Coachella 2012, 15th April Day 3

The final day of Coachella's first weekend finally brought the expected scorching weather, and it seemed the perfect opportunity to take a ride on the enormous Ferris Wheel.

First Aid Kit 8/10

Once again, Coachella's over zealous security meant that I missed part of an act I was extremely keen to see, but First Aid Kit were as charming as ever, the sisters beautiful harmonies utterly beguiling in the Mohave tent. I was just sad that I'd missed all of Fanfarlo, who had an even earlier slot.

Wild Beasts 7/10

Despite them sharing my nationality, I hadn't heard Wild Beasts before, yet their indie rock was both lively and imaginative. They performed from their 2011 album Smother and Two Dancers, the drum rhythms and electric guitar standing out against the less assertive vocals.

Fitz and the Tantrums 7/10

This soulful sounding music was perfectly suited for relaxing in the afternoon sun; this local group have clearly gained quite a following. Their set was notable for the inclusion of a new song The End from their upcoming second album, and a Eurythmics cover.

Wild Flag 9/10

Wild Flag had already been one of my live highlights of the year, and in the larger scale setting of the Outdoor Stage, they were almost as involving, and just as committed. They're tremendous fun to watch, with leg kicks, guitar interplay, and really tight drumming from Weiss. This type of band is more suited to festivals, than quieter acts more subtle acts; Glass Tambourine was my highlight.

The Weeknd 4/10

Along with Jeff Mangum, I was most excited to see Abel Tesfaye at Coachella, as he's been similarly elusive. Despite not being an R&B specialist, I've enjoyed his three mix tapes, so I'm sorry to report that I found this live set a little disappointing. I suspect it would have been more polished on Weekend 2, but I should have suspected that his appearance was a little premature when he advertised for musicians on Craigslist. The Michael Jackson Cover D.D. near the beginning of the set did make a strong impression, but I found his voice weaker and less assured than I'd hoped.

Gotye 7/10

Gotye drew one of the biggest crowds at the Mojave all weekend, and put in an assured performance. Unfortunately though the exodus after his hit Someone That I Used to Know suggested that some of the audience failed to appreciate that the rest of his material is pretty inspired too. If it wasn't for the clash with The Weeknd I may have got a place closer to the stage and appreciated this even more.

Beirut 8/10

Zach Condon and his band stand out as musicians who've mastered acoustic instruments including ukulele, trumpet, horns, accordion and upright bass. After three days of mainly listening to electric guitars and keyboard I found their virtuosity particularly impressive, and Zach's singing is also passionate. I'm a particular fan of the Rip Tide, the most recent album which has a more stripped down sound, and this worked well in the Mojave.

Florence + The Machine 10/10

You won't find any discussion of Tupac here: Florence provided the uplifting conclusion to my 2012 Coachella. Her performance was remarkably assured from the opening Only If For a Night, and was spectacular visually, as well as musically. When I first listened to Ceremonials at home, I found it too mainstream compared to Lungs, but I've come to reassess it after first hearing it in an arena and now at a festival. It's been conceived for a spectacular live experience, and this was perhaps the closest I came all weekend to being transported to another plane of reality. I'm surprised it was a British pop act who did this and not the revered Radiohead, but I went away feeling ecstatic. I'm optimistic that Florence will have similar effect in the more mundane setting of Reading this summer.

Coachella 2012, 14th April Day 2

Day 2 definitely had the strongest lineup of the weekend, resulting in some heartbreaking clashes. The answer, of course, would have been to go to both weekends, but I had to compromise.

We Are Augustines 8/10

We Are Augustines justified their position on the main stage with tremendous energy, and the raw passion of Billy McCarthy was more than evident. The Brooklyn band have been tirelessly touring their debut album Rise Ye Sunken Ships, and through word of mouth have been attracting followers, so it was more than heartening to see their efforts being rewarded with this billing at Coachella.

