Tabla de contenidos para April 2026 en UNCUT

My sweet lord! The second edition of our new Uncut Greats series is dedicated to George Harrison, who would have turned 83 on February 25. Inside, we tell his incredible life story via incisive new writing, ranked reviews and classic archive features. It’s in shops now or available to order direct from us at shop.kelsey.co.uk/uncut… That’s followed on March 13 by the definitive version of our Ultimate Music Guide to prog titans Yes, including an all-new 2026 feature and an eight-page miscellany foldout. And to coincide with Robert Smith’s Teenage Cancer Trust shows at the end of the month, Ultimate Record Collection: The 200 Greatest Goth Albums… Ranked will be available again from March 20… Lucinda Williams, Kurt Vile and Super Furry Animals have been added to the lineup for…

I WANT YOU CBS FRANCE, 1966 The French led the way when it came to tasty covers. This is one of the best, featuring a photo of Dylan playing bass guitar set against a bright yellow backdrop and his name written out in a circus handbill font, almost like a Rolling Thunder preview. The title track was followed with “Obviously 5 Believers” and “Just Like A Woman”. Expect to pay: £25 CAN YOU PLEASE CRAWL OUT YOUR WINDOW? CBS PORTUGAL, 1966 A very solid selection of “Maggie’ Farm”, “Don’t Think Twice, It’s All Right” and “On The Road Again” joined the lead song on this Portuguese EP, which came with a cool modernist cover seemingly inspired by Blue Note. Expect to pay: £300 COMO UNA PIEDRA QUE RUEDA CBS MEXICO,…

ANNA CALVI Is This All There Is? DOMINO Star-studded EP from the Peaky Blinders soundtracker, featuring a distinctly “Passenger”-esque duet with Iggy Pop and a haunting, operatic take on Kraftwerk’s “Computer Love” with Laurie Anderson. BONNER KRAMER & THURSTON MOORE They Came Like Swallows SILVER CURRENT Two US indie legends join forces for seven sad-eyed avant-rock requiems – including a spectral cover of Joy Division’s “Insight”. JESCA HOOP Long Wave Home LAST LAUGH/REPUBLIC OF MUSIC “You gotta get up a mountain for the view…” Travelling between studios in her camper van, Hoop creates her freshest, sharpest album to date. Sam Amidon and Seb Rochford guest. MILDRED Fenceline MEMORIALS OF DISTINCTION/DOG DAY RECORDS New Cali quartet amplify the pathos of everyday disappointments with their threadbare indie ballads and gorgeously hangdog country-rock.…

“I’m not really passionate, I’m committed” “THE thing I find with making work is that it’s so easy not to do things,” says Wild Billy Childish, pondering a relentless creative drive that has yielded more than 150 albums since debuting with The Pop Rivets in 1979 – not to mention all the books, poems and paintings. Already this week he has written and recorded a new 7” single, filled a few canvases at his studio in Chatham docks, and signed off the final draft of his latest novel All The Poisons In The Mud, about his own punk rock awakening. “My novels are from a very autobiographical point of view,” he explains, stroking his magnificent moustache. “Which probably makes them complete fiction!” To what does he attribute his prodigious output?…

This is the latest in a string of albums you’ve decided to record in Louisville. Beyond being home, what is it about Louisville that calls you to make art there? Ten years ago, my morale and enthusiasm for making up songs was at rock bottom. Streaming was alienating and even disgusting. My wife and I were accepted into an artist residency on top of an active volcano, and it was there that I learned that my life is about making songs whether I liked it or not. I figured that liking it would be the happier path. So, a group of songs came into being, and rather than looking to the outside world for ways to bring these songs to shareable life, I looked to my city. It was the…

JOHN ANDREWS & THE YAWNS Streetsweeper EARTH LIBRARIES 8/10 Fifth album from the former Woods and Quilt player Based in the remote Red Hook neighbourhood of Brooklyn, John Andrews specialises in low-key indie folk. Midtempo and understated, it’s the kind of thing that might be mistaken for drowsy, or merely vibey. On his new album, however, he hides tough truths just beneath the placid surface of his songs, full of new beginnings, severed connections and deadening routines. Sounding at times like an American version of The Clientele, Andrews brings a keen sense of melody and an even keener ear for hooks, such as the lovely “ba-ba-ba”s that festoon “What’s Good?” and the loping jangle of “Friends In Misery”. STEPHEN DEUSNER SANAYA ARDESHIR Hand Of Thought KARIGAR 7/10 LA-based electronic auteur…

