Innholdsfortegnelse for March 2019 i UNCUT

LEONARD Cohen has admirers in some unexpected places. Over the Christmas break, Prince Charles selected “Take This Waltz” on a special edition of Radio 3’s Private Passions. “I’ve always loved Leonard Cohen’s voice and his whole approach to the way he sang,” said the heir to the throne. “He was obviously incredibly sophisticated in the way he sang, but also wrote. I find it very moving.” Cohen, of course, lived for a short while in London during his mid-twenties; though I’m not certain he ever publicly aired his views of the British monarchy. Nevertheless, Charles’ pick reminds us of the enduring qualities of Cohen’s music, his abundant gifts as a writer and singer. This issue, our investigation of Cohen’s musical history – a study of his key albums, illuminated by…

“Whatever my father was in your mind, he wasn’t going to be that now – he would have been something better” “I TRY to spend as much time as I can in the studio,” says Sean Ono Lennon – and the way he describes his idyllic set-up, in a converted barn in the woods of upstate New York, you’re not surprised. Inside, he’s surrounded by the vintage synths he’s been collecting since the ’90s; outside, nature provides the visual inspiration. “Sometimes I’ll look out and see deer. Right now it’s just all white.” He’s currently putting the finishing touches to a surprise new solo album – only the third under his own name since making his bow back in 1998 with the breezy Into The Sun on the Beastie Boys’…

A MONITOR, 2003 Short-ish ’n’ sweet for McCombs’ rickety, reverbshrouded debut, in which traces of Lennon and Elliott Smith can be detected in lo-fi folk-and country-edged songs featuring blood-sucking mosquitoes, an overdosed hippy girl and salty water fountains. Includes excellent use of field-recorded footsteps on “Gee, It’s Good To Be Back Home”. 7/10 Wit’s End DOMINO, 2011 Sad, dark and sparse, almost Cohen-ish in its despair, McCombs’  fifth is nonetheless genuinely lovely, mixing sweet pastoral folk with creepy processionals in an honest chronicle of loneliness that features a chalumeau and clarinet as well as sumptuous organ – plus a song about a stained and holey thrift-shop sweater that’s every bit as potent as Proust’s madeleines. 8/10 Big Wheel And Others DOMINO, 2013 Sprawling (85 minutes), rather unpredictable  exploration of McCombs’…

1 Black Skinned Blue Eyed Boys 2 BLM 3 Vote For Me 4 The Lunatics 5 Breaking Point 6 Blam Blam Fever 7 10 Commandments 8 Embarrassed By You 9 The Life And Times (Of A Man Called Depression) 10 We Sell Hope Produced by: Terry Hall, Lynval Golding, Horace Panter and Nikolaj Torp Larsen Recorded at: Eastcote Studios, London, 2018 Personnel: Terry Hall (vocals), Lynval Golding (gtrs, vocals), Horace Panter (bass), Nikolaj Torp Larsen (keys), Kenrick Rowe (drums), Saffiyah Khan (vocals), Steve Cradock (gtrs), Tim Smart (trombone, tuba), Pablo Mendelssohn (trumpet), Oli Langford, Tom Pigott-Smith (violins), Bruce White (viola), Ian Burdge (cello)…

TASTE Boys Will Be Boys BOOTLEG, 1976 News of the existence of Rory Gallagher’s foundation power trio of the same name clearly got lost on its way to Australia. Melbourne teenagers Taste produced this bout of Queen-y hysterics as teenagers in 1976; they were mooted as a support act for Freddie Mercury and pals in the United States, but split in 1977. MINT Dog Eat Dog PRESIDENT, 1973 Chicory Tip by way of Ayn Rand, the Leicester band’s dreams of stardom were not helped by the title of their debut single –a hummable guide to 1970s industrial relations – being misspelled on the label. Singer Martin Harvey later emulated Bowie’s flirtation with right-wing politics, following up 1979’s “It’s A Leicester Fiesta” with 1983’s “Maggie Will Always Be Around”/“Vote Conservative”. THE…

