Table of contents for January 2023 in UNCUT

ARCHERS OF LOAF Reason In Decline MERGE 8/10 One-time indie slackers confront a changed world a quarter-century after split Archers Of Loaf broke up in 1998, but an exploratory 2020 reunion that yielded the elegiac “Raleigh Days” convinced singer/guitarist Eric Bachmann and his erstwhile bandmates to recommit. The resulting Reason In Decline juxtaposes the Big Country-like clangour of “Saturation And Light” with furious punk rave-ups like “Misinformation Age”, on which Bachmann, testing his surgically repaired vocal cords, bellows about dark days and demagogues. The 51-year-old family man’s struggles with depression and anxiety bring unrelenting urgency to the album, most explicitly in “Mama Was A War Profiteer”. Only in “Aimee”, a gentle ode to a lasting relationship, does Bachman find solace. BUD SCOPPA ATTAWALPA Presence ATTAWALPA 6/10 Former Turbogeist guitarist gets…

What was in your mind, as you approached the new album? Such a huge part of what I enjoy about making music and especially making music with other people is that you couldn’t think of it before you did it. I love getting to find out what the music we’re making is by doing it. I want us as a band to find ways to go far into the songs – or to the intent of them. I find a lot of clarity in urgency, maybe. Lyrically, I’ve never really enjoyed explicitly tackling big subjects head on: I like choosing words that have meaning to me, but enough room for other people to do what they want with. How would you describe the environment of Prize? The word “close” comes to…

AMERICAN voiceover artist and comedian Grey DeLisle also boasts a fine line in folk and country, as proven by the two albums she made for Sugar Hill in the mid-noughties. After devoting the interim to raising a family, she finally returns in early January with Borrowed REGIONAL, teaming up with longtime producer (and ex-Lone Justice founder) Marvin Etzioni to leave her imprint on a bunch of covers from artists as diverse as Pink Floyd, T. Rex, Stephen Foster and Gene Austin. Meanwhile, DeLisle is already back in the studio preparing a set of all-originals for release later in 2023. On a rootsier tip, The Bad Ends are a new supergroup of veterans from Athens, Georgia, whose main coup is securing the services of former REM drummer Bill Berry. Also comprising Mike…

How would you describe World Record? Radical. The songs were written in a way Neil had never written before. The lyrics all came to him quickly with no revisions. The entire process of recon was unusual and mystical. Crazy Horse can’t help but sound like Crazy Horse, and Neil is at the top of his game. The album has an intimate, live sound. Does that reflect the sessions? The vibe was relaxed and connections between the players after knowing each other for 50 years are telepathic. Neil usually records everything live at once, and that was the case here. We found ways of getting Neil’s vocals to be loud and clear enough to understand the words, which isn’t always easy singing live in the room with a band that plays so very…

Live At The Fillmore (1997) WARNER 9/10 FROM about the mid-1980s onwards, Tom Petty’s output was defined by a frequently infuriating contradiction. While Petty and his Heartbreakers were (obviously) as fine and fierce a rock’n’roll band as had ever been assembled, Petty seemed peculiarly insistent on making records from which you wouldn’t necessarily know it. There was rarely much wrong with the songs, but the production grew increasingly glossy and decreasingly gritty. The Heartbreakers of their first three albums – that pugnacious, ferocious and glorious hybrid of the swaggering Southern swamp-boogie of Lynyrd Skynyrd and the fidgety, skittish, skinny-tied new wave of the Attractions – got harder and harder to hear. But as this Brobdingnagian boxset splendidly demonstrates, they never really went away. In 1997, between January 10 and February…