What prompted you to recruit the likes of Jeff Parker and Josh Johnson for this album? For quite a while, up until pretty close before making it, I didn’t know if I was going to get any musicians or just do it all myself. I was making demos at home with my 808, playing bass and trumpet and keyboards, and I was thinking about doing it like that. There were a couple of records I was listening to a lot at the time. One was The Way Out Of Easy by Jeff Parker’s ETA IVtet and another was Meshell Ndegeocello’s The Omnichord Real Book, which Josh produced. I thought, ‘Fuck, man, if I was going to partner up with anybody, he would be the perfect guy.’ What was it like…

DICK GAUGHAN R/EVOLUTION 1969-84 GAUGHAN RECORDINGS 9/10 Staggering deep historical dive for Scottish folk legend “HIS greatness is based in his guts and his soul,” says fellow folk singer Barbara Dickson of Dick Gaughan, “not in his fingers or his larynx.” There’s something to that statement, both in the determination of Gaughan’s five-decade career, and the staunchness of his working-class politics, so core to Gaughan’s music – and, at a pinch, to most great folk song. It’s all clearly on display in R/Evolution, a box featuring seven discs of music from the first 15 years of Gaughan’s career proper. But it would do us all well to remember the agility of those fingers and the power of that larynx, too. For those new to Dick Gaughan’s deceptively plain-sung renditions of folk…

WHEN the Sex Pistols finish their shows with “Anarchy In The UK” these days, the dynamic from the stage is more celebratory than confrontational. Current singer Frank Carter – veteran of a different punk generation via Gallows and the Rattlesnakes – sings Johnny Rotten’s lacerating lyrics with a smile while the crowd roar them back with glee. “There’s a lot of mixed emotions going on,” says Glen Matlock. “There’s the kind of lives people have lived since then, and their memories. It probably means something slightly different to everybody – and to everybody in the band and to everybody who’s not in the band any more.” If the song’s chemistry has somehow changed down the years, Rotten’s howl of discontent hasn’t dated. “Even back then it was a rallying cry…

FEBRUARY 1976 A TRICK OF THE TAIL CHARISMA While Phil Collins’ vocal approach is immediately warmer and more approachable than Peter Gabriel’s, the first post-PG Genesis album is every bit as peculiar as the ones that preceded it. The effervescent “Dancing On A Volcano” introduced the new lineup, but the pulsating “Squonk” became the album’s signature track. 9/10 DECEMBER 1976 WIND & WUTHERING CHARISMA The success of the 1976 tour prompted Genesis to return to the studio for the dense Wind & Wuthering. Some songs were carry-overs from A Trick Of The Tail, among them Banks’ complex “One For The Vine”, while “Wot Gorilla?” captured Collins’ love of fusion. Hackett cites the second side as one of the band’s finest moments. 8/10 JANUARY 1977 GENESIS: IN CONCERT EMI Concerts in…

MIKE HEDGES: “I’d got a massive royalty cheque from working with The Beautiful South, so I went to look at houses in France with a view to putting a studio in. Château de la Rouge Motte was actually the smallest house I saw, but I got a good sense music could be made there. It was also difficult to get to, so I wouldn’t have too much record company interference.” WIRE: “It was glorious. It felt like we were transported into a different era. It was Pink Floyd’s desk from Abbey Road with the flying faders, and Mike was just essential to the whole thing. I don’t think a producer has ever made us feel more comfortable in ourselves.” BRADFIELD: “There were two locals. Le Happy Hour was this mock-Tudor place…

JERRY Schatzberg heard about Bob Dylan before he ever heard him. Two friends he knew through his work as one of Manhattan’s hottest photographers kept pestering him to check the singer out. One was called Nico; she’d soon sing with The Velvet Underground. The other was called Sara; she’d soon marry Bob Dylan. Eventually Schatzberg listened, and was hooked. When Sara heard he was interested in photographing Dylan, she arranged a date and in summer 1965 Schatzberg visited Columbia Records on Seventh Avenue to document Dylan recording Highway 61 Revisited. “I photographed him probably a couple of days there,” Schatzberg recalls, “and then I was part of the atmosphere.” Dylan agreed to subsequent sessions at Schatzberg’s Park Avenue studio, beginning a remarkable collaboration. Under the highest pressure of his career,…