Grace Potter and the Nocturnals 7/10

This is the first time I'd come across Grace Potter's bluesy act: it was playful and entertaining in the afternoon sun, if not the most profound music I'd encountered. The lion on stage added to the visual interest, whilst musically there was a wide range of influences including soul, jazz, funk and rock.

Awolnation 9/10

After being blown away by Awolnation in Manchester last year, I'd been super excited for their main stage Coachella set, and I wasn't disappointed. This was perhaps the most fun of the weekend, and certainly the best audience interaction and crowd surfing I'd seen. Compared to British festivals, the Coachella crowd can seem a little restrained, not helped by the segregation of drinking to bear gardens. Here, though at last people let their hair down during the material from Megalithic Symphony. My favourite song, Knights of Shame, was omitted, but Sail was incredibly uplifting.

The Head and The Heart 7/10

This folksy band from Seattle drew a large crowd at the Mojave, and I can understand why: they were charming, despite my slight shock at the change in mood after Awolnation's rock. It's slightly melancholy in feel, but with lovely harmonies a blend of voices. I'm keen to see them again, ideally in a more intimate,setting. They were followed by Manchester Orchestra: I only caught part of their set, but it also impressed.

Laura Marling 4/10

I'm a great admirer of Laura Marling's artistry, but her set was an example of the hit and miss nature of festivals. She was all but drowned out by thunderous bass from another tent. This gentle folk deserved a more sympathetic setting, and she actually stopped twice mid song, having lost her way, and had to start again. I wouldn't be surprised if she refused to come back to Indio ever again after this disaster.

Jeff Mangum 6/10

This was one of the weekend's most eagerly awaited sets, due to Jeff Mangum's reclusive nature and the almost cult status of Neutral Milk Hotel. His voice was strident, almost painful, and whilst there is no doubting its sincerity, I didn't find it comfortable to listen to. This was an authentic experience for die hard fans, but after two exhausting days in the desert, I wasn't in the right place mentally to appreciate it. Whilst he largely accompanied himself on acoustic guitar, I'm told that later in the set when I'd moved to St. Vincent other musicians joined him on stage to provide accompaniment.

St Vincent 8/10

Annie Clark was really energetic in the Gobi tent, site of the disastrous Laura Marling set just a few minutes earlier, with predictably strong vocals. She engaged brilliantly with the crowd, and her guitar playing was almost as seductive as that voice. I was left eager to hear more of St Vincent.

Feist 9/10

I've been wowed by Feist before, and the Canadian was definitely one of my Coachella 2012 highlights. She's charismatic on stage, and material from Metals in particular made a strong impression amongst the chilly night desert air. She gelled wonderfully with her band; my highlight was probably Graveyard.

Radiohead 6/10

Radiohead was preceded on the main stage by Bon Iver; we chose to relax and sit down to listen rather than watch it, and the music (from both the recent self-titled album and For Emma) was utterly magical. However, I was most excited to see the UK rockers for the first time, so I'm sad to report that the experience didn't meet my exalted expectations. Not because of the music making: the crowd ruined it. They were rude, and constant pushing and talking forced a retreat to a distant position a few songs in. Ironically, one of the main complaints from the vociferous audience member who talked throughout was about their newer material, yet this set was extremely festival friendly, with songs from as far back as Kid A. The twenty song set list can be found here; meanwhile I'm hoping that my second experience with them in October will give me a better appreciation of (what I'm assured) is their live genius. I'm told the visuals were striking, but the side video screens weren't utilised, so unless you were lucky or tolerant enough to be in the middle of the 70 odd thousand strong crowd, you just had to hope you could hear the music without too many distractions. I've gained much pleasure from Coachella (and still plan to attend in 2013), but my experience gives some credence to the suggestion that some appear to be there to be seen rather than for the music.

Coachella 2012, 13th April Day 1

This was my second year at Coachella: you can see my impressions of last year starting here. The line-up was even stronger this time. Here are some photographs and short impressions from the first day.