Jerusalem MISSISSIPPI 8/10 WHEN Francis Falceto’s Paris-based label Buda Musique started releasing its Éthiopiques compilation albums in 1997, it was something of a revelation, even for music buffs who had been immersing themselves in African music for years. Where there are certain instruments, rhythms, scales and voicings that are shared by several regions around the continent, the music of Ethiopia seems to stand quite apart, almost unrelated to genres from any neighbouring parts of Africa. In particular it was the Ethio-jazz made in the 1960s and ’70s by the likes of Hailu Mergia, Mulatu Astatke, Mahmoud Ahmed and Gétatchew Mékurya that became quite addictive. Partly we were hooked in by the shuffling, disjointed rhythms, often in waltz-time, and the sizzling wah-wah guitar riffs, but another defining feature of Ethiojazz seemed…

How did you first meet Takashi Mizutani from Les Rallizes Dénudés? We came from the same group in Kyoto, in the late 1960s. I knew him from our teenage years – he was a year older than me. He knew my [music] taste because we were in the same music club when we were freshmen. He left the club six months after he joined, because at that time the student political movement reigned… He had his band, around the same time, with early members of Rallizes. I noticed that he was doing something unique and revolutionary. What was unique and revolutionary about Mizutani? At that time, everything was totally new. Even in America, Woodstock was new, all the movement in the New York underground was new. The times were revolutionary. So…

NEXT time we focus in on N 2023’s early releases, from the established – John Cale’s Mercy, his first original album since 2012’s Shifty Adventures In Nookie Wood, and Margo Price’s Strays – to lesser-known gems from Meg Baird, The CIA, The Murder Capital, HC McEntire and Juni Habel. In the archival section, all will be revealed, but we can promise Steely Dan, a stunning lost garage compilation and Ahmad Jamal live in ’60s Seattle. EMAIL: TOM.PINNOCK@UNCUT.CO.UK…

10 WAYWARD: JUST Vashti Bunyan (WHITE RABBIT, £17) Zen and the art of horse and cart maintenance, this evocative volume allows Bunyan to tell the backstory to her 1970 LP, Just Another Diamond Day. Unsaleable at the time, this fey colossus continues to resonate with younger artists, with Bunyan’s chastening account of its genesis doubling as a Withnail & I-style farewell to the hippy era, grisly sexual mores included. 9 DENIM AND LEATHER Michael Hann (CONSTABLE, £20) Heavy on dry ice and bathos, this evocative oral history of the new wave of British heavy metal gawps in wonder at the monsters of post-punk, sub-Sabbath English rock. The Sounds-sponsored ‘NWOBHM’ launched the colossal careers of Iron Maiden and Def Leppard, but Hann strikes gold with the less-told sagas of smalltown superstars…

“I love ‘Kooks’. It’s so real. I was often asked when David was alive whether I’d consider working with him again if I was asked, and I’d say yes but only on a very specific album. Both David and I, as were a lot of people in this industry, we weren’t particularly great fathers. We were workaholics and didn’t see our kids that much. I know that David, as did I, regretted that later in life. The album I would like to have done, because we had moved on so far and realised our mistakes, is an album along the lines of ‘Kooks’, maybe a kids’ album, because we had both learnt so much. “‘Kooks’ is the love of Duncan [Jones] that he never really showed when Duncan was growing…

MEG BAIRD Furling DRAG CITY After her telling contribution to Joan Shelley’s The Spur, the former Espers frontwoman delivers her finest solo LP yet: refined folk-rock with a dewy sheen. ROBERT FORSTER The Candle And The Flame TAPETE “Her beauty has not withered/From her entrance in chapter one…” Forster’s pithy lyricism takes a poignant turn on an album made with wife Karin Bäumler as she was undergoing chemotherapy. IGGY POP “Frenzy” GOLD TOOTH/ATLANTIC After the wise ruminations of Free, a return to stoopid, sweary hard rock in the company of GN’R’s Duff McKagan and RHCP’s Chad Smith. THE ARCS Electrophonic Chronic EASY EYE SOUND Second album of retro-futurist Southern soul swingers from Dan Auerbach’s other band, serving as a fine tribute to their sadly departed shipmate, Richard Swift. JAMES YORKSTON,…

