“And I filled me a sachel/Full of old pig corn/And I beat me a billy/From an old French horn” What does it all Brexit music! mean for rock? 40 pages of reviews rYLeY waLKer seX pisToLs THe avaLaNCHes sCoTT waLKer + More DON’T GO INTO THAT BARN! TOM WA I T S The bizarre Wish you secrets of were here! his greatest On holiday with PINK FLOYD TOM PETTY gets the old gang back together

TEENAGE FANCLUB CASS LORD BUCKLEY MCCOMBS QUICKSILVER AARON MESSENGER SERVICE NEVILLE BAT FOR JUDY HENSKE & LASHES JERRY YESTER KENDRICK LAMAR BETTY DAVIS THE STONE ROSES ANNA MEREDITH ARAB STRAP THEE OH SEES ANIMAL COLLECTIVE SCOTTY MOORE R.I.P. september 2016 | uncut.co.uk New Albums New Albums

D.A.R.K. MORGAN DELT DIARRHEA Science Agrees Phase Zero PLANET COOkING VINYL Turn To Gold INFINITY CAT/DINE ALONE Debut from indie Contemplative space- supergroup featuring pop from gifted Six-piece Nashville The Smiths’ Andy Cali psychonaut rockers with a fine Rourke and The After releasing a fine line in face-melting 4/10 Cranberries’ Dolores 8/10 debut on Trouble In 6/10 guitar work O’Riordan Mind, Californian Despite their heroically Formed out of a DJ team combining Rourke with Morgan Delt has moved to unpleasant name suggesting they operate New York producer Olé Koretsky, D.A.R.K’s Sub Pop and upped the ambition for this in the netherworld of in-your-face metal, serviceable but derivative electronica frames an excellent follow-up. Delt occupies the Diarrhea Planet are actually a classic rock unremarkable marshalling of collective talents. dreamier end of Californian psych, with a act, formed in Nashville and named as a frat The joins are all too obvious on lead single Syd Barrett vibe running through songs like boy joke. The is a six-piece with four “Curvy” or the New Order leftovers of “Watch exquisite opener “I Don’t Want To See What’s guitars so they pack a huge amount of punch, Out”, possibly betraying a Dropbox recording Happening Outside”, “Another Person” and whether belting out Green Day-esque power- process. Piecemeal riffing, off-the-peg synths the spooky “The Age Of The Birdman”. Delt pop like “Bob Dylan’s Grandma” or the underlay and airy harmonies buoying artfully twins the Cali poles of introspection splendid riffer “Hot Topic”, or laying down SLEEVE O’Riordan’s overcooked naïf romanticism are versus landscape, with tracks like “Sun more considered Smashing Pumpkins-style NOTES constants. The one-note songs and turgid Powers” and the undulating, echoey “The sound epics like “Dune” or “Lie Down”. pacing reaches a swamp-like stalemate on the Lowest Of The Low” sounding as if they were Guitar fans will particularly enjoy tracks like Produced by: John guileless goth of “Underwater”, and the stifling written purely for contemplating sunrises in “Life Pass” and “Let It Out”, where the solos Congleton predictability ultimately proves suffocating. blissful solitude. are enjoyably garish. recorded at: Elmwood GAVIN MARTIN PETER WATTs PETER WATTs proceedings. His disembodied, Studios, Dallas, Texas getting it on.” The juddering basslines ethereal falsetto has always chimed Personnel: Hayden and sequenced synths of “Celestial Wild Thorpe (vocals, guitar, with the lyrical tone of Wild Beasts Creatures” turn a riotous night out in a songs: a world in which masculinity is bass, keyboards), Tom lairy nightclub into a transcendental DE LA SOUL revelations DINOSAUR JR in crisis, where machismo is a drag act. Fleming (vocals, guitar, moment to celebrate. On the electronic Beasts bass, keyboards), Ben And The Give A Glimpse But here the gender politics sound sludge-rock of “He The Colossus”, Anonymous Morgan delt: “i feel disconnected Of What Yer Not darker and more despairing than ever. Little (lead guitar, Hayden’s courtship ritual is more Nobody JAGJAGuWAr “Alpha Female” sees them accepting bass, keyboards), Chris brutal than ever. “You can stuff your from any kind of scene…” DOmINO AOI masculine frailties and ceding control Talbot (drums) chastity,” he coos, like an innocent Older, wiser and in no to the opposite sex, although this choirboy gone bad. “We are vigilantes/ Hip-hop champs danger of extinction Cumbrian quartet’s songs of praise of womankind is set to an oddly We’re on the streets/We’re running free.” hit new highs on The appearance of Give masculine crisis take on Texas- butch backing (what Fleming describes as “feminist Fleming sings lead on just two tracks. The jerky 8/10 guest-packed eighth 8/10 A Glimpse… means cock rock”). The dramatic “Tough Guy” starts with synth pop of “2BU” is a song of impotent rage and Several years in Dinosaur Jr’s original sized