Other Lives 8/10

Thanks to Coachella's ridiculously over-zealous and duplicated security searches, I missed half of Other Lives' set, arriving just as the rain started falling. The ambitiously orchestral sound produced by these multi instrumentalists from Oklahoma was just as stirring as ever. Jesse Tabith's voice is wonderful, but this is very much a collaborative effort, and on this evidence their live set has become more confident and polished since I saw them in Manchester last year.

EMA 8/10

EMA has amazing energy on stage, and is a compelling performer to watch. Her music's a creative mix of grunge, goth and country, and the less than perfect weather suited its dark, turbulent tone. Of course the wind didn't faze this South Dakota native. Erika has attitude, and the lyrics are often bleak, yet the experience is cathartic rather than depressing.

Grouplove 9/10

This was the first time I'd seen Grouplove, and they proved to be an unexpected highlight of Coachella. They brought warm energy to the Mojave tent, even as the fake grass on stage swayed wildly in the wind. Their catchy melodies really energised and engaged the huge crowd and by the closing Colours everyone seemed to be in a state of euphoria.

GIRLS 7/10

Girls heartfelt rock attracted a substantial crowd at the outdoor stage despite the rain, but their relatively low key sound failed to send them wild. Their recent album Father Son Holy Ghost is strong, however, and whilst this didn't seem the ideal setting to appreciate the music, I was sufficiently impressed to want to see them locally at a show. Lead singer Chrisopher Owen's cult related back story is fascinating incidentally.

Dawes 8/10

I've previously been most impressed with Dawes, and whilst the Mojave was a less intimate setting, the heart warming rootsy rock had a positive effect on my spirits with its country influences. The mellow Laurel Canyon sound was so satisfying, as as ever, and Taylor Goldsmith as ever put on a flawless performance.

The Black Keys 7.5/10

My first encounter with The Black Keys was less than inspiring; this did something to restore my faith in Dan Auerbach and Patrick Carney. This was their first Coachella as headliners, and they just about justified their position, helped by the punchy numbers from El Camino. Gold on the Ceiling of course reverberated strongly with the crowd, and whilst I had fun, I do sometimes find their horizons and imagination slightly limited. Perhaps they'll convert me fully to their live set at Reading in August.

M83 8/10

The clash with The Black Keys meant that I caught only a small part of M83's set, but they'd clearly electrified the overflowing Mojave tent, and I'm sure their full set would have been every bit as compelling as I found them earlier in this year in the UK. It consisted largely of the electro pop from their most recent album Hurry Up, I'm Dreaming, and I'm told Midnight City sent the crowd wild.

Rodrigo y Gabriela, Neon Trees, Chairlift, Bear in Heaven, LA, April '12

Here's a round-up of the live music I experienced in Los Angeles in the days preceding Coachella Weekend One. I took a holiday from reviewing and queuing up to get at the front to take photos, but here are some pictures from the crowd and my brief thoughts on the four shows.

Blouse (support)

Bear in Heaven

Bear in Heaven, Echo LA, April 6 2012 3/10
If there was a score for the venue I would have given it one out of ten, since the sound was utterly dismal throughout, indistinct where ever we stood, the vocals for all three acts being all but inaudible. Even my least favourite venue in Manchester, The Apollo, has vastly better sound, which leads me to wonder if the sound engineer at The Echo had failed to turn up that night. Even allowing for this, Bear in Heaven failed to inspire the crowd, or indeed me. The two support acts also lacked sparkle, the openers Blouse showing greater promise than High Places.

Rodrigo Sánchez

Gabriela Quintero

Rodrigo y Gabriela, Hollywood Palladium, April 7 2012 9/10
This larger venue lacked some character, but the Mexican duo's performances were utterly magnetic and compelling. The energy of the pair was infectious, and the band Cuba's accompaniment added colour. My one regret was that I was suffering badly from jet lag, but this was compelling playing, captivating to watch. They met whilst playing in a thrash metal band, and they bring this commitment to their Latin acoustic guitar rock.