AT THE Bob Dylan Center in Tulsa, they’re busy doing their damnedest to match the blazing pace Dylan set 60 years ago. The Center’s current exhibition, Going Electric: Bob Dylan ’65, a thoroughgoing exploration of the period leading up to Dylan’s epochal performance at the Newport Folk Festival, is entering its final months. Come spring, the show will be taken apart. The elements on display will be returned to storage out of sight in the Bob Dylan Archive. Then it will be time for what happens next. “The ’65 exhibit is our biggest, most ambitious so far,” says Mark Davidson, the Center’s director of archives. “But then there’s ’66. 1966 is a remarkable period in Dylan’s career and quite different. It’s an extension of ’65 – but it’s on a…

A SOUL PICNIC WITH JANIS AND LAURA Thanks for the recent Laura Nyro piece [Uncut Take 347, January 2026] – here’s what I remember. In 1968, I was working as Danny Fields’ assistant at Elektra Records. One of my girlfriends was Nico, another was Janis. I was staying with Janis at the Chelsea Hotel, and she got a call from someone she’d never met – Laura Nyro. After the call, Janis was wondering how Laura had gotten her number, but since they both were on the same label, Columbia, we figured Laura had been given the number from someone at the label. Laura invited Janis to dinner that night. Janis put her hand over the mouthpiece and asked me if I would go with her for dinner at Laura’s –…

SAM COOKE “A Change Is Gonna Come” RCA VICTOR, 1964 I grew up in Southern Virginia, where there were two stations: the Top 40 station and the soul/R&B station. Like any other kid in that era, I loved Motown, Stax/Volt, Atlantic Records, Muscle Shoals. But this was a later discovery, when I started to delve more deeply into the Sam Cooke corpus. It’s such a transcendent vocal performance; it’s one of those songs that’s sort of untouchable. But every now and then, when I’m playing “The Way It Is” – which is my own version of a civil rights song – I will try, in my own half-assed way, to deal with “A Change Is Gonna Come”. So I’m going against my rule about being untouchable, but the band always…

Behind the counter: Luke Pybus opened Diggers Club Records in the backroom of a grand former bank in Cardiff Bay just over a year ago. Initially operating as a ‘speakeasy’, it’s now open for walk-in customers six days a week. In the racks: A wealth of sought-after secondhand delights, from rock, punk and prog, to jazz, hip-hop and electronica. There are over 4,000 records in the shop itself, with a further 11,000 listed on Discogs. On the wall: Currently a decent smattering of Blue Note, Black Jazz and Strata-East titles via Pybus’s connection inJapan. He recentlysold anultra-limited glow-in-the-dark edition of Misfits’ Walk Among Us, while a mint copy of Comus’s First Utterance went to a collector in the US. Having a browse: Gruff Rhys and Huw Stephens are regulars, while…

1 THE BLACK CROWES Cruel Streak The Crowes take us through their recorded catalogue to date on page 72, including new album A Pound Of Feathers. Here’s a track from it, produced by Jay Joyce at his Nashville church-turned-studio in freewheeling, intensely creative sessions with the Robinson brothers and drummer Cully Symington. 2 SNAIL MAIL My Maker Leaving New York behind and newly settled in sunny North Carolina, Lindsey Jordan meets Uncut on page 56. The occasion is the release of her new, third album as Snail Mail, Ricochet, on which “My Maker” is a standout track. 3 ANDREW WASYLYK Private Symphony #2 feat. Stuart Murdoch Here’s the opener to the Scottish composer and producer’s new album, Irreparable Parables. A stately, orchestral gem, it features Belle & Sebastian’s lead singer, just…