TIM BLAKE Lighthouse: An Anthology 1973–2012 ESOTERIC 8/10 Gong/Hawkwind synth voyager’s third-eye-opening solo retrospective Miming his signature tune “The New Jerusalem” on French TV, Tim Blake delivers the key lines with a conviction bordering on the messianic: “So now tune in your auras, let Solstice music sound, and build New Age vibrations and feed them to the ground.” Punk had started happening three years previously, but – wearing silver trousers and a cosmic tank top – the synth wizard dubbed ‘Hi T Moonweed’ by Daevid Allen during his time in Gong seems pleasingly unconcerned. This anthology takes in Blake’s space-rock adventures (first Gong, then Hawkwind) but gives appropriate weight to the New Age electronica and hippie disco that made Crystal Machine (1977) and The New Jerusalem (1978) hits deep underground,…

IT was the middle of July 2009 and hot as hell when Lambchop took the stage at the Cat’s Cradle in Carrboro, North Carolina. They were part of a lineup celebrating the 20th anniversary of Merge Records, the venerable indie label founded by members of Superchunk. They played what has become a legendary show, perhaps the most fondly remembered performance in the band’s long career. William Tyler was on stage that night playing guitar. “Kurt wanted to revisit some of the Nixon songs, so he had wrangled everyone from that era of the band along with us newer members. There were 11 of us up there. I remember the air-conditioning had broken, so it was 100 degrees in there. It all went by in a blur,…

“PEOPLE thought we were miserable, but how can you sing a song like ‘So What’ or the one about Myra Hindley with a smile on your face,” says Ignorant. “Anyway, I didn’t have time to smile, I was banging out lyrics at a millions miles an hour. So with Pen and Gee’s  artistic background, we started doing pranks…” One of the most effective saw Crass record a slushy love song for Penis Envy called “Our Wedding”, a Charles and Di parody anthem, which they persuaded Loving magazine to promote as a free giveaway. “These would start as ‘Wouldn’t it be a laugh if…’, so this was ‘Wouldn’t it be a laugh if we put a song on a teenage mag’.” Rimbaud rejects the word ‘prank’. “They were serious attempts to…

“IN the early ’60s, you didn’t hear any music for youth on German radio. There was only schlager , or folk music on TV. Then through Radio Caroline and Luxembourg, I got in touch with The Beatles, The Kinks, the Stones. Even today I get goosebumps if I hear “You Really Got Me”. In the beginning I was struggling on guitar, because I was just trying to sound as much as possible like George Harrison or Dave Davies or Keith Richards or Hank Marvin. But things changed in the mid-’60s – suddenly you had Cream, stuff that impressed us a lot. And then Jimi Hendrix, and the way he left the normal boundaries of guitar-playing and what you expected of a musician by using the whole studio…

IT’S a breezy, sunny day in Los Angeles, but the windows of Jessica Pratt’s apartment are firmly closed. The Woolsey Fire, which has destroyed parts of Malibu on the city’s west side, has finally reached 96 per cent containment. But the effects of its lingering smoke and ash in the atmosphere remain a point of anxiety among many Angelenos. Pratt has decided that spending time indoors with the windows shut might protect her lungs at least a little. The 31-year-old songwriter, guitarist and singer grew up in Redding, in Northern California, about three hours north of the state capitol Sacramento. Last summer, the Carr Fire devastated parts of her hometown, and her brother had to evacuate with his family. “The ironic thing is they went to stay with some family…

1 Whitman (Harley Cortez) 2 Numbers Don’t Lie (Laura Burhenn of Mynabirds) 3 Ivory Coast (Sarah Versprille of Pure Bathing Culture) 4 Black Hills (Chris Lynch of Gardens & Villa) 5 Christmas Time Is Here (Lucius) 6 Nick Thune comedy segment 7 Miracle Mile (Cold War Kids) 8 Minimum Day (Cold War Kids) 9 Out & About (Cold War Kids) 10 The Hex (Sam France of Foxygen) 11 Broken Finger Blues (Nathaniel Rateliff) 12 Selfishmath (David Bazan of Pedro The Lion) 13 Dirty Jim (Damien Jurado) 14 Babylon (Chris Lynch) 15 Wendy (Lucius) 16 Sister Song (James Mercer of The Shins) 17 Nancy (Eric Johnson of Fruit Bats) 18 Sept20 (David Bazan & Chris Lynch) 19 Hot Piss (Tim Heidecker) 20 The Songs Of National Freedom (Nathan Willett of Cold…