Nico Vega

Neon Trees

Nico Vega, Neon Trees, Troubadour LA, April 10 2012 9/10
I saw Neon Trees at Coachella last year and so knew they were great fun, but this gig exceeded my expectations, helped greatly by the intimate venue's fine sound and historic character. This was a release show for Neon Trees' new album Picture Show, which I will be including in my May round-up of my top new releases. For me though, Nico Vega's rock was even more creative and thought provoking, and her stage presence was incredibly strong. She's not to be missed.

Nite Jewel (Support)

Chairlift

Chairlift, Troubadour LA, April 11 2012 8/10
My second visit to this West Hollywood venue was also an extremely positive experience. Caroline Polachek of Chairlift was accompanied by bassist Patrick Wimberly and a touring band, most of the set consisting of their 2012 album Something. Their set was energetic, and despite my tiredness the electronics and Polachek's vocals captured my attention with a distinctly 80's sound.

The Staves, Deaf Institute Manchester, April 22 2012 7/10

Exactly a week earlier, I was at Coachella, with 80,000 Radiohead fans, so this small folk gig could have been a culture shock. Fortunately though The Deaf Institute is my favourite Manchester venue, and I already knew that The Staves were enchanting from my encounter in September when they supported The Civil Wars. Since then, their prominence has been increasing: they've just returned from a US tour, are undertaking an extensive UK headline tour, and have been announced as support for Bon Iver in The States. Their début album is due this year too, and on the very day of this concert they released their second EP The Motherlode, which you can stream on Soundcloud.



Despite frenetic touring, The Staves said in this interview: 'As for conquering the world, we don’t know. We just want to make music that people feel a connection to, that they enjoy listening to and that we like.' The sisters from Watford have a mother from Wales, a nation steeped in a tradition of communal singing, so they started their musical journey singing at home, progressing to open mic nights in their local pub and then doing a covers show. Perhaps by chance, they were contemporaries at the same state school as indie pop singer Kyla La Grange, yet their style is less showy.

The Deaf Institute was packed, but the crowd were incredibly attentive, and listened in rapt silence even to the support act, Dutch folk singer Christof. He sung his beguiling folk melodies solo, accompanying himself on guitar and harmonica. Christof spent four years in Ireland, and the Celtic influence could be discerned in his music as well as his accent. The Staves though were joined by a drummer and bass player, who played sensitively, although they were even more touching as a solo trio. The highlight of the show was Wisely and Slow, which was sung a cappella, Emily, Jessica, and Camilla gathered round one microphone.

The sisters made an effort to lighten the mood with banter between songs, and had a surprisingly polished stage presence. The key is clearly their voices, and specifically the gentle 2 and 3 part vocal harmonies, although they also played guitar and ukulele. They have an ethereal sweetness, with lullaby like melodies, and their unpretentious music making, unadorned with gimmicks, was most moving and calming. There's no doubt that it was received extremely well in Manchester, and the audience, myself included, went away feeling more a peace with the world.

By their own admission though, The Staves have limited original material to draw on at this stage in their career. There could perhaps have been a greater variety of mood, and there were times when I wondered if the music could have been more demanding, and less uniformly comfortable. First Aid Kit, whom I'd seen a week earlier at Coachella, are more assertive and catchy, whilst retaining charm and tenderness, whilst The Civil Wars are in a magical league of their own in folk inspired music. Yet, The Staves draw from the English folk tradition, not the American country one, and the comparison is superfluous when their act is so beautiful in their own right. I certainly predict that they will go much further in folk loving circles, and encourage you to investigate them. Even if I'm not sure they'll break out of the genre like their supporters John Paul White and Joy Williams, you should make sure you're in the know about them.