proportions. By John Lewis an aggressive statement of self-pity (“Now I’m all revenge fantasies, while “Ponytail” is an R’n’B preparation, which the band mostly spent lineup – , , – have fucked up and I can’t stand up/So I’d better suck it groove which sees Fleming duetting with a recording 300 hours of genre-hopping sounds in made more albums since reforming than they FOR MUSIC FANS up like a tough guy would,”) before adopting the munchkin-style, sped-up vocal sample; the lyrics order to create their own free-to-sample library, did before splitting in the late 1980s. It’s also of a certain age, there carapace of masculinity. describe the “beautiful agony” of a sado-masochistic And The Anonymous Nobody purposefully the which confirms that the older, is something thrilling Elsewhere, the band both have their cake and eat relationship where the female “victim” is ultimately references De La’s Daisy Age-defining debut 3 wiser Dinosaur Jr – Dinosaur Sr, if you will – and reassuring about it. They critically present a world in which men are in control. In stark contrast to this nihilistic mood, Feet High And Rising. The overarching conscious compete on quality as well as quantity. Wild Beasts, these narcissistic, self-harming and hedonistic, but the drumless closing track, “Dreamliner”, is concept is brilliantly fleshed out with cinematic “Goin’ Down” and “Knocked Around” are but four working-class cannot resist celebrating it. On the creepy industrial a rare moment of respite. Here Thorpe’s voice, segues and comic skits, while Justin Hawkins two reminders that rock’n’roll offers few northern school electronica of “Eat Your Heart Out Adonis”, Thorpe accompanied by just muted piano and synthesised (on black rock monster “Lord Intended”), and sounds as thrilling as a shrieking Mascis solo friends who make whispers about nihilistic carnal desires (“Carnivores strings, sounds like the lairy, priapic protagonist Snoop Dogg, David Byrne and Damon Albarn interrupting a mumble of grunge; Barlow’s adventurous and just want the dark meat/Won’t get off until they taste of so many of these songs taking a walk of shame. (on epic spaced-out end-piece “Here In After”) faintly Byrdsian “Left/Right” and “Love Is…” literary art rock. They it”). The lead single “Get My Bang” is a shimmering “Keep the peace or fight the most gorgeous of wars,” provide sparkling cameos. Broad in scope, and provide breezy counterpoint. It’s Dinosaur Jr 8/10 sing about fighting and piece of synth funk in which the protagonist seems he sings. It’s a perfect rejoinder to an album where naturally playful, this is a spectacular, fresh as doing what they do – but they have rarely fucking, about football to celebrate the pursuit of pleasure, be it through male cynicism sometimes seems to be eating away the proverbial, triumph. done it better. and chip butties, but do so while invoking obscure empty consumerism or mindless sex. “There’s no at itself, and where masculine crisis has never GAVIN MARTIN Morgan Delt is something of a mystery ANDREW MUELLER French philosophers and highbrow novelists. In getting it right, no getting it wrong,” he howls, “just sounded so much fun. figure, recording under a pseudonym and interview, they recall a time when the rock inkies working in solitude even though the West were full of post-punk bands earnestly discussing Coast psych of his second album, Phase Zero, Derrida and Truffaut: the band’s first four albums THE DEAD C fits neatly alongside the current Californian EXPLODED VIEW versus impotence. But, generally, we wanted to all but came with reading lists, with the band citing scene. “I don’t go out much and feel pretty get away from being typecast as a “clever band”. Trouble Exploded View Nabokov, Rimbaud, Larkin, JG Ballard, Henry Miller disconnected from any kind of scene,” says We wanted the lyrics to be self-explanatory. BA DA BING! SACrED BONES and feminist literary critic Hélène Cixous. Delt, who maintains a day job as a graphic On their fifth LP, they have decided to strip away Tom Fleming Double helping of designer. “I’m committed to keep exploring Surprisingly essential Initially, it doesn’t sound like a guitar record… all the book learning and play dumb. Of course, heavy from New Zealand the solo thing. It still feels like a new frontier dub dystopia from How did you hook up with Our last LP, Present tense, was almost all synths. this being Wild Beasts, “playing dumb” still means noise veterans to me, and I find it more interesting than Bristol’s Nico and gang producer John Congleton? This one is actually our most guitar-heavy album! invoking Byron and TS Eliot, but