There’s a Youtube clip of Ryuichi Sakamoto, dressed in black hunched over a piano playing the piece of music he is most famous for – “Forbidden Colours”, from the film Merry Christmas, Mr Lawrence. It is, I guess, the idea of Sakamoto we’re most familiar with – the artist, his instrument of choice, the music he is playing both delicate and fluid.
The announcement by The Damned that they'll be playing the London Forum in April to celebrate Captain Sensible's 60th birthday and tickets for it will cost what they would have in 1977 has caused a lot of excitement among the band's venerabe fans and reminded me of the following mad escapade from that lively year.
Something like two decades ago, when I was Features Editor of NME and making some pragmatic decisions involving coverage of second and third-tier Britpop bands, I had a kind of argument with Laurence Bell, the owner of the Domino label.
Nick Offerman, a 43-year-old actor with a splendid moustache and a key role in what might currently be America’s best sitcom, is an interesting guy. Last year, he wrote and starred in a video for the mediocre LA indie-punk band Fidlar, in which he goes on an extended urinating spree.
The new issue of Uncut went on sale at the end of last week, with a cover story by Peter Watts on The Ramones that celebrates the 40th anniversary of a band of punk misfits from Forest Hills, New York, who revolutionised rock’n’roll, the opening lines of one of whose earliest songs, “Blitzkrieg Bop”, gives its name to this month’s free CD.
Fans of BBC’s Sherlock will know that the legendary detective has what he calls a Memory Palace, in which he is given to roam around, looking usually for clues to mysteries galore. My own equivalent is a sort of Memory Shed, where I am inclined to potter, most recently after reading Peter Watts’ excellent cover story on The Ramones in the current Uncut.
If you were looking for a unifying thread running through HBO’s excellent new series, True Detective, then it might well be to do with faith: those who have it, those who don’t and those who may well be exploiting it for their own ends.