Top 35 Albums and EPs April 2012

Here's a pre-Coachella round-up of my favourite 35 discoveries of the past month. You'll also find quite a few recent releases releases in my March article here.


Top 5

• Alcoholic Faith Mission Ask Me This
• Civil Twilight Holy Weather
• Deep Sea Diver History Speaks
• Lost in the Trees A Church that Fits Our Needs
• Trampled by Turtles Stars and Satellites

23 Albums

Alcoholic Faith Mission Ask Me This (Indie Folk) 9/10
I love the story that this group's name was a mis-reading of a sign for the religious Apostolic Faith Mission, the mistake presumably occurring though a lack of sobriety. It starts with glorious close harmony part singing, and takes you on a voyage of discovery.  It may have folk roots, but they are not afraid to use synths alongside acoustic strings (most notably in Alaska). I find it beautiful and so, so imaginative: they're not afraid to take risks and the vocals are outstandingly well deployed.

Alex Winston King Kong (Indie Pop) 7/10
This is catchy confident pop: my attention immediately focused on Alex's distinctive voice. She's a classically trained multi instrumentalist, yet these songs are often simply and catchy. It's their delivery which is distinctive, with quirky instrumentation and nicely constructed choruses; it's all very slickly executed. She's been called an American Florence: I don't rate her quite as highly on this evidence. It can be sugary and pall on repeated listening, with too many high energy songs, but it's still fun.

Amadou & Mariam Folila (African Pop) 5/10
I was hoping that Amadou and Mariam would develop the infectious experimentalism we saw in Ce N'Est Pas Bon, the second track from their last album Welcome to Mali. Instead, they've played it safe, watering down their African heritage in collaborations with Western musicians such as Santigold. In fact it's a fusion of two recording sessions, one in New York and the other in Bamako with African percussion. It's still enjoyable, but I'm not sure if it's the record they would have made without the pressure of a major label.

Bronze Radio Return Shake!Shake!Shake! (Indie Rock) 7/10
I'm late to discover this 2011 album, yet I make no apology for including it now, as it's such a pleasure. Bronze Radio Return produce roots rock from Connecticut, with a hooky commercial appeal, made for playing on a sunny day in the car. They have a great sense of melody, and energy and can sing. It's not in the slightest bit avant garde or experimental, so music snobs will hate it, yet it's pure joy.

Buxton Nothing Here Seems Strange (Indie Folk) 6/10
This album features banjos, and is steeped in Americana, but its modern influences ensure it's definitely not straight bluegrass. This is actually the five piece from Houston's third album, and they've been compared to Wilco locally. It's a crowded field, and it's difficult to call out what's truly distinctive about the style's fusion of folk and rock. It's an enjoyable ride, and I'm sure their show would make for a delightful evening but I don't consider it to be essential listening.

Civil Twilight Holy Weather (Indie Rock) 8/10
This is one of many fantastic discoveries via The Owl Mag; it's ambitious, imaginative rock from the Cape Town trio. The word U2 has been mentioned: that's an optimistic comparison, but they're not afraid to experiment with rhythms and layers of sound in a way which suggests they've been listening to King of Limbs carefully. It can be dreamy and moody, sometimes a little pompous, but this captures the attention.

Crushed Stars In The Bright Rain (Indie Pop) 7/10
In the Bright Rain is close to chillwave: Todd Gautreau's vocals are soaked in reverb. Yet, there are guitars and drums in place of synthesisers here, alongside a predominantly sad, down beat feel. I love the calming influence of this dream pop, with its relaxed tempos and introspection. An abum to appreciate for its quiet beauty.

Deep Sea Diver History Speaks (Indie Rock) 9/10
The Shins' latest album has disappointed me, hence its exclusion from this list, yet the side project of their guitarist Jessica Dobson is far more interesting. The album is dominated by her vocals, and has punch, and her husband's drumming is tight. The melodies are intricate, and I love hearing the frisson between the four band members. If you enjoy the Shins, you really should go to Bandcamp and stream or download this, as it's really engaged me emotionally.

