Sigur Ros Kveikur (Post Rock) 9.5/10
The Icelandic post rockers have taken a more assertive turn with their latest creation, after the relatively laid back Valari. Yet, this is still music of staggering beauty as well as practically volcanic energy, and as ever, the instrumentation and production is fautless. Note the clip above is from a live performance of the opening almost industrial track Brennisteinn.
Portugal. The Man Evil Friends (Indie Rock) 9/10
Some have regretted the fact that the Alaskans have left their experimental early albums behind and are reaching out to a wider audience with this Danger Mouse produced album. Yet, it's still strikingly original, and captures some of the sense of exhilaration from one of their live performances. Evil Friends ties with The Satanic Satanist as my favourite album of one of my most loved bands.
Funded by a Pledge Music campaign, prolific artist and musician Joseph Arthur has produced one of his strongest albums yet. The first of a trilogy, it's ambitious in sound as well as scale, less a solo project than an immerse full band experience. He takes you on a moving, partially autobiographical journey through his life, friends joining him for the ride to give an orchestral sound.
Laura Marling Once I Was An Eagle (Folk) 9/10
The 23 year old Brit's fourth album is remarkably emotionally mature, and perhaps appeals so much to me as it's the epitome of introversion. The opening four songs meld into each other in a continuous sweep and represent her greatest achievement yet. They were recorded at Ethan Johns' studio in a ten day period in long takes: this adds to the spontaneity and feeling of risk. Her voice has evolved into a passionate instrument, able to convey the pain of breakup. It marks a turning point in her life, laid down just before her move to LA; an exciting future lies ahead for her audience too.
Bombino Nomad (Desert Blues) 8.5/10
This album will appeal both to fans of Amadou and Mariam and The Black Keys. The experienced singer from Niger has collaborated with producer Dan Auerbach to create to desert blues fusion, mixing middle eastern harmonies with the blues of the American south. The outstanding feature is the amazing guitar playing, and the whole is immense fun, and upbeat in mood.
Austra Olympia (Synth Pop) 8/10
Toronto's Katie Stelmanis has a pure, dramatic voice, creating a chilling atmopshere, Yet Olympia is more optimistic than 2011's Feel It Break, with greater variety of mood, and an enlargement of the instrumental palate, with some tropical tones. She retains her economy of line, though, which gives rise to a single minded, coherent creation. The production is top notch.
Houndmouth From The Hills Beneath The City (Americana) 8/10
This is fun record for those who (to misquote The Damnwells) do still listen to The Band. They share a label and a sense of exuberance with Alabama Shakes. NME found it to be twee and cliched; admittedly it doesn't break new ground, but it feels authentic and should be investigated by all lovers of Americana.
Efterklang Piramida Concert (Indie Rock) 8/10
The experimental Piramida was one of my favourite albums of last year, and this new live recording with The Copenhagen Philharmonic adds colour to the sparse atmosphere of the original. The Danes meld the worlds of rock and classical, the strings and choral harmonies complimenting the drum kit, complex rhythms and contemporary style of solo vocals. A must for the adventurous.
Groenland The Chase (Indie Folk) 8/10
Despite the name this comes from Montreal and is dominated by the jazzy, cabaret style vocals of Sabrina Halde. The instrumentation is adventurous, taking in ukulele, keyboards, bass, cello, violin and more. If you close your eyes, it's possible to imagine you're in a cafe in French Canada, such is the spontaneity, and the band have an ear for catchy melody.
Mount Kimbie Cold Spring Fault Less Youth (Electronic) 8/10
The London electronic duo's second album takes you on a fascinating journey taking in post dubstep sounds, the vocals of rapper King Krule and hip hop beats. It feels eclectic, and sometimes the destination seems unclear, but at least these diversions show a willingness to take risks. It may at times lack coherence, but it demands the attention of anyone interested in the future direction of electronic music.