VICE Directed by Adam McKay Starring Christian Bale, Amy Adams Opens January 25 Cert 15 9/10 GREEN BOOK Directed by Peter Farrelly Starring Viggo Mortensen, Mahershala Ali Opens February 1 Cert 12A 8/10 CAN YOU EVER FORGIVE ME Directed by Marielle Heller Starring Melissa McCarthy, Richard E Grant Opens Feb 1 Cert 15 8/10 IF BEALE STREET COULD TALK Directed by Barry Jenkins Starring Kiki Layne, Stephan James Opens February 8 Cert 15 7/10 BOY ERASED Directed by Joel Edgerton Starring Lucas Hedges, Nicole Kidman Opens February 8 Cert 15 5/10…

FOR PETE’S SAKE I was sad to hear about Pete Shelley’s passing. Without him, the Manchester music scene would be the poorer. From the start, along with friend and collaborator Howard Devoto, Pete understood the power of punk and used it to cross genres, often surprising and enlightening musicians and fans by introducing them to under-the-radar gems during a short-lived and frantic scene. He was inspired by a range of influences from girl bands like the Ronettes and The Shirelles to surreal and futuristic German bands like Can and Neu!. You only have to listen to the Buzzcocks’ spellbinding singles collection or Pete’s Homosapien album and its infectious title track to realise that his solo material has been unfairly overlooked. It shouldn’t take Shelley’s untimely demise to appreciate the brilliance…

POND Tasmania MARATHON ARTISTS No word yet on the new Tame Impala LP, but here Kevin Parker produces his old mates Pond – who find themselves soaring into epic  cosmic pop territory. YVES JARVIS The Same By Different Means ANTI– Stunning 22-track LP from the Montreal artist formerly known as Un Blonde, fusing neo-soul poise with lo-fi indie romance. D’Angelo La Tengo, anyone? ROBERT FORSTER Inferno TAPETE Deliciously wry, effortlessly melodious reflections on ageing, climate change and the debatable consolations of cult status: “ I don’t need no fame!” KEL ASSOUF Black Tenere GLITTERBEAT Rollicking, next-level Tuareg rock – produced by Ammar 808’s Sofyann Ben Youssef – that owes as much to Ty Segall as it does to Tinariwen. MXMJOY P.e.a.c.e. LONDON FIELDS RECORDINGS Welcome regeneration of peppy Bristol…

CASS McCOMBS Tip Of The Sphere ANTI- ALBUM OF THE MONTH 9/10 Lyrical intrigue meets musical clarity on the mercurial singer-songwriter’s ninth. By Sharon O’Connell IT’S misleading at best, at worst reckless, to highlight a single line from an artist’s record, strip it of context and claim it’s autobiographical – especially when that artist has long resisted all attempts to locate him in his work. But Cass McCombs’ words on Tip Of The Sphere’s opening track “I Followed The River South To What” – sung in a clear voice, at full stretch – leap out precisely because they seem to speak to that unwillingness to self-identity: “What do you call yourself, if anything?/I do not care to call myself much of anything.” It’s neither false modesty on his…

How did you find it writing songs without Jerry Dammers? Jerry was a great musician, and had loads of great ideas, but, on those first two albums, we all contributed heavily to the songs. When we started work on this, we all decided: there are no rules, no issues; if you’ve got an idea, play it. I had two years of lyrical ideas to draw from, so did Lynval. The creative process was pretty straightforward and great fun. Horace would often initiate things with basslines. Nikolaj is a brilliant musician and arranger – he can take anything that’s in your head and turn it into music. Why the new version of “Lunatics”? Because nothing’s changed! When we wrote it we had Reagan and Thatcher, and we thought things couldn’t get…

KURT Wagner is standing in the living room of his Nashville home, pointing downwards at the floor. “Lambchop used to happen as a social event every week down there in the basement,” he says. He watches as his two dogs scurry across the dark hardwood surface. “But at this point in my creative life, I’ve seen it distil itself down to a lot of solitary activity.” Nursing a cup of potent black coffee, Wagner explains that he and his wife have lived in this home for more than 20 years – the bulk of Lambchop’s life, in fact – during which time they have watched the neighbourhood transform from a sleepy, working-class community into something very different. Much as Lambchop have shrunk from the double-digits indie orchestra down to, more…