STICKI BANDCAMP, 2015 The first thing Lindsey Jordan ever uploaded to Bandcamp. Long delisted, but it’s out there – and these four raw, riveting solo songs are the only way to hear Snail Mail as its earliest supporters did. 6/10 HABIT SISTER POLYGON, 2016 Snail Mail’s breakout EP, with original drummer Shawn Durham and bassist Ryan Vieira. Released on Sister Polygon Records, it took off like a rocket, fuelled by ’90s alt-rock vibes and anthemic single “Thinning”. 7/10 LUSH MATADOR, 2018 This debut LP forged two lasting relationships – bassist Alex Bass and drummer Ray Brown became the permanent lineup, and the band signed to big indie Matador. After the scrappy “Habit”, this is where Snail Mail becomes. 8/10 VALENTINE MATADOR, 2021 Lindsey Jordan moved to New York after Lush,…

MARCH 26, 1976. A nervous Phil Collins steps up to the microphone. Clad in simple workman’s overalls and clutching a crumpled sheet of paper with ideas for things he can say between songs, Collins has now formally relinquished his onstage role as drummer of Genesis to become their singer and frontman after the departure of Peter Gabriel. But have the band made the right decision? The 2,000-strong audience at Ontario’s London Arena will be the first to find out. From his spot at the back of the stage, Bill Bruford was impressed. The former Yes man had agreed to step in as live drummer for the A Trick Of The Tail tour and he liked what he saw. “He was very good immediately, although I don’t think he thought so,”…

What did you think of the Manics when they first emerged? I was really excited by them. I saw an early gig – a very raw one but full of life and performance and sloganeering. Did the fact that they were from Wales provide encouragement to other bands? Yes, it was massive. I was turned on to them by Owen Powell from Cardiff, who ended up in Catatonia. Everyone was picking up on it. We’d buy anything they were interviewed in as they were so transgressive and funny. What do you remember about supporting the Manics on tour in late 1996? We thought they would have really intense goths following them, but their audiences were amazing. There would have been nervousness on our side as newcomers meeting a big band,…

BOB Johnston wasn’t the first to propose Dylan should try Nashville. Johnny Cash originally made the suggestion, after he and Dylan bonded at 1964’s Newport Folk Festival and became steady correspondents. What has been almost entirely unrealised until now, however, is that Cash actually attended some Blonde On Blonde sessions. Buried deep in the archives of the Toronto Star, in a tiny interview with Cash published on March 18, 1966, one week after Blonde…’s recording wrapped, columnist Michael Sherman reported: “Seems that Dylan was in Nashville recently to cut a new album and Cash dropped in to say hello and watch… According to Cash, Dylan was furiously composing… between takes. A few days later, he sent Cash a tape of the final product with a note that read: ‘Take whatever…

IT’S often overlooked, but not every photograph on Blonde On Blonde is by Jerry Schatzberg. In the inner montage, the single image showing Dylan at work with a guitar was taken by Charlie Steiner, part of a fantastic set the young student shot when Dylan and The Hawks played Philadelphia’s Academy Of Music on February 24, 1966. “I showed the prints to a guy at college. He said, ‘Hey, you should show those to Dylan,’” Steiner tells Uncut. “I thought: yeah, sure. But when I was home visiting my parents, I dropped off some pictures with Columbia Records’ art department in New York. They called later and said, ‘We like these, but don’t really have any use for performance pictures.’ So, I went back to pick them up – and…

THE PAST, PRESENT AND FUTURE OF GREAT MUSIC 6 ISSUES FOR £19.99 WORTH £14.99! PLUS YOUR FREE GIFT THE ULTIMATE MUSIC GUIDE TO BOB DYLAN, THE FULL STORY – THE DELUXE EDITION. TERMS AND CONDITIONS *UK Direct Debit and Continuous Card Payment offer only. You will pay £19.99 for your first 6 months and then £39.99 every 6 months. Offer ends 30th June 2026. Your gift will be dispatched after the first payment has been taken. Your subscription will start with the next available issue and you will receive 13 issues in a full year if you do not cancel, plus a free weekly e-newsletter from which you may unsubscribe. Other payment options are available. Prices correct at time of print, and subject to change. An extra CD is sent…