“Man’s Job” (from Human Touch) COLUMBIA, 1992 “Loving you is a man’s job, baby”, he sang 30 years ago, which would have been a typical 1960s soul singer’s boast in a golden age for music, if not for female empowerment. With the great Bobby King singing responses and harmonies, Bruce delivers a song that wouldn’t need much retooling to fit right into the Drifters’ repertoire. “Back In Your Arms” (from Tracks) COLUMBIA, 1998 (RECORDED 1995) “Do we have any lovers out there? Do we have anyone out there who’s ever been in love and blown a good thing?” Introducing this one in concert, Bruce climbs into Solomon Burke’s pulpit, building up to a gorgeous minor-key Southern soul ballad infused with a massive dose of romantic yearning. Imagine Burke, Percy Sledge…

When things are so crazy in the real world, how does that impact your songwriting? It puts a fire in. Your job as an artist is to bring down the government if they cease to be effective. It doesn’t really inspire me to write lyrics that I’d want to sing, but it does make me play pretty hot. It fires me up inside to make the music more all-encompassing and vibrant. What kind of vision for Rogues Gallery did you outline to your bandmate Paul May before recording? There was no pre-planning other than we were excited about playing a lot of percussion together. There wasn’t really much spoken about, it was just a lot of getting loose and letting it fly. The world’s coming to an end so we felt…

Feorm Falorx WARP 7/10 THE most unassuming of electronica acts from that rich post-rave boom of the early ’90s, Andy Turner and Ed Handley have been Warp stalwarts for almost 30 years, consistently releasing fine music without ever enjoying the same high profile as language-mangling, circuit-bending labelmates like Aphex Twin or Autechre. Now in their mid-fifties, the Suffolk duo have taken great pains to couch their 11th studio album in cutting-edge AI visuals and goofy space-mission imagery; the music within, however, is classic Plaid, lightly sprinkled with self-referential echoes drawn from all stages of their sonic journey. No alarms and few surprises, just another casually excellent collection of mellifluous electro that deepens in earworm appeal with each listen. In a first for Plaid, Feorm Falorx comes with a playful back…

Music For Four Guitars PALILALIA 8/10 BILL Orcutt and Adris Hoyos’ ’90s band Harry Pussy were described by critic Douglas Wolk as “just about the most abrasive band America has ever seen”. The noise and chaos masked some of the most important and influential music of the era, though; an often harrowing amalgamation of free jazz and blues filtered through the eyes of hardcore. Beloved by contemporaries such as Sonic Youth, they released five albums, most notably on the Ohio-based Siltbreeze label, but split after Orcutt and Hoyos divorced in 1997. Orcutt moved to San Francisco to become a software engineer and retired from music for over a decade. Inspired by putting together a compilation of Harry Pussy, Orcutt began making music again, beginning with the release of A New…

“Carl And The Passions/Pet Sounds promo” (CD1, Carl And The Passions) “What’s this? It sounds like a new Beach Boys…” An amusing radio ad promo that makes a case for the prescient but ultimately unflattering special double set that packaged the latest BB album with their classic Pet Sounds. “We Got Love” (CD2, Holland) Welcome in the live set but not on the album, this anti-apartheid song of fraternity is a decent showcase for Fataar/Chaplin. Comes into its own in the lovely bridge section, which channels a very Carl-style break for the melancholic. “Little Child” (Daddy Dear CD 6, Live bonus) Long-bootlegged, this super-cute, “kind of touching” home-recorded fragment finds Brian at the piano presenting a song that feels like it has the potential to go far. Except… “I forgot…

Why do 20 nights at the Fillmore? TENCH: We hadn’t played in a while, and Tom didn’t want to tour behind She’s The One, because he thought that would put a certain kind of emphasis on it, as if it were the true follow-up to Wildflowers. He came up with the idea of a 20-night stand at a legendary venue. At first I found the idea intimidating, but at the first rehearsal in Los Angeles we played “Night Watchman”, a song we hadn’t played in years and years, and it was terrific. After that I thought, ‘Oh, this is gonna be fun!’ How did the shows evolve over the run? CAMPBELL: Each night was different. We would work out a setlist in the afternoon at soundcheck – throwing in some…