Dry The River Shallow Bed (Indie Folk) 8/10
This London band was nominated in the BBC's Sound of 2012 poll: their first album lives up to the hype. Peter Liddle's falsetto voice might annoy some, and some simply resent anyone who's jumped on Mumford's indie folk bandwagon. Reviews have used adjectives such as 'pastoral' but I find a surprising amount of energy here, and they can whip up quite a climax. I love the instrumentation including violin, horn, brass and percussion (definitely no electronics here). They've created a sound of their own, and if I don't catch them live during this summer's festival season, I'll be disappointed.

Electric Touch Never Look Back (Indie Rock) 7/10
This Austin rock band (with a British member) is influenced by The Killers and has a punk edge. This confident second album was well received at SXSW this year. Their UK member said: "We're not in this to make money. We would've become plastic surgeons or attorney. We want to spread the joy, make people happy." This is catchy, feel good music, which doesn't take itself too seriously and has tight, raw energy. I don't find it especially intellectually stimulating, but that's not its point.

Gabriel and the Hounds Kiss Full of Teeth (Indie Folk) 8/10
This debut from Brooklyn has been described as folksy chamber art pop, which reveals itself slowly. I actually found it far from pretentious, lifted by the acoustic instrumentation including cello, horn, flute and guitar. The feel is often melancholy, and the inclusion of ambiant sounds brings a dreaminess. Drums are by none other than Bryan Devondorf from The National. Atmospheric and beautiful, with originality.

Good Old War Come Back As Rain (Indie Folk) 7.5/10
This is a difficult album to assess, since it can provide great comfort and reassurance on an emotional level, yet assessed objectively it's not particularly original or sophisticated. A similar observation could be made about Mumford and Sons, and Good Old War share their indie folk aesthetic, with lovely harmonies, jangly guitar and sing along melodies. Not one for music nerds, but I've enjoyed it.

Great Lake Swimmers New Wild Everywhere (Indie Folk) 7/10
The opening track, Palmistry, on Great Lake Swimmers' last album, instantly transports me to a place of nature and contented tranquillity. I haven't found anything as distinctive on this follow up, and I was initially disappointed; yet it's wearing better than I expected. The key to this music is its very simplicity, and like Fleet Foxes, its melodic nature has a calming effect. The fiddle playing is welcome too, and other acoustic instruments including banjo and upright bass put in an appearance.

Honeyhoney Billy Jack (Indie Folk) 7/10
This LA duo is laid back, rootsy and bluesy. There's a boy / girl interaction, and like The Civil Wars they're not a couple. The sound is if anything more swampy, the tempos often slow, and there is a bluegrass influence not far from the surface, alongside classic country. I discovered this as part of my pre-Coachella listening, and whilst the music is a blend of styles, it coheres. I'm sure their chemistry is delightful to observe live.

Kishi Bashi 151a (Indie Pop) 8/10
The American behind this debut record has worked with of Montreal and Regina Spektor, and fronts a synth rock group called Jupiter One. It's refreshingly different, with violin and his sensitive voice to the fore, along with instrumental backdrops. He's a multi instrumentalist who evidently has a gift for creating uplifting, soaring melodies. It mixes the soaring lines of Jonsi with Animal Collective like experimentalism. Yeasayer is another influence, but this really is something new, and I urge to investigate, especially as it can be streamed in its entririty from Bandcamp.

Lost in the Trees A Church that Fits Our Needs (Indie Folk) 10/10
This is definitely one of my discoveries of the year: there's no questioning its sincerity, as its a memorial to Ari Picker's mother, who committed suicide.  She's featured on the album cover and Picker's sentiments “I feel like if God had some sort of way of speaking, it would be through music” are given expression. I found out when researching this blog that he's a classically trained composer, which may explain why it speaks to me so powerfully. He also has a beautiful tenor voice, and an active imagination. Clearly it's an emotional journey, yet the overal impression is one of hope, and peace, not despair.