I Made A Place DOMINO, 2019 A sweet return to the Louisville recording orbit for Bonnie Billy, I Made A Place is a gorgeous, stripped-back entry in his catalogue. He’s joined by some great players – including Nathan Salsburg on guitar – and the unaffected, beautifully pure voice of the great Joan Shelley. Poetry in simple motion. 8/10 Keeping Secrets Will Destroy You DOMINO, 2023 A relatively spare set, here Oldham trains the lens on the relationship between a clutch of chords on the guitar, the grain of his voice and the deceptive simplicity of these observational lyrics. Losing the drums means that everything breathes a slightly different air, and the arrangements swoon with grace. 8/10 The Purple Bird DOMINO, 2025 Bonnie “Prince” Billy’s second Nashville set, after 2004’s Sings…

What were you aiming for with the new LP? I don’t normally approach the process with an idea of what I’m looking for, but it always reveals itself along the way. I was having a lot of fun just playing guitar and trying to learn new chords, teaching myself how to use new drum machines and trying not to get too worried about the outcome. That’s when the truth slips past the filter and you find something special. It boasts quite the production team… I was really curious to collaborate with new and different people on this record. Everyone who worked on these songs brought their own little piece of magic. I was struggling to finish some lyrics from the earlier sessions, but I had also written a bunchof newtracks,…

What does it mean to put so many of your own memories into your songs? I’ve been doing it for so long now that it’s all that I know. Over time I’ve figured a way to be present in the emotion of the song, then move on after the show is over. I’ve been in a really positive place in my life for the last eight years, in a great relationship and now in family mode, so the pain of the past feels like it’s far behind me. This album sounds rawer and looser. Was that something you intended or what the songs demanded? I gravitated towards more stripped-down, spontaneous-sounding records, like Bobby Charles’ “Small Town Talk”. Philip Weinrobe suggested we put together a band and not let them hear…

CAPTAIN BEEFHEART & HIS MAGIC BAND Trout Mask Replica STRAIGHT, 1969 Beefheart’s brilliant, disorientating double album was produced by Zappa and released on his label – because who else would have touched it? Zappa’s voice can be heard on a couple of tracks, “Pena” and “The Blimp”, the latter featuring parts recorded over the telephone. The pair fell out after its release, but the process had created an unrepeatable fusion of their idiosyncratic visions. 10/10 FRANK ZAPPA AND THE MOTHERS OF INVENTION Hot Rats BIZARRE/REPRISE, 1969 Beefheart returned the favour on what might be Zappa’s single greatest record, the largely instrumental fusion masterpiece Hot Rats. Beefheart was invited to record the vocal to the only non-instrumental, the epic “Willie The Pimp”, supplying one of his most memorable performances. He would…

AEROSMITH Aerosmith: Legendary Deluxe Edition CAPITOL/UME 7/10 Rough-and-ready 1973 debut from New Hampshire boys Listening back to Aerosmith’s self-titled debut, it’s clear how indebted they were to the great British rock groups of the ’60s – they might have once, incorrectly, been described as the “Kmart Stones”, but there’s more Yardbirds here, if anything. Aerosmith is a “classic” debut in that it suffers from all the first-timer’s pitfalls – shaky production, performance anxiety – but it’s still a great collection of songs, though they’re mostly and unfairly overshadowed by the power ballad “Dream On”. If the 2024 remaster, also included here, addresses any such perceived flatness, it also buffs the album to an unwelcome shine, pulling it out of its historical place. Pick this set up instead for the fantastically…

KLAUS NOMI Nomi OMNIVORE RECORDINGS 8/10 KLAUS NOMI was not pop’s first alien presence, but arguably he was the most alien. The human being born Klaus Sperber developed the Nomi persona in the late 1970s as part of New York’s avant-garde scene; he painted his face white, emphasised his curvy hairline and donned boxy tuxedos like some Martian approximation of formal wear. He sung in a clipped sing-speak, carefully sculpting his vowels and biting into his consonants, but Nomi could also soar operatically along multiple octaves. David Bowie, who knew more than a little about starmen, recognised a kindred soul and invited Nomi to perform with him on Saturday Night Live. That short collaboration launched Nomi’s deeply odd and tragically short career. He signed with Bowie’s label RCA, which allowed…

SAHB’s biggest success on 45 was an accidental hit. The song was only added to the live set, according to bassist Chris Glen, because audiences loved “the wee dance” the band had developed when playing Del Shannon’s “Runaway”, so they came up with something similar. “It could have been almost anything, but Alex liked what he could do with the lyrics. People forget it’s a song about a stalker who kills his wife. It’s as dark as ‘Next’.” “Their version of ‘Delilah’ is sometimes dismissed or derided, but it’s still a really good version, musically,’ says producer Dave Batchelor. “That interpretation stands up.” Typical of the pop industry, many of those involved hoped lightning would strike twice. Says Glen: “Once we had a hit with it, the writers, Barry Mason…