Fireside Stories (Hebden Bridge Circa 1971-1974) BASIN ROCK 8/10 Stunning cache of ‘lost’ loner folk from West Yorkshire SOMETIMES the best discoveries are right under your nose. Basin Rock, the Todmorden label that’s brought us a select international roster of Nadia Reid, Julie Byrne, Andrew Tuttle, Aoife Nessa Frances and others in recent times, has now unearthed a genuine treasure from its own Calder Valley home. Son of a West Yorkshire soldier and an Algerian stenographer, who settled in the region after meeting in the Second World War, Trevor Beales was composing and playing folk guitar at a young age. Inspired by the likes of Dylan, Django Reinhardt and Welsh folkie Dave Evans, this scintillating batch of songs was recorded in the attic of the family house at various points…

Q&A UNCUT: How has 2022 been for you? McCRAVEN: It’s been a really great year. I’ve been super-charged back to life with touring, and family, kids and school. It’s a pretty full life right now, but things are going really well. There was a period during finishing In These Times where there was a lot of stress and pressure to get it done. That was a really big release, and relief, for me. You’d been working on the music for In These Times for many years. Did releasing it feel like the culmination of something? Definitely. I’ve been playing some of this music for 10 years, actually. It’s the sort of project I’ve been wanting to do since I was a teenager, working with strings and a large ensemble. All…

“IS it OK to big up your own music?” asks Richard Dawson, partway into our discussion. “I’ve slagged off everything so far, but I was just paving the way for a huge self-aggrandising which will be the rest of the interview…” While the Newcastle songwriter is certainly critical of his own work, there’s really no need: across the last decade or so, the guitarist and singer has built a compelling and deeply unique body of music. Here he takes Uncut through his records so far, from his “very bad” debut and the a cappella triumph of The Glass Trunk right through to the mighty, labyrinthine Peasant, his heavy collaboration with Finnish rockers Circle and his latest, sci-fi-inspired opus, The Ruby Cord, which appears in our 75 Best Albums Of 2022.…

WALK 10 minutes uphill from Beckenham Junction station, past the squat new developments and elegant townhouses, and you’ll eventually arrive at the corner of Southend Road and Shannon Way. Today, it’s a block of square brick apartments, similar to many buildings in this corner of southeast London. But before it was demolished in the early ’80s, this was the site of Haddon Hall, where David Bowie lived with his wife Angie and an assortment of musicians from 1969 until 1972. A sprawling Victorian villa, Haddon Hall was effectively the cradle for Bowie’s fast-moving transition from folkie to futuristic superstar. When 80-year-old south Londoner Terry moved into his flat three years ago, he had no notion of the building’s musical heritage. He’s since done his research, prompted by the gaggles of…

SPTM 8/10 DURING the campaign to reissue Joe Nick Patoski’s 2005 documentary about Doug Sahm, the project was sold on the basis that the San Antonio-born musician was an unsung hero of Texas music, which is curious given the calibre of musicians who testify tohistalent. ThereisBobDylan, an early supporter of Sahm’s Texan “British Invasion” group The Sir Douglas Quintet who also guested on 1973’s Doug Sahm and Band, recorded at Jerry Wexler’s behest for the progressive country arm of Atlantic Records. Of the project, Dylan reportedly said: “You know, I’ve done the word trip. I wanna do the music trip.” Or, there is Dr John, who praises Sahm’s “wide open” spirit. Billy Gibbons of ZZ Top makes a cultural observation, saying Sahm’s audience, or perhaps his musical style, “was hippies…