Magnetic North Orkney Symphony (Indie Folk) 8/10
Erland Cooper's new Scottish project is not to be confused with Canadian group of same name. Their album has strong connections with classical as well as folk music, and the overall mood is serene with a filmic soundtrack. The group travelled to the islands to record this poetic album, based on a dream and its steeped in celtic atmosphere. It's melodic, easy going listening, and at times I wish it had been grittier, and less polite, but there's no denying the beauty and character.

Michael Kiwanuka Home Again (Soul) 8/10
Tickets to Michael Kiwanuka gigs are hot property in the UK, thanks to that lush soul voice. His much anticipated debut sounds timeless, with jazz drums, flute and strings. It's a blend of soul, folk and jazz, rooted in the early 1970's and doesn't push any boundaries. This album has a warm, reassuring feel, yet I'm going to wait until I see him live in May to give a definitive verdict whether he's magical or simply retro.

Paperoute Absence (Indie Pop) 7.5/10
I'm late to this 2009 album from Nashville, yet I'm delighted I've finally been enlightened. The four piece band make heavy use of electronics and owe some debt to the 1980's and projects such as Air and M83. They sound really passionate and emotional. The best news is that a new release, The Peace of Wild Things, is imminent, and I hope it manages to maintain the quality of the opening tracks on this one.

Tanlines Mixed Emotions (Electronic Pop) 7/10
I was disappointed this Brooklyn duo's show in Manchester last week was postponed, since this debut album is hooky and intriguing. Comparisons have been made with Gotye, yet its less euphoric, never soaring that extent; I guess the title suggests an ambiguity of feeling. It hasn't really moved me as yet, but I'm hoping it will get under my skin when I eventually do see them live. There's no escaping the promise here, and I think that sense of restraint is actually intentional.

Trampled by Turtles Stars and Satellites (Bluegrass) 9/10
This bluegrass group are known for their high octane energy, yet their new album is incredibly tender and heartfelt. I rate this acoustic album so highly because of that intangible quality: its feel. Like The Lumineers' recent self titled LP, it's heartwarming, and has a natural inevitability. Needless to say, the fiddle, banjo and bass playing is virtuoso, and the vocal harmonies lovely. The generally less frenetic feel means that when a song such as Alone does eventually reach a thunderous climax, the effect is all the stronger. I love this!

Wild Child Pillow Talk (Indie Folk) 7/10

Wild Child make charming folk music, which brings to mind The Head and The Heart. Originally a duo, they now have a full band, and have put down a lengthy 15 tracks. It's emotionally direct, and often touching; the sound is quite innocent with bells and hand claps. Many will be temped to sing along!

Vetiver The Errant Charm (Indie Folk) 7/10
This is easy going, charming music, the fifth album from the San Francisco indie folk pop group. It could be seen as too tasteful and middle of the road, extremes of emotions being kept in check. Yet sometimes you want to be comforted, and you can't deny the warmth here. It's all beautifully played and Andy Cabic's vocals are mellow. Worth investigation if you like M. Ward and Californian sunshine. 

12 EPs

Ben Browning Lover Motion (Indie Pop) 7/10
My advice here is straightforward: if you enjoy Cut Copy, buy this EP. It's their basist's solo project, and you still get Dan Whitford on synth. They produce sunny dance music, guaranteed to give joy, and I can't understand why Pitchfork is so begrudging about it.

The Chevin Champion (Indie Pop) 9/10
This is an auspicious debut for this English band from a small town in Yorkshire: it's epic music from a band who have already played Wembley supporting White Lies. They have Coldplay like mainstream appeal, with a gift of melody and an ability to directly target the heart. I don't like the remix padding out the sixth track, but that's a churlish complaint.