THE SMASHING PUMPKINS MELLON COLLIE AND THE INFINITE SADNESS VIRGIN, 1995 “Light On Our Feet” sounds like “Tonight, Tonight” reduced to an intimate, candlelit scale; Lindsey Jordan has the moon from the Smashing Pumpkins video tattooed on her arm. THE SUNDAYS READING, WRITING & ARITHMETIC ROUGH TRADE, 1990 From “Tractor Beam” to “My Maker”, Ricochet rides the same sunny-sad wavelength as the jangly ’90s dreampop band. MY BLOODY VALENTINE LOVELESS CREATION, 1991 The blurred melodic scream of the definitive shoegaze band looms large – check out the neon skywriting blazed at the start of “Agony Freak”. FROU FROU DETAILS MCA/ISLAND, 2002 “I listened to so much Frou Frou while making this,” Jordan says. The way the electronic duo combine rock structures with manicured pop vocals casts Ricochet in an interesting…

PETER Gabriel told Genesis he was quitting in November 1974, but continued to perform with the band in the first half of 1975; his last show was on May 22. In July, Charisma denied newspaper rumours that Gabriel was leaving and as late as August 13, manager Tony Smith wrote a letter to Atlantic claiming Gabriel was prepared to record vocals for the next record – what was to become A Trick Of The Tail. But three days later, on August 16, Melody Maker printed a front-page exclusive: “Gabriel Out Of Genesis?” The cat was out of the bag, and the paper followed it up with quotes from Gabriel on September 6: the “Why I Quit Genesis” story. What next? Auditions, that’s what. After placing an ad in Melody Maker…

IT’S always telling when a band spend their royalties not on country piles or living the high life, but on building a space where they can write and record more music. Occupying a hillside cottage just outside Newport, the downstairs rooms of the Manics’ Door To The River HQ have been converted into an impressive recording studio, driven by a huge analogue mixing console previously installed at the nearby Rockfield Studios – and on which, as James Dean Bradfield proudly relates, The Teardrop Explodes’ Kilimanjaro and various early Simple Minds efforts were recorded. While Bradfield makes the tea, Nicky Wire – who’s just turned 57, not that you’d guess – shows off his birthday present: a framed 1981 Tottenham Hotspur shirt signed by Glenn Hoddle. Enigmatic drummer Sean Moore is…

AS 1966 OPENED, Bob Dylan was moving at lightning speed, in pursuit of a sound only he could hear. It was the year velocity and vision fused in one explosive package. Over the preceding 12 months – in the blur of Bringing It All Back Home and Highway 61 Revisited, the UK tour immortalised in DA Pennebaker’s Dont Look Back, and the furore sparked by plugging in at Newport Folk Festival – Dylan had already outpaced folk music, reconfigured the grammar of rock’n’roll and split his followers in two. Now he was closing in on something more elusive still, flickering just ahead of his reach. The search began in New York City. Growing his hair, sharpening his clothes, devouring Beats, Symbolists and Surrealists and writing furiously through the night, Dylan…

THE BRIDE! OPENS MARCH 6 Jessie Buckley and Christian Bale lead in Maggie Gyllenhaal’s punky 1930s reimagining of the Frankenstein myth. HOW TO MAKE A KILLING OPENS MARCH 6 John Patton Ford thriller featuring Glen Powell as a man navigating a gauntlet of relatives to reclaim a family fortune. THE LOVE THAT REMAINS OPENS MARCH 13 Hlynur Pálmason follows Godland with this study of a dissolving marriage in contemporary Iceland, blending domestic realism with surrealist elements. REMINDERS OF HIM OPENS MARCH 13 A domestic drama based on the Colleen Hoover novel, following a mother’s attempt to rebuild her life after a five-year prison sentence. PROJECT HAIL MARY OPENS MARCH 20 Ryan Gosling stars as science teacher Ryland Grace, who wakes up alone on a spaceship to discover he has a…