JOHN LISSAUER [PRODUCER]: The album has a different flavour to anything he’d done before, entirely at his insistence. He said, “Columbia wants me to sell in America” – that was the directive. He had been to all these import stores up where Broadway and Seventh Avenue cross, and he’d bought a Casio synthesiser piano, one of the little ones, and started writing music in his hotel room. With two fingers he could have a tinny little band! He came in with this thing under his arm and said, “I love this, this is the future.” I said, “Well, it’s a good writing tool, but of course in the studio we’ll want to” – and before I could finish he said, “Oh no, I want to record this as my tracks.”…

“ALL the albums are great!” proclaims Aston ‘Family Man’ Barrett, as he casts an eye over The Wailers’ mighty back catalogue. “I played on them all, and I love them all.” Still touring with an incarnation of the band that includes guitarist Donald Kinsey, the original Wailers bassist guides Uncut through the records that delivered reggae from the ghettos of Kingston to stadia around the world, making Bob Marley a superstar in the process. Featuring rifts, shootings, spliff-related studio disasters, exile, fish curries and ultimate tragedy, with supporting roles from Chris Blackwell and his Island team, as well as latter-day Wailers guitarist Junior Marvin, the band’s story is hardly lacking in drama. Through it all, the music developed and deepened. “With each album we changed something,” says Family Man, who…

NEU! BRAIN, 1972 The birthplace of the driving motorik sound: simple ingredients, sure, but the whole far exceeds the sum of its parts. “Hallogallo” is sublime, with “Negativland” its unrulier sibling. 10/10 NEU! 2 BRAIN/UNITED ARTISTS, 1973 Kicked off by the 11-minute odyssey of “Fur Immer”, Dinger and Rother’s second album soon gets stranger – when they ran out of money, they were forced to ‘remix’ their recent “Super”/“Neuschnee” single. Lo-fi, but pioneering. 7/10 NEU! 75 BRAIN/UNITED ARTISTS, 1975 After Rother forms Harmonia, he and Dinger reconcile for this lusher third effort. Side One is gorgeous and elegiac, Side Two roaring space-punk that mixes the Stooges and Roxy Music, and points to Bowie’s Berlin Trilogy. 9/10 NEU! 86 GRÖNLAND, 2010 An unhappy reunion, but there are high-points among this slightly…

MARIANNE FAITHFULL Rich Kid Blues 1985 compilation that pairs much of her 1978 album Faithless with a previously  unreleased 1971 session, which includes the gripping title track. THE FUGS The Fugs Classic second album by the storied New York City folk-rock experimentalists, released in 1966. Also a  favourite of David Bowie! THE CITY Now That Everything’s Been Said Lost album by the folk-rock band fronted by Carole King, recorded in 1968, before she  rocketed up the charts with Tapestry. VAN DYKE PARKS Discover America 1972 sophomore offering from the LA orchestral-pop composer, which reinterprets early calypso songs from the  1920s-’40s. Many of the songs have been sampled by The Avalanches.…

BERGMAN – A YEAR IN A LIFE OPENS JANUARY 25 Doc about the director’s landmark 1957 – the year of The Seventh Seal and Wild Strawberries . THE MULE OPENS JANUARY 25 Clint is a drug courier for a Mexican cartel. Bradley Cooper’s FBI agent is on his tail. ESCAPE ROOM OPENS FEBRUARY 1 Six strangers are invited to take part in a deadly game of death. ALITA: BATTLE ANGEL OPENS FEBRUARY 6 Manga adaptation from Robert Rodriguez and James Cameron, with shit getting blown up by cyberdudes. THE LEGO MOVIE 2 OPENS FEBRUARY 6 If you see one film this year based on interlocking plastic bricks, then make it this one. AMERICA OPENS FEBRUARY 8 Doc about three brothers who are…

There’s a new sensation, a fabulous creation! Yes, it’s Uncut’s Ultimate Music Guide to Roxy Music, in all good newsagents now. Expect the usual dazzling array of archive features and brand-new reviews, including in-depth analysis of Eno and Ferry’s storied solo ventures… Out on January 25 is another new magazine from the Uncut stable, Ultimate Record Collection: The 1960s. It’s the definitive guide on how to buy the greatest music of the 1960s, with over 500 albums rated and recommended…  We’ve always had Alan Partridge down as more of a compact disc man, but ahead of his big BBC comeback in February, Demon are releasing his original Knowing Me, Knowing You radio series on “sports casual” coloured vinyl. Back of the net,…