Daniel Rossen Silent Hour, Golden Mile (Indie Pop) 8/10
Rossen is Grizzly Bear's singer and his first solo EP has a stripped down, sparse feel across its five songs. It's carefully crafted from material originally intended for the next Grizzly Bear full length, and it bodes extremely well for it. The sound is dominated by plucked acoustic guitar, crashing drums and the falsetto vocals. This is not really much of a departure for Rosen, but the classy pedigree is evident.

Dot Hacker EP (Experimental Rock) 8/10
This is a taster in advance of the LA band's full length album. It's thoughtful and imaginative, almost hypnotic in effect. Josh Klinghoffer's fantastic vocals are quite feminine and the instrumentation is layered and complex. The band is made up of experienced musicians with impressive credentials and I predict we're in for a real treat come the May release. 

Electric Guest EP (Indie Pop) 8/10
I love this all too short four track EP from this LA electronic duo. This Head I Hold has a summery, upbeat feel but I prefer Troubleman, which could almost be a Broken Bells track (they share Danger Mouse producer Brian Burton). I find it uplifting and invigorating and can't wait for the album Mondo due next month.

Haim Forever (Folk R&B) 9/10
These three young sisters (supported by a male drummer) have created an unusual folk R&B hybrid which really works. I love the opening vocal harmonies, and the all too few three tracks really pack a punch and the production is fantastic. Happily, it's available as a free download, so you can make your own mind up about Haim.

Harriet Tell The Right Story (Indie Rock) 8/10
This EP comes from Alex Casnoff, pianist for PAPA and Dawes, and is another free download. His baritone voice is emotional and these songs are melancholy and affecting. It's not lacking in commitment and is also catchy: recommended.

Julia Stone Let's Forget All the Things We Say (Indie Pop) 7/10
Many will miss Julia's Brother Angus, but this EP is a preview of a new full length solo album, By the Horns. It has a largely quiet, subdued atmosphere, and I found it a little too polite at times, yet still lovely. Well worth listening to if you're a fan of Angus and Julia Stone.

Ko Ko Float (Indie Pop) 9/10
This EP is currently difficult to download, but I'd urge you to steam it here. It's the work of two brothers from LA, stylistically similar to Youth Lagoon. It's bright and breezy, optimistic and catchy, brilliantly produced and instantly appealing. I predict and hope that we're going to be hearing much more about Ko Ko soon.

Poor Moon Illusion (Indie Folk) 5/10
I was excited to download this EP, given that its a project from a member of Fleet Foxes, and has received positive reviews in two online publications I respect. Yet, for me, blandness pervades, a niceness consumed in copious reverb, and a simplicity which seems lazy. It's a brief affair, only five short tracks, and Fleet Foxes devotees should listen to it for research purposes at least.

Teen Daze A Silent Planet (Electronic) 6/10
This is a serene, minimalist electronic experience, inspired by CS Lewis' novel Out of a Silent Planet. It's a calming, meditative ride with layered vocals, guitar chords and synth soundscapes. Some might feel there's simply not enough going on, but I enjoyed its beauty and other-worldliness. You can stream or buy it from Bandcamp.

Trupence Voyages (Electronic) 9/10
Here's another serene EP, this time from a 21 year old from Melbourne. It's experimental chillwave, with use of samples, and you can name your price on Bandcamp. I found it quite haunting, some elements reminiscent of M83, and most sensitively created. Dreamlike over an expansive 9 tracks.

Honourable Mentions

• Anya Maria Felony Flats
• Carolina Chocolate Drops Leaving Eden
• Dirt Drifters This is in my Blood
• Garrison Starr Relive
• Gemma Ray It's a Shame About Gemma Ray
• The Infamous Stringdusters Silver Sky
• Margot & The Nuclear So So's Rot Gut, Domestic
• Play Rewind Eject Never Before but Maybe Again
• Sugar and the High-Lows
• White Rabbits Milk Famous
• Yukon Blonde Tiger Talk
• Xiu Xiu Always