Always nice to discover your personal enthusiasms are shared by people you respect. The new Trembling Bells album promo comes with a longish encomium from Joe Boyd. Among many wise things, he notes that they, “Incorporate in their music the essence of ‘folk’ without the form that can annoy many listeners. That means that their melodies and lyrics have a sense of history and Britishness that most contemporary bands lack, but without any of the ‘heritage’ atmosphere that clings to even the best revivalists in the folk world.”

A bit of a plug today for the new issue, not least for the CD that Allan’s compiled to go with our excellent Stooges interview. The CD’s called “Search And Destroy”, and brings together 15 tracks from The MC5, The Stooges, The New York Dolls, The 13th Floor Elevators, The Monks and so on.

Just remembered today that I should post this: my column from the last issue of the mag, devoted to Wooden Shjips and Ripley's awesome spin-off, Moon Duo. The new issue of Uncut is out this week, though my column on Sir Richard Bishop was necessarily spiked to make room for the Alex Chilton tribute; I'll run that here in the next day or two.

From the lofty vantage point of SE1, I haven’t heard much buzz from South By Southwest this year, or at least very little in the way of real surprises and completely new discoveries (If you know different, of course, please share).

Around the release of his last studio album, "Beware", Will Oldham embarked on a small project. According to the writer Kelefa Sanneh, in a New Yorker profile published in January 2009, Oldham intended, “To promote the album with singles, a photo shoot, and a handful of interviews, if only to prove that record promotion doesn’t really work, at least not for him.”

A funny year for music so far, personally speaking. It seems that, despite the many albums I’ve liked, there have been a good few that’ve been, one way or another, kind of disappointing: albums I’ve looked forward to very much, then neurotically restrained myself from writing about, due to my self-imposed rule about negative criticism generally wasting time and space. There’s still too much stuff to enthuse about, after all.

Quite a good run for the Kranky label of late, with a bunch of albums I’ve enjoyed a lot from Ken Camden, Jonas Reinhardt and Disappears. For the past week or so, though, I’ve been really taken with “Endless Falls” by Loscil, discreetly asserting itself as maybe the pick of the bunch.

A couple of neat psych-ish things today that I’ve been meaning to write about for a while. First up, Coconuts, an Australian group relocated to New York, whose scouring dirges make them one of the more incongruously-named I’ve come across recently.

Thinking back to Brass Eye’s 2001 “paedophile special”, and in particular the furore it caused among certain sections of the media, it’s easy to see how misunderstood Chris Morris often is. Typically outraged, the Daily Mail described the episode as “a spoof documentary on paedophilia.” Which is missing the point. The programme was a savage attack on the media's own thoughtless, knee-jerk reaction to a serious issue. It clearly didn’t stop, though, large sections of the press demonstrating their own thoughtless, knee-jerk reaction to the show. It seems likely, I’m afraid, that those same sections of the media will be up in arms about Four Lions, Morris’ directorial debut, a “jihadist comedy”, no less, focussing on four wannabe suicide bombers in Sheffield. Which is a pity, as Four Lions is an extremely good film; far more than **just** a comedy about suicide bombers.

At the time of writing, the Oscars are three days away, and some folks, it seems, are getting jittery. Avatar, James Cameron’s lumbering 3D epic – seen by many as a shoe-in at Sunday’s ceremony – doesn’t appear quite the sure bet it was a few weeks ago. The reason? The significant head of steam built up by Kathryn Bigelow’s bomb disposal drama, The Hurt Locker.