1 I Followed The River South To What 2 The Great Pixley Train Robbery 3 Estrella 4 Absentee 5 Real Life 6 Sleeping Volcanoes 7 Sidewalk Bop After Suicide 8 Prayer For Another Day 9 American Canyon Sutra 10 Tying Up Loose Ends 11 Rounder Produced by: Cass McCombs and Dan Horne Recorded at: Figure 8 Studios, New York Personnel: Cass McCombs (guitar, vocals, harmonium, harmonica, percussion), Doug Shaw (guitar), Dan Lead (guitar, pedal steel), Dan Horne (bass), Otto Hauser and Jason Quever (drums), Frank LoCrasto (piano, keyboards, synths), Sam Griffin Owens (sax), Jon Nellen (tablas, dholak)…

MASAKI BATOH Nowhere DRAG CITY 8/10 Fourth solo set from Tokyo’s psychedelic master Japanese psych-folk artist Masaki Batoh has a potent relationship with tradition: his writing is deeply informed by it, but never beholden to the inflexibilities of tradition’s gatekeepers. During his time in Ghost and The Silence, he perfected a labile sound touching upon folk, rock, psychedelia, raga and early music. Nowhere, in comparison, is denuded, a set of one-take, fragile musings, predominantly for acoustic guitar and voice, though “Sundown” is sketched out with bass, drums, organ and harmonica, giving it a Band-like rock heft, and the closing “Boi-Taull” unwinds a dazzling lisle of six-string, a pure guitar soli fantasia. JON DALE THE BEAT FEAT. RANKING ROGER Public Confidential DMF 6/10 Latest by two-tone pioneers is patchy but often…

1 Someone Stole Gabriel’s Horn 2 Next Week Sometime 3 The Ballad Of Smokey Joe 4 Death In The Morning 5 The Old Man Of The Mountain 6 Daddy Rollin’ Stone 7 Titanic Blues 8 Brother Can You Spare A Dime? 9 Collins Cave 10 Gangster’s Blues Produced by: Phil Alvin Recorded at: Quad Tech Studios, Los Angeles; Sea Saint Studio, New Orleans; Variety Studio, New York City Personnel: Phil Alvin (vocals, guitar), Lee Allen (sax), Gene Taylor (piano), Richard Greene (violin), Gary Masi, Mike Roach (guitars), Gary Taylor (bass), Dave Carroll (drums), with The Dirty Dozen Brass Band and Sun Ra & His Arkestra…

CRASS’S logo was designed by David King, who had known Rimbaud and Vaucher at art school. It was originally created for Rimbaud’s epic poem “Christ Reality Asylum”, which the poet described as “an all-out attack on all forms of institutions from the family to the church written in three weeks of total drunkenness”. A version of this was performed by Libertine as the single “Reality Asylum”. The logo eventually became accepted as the Crass symbol. “I started by combining two powerful historical symbols, the cross and the serpent,” says King. “I loved the simplicity and power of graphic collages and black-and-white line work, and I also loved comic books where practically all superheroes had their own symbol. “The logo has echoes of the Union Jack and the Celtic Cross. The…

JENNIFER WARNES: Leonard did not lean towards music. He wasn’t trained. He experienced the world in words. He had a simplistic understanding, learned from Jewish and Catholic folk music as a kid, but he was a wonderful melody writer. He found his melodies in the emotional tone of the lyric. ANJANI THOMAS: He saw in the mid-’60s that folk singers were doing OK. He was always self-deprecating, saying that he wasn’t a singer, he was a poet trying to make a living. CHRIS DARROW [BASS, KALEIDOSCOPE]: We were opening for Nico at The Scene in New York. Leonard was hustling her at the time, as it turned out. In between sets, this guy comes up to me. I didn’t know who he was. He was wearing a black leather jacket…

JOHN LISSAUER: “After New Skin , Leonard called me up in 1975 and said, ‘Let’s make a record together. I don’t find that my melodies are as good as my lyrics.’ So we took a couple of rooms in LA and worked. It was going to be Songs For Rebecca . We had seven songs recorded. It was going great, then we had to put everything on hold. Leonard’s manager at the time, Marty Machat, was also Phil Spector’s manager. Marty was a scary-ass guy. Someone you never crossed. He whispered, but you could hear the gunfire in the background. He terrified me. Marty had made a big deal with Warners for Phil to produce a bunch of albums. He hadn’t done any, so…