The 1975 IV EP (Indie Rock) 7.5/10
I've included an EP in this album roundup because you really shouldn't wait for their album release before securing a ticket to see Manchester's answer to The Big Pink. The beats on this EP are strong, and live they have a shatteringly powerful effect. I'm less of a fan of the unsubtle but catchy opening song The City and have greater admiration for the second track Haunt / Bed with its slow build up and airy vocals.
Smith Westerns Soft Will (Indie Rock) 7/10
In contrast to Mount Kimbie, this is backward looking, and sometimes too middle of the road. Yet Smith Westerns demonstrated at Coachella this year that they're a perfect accompaniment to summer relaxation. The layers of reverb and warm harmonies give reassurance, and may alienate some fans of their edgier earlier work, but is unlikely to do them any commercial harm.
Emily Barker and the Red Clay Halos Dear River (Folk) 7/10
This Australian is accompanied by British musicians, and her latest folk pop album is being released on a Scottish label. I was lucky to see the collaborators live recently; the album sounds more polished, although a solo acoustic version is also being released. It's easy on the ear, with gorgeous tunes and thoughtful often dark lyrics with themes such emigration and even her Dutch grandfather's wartime experince.
Sturgill Simpson High Top Mountain (Americana) 7/10
High Top Mountain is a country romp from Nashville which makes up in energy for what it lacks in subtlety. It's Simpson's debut solo album, with honky tonk, pedal steel and a charismatic growling voice. Slower ballads join the more outgoing numbers; if there's a criticism it's that the songs don't consistently maintain a level of inspiration, but this is much fun.
Bella Hardy Battleplan (Indie Folk) 7/10
This 29 year old Brit might find it difficult to avoid comparison with Laura Marling, but she has few American influences, and is rooted deeply in the British folk tradition. In fact it sometimes sounds Celtic, although Bella's from the Peak District near Manchester. Together with her own piano and fiddle playing, she's backed by a four piece acoustic band and benefits from a beautiful production. There's an informative interview with Bella and analysis of this album here.
KT Tunstall Invisible Empire Crescent Moon (Indie Folk) 7/10
KT's loss of her father last year is reflected in this album, along with her recent divorce. Yet, the Scot hasn't produced a depressing album: the wonderful first track Invisible Empire manages to be simultaneously jaunty and melancholy. It benefits from being stripped down and less commercial than her previous work. Recommended.
Baths Obsidian (Electronic) 7/10
This dark record from LA's Will Wiesenfeld is electronica with a human face, helped by the vulnerable sounding vocals. The sound is intricately layered and supported by a real gift for melody. It confounds any prejudices may might have about this genre, and is both beautiful and challenging.
Kodaline In a Perfect World (Indie Rock) 6/10
This Irish band is a little too close in sound to Coldplay for my taste, but this gift for melody and anthemic choruses is almost certain to bring them wide success. Steve Garrigan's falsetto voice is strong, and the songs have been written with the stadium in mind. I wish there was more individuality, but you should listen to this rock and form your own opinion.
Gold Panda Half of Where You Live (Electronic) 6/10
The anonymous UK producer has created a dreamy album, full of loops and samples taken from all continents. It makes much use of repetition, which could lead some to find this emotionally cold, yet the rhythms give it life and tracks such as Brazil are danceable.
Futurebirds Baba Yaga (Indie Pop) 6/10
The Athens, Georgia band make liberal use of reverb and jangly guitars, stretched across more than an hour. There are lush harmonies, but it can be too slow burning and expansive to the point of slackness. Yet perhaps I'm being overly critical: it can seem samey, but Pitchfork found more variety than me and it probably suits the kind of warm summer's day which is more common in the Deep South than rainy England.
10 Commended
- Boards of Canada Tomorrow's Harvest
- Christopher Paul Stelling False Cities
- The Dodos Carrier
- Eisley Currents
- I See Hawks in LA Mystery Drug
- My First Tooth Love Makes Monsters
- The Olms self-titled
- Tom Odell Long Way Down
- When Saints Go Machine Infinity Pool
- The Unseen Strangers Follow the Sound
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