape. This one has proved more popular, and commercially viable. US composer Steve Reich is a figurehead of this development, sometimes called minimalism, a term almost none of its protagonists care to associate…

HOT on the heels of the reissue programme that begins with Odessey And Oracle comes Hung Up On A Dream – a documentary by Robert Schwartzman, the actor and director who also performs in the band Rooney, and executive-produced by Tom Hanks. Schwartzman – the younger brother of Jason and cousin of Sofia Coppola – is a Zombies fanatic. “I really gravitate towards well-crafted songs and every song by The Zombies is just so insanely awesome that it’s hard not to fall for every little bit of their music,” Schwartzman said at the film’s premiere at South By Southwest in 2023. The film – which has also played at the UK’s Doc’n Roll Festival – tells the full story of The Zombies using interviews with the four surviving members of…

FOR a cover price of 35¢, the June 28, 1968 edition of Life magazine carried articles on the gun lobby, Wall Street and the escalating conflict in Vietnam, alongside plugs for Crest toothpaste, Clairol frost-it-yourself hair products and Polaroid’s Big Swinger: “Brand new camera, much bigger pictures!” But America’s leading periodical also had room to showcase a fresh phenomenon. Under the headline ‘Music That’s Hooked The Whole Vibrating World: The New Rock’, they highlighted a rising generation of bands and artists, from The Doors, Janis Joplin and Cream to Frank Zappa, Jimi Hendrix and Country Joe & The Fish. Heading up Life’s report – and peering out of the front cover from within a series of stacked plexiglass boxes – were Bay Area darlings Jefferson Airplane. “Making the cover of…

“I WAS as surprised as anyone when Andy’s playing turned into what it was: this otherly thing outside of music. He couldn’t really play guitar, in the conventional sense at least. He couldn’t play scales. He couldn’t jam. He revered Jimi Hendrix but he couldn’t play lead guitar at all and he never practised. He used to tell a very funny story about the time he auditioned for Mick Jagger, when Mick had made that album, She’s The Boss. A call came from the Glimmer Twins management asking him if he was interested in doing the tour. A box of records arrived. Then Andy turned up at the audition, with Omar Hakim [drums], Jeff Beck [lead guitar] and Andy – the world’s most famous alternative guitarist – in the corner. Andy…

Concorde 2, Brighton, January 12 “GOOD evening, Dover!” barks David Yow at the Brighton “GOOD crowd, a wrong-footing joker from the off. The whomp of Mac McNeilly’s drums then announces opener “Puss”, howled by Yow as he snakes deep into the crowd, confirming that The Jesus Lizard’s close-up rules of engagement still apply. The song was their side of the 1993 split single with Nirvana that reached No 12 in the UK charts, an act of punk solidarity that acknowledged The Jesus Lizard’s influence on Kurt Cobain’s uncompromising outlook. (When using their regular producer Steve Albini for In Utero, Cobain would request “the David Yow button” to give his vocals that extra shredded something.) The Jesus Lizard otherwise stayed underground until Yow pulled the plug on their first act in…

LOVE HURTS RELEASED FEBRUARY 7 Ke Huy Quan (Everything Everywhere All At Once) stars as a mild-mannered realtor with a dark history in this comedy thriller from director Jonathan Eusebio. THE GORGE RELEASED FEBRUARY 14 Anya Taylor-Joy (Furiosa) and Miles Teller (Top Gun: Maverick) play elite snipers on a mysterious mission in director Scott Derrickson’s actionhorror-romance, also starring Sigourney Weaver. CAPTAIN AMERICA: BRAVE NEW WORLD RELEASED FEBRUARY 14 Anthony Mackie steps up to take on the mantle of Captain America, while Harrison Ford becomes both President of the USA and Red Hulk in the latest attempt to reboot the MCU, directed by Julius Onah, best known for 2018’s The Cloverfield Paradox. MEMOIR OF A SNAIL RELEASED FEBRUARY 14 The voice cast for this offbeat, quietly engrossing Australian animation, directed by…