here the lyrics are Twin-guitars-and-drums following the same old rock band path.” Exploded View are We loved a lot of his recent work, John [Congleton] had a trove of weird fuzz relatively blunt, more like haiku than sonnets. The trio The Dead C have been Delt’s music is trippy and layered, reflecting Anika plus members of with St Vincent, Swans, John pedals, and we used them to weaponise the 7/10 8/10 album runs in at a lean, mean 40 minutes and each making noise for 30 years, both California’s landscape and its propensity Crocodiles, Robota and Grant, Blondie et al, and we were guitars. We wanted to use the tropes of rock’n’roll track – every one in a doomy, minor key – fulfils its following a take-no-prisoners experimental for self-analysis. His 2014 self-titled debut Jessy Bulbo. Their debut is squeaky-door dub surprised when he approached in a more interesting way, to “shred” without duties within three or four minutes. And, working rock, drone and freeform skronk path that received sufficient acclaim for Phase Zero (think the recent Adrian Sherwood comp) that us. It’s not every day you’re contacted by a big- making it sound like a Van Halen record. Not that with Texan producer John Congleton, the musical underscores their view of their career as a quasi- to be released by Sub Pop, but Delt says he offers unexpectedly plentiful tunes. “Orlando” name, Grammy-winning producer! He wanted us there’s anything wrong with a Van Halen record… accompaniment has also been pared back. The political activity. Recorded live at Dunedin’s went about things exactly the same way, was written before June’s mass shooting, but to sound more spontaneous, to leave mistakes in, drums are minimal and funky. The basslines twitch legendary Chick’s Hotel, the five numbered slapping “ridiculous amounts of tape echo on still applies: “When I return from the depths of to sound like a band making a mess. He had a very Would you say the mood is more lustful and and squelch, leaving lots of space. Heavy metal riffs tracks of Trouble total a monolithic 82 minutes everything” and spending plenty of time in the night/I hope to see a world that’s still alive,” Texan, no-bullshit approach. English feyness and hedonistic than romantic? Absolutely. There’s a are played through masses of effects units, to the and trace heaving faultlines of their own the studio adding layers of guitar, bass, drums, Anika intones over mutant disco. Their forecast intellectualism don’t count for much in Texas. lot of sex, not a lot of love. It’s a crueller record. point where the guitars barely sound like guitars making. “3” is especially compelling: one keyboards, vocals, piano and harmonium, is dystopian, declaring dead experimentalism None of us were in a place where we wanted to any more. Moreover, the vocal hooks are stronger, treated guitar sustains a wind-tunnel shriek, building up structural complexity. “The big (“Lost Illusions”) and squat culture (industrial Your previous albums have always come with make romantic ballads. We wanted it to be more catchier and more insistent. This is an album filled the other a blizzard of static, cut through by the difference was just knowing that people would time-bomb “No More Parties In The Attic”). But a bit of a reading list. This album less so… On performative. There’s lots of big, stupid gestures. with earworms, with hooklines and stray phrases odd plinking string, cymbal crash and vocal actually listen to what I was doing,” he says. the bleakness doesn’t smother their humour: “He The Colossus”, there’s a glancing reference A lot of it’s about impotent rage, narcissistic that burrow deep into your consciousness. moan. It ends by plunging straight into the “When I made the first record, I basically “Disco Glove” finds Robert De Niro “jerking off to TS Eliot’s line in “The Love Song Of J Alfred personality disorder and the nihilistic pursuit of The band has always alternated between its lead malevolent grind of (perversely) “5”. Heroic just did it for myself and didn’t really expect behind the ladies’ bogs” as an engine room Prufrock”: “shall I part my hair behind?/Do I dare hedonism. Sometimes we analyse it, sometimes vocalists, the gruff baritone of Tom Fleming and stuff, all up. anyone else to hear it.” seemingly collapses around him. to eat a peach?” It’s the idea of performance we just revel in it! IntervIeW: John LeWIs the eerily androgynous operatic countertenor of sHARON O’CONNELL Peter Watts LAURA sNAPEs LILY KEEP LILY TOM ANDREW; KLAUS THYMANN Hayden Thorpe; here it’s Thorpe who dominates

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