The first issue of Uncut, IPC’s new music and movie hybrid is, at
first sight, an unusual and possibly brave attempt to marry two
different elements of popular culture within one publication.
In fact, this blend is entirely plausible, as these two fashionable
forms of entertainment have been forging close links for years - no
major film is now released without an accompanying high-profile
soundtrack; the most notable recent example being Trainspotting and
Underworld’s Born Slippy.
Uncut’s nostalgic and generally retrospective editorial is aimed at the
older cult movie/music aficionado - witness the music stories on Billy
Mackenzie of the Associates (particularly good) and Elvis Costello and
the film editorial dealing with Peckinpah and Philip K. Dick. One
concern with focusing on such esoteric editorial may be that big
film/music fans will feel short-changed by the ’why bother with two
magazines when one will do’ approach.
This aside, the magazine states its claim for acceptance with an
assertion that it is ’a magazine that will unashamedly reflect the
prejudices and the off-the-wall passions of its writers’ and that it
will ’examine issues in depth and be critical where necessary’.
This statement of intent is borne out throughout a well-written and
accessible magazine that, under the guidance of the editor, Alan Jones
(formerly of Melody Maker), concentrates marginally more on music than
on film, although I’m sure this will change as the magazine becomes more
Uncut is launching into an extremely cluttered market where established
titles have focused editorial stances and loyal readers; in my view,
Uncut’s ’two mags in one’ strategy may be too condensed for the type of
reader it is trying to attract.