YO La Tengo’s legendary Hanukkah shows are renowned for their special surprise guests, which this winter included everyone from Swamp Dogg to The Sun Ra Arkestra. Most significantly, on December 28, New York’s Bowery Ballroom hosted a de facto Soft Boys reunion, as Robyn Hitchcock was joined by his former bandmates Kimberley Rew and Morris Windsor for a blast through their cherished catalogue, with Rew’s partner Lee Cave-Berry subbing in on bass for the sadly departed Matthew Seligman. For the encore, the former Soft Boys joined forces with Yo La Tengo to play “Queen Of Eyes” and “I Wanna Destroy You”, as well as songs by The Velvet Underground and The Beatles. “It’s always great to play with the Tengs,” says Hitchcock, speaking to Uncut a few days later. “Georgia…

“THE shoot was in a very old, beautiful Parisian apartment. From one of the windows, you could just about see the Eiffel Tower. It was one of those where you go through a little door cut into the big wooden door, then you’re in a courtyard and you go up some stairs and enter this magical world. There was such a sense of mystery and magic to the place. Looking at what Jack was wearing – the top hat, the cape – there’s a magic-show element to it, and the antiquity of the environment amplifies that. “The stylist brought the clothes over on the Eurostar. The hat is by Lock & Co, a famous hat maker in Mayfair, and the cloak is by Angels & Bermans, who supply incredible historical…

SAM Moss always looks for the irregular pieces of wood at his local lumber yard. “They have a pile of weird scraps that they can’t sell,” says the woodworker and singer songwriter based in Staunton, Virginia. “I like to paw through and take a bunch of odd pieces and make them into strange little tables or whatever.” When he’s not touring, Moss is at home in his workshop or doing handyman jobs around town. “I do a lot of work fixing and renovating houses, where you want straight lines and functionality. But my woodworking is the opposite, and I get a lot of joy out of these odd shapes.” He brings a similar philosophy to his music, turning stray thoughts and errant emotions into bespoke musings on the world and…

NOISY Ghosts is Wilco’s third covermount CD for Uncut. We first mooted the idea of a Wilco-themed cover CD in 2019, which led Jeff Tweedy to step in personally and pull together Wilcovered – a selection of 17 Wilco covers by some of the most discerning names in in die rock, including Kurt Vile, Cate Le Bon, Courtney Barnett, Low, Ryley Walker and Sharon Van Etten. Wilcovered enjoyed a successful afterlife – it was released as a double LP on Record Store Day 2020, with a red vinyl repress the following year. “Having it be a covermount CD for a cool magazine is great,” Tweedy told Uncut. “But it does feel like one step closer to being a real thing when it’s on two beautiful slabs of vinyl in a…

ALBUM OF THE MONTH 8/10 “Back when the words came easily/I had the answer to everything” IN the video for “Knowledge”, the first single from Edwyn Collins’ 10th solo album, the clan chief of Postcard Records stands like a monument in the wintery landscape around his home in Helmsdale, on the northeast coast of Scotland. It is a grey day. There is snow on the ground. The joyous gospel harmonies can’t disguise the note of disquiet that leaks from the song. “Knowledge” is about unease, the loss and recovery of fond memories. Knowledge, Collins sings, with a nod to “Amazing Grace”, “first was lost and now it’s found”. The chorus underlines the point, while the video cuts through subliminal flashes of the singer’s musical trophies, rolling into a series of…

People Watching POLYDOR 8/10 IT’S easy to be skeptical of Sam Fender. Blond, blue-eyed, looking like Gary Barlow’s indie kid brother, with a name that feels like a brand endorsement, when he picked up the Critics’ Choice Award at the 2019 Brits, you might have mistaken him for the industry’s latest tastefully distressed millennial singer-songwriter. But since his debut single in 2017, the canny chanter from North Shields has emerged as the most driven, distinctive and fascinating British pop artist since Amy Winehouse. His second album, Seventeen Going Under, released in autumn 2021, was a remarkable achievement: a British pop record that revealed something of the temper of modern times. Fender sang of retail parks, cocaine, casual violence, the DWP and suicide – a world familiar enough in the works…