ALEX Crowton, director of a new documentary about Sparklehorse’s Mark Linkous, admits it would be easy to sensationalise the life of the troubled musician, who took his own life in 2010. “But we tried to shy away from that,” says Crowton. “We wanted to focus on the music and make it about his amazing records.” Prior to his death, Virginia native Linkous had built up a unique body of work. Elements of gothic country permeated his five studio albums, as did a love of melancholy rock, lo-fi sensibilities and a punk spirit – all combined with a voice that was as ghostly and delicate as it was weathered and rusty. “He was an incredibly talented writer and musician,” says singer-songwriter Gemma Hayes, who appears in the film, alongside Linkous collaborators…

Rogues Gospel GOD UNKNOWN 8/10 "EVERYONEsays I sound like I live in the desert,” muses Duke Garwood, St Leonards’ premier exponent of parched, post-modern blues. For him, it’s not about where you’re from, or even where you’re at – it’s about where your daydreams take you. “I look at the sea a lot and it seems like a big desert,” he says. “I’m a fantasist, I guess.” Rogues Gospel certainly sounds like the work of a man strolling out alone into the dusty wilderness, following ancient tracks across the plains, vultures circling overhead as he hallucinates his own demise. It’s Captain Beefheart twitching on the desert highway, it’s Tom Waits sleeping with his shovel, and vividly evocative of a scorched American landscape to the point where you can almost hear…

Prize MEMPHIS INDUSTRIES 8/10 YOU can tell a lot about people from the company they keep – and by extension, about their creative expression. Take Rosalind Leyden, for instance, who’s consorted with wayward folkies, mercurial indie-pop types and experimental jazz practitioners. Early on, she played with fellow Winchester-born songwriter Kate Stables (whose This Is The Kit she’s a member of), Rachael Dadd and François Marry (of The Atlas Mountains); later, a friendship with Pictish Trail and King Creosote led to her debut as Rozi Plain and the release of four albums on Fence/Lost Map, which featured increasingly large casts of simpático players. Though circumstances such as musicians’ availability or geographical separation have often given Leyden no choice, wide collaboration became a preferred practice, and with 2019’s terrific What A Boost,…

World Record REPRISE 8/10 IT seems an obvious thing to say, but you get the feeling Neil Young’s new record is important to him. In the old days – the days that press behind the simple, shaky, beguiling, bemusing, finally burning surfaces of these songs – your first impression of the album would have been its cover. And there, without fuss, he lays things bare. Up front comes a photograph of his father, the writer Scott Young, caught striding down the street in suit and tie, raincoat over one arm. It could be the late-1950s, and he looks like a man with places to go and things to do there. You don’t have to recognise the face to know who he is: the image comes captioned, like a museum exhibit:…

Can you explain how Feorm Falorx evolved from intergalactic music festival to earthbound album? Andy Turner: We played this festival on a planet called Feorm just towards the end of lockdown, and when we got back we thought we would give it to Warp for people from Earth to hear too. Benet Walsh, aka Mason Bee, plays guitar, tin whistle, bass and more on the album. How did he become such a key part of Plaid? Ed Handley: We’ve had co-writes with Ben on most of our albums, and more recently he’s also been travelling and performing with us. We’ve known Ben for years, having another input to the writing process freshens things up, and we really rate him as musician. He comes from a completely different musical background to us…

Your last three releases – the duo record with Chris Corsano, Cracked Shit and Music For Four Guitars – are all very different, but unmistakably you. What’s the thread that ties them together? The LP with Corsano and Music For Four Guitars are guitar records and they both use the same idiom I’ve been working in for the last 30 years. Cracked Shit is computer music, something I’m really into, but obviously different. It was made when Peter Rehberg died unexpectedly. I had some records on his label Editions Mego and I wanted to say something about his passing. The thread that runs through all of them is me and feeling like I have something I need to say. Music For Four Guitars often transcends the complexity of its composition,…