EVEN posthumously, Field Commander Cohen is hard at work. Later this year an album will be released, overseen by his son Adam, of “incredible powerful readings that were set to music”, started in his final days and completed after his death. It may only be the tip of the iceberg. His former lover and collaborator, Anjani Thomas, says, “I’ve got a stack of things that we were working on that I haven’t done anything with.” In addition, every live show between 2008 and 2013 was recorded. “I’d imagine in time his estate will release a lot more, as there are thousands and thousands of live recordings of equal quality,” says Charley Webb. Then there are the outtakes and half-realised ideas from his final few years. “We…

“IF YOU HAD WALKED THE STREETS of Düsseldorf in 1972, through the city’s entertainment district, you might have heard Neu!’s “Hallogallo” coming out of the doorways of the clubs. A few years later, though, Neu! was gone, disappeared. People moved on, punk arrived. Because we were not a band, Klaus Dinger and I, we considered Neu! more a project, not a group. Whenever Klaus and I made music together it was Neu!. That’s how we understood our situation. There weren’t any other musicians that had the same ideas about music. Looking back, of course, that makes sense, because we were trying to be different. Thurston Moore told me a few years ago: “We always come back to ‘Hallogallo’…” I remember being in a rented studio in Hamburg, with our brilliant…

“I DIDN’T want to be a solo artist, it was just the fact that Roedelius and Moebius lost hope in Harmonia. The band was an economic disaster, with no positive feedback. In spring ’76 they told me they didn’t want to continue, and I found myself alone. But I cannot really explain why Flammende Herzen became a success and Harmonia didn’t – in my heart, it was just the same. On my first four solo albums, Jaki Liebezeit did incredible stuff on the drums. He just picked up all these vibrations, all these emotions, and played all the right things. I asked him for a certain steady motorik beat, but all the patterns and the accents, where one thing leads to another part, he did it…

Jessica’s dream man PRATT’S dreams are essential to her work. The moods and emotions stirred by her dreamstates filter directly into her writing, and she describes her artistic processes as akin to the very gauzy feelings of dreaming. She’s kept a dream journal since she was a teenager, to record their subject matter but also the way in which that matter made her feel. Swiss psychiatrist Carl Jung’s investigations of the unconscious are also influential. She’s particularly drawn his autobiography, Memories, Dreams, Reflections : “It’s basically like his own philosophies and beliefs told via his life story, which includes many strange and fortuitous moments.”…

FOG machine vapour envelops the ornate ballroom of the Masonic Lodge – an attempt, perhaps, to make the venue feel something like Swift’s home studio, National Freedom, which he used to fill with palo santo smoke. Many of the artists he worked with there are here tonight to pay tribute to Swift, who died from complications related to alcoholism on July 3. Clearly, they have all been deeply moved by the immense talent and heart of a friend to so many, a prodigious solo artist, recording aesthete, side-splitting joker, father, son and brother. With little introduction, musician and visual artist Harley Cortez launches into a lush cover of “Whitman”, from Swift’s 2011 solo album, Walt Wolfman, backed by the silken harmonising of Jess Wolfe and Holly Laessig of Lucius. The…

NANCY WILSON Jazz and pop singer (1937–2018) NANCY Wilson was often bracketed as a jazz singer, though she preferred to call herself a “song stylist”, her flexible range and emotive phrasing allowing her to move freely between gospel, pop, soul, jazz and R&B. The essence of her art, she once told The Washington Post, was “to weave words, to be dramatic”. It was also an acknowledgement of the singers who had first inspired her while growing up in Chillicothe, Ohio, where the local jukebox played Dinah Washington, Jimmy Scott, Ruth Brown and LaVern Baker. She sang in church choirs, won talent shows and, as a teenager, was a regular on the Columbus club circuit. By 1959 she’d made such an impression on ‘Cannonball’ Adderley that he helped her…

THE ORB UFOrb BIG LIFE, 1992 I went away to high school. It wasn’t like a boarding school, but I stayed with another family Monday to Friday in Pennsylvania. I moved into the son’s room – he had just gone off to college and left records there, which I found. This was the first one I remember really making an impression on me. I’d heard electronic music before, but this was something really different. It was a way of telling a story with music that I hadn’t encountered before. There was a dream state that the music would put me in, which I felt was really inspirational later in life. BLACK DICE Creature Comforts DFA, 2004 They changed my life in a way, as they took Animal Collective out for…