Malka Spigel: “We like a good challenge!” SINCE summer 2020, Immersion’s Colin SNewman and Malka Spigel have hosted a Slack City radio show, where they’ve regularly played SUSS’ music. Meanwhile, across the pond, SUSS’ Bob Holmes – an admirer of the instrumental duo – hosts his own podcast, Ambient Country, and he invited them along as guests. “Things developed from there,” Newman explains, and SUSS followed Laetitia Sadier, Tarwater, Ulrich Schnauss and Scanner (Nanocluster Vol. 1) and Swans’ Thor Harris and Cubzoa, aka Jack Wolter from Penelope Isles (Nanocluster Vol 2), as Vol 3 collaborators. They began by exchanging basic pieces to develop. “Their music sounds quite self-contained and complete,” Spigel says, “which made it a tricky proposition. We were quite gentle in the beginning. You never know how the…

Cotton Crown TROUBLE IN MIND 8/10 IN 2014, Owen Williams’ mother, the writer and musician Charlotte Greig, took her own life while suffering from cancer. At the wake, a stranger told Williams he should write a song for his mum. It took Williams more than a decade to find the right words. “Well, whoever the hell you are, I’m sorry, I guess this is it”, he sings on “Strange”, the bruising final song on The Tubs’ superb second album, Cotton Crown. “Strange” is one of those songs that could be a short story or poem but is given added potency when set to music. Everything that makes The Tubs interesting can be found in the song – the addictive jangle of the music, the sheen of darkness behind the melody…

Parts Of The Process: The Complete Godley & Creme DEMON/EDSEL 7/10 AN appealing thread of art punk experimentalism and surreal northern humour runs through the collected works of Kevin Godley and Laurence “Lol” Creme. The duo’s first ever full-career retrospective, this 11-disc boxset is a ripe old bag of onions – but these are rare, high-quality onions. Despite being critically derided at the time as arch and aloof, much of this material holds up well today, inviting parallels with the style-hopping maximalism of fellow hit-and-miss outliers like Sparks or Todd Rundgren. There is fluff and filler here too, but flawed gems and witty curios galore, and a handful of genuine art-pop classics. Emerging from Manchester’s leafy northern suburbs in the late 1960s, Godley and Creme’s wide-ranging apprenticeship included working together…

The Moment Of Truth: Live At The Coliseum VERVE 8/10 MORE than any genre, jazz is very much a live music. Each gig is unique and unrepeatable, every note the sound of surprise. It’s why jazz heads get excited when a previously unheard live recording of a legend gets unearthed, even when it’s someone like Ella Fitzgerald, whose gigs have been recorded more than most. This concert comes from June 1967, when Fitzgerald was coming to the end of her regal era and entering an age of uncertainty. She had made her name in the late 1930s as a chirpy-voiced, highly rhythmic improviser in the big bands of Chick Webb and Benny Goodman, and quickly became the foremost vocal proponent of this new-fangled variant of jazz called bebop. By the…

WITH The Zombies out of action as “Time Of The Season” went to No 1 in May 1969, other bands began to fill the vacuum. Two different groups began to tour America under the name The Zombies, including a quartet from Texas that featured future ZZ Top members Dusty Hill and Frank Beard. They played small clubs in the Midwest and Canada, even appearing on Canadian TV and playing one show in a prison. Delta Promotions, the company responsible, even claimed that they’d set up this new version of The Zombies in honour of Blunstone, who they asserted had been tragically killed in a car crash. Delta also launched a second fake Zombies, these from Marquette, Michigan – along with a string of other fake bands, including The Animals and…

WHILE the rest of the UK sweltered in 1976’s long hot summer of punk, Jon King and Andy Gill made other plans. Fine Art students at Leeds University, they persuaded their faculty into funding a trip to New York to research Pop Art. It was vital, they claimed, for their coursework. “We really wanted to see our favourite bands,” sniggers King over Zoom from his living room in Bath between Christmas and New Year, sounding more like a mischievous teenager than a sage 69-year-old. Thanks to a mutual contact, King was introduced to future American Psycho director Mary Harron, then an unknown journalist writing for New York fanzine Punk. King had written to her asking if she would put him up and when Gill arrived in tandem, she let him…