MONTY ALEXANDER The Montreux Years BMG 7/10 Ten-track compilation of live performances from the Jamaican piano genius The latest in this series of compilations from the Montreux Jazz Festival archive features the great Jamaican pianist in various lineups between 1993 and 2016. Alexander made his name fusing jazz with Caribbean music – two tracks here pay tribute to Bob Marley, including a gospel-tinged mash-up of “No Woman No Cry” and “Get Up Stand Up”, while there’s also a rambunctious version of the mento anthem “Linstead Market”. But he’s underrated as a flashy, Oscar Peterson-style big swinger who can rattle through absolutely anything at incredible speed, while playing funky lead lines that really sing. Check out the episodic composition “Hurricane Come And Gone”, which lurches from limpid ballad to Latin metal…

’67–’69 Studio Et Live (reissue, 1991) Mizutani – Les Rallizes Dénudés (reissue, 1991) ’77 Live (reissue, 1991) VARIOUS ARTISTS Oz Days Live ’72–’73 Kichijoji: The 50th Anniversary Collection (reissue, 1973) TEMPORAL DRIFT 8/10, 8/10, 9/10, 7/10 IN the 50-odd years since they formed, the mystique of Les Rallizes Dénudés has become something of a cult behemoth in underground circles. Mysterious even in their home country of Japan, increased interest in Japanese psych-rock in the previous decade – groups like Acid Mothers Temple, High Rise, Fushitsusha and Kousokuya – had sent dedicated listeners looking for clues: where did this incredible, volatile, spirited music spring from? After the circulation of bootlegs in the noughties, Les Rallizes Dénudés, led by mythical figure Takashi Mizutani, became a touchstone; an idealised development of, and endpoint…

I Will Not Be Sad In This World/Moon Shines At Night (reissues, 1983, 1993) ALL SAINTS 8/10, 8/10 THE duduk might resemble a recorder, but it’s a world away from discordant orchestras in school halls. Originating in Armenia millennia ago, this apricotwood, double-reed instrument takes great skill to play, with circular breathing a must; the results are beautiful and mournful, akin to a gently melismatic singer. It has soundtracked Game Of Thrones, Gladiator, The Last Temptation Of Christ and more – pretty much anything set somewhere hot, dry or vaguely fantastical – and many of those spots have been played by Djivan Gasparyan, the duduk’s most celebrated master. Yet when Brian Eno found his debut album (originally released on the Soviet state label Melodiya) in Moscow in the late ’80s,…

50 THE TOP 75 ALBUMS OF THE YEAR 62 AN AUDIENCE WITH MICHAEL HEAD 66 JOAN SHELLEY  72 ALBUM BY ALBUM with RICHARD DAWSON 76 BLACK MIDI 80 THE BEST ARCHIVE RELEASES 84 THE MAKING OF NEU!’S “HERO” 88 2022’S GREATEST FILMS 90 THE YEAR’S BEST BOOKS Q&As WITH ELVIS COSTELLO! SHARON VAN ETTEN!  MAKAYA McCRAVEN! THE SMILE! AS CHOSEN BY THE UNCUT TEAM PLEASE SEND US YOUR OWN 2022 CHARTS: LETTERS@UNCUT.CO.UK…

Q&A UNCUT: How was 2022 for you? SHARON VAN ETTEN: A mixed bag! It’s very strange, getting back into touring, trying to move forward, like things are normal, but they’re not really quite normal. Even though I’ve been doing this for years, there’s no manual for how to do it right now. It’s harder than it’s ever been to book a tour responsibly. We had to reserve a bus a year in advance, but when we got on board in Europe it fell apart. The windows were taped and a headlight was pointing upwards and the driver kept falling asleep. We could hear him scraping up against other cars while we were going to bed! It was terrible. So, that was a little rough. We had to ditch the bus…

“I’ve been lucky – when things were tough, I’ve had a creative outlet” IT’S the morning after Liverpool’s pulsating victory over Manchester City at Anfield, and Mick Head is understandably buzzing. “It feels good. I was listening on the radio and I heard a couple of pundits talking about the atmosphere and saying they’d never heard anything like it – and this was before the game!” Head has further cause for celebration when informed that his latest album with the Red Elastic Band, the triumphant Dear Scott, has been named Uncut’s third best album of 2022. “That’s amazing,” he beams. “It’s just recognition for what everyone’s put into it. We’re all really proud of it.” Earlier this year, the album became his first ever Top 10 record in a long…

