Belle And Sebastian at End Of The Road 2013 - review Parquet Courts at End Of The Road 2013 - review David Byrne & St Vincent at End Of The Road 2013 - review Ethan Johns at End Of The Road 2013 - review Mike Heron & Trembling Bells at End Of The Road 2013 – review William Tyler at End Of The Road 2013 - review "Look what we brought you!" shouts E. "A motherfucking wonderful glorious double-rainbow!"

Shane Carruth’s Primer was one of those debuts that appeared to come out of nowhere, much like David Lynch’s Eraserhead or Darren Aronofsky’s π.

We only interviewed Elmore Leonard once in Uncut. This was around the release of Jackie Brown, Quentin Tarantino’s adaptation of Leonard’s novel Rum Punch; coincidentally, Leonard also had a new novel out at the same time, Cuba Libre.

As anniversaries go, you might presume that Morrissey hasn't much wanted to throw a party to celebrate his quarter century as a solo artist. After all, his year has been blighted by ongoing health problems - bleeding ulcer, Barrett's esophagus and double pneumonia, food poisoning - and a number of crippling tour cancellations, the most recent due to lack of funding, all of which has led him to note glumly, “the future is suddenly absent.”

There comes a moment during the trailer for Spike Jonze’s new film, Her, where Joaquin Phoenix turns to the object of his affections and says, “I’ve never loved anyone the way I love you.”

For all his flailing locks and dazed expression, Ty Segall does not make a particularly convincing slacker. In a short promotional clip for his new album, released on Youtube back in May, he pretends to be asleep in bed, on his couch, in a garden and then, preposterously, up a tree and at the wheel of a moving van.

I was reading this interesting Wilco piece a few days ago, which talks about how Jeff Tweedy has parlayed cult success into what appears to be a viable business model. It made me think of the strategies used by Mark Kozelek these past few years: how he keeps a steady stream of music, predominantly live albums, coming through his Caldo Verde label to satisfy his obsessive fans (and I suspect Kozelek fans tend to be by nature obsessive; I know I am).

The cover image of Promised Land Sound’s debut album, an old Nashville street map, clearly asserts the geographic and aesthetic loyalties of Sean Thompson, Joey Scala, Evan Scala and Ricardo Alesio, and their press biog has the requisite classy endorsement from local grandee Jack White's Third Man Records.

At 7pm on the first night of Atoms For Peace’s London residency, the Amok Drawing Room has already sold out of commemorative mugs. The Enterprise pub across the road from the Roundhouse has been rebranded in expressionist monochrome, and an upstairs room has been upholstered in Stanley Donwood wallpaper, the better to sell exquisite £500 prints, t-shirts screenprinted while-you-wait, and a pointedly apocalyptic jigsaw puzzle.

For Steve Coogan, Alan Partridge’s big screen debut represents a pivotal moment in the actor’s relationship with his most famous creation.