IN IMAX ON FEBRUARY 5 AND 6, THEN IN CINEMAS FROM FEBRUARY 7 9/10 THERE’S a touching moment in Becoming Led Zeppelin when Robert Plant is played a tape of a previously lost interview with his old friend John Bonham. Bonzo is talking with huge fondness about his bandmates and Plant’s weathered face breaks into a huge grin as he listens – later there’s a similar reaction from Jimmy Page and John Paul Jones. All three living members of the band are interviewed in Bernard MacMahon’s long-awaited documentary of Zep’s early years, but there’s something very moving about the footage of Bonham, which was recorded close to the point of impact rather than with the benefit of 50 years’ hindsight. As Bonham relates his affection for his bandmates, it’s a…

A GOOD 20 years since The Dixie Chicks (as they were then) were told to “shut up and sing” following Natalie Maines’ onstage criticism of the Iraq war, Julien Baker and Mackenzie “Torres” Scott are among a new generation of country inspired musicians challenging perceptions of the genre. Both are Southern-born queer women from Christian backgrounds, raised on a diet of ’80s and ’90s country radio. “That music is deep in both of us – it’s in our DNA,” says Scott, reflecting on the impetus for their new collaborative album, Send A Prayer My Way. “Country is a genre that has traditionally excluded people like us. But it doesn’t mean people like us haven’t been making music like this forever.” The pair met after sharing a bill at Chicago’s Lincoln…

WHILE watching old Fugazi concert videos on YouTube one evening, Jeff Krulik had a brainwave. “There was a lot of footage online shot by fans, and I was reminded how powerful Fugazi were as a live entity,” he says. “I had the idea of stringing this footage together to recreate the concert experience.” The result became We Are Fugazi From Washington DC, a unique “non-documentary” that celebrates the band’s close relationship with their audience. As the idea took shape, Krulik – co-creator of classic 1986 short Heavy Metal Parking Lot – put together a team that included writer Joe Gross and editor Joseph Pattisall. Fugazi founder Ian MacKaye gave his blessing and suggested the focus should be on the fans rather than the band, whose story had already been told…

In Space DRAG CITY 8/10 EDITH FROST opens her first album in almost 20 years with a fuzzy organ, some dramatic guitar strums, and an important question: “Can you hear me?” she sings on “Another Year”. The moment is small and intimate, as though she’s clearing her throat or testing her microphone. The song may have started life as a downhearted pandemic Christmas song about spending the holiday away from loved ones, but in this new incarnation, it serves as a fitting reintroduction to this cult country singer, a witty means of acknowledging the long interval between records. “Been a long time, but I’m alright”, she continues. “At least I survived”. Frost specialises in making small moments and little epiphanies sound much bigger than they are. Her previous albums were…

“SOMEBODY you can agree with about “Sdrums is a friend for life,” muses Andy Bell, as he discusses the starting point of his great new solo album, Pinball Wanderer. The record began with sessions at Gem Archer’s studio, where Bell and Archer worked on the drums before adding the other elements. “Gem and I have an understanding about drums. I had riffs and ideas, but we started with the drums and that made the whole album more minimalist.” Outside influences included Faust, Serge Gainsbourg and a visit to La Monte Young’s Dream House in New York. Bell mixed the record in a single night, starting with the cover of The Passions’ “I’m In Love With A German Film Star”, featuring contributions from Dot Allison and Michael Rother. “I started with…

Points Of Origin BELLA UNION 8/10 Hudson Valley dweller unpacks rich, filmic folk-country STRATTON’S third album for Bella Union, and his eighth overall, expands on the loose socio-political theme of its 2021 predecessor The Changing Wilderness. This time around, the terrible destruction wrought by California wildfires – all too eerily relevant, given recent events – forms the central motif, around which various fictitious characters lead interconnected lives spanning four decades. It’s a narrative trope that fits Stratton well. Having geared much of his previous work towards womb-like introspection, abstract storytelling is evidently a strong suit. Musically, Stratton pulls back his sound a little, mostly shading these songs with piano, pedal steel and fingerpicked guitar in a manner that allows his narratives room to breathe. It’s a gently spacious approach that…

Sinister Grift DOMINO 7/10 THE claim that Animal Collective changed the shape of experimental indie pop, not just for however long a trend’s shelf-life was in the Noughties, but permanently, is hard to deny: over 17 years on from their Strawberry Jam crossover, their influence endures in myriad disparate forms from Mermaid Chunky to Sun Araw and UMO. You might imagine that membership of a band so significant and distinctive would involve at least some wrestling on the part of the four individuals who maintain parallel careers, but the parent band/solo artist dynamic seems to be a mutually supportive, multiway street. Noah Lennox’s latest as Panda Bear is clear evidence of these longstanding friendships with benefits. Recorded at his home studio in Lisbon and co-produced by Josh Dibb, AKA AnCo’s…