20 NOTHING COMPARES Directed by: Kathryn Ferguson From queen of the primal scream to long-term survivor, via the legendarily rebellious Saturday Night Live appearance, which made Sinéad O’Connor the woman that America, and Catholics, loved to hate. Kathryn Ferguson’s documentary traced her subject’s rise to international glory and notoriety, but also excavated the childhood torment that fuelled the artist’s music and her commitment to uncompromising expression. 19 FLUX GOURMET Directed by Peter Strickland British cult director Strickland – a sometime member of the Sonic Catering Band – reconnected with his culinary concrète roots in a drama about a noise-art trio on a residency at an experimental institute, where their own radical performances in sound cuisine come up against malign rivals. Gwendoline Christie and Asa Butterfield stared in arguably the most…

“MY name is David Bowie. My record is called Hunky Dory on RCA. “MThe first one is called ‘Changes’. This album is full of my changes and those of some of my friends, and there is a time and space level, just before you go to sleep when all about you are losing theirs and the void gets you, and that’s when I like to write my songs. “‘Oh! You Pretty Things’ The reaction to my wife being pregnant was archetypal daddy – ‘Oh, he’s going to be another Elvis’ – and this song is all that plus a dash of science fiction. “‘Eight-Line Poem’ That comes after ‘…Pretty Things’. Kind of together. I would call it a kind of city, a high-life wart on the backside of a prairie. It’s…

WHITE NOISE Directed by Noah Baumbach Starring Adam Driver, Greta Gerwig, Don Cheadle Opens November 25 Cert To be confirmed 7/10 AFTERSUN Directed by Charlotte Wells Starring Paul Mescal, Frankie Corio, Celia Rowlson-Hall Opens November 18 Cert To be confirmed 9/10 THREE MINUTES: A LENGTHENING Directed by Bianca Stigter Starring Helena Bonham Carter (voice) Glenn Kurtz, Moszek Tuchendler Opens December 2 Cert To be confirmed 8/10 LYNCH/OZ Directed by Alexandre O Philippe Starring Karyn Kusama, John Waters, David Lowery, Rodney Ascher, Amy Nicholson Opens December 2 Cert To be confirmed 6/10 Directed by Choi Ka Yan, Lee Hiu Ling Opens November 22 Cert To be confirmed 8/10…

HOW TO ENTER The letters in the shaded squares form an anagram of a song by David Bowie. When you’ve worked out what it is, email your answer to: competitions@uncut.co.uk. The first correct entry picked at random will win a prize. Closing date: Wednesday, December 7, 2022. This competition is only open to European residents. CLUES ACROSS 1+7D A song that originated in Elvis Presley’s hometown and ended up with Mott The Hoople (3-3-3-4-7) 9 At no time was this a single by The House Of Love (5) 10+3D Counting Crows performance approximately in this place (5-4) 11 Beastie Boy involved in a Zoom call (3) 12 Bob ____, US folk singer who had a 41-year gap between albums in 1971 and 2012 (4) 13+19D+36A “My heart takes a leap…

ELVIS PRESLEY “Can’t Help Falling In Love” RCA VICTOR, 1961 A lot of musicians talk about how they got into music when they were 12 or 13, but it wasn’t like that for me – I was really young. And the big one when I was about 7 or 8 was Elvis, “Can’t Help Falling In Love”. I couldn’t believe how beautiful that was; I was already a romantic at that age. I never got to see Blue Hawaii, but I remember walking past the cinema and watching them all going in. I was waiting for my birthday money to buy the single, but when I went down to the shop it had sold out, so I panicked and bought “Wimoweh” by Karl Denver. I quite liked it, but it…