Jeremy's Indie Music

First Aid Kit, Manchester Club Academy, 24th February 2012 9/10

2012-02-26T11:59:00.000-08:00

I tend to set my expectations before a concert. In this case, I'd already seen the band (albeit as a support act), and their latest album was in the top 5 of my most recent album round up. I was therefore expecting to enjoy the gig, but I wasn't expecting to be amazed, since First Aid Kit are a folk duo. Now, I love folk music, but live, it can be a cerebral and controlled experience, not risky and exciting. The opener, Samantha Crain made really lovely sounds, but didn't push the boundaries. She was introverted at the beginning of her set, but gradually opened up, eventually leading us in a spirited sing along. Her voice is exceptionally characterful, reminding me of the sound of the wonderful Jamie Drake. Samantha is from Oklahoma, and her second album You (Understood) reached Europe only late last year; I recommend investigating her. She came back to the stage for the encores; by that stage the atmosphere was more fevered.

Such is the success of The Lion's Roar that this gig sold out and was moved to a larger venue, necessitating queuing to get a spot at the front of the stage. It's gone straight to the top of the album chart in First Aid Kit's native Sweden, and reached the top 40 in The UK and Australia, a remarkable success given its genre. They first gained recognition through a cover of Fleet Foxes Tiger Mountain Peasant Song on Youtube in 2008, which now has 2.8 million views. They look (and were) incredibly young on that video, and it's really quite touching to see how they've matured. In Manchester though, their choice of cover was Fever Ray's When I Grow Up (see set list below).

The Lion's Roar should have given me a clue that this gig would be something special: the instrumentation is fuller than their 2010 debut The Big Black and The Blue, and it owes a debt to Americana, most evident in the name checking song Emmylou. Here they were joined by a drummer, who added welcome bass to the texture. The music may be more upbeat in The Lion's Roar, but lyrics are often sad, and their is beauty in its austerity. It's charming on disk, but the song structures are simple; some might say the Swedish duo are simply covering British and American folk. Live, it was something else though.

I can assure you that there was no lack of authenticity: the first thing to strike me was the fullness of the sound: it was rich with the most gorgeous harmonies. Younger sister Klara is the more extrovert, being lead singer and acoustic guitar player. Johanna acted as second vocalist and keyboard player, although as you'll see from the photograph below, she also turned her hand to auto harp. The highlight was undoubtedly the unmiked performance of Ghost Town, where the sisters moved to the edge of the stage, inches from me, and sung hauntingly, all the more powerful for its sparseness. They may be almost half my age, but they showed great maturity in their stagecraft, and were pitch perfect throughout.

Most striking, though, was their energy: after Ghost Song, the set moved into another transcendent plane. They cast aside any residual Northern European reserve and started to rock out, moving around the stage with surprising freedom