‘‘WE don’t really orient to releases,” says Kristin Hersh, apologising in advance for her disorderly recollection of Throwing Muses’ key albums. “We play as if music is a river that you just jump into, and it’s always going by. Sometimes we’ll record what we play and sometimes we’ll release that, but the records are all so downstream from the river that I don’t really remember what’s on them… Songs have always come – like this afternoon, I’ll write some more, and no-one will ever hear them. And that’s as it should be!” Thankfully, Hersh has still managed to get plenty of her singular compositions down on tape over the years: 24 studio albums in total, 11 of those with her main jam Throwing Muses, including the upcoming Moonlight Concessions. How…

“THE artist’s name is Frances Thrasher and she was only 17 when she did that painting. Her dad, Jason Thrasher, is a famous photographer in Athens. He was our wedding photographer and he’s done a lot of work for the band through the years, including several videos. When Frances was in high school, she had an art show to raised money for her to go off to art school. She’s at the University Of Georgia in Athens, which of course has a legendary art department. Pylon went there. Michael Stipe went there. I went to her show and was blown away, especially by that painting, which is called Headache. I was already thinking about this record then and when we started demoing songs for a solo album, I knew it…

HAVING overcome addictions and health scares, the surviving members of Jefferson Airplane are still close. “I talk to Jorma more or less every day, and I phoned Grace just a couple of days ago,” says Casady. “We talk all the time.” While their affection for one another is clear, the passage of time has also brought different perspectives. “The fact that Grace has elected not to do music any more makes no sense to me,” says Kaukonen. “Most of us kind of evolved as musicians, but she always had that voice and that power, right from the start. A couple of years ago I called her up and said, ‘Y’know Grace, I need to say this now, while we’re still alive: it was an honour to play music with you.’…

Butlin’s, Bognor Regis, January 3-5 BODEGA are surely not the first band in Rockaway Beach’s 10-year history who’ve been unable to resist kicking off their set with the Ramones song of the same name. But it’s hard to imagine anyone performing it with more vim and vigour than these excitable New York party punks. “It’s not far, not hard to reach”, they yell, relishing the irony in solidarity with anyone who’s had to circumnavigate flooded roads and frozen rail tracks to get here. “The sun is out and I want some…” And suddenly the icy horizontal rain outside is forgotten. Like a non-league football team, the Rockaway Beach lineup is a strange hodgepodge of hardened old pros and fresh-faced youngsters. Its pan-generational ethos is exemplified by the fact that Georgia’s…

THE BRUTALIST “Don’t bury me in this prairie”, sang Dinah Shore in 1948, longing for some of that big-city living. “Take me where the cement grows”. The song, “Buttons And Bows” shows up early in Brady Corbet’s intense, dazzlingly ambitious epic, and the words, if not the levity, set the tone for the three hours to come. The Brutalist is a film about concrete dreams: the ones dreamt by László Tóth (Adrien Brody), the visionary modernist architect we follow from war-torn Budapest, through the squalor and wonder of postwar New York, to the fields of 1950s Pennsylvania. And those of Harrison Lee Van Buren (Guy Pearce), the brash, bullying industrialist who commissions Roth to design a lasting monument to his beloved mother. It’s a film that is proudly swinging not just…

PAINTING THEIR MASTERPIECES What a delight it was, on a cold winter’s day, to see that Uncut had given 30 people the impossible task of choosing their favourite track from The Band [Take 335, February 2025]: not just 30 people at random, but people who really understand music from the inside. Today I’m with Elvis Costello. “The Unfaithful Servant”, with Rick Danko’s so authentic vocal, has the same effect on me as some Edward Hopper paintings – with both I am left wondering, ‘What’s going on? What’s the story?’ I was lucky to discover their music in the late 1960s when I lived in London. A friend, Roddy Cameron (a fine musician), told me about Music From Big Pink and encouraged me to buy it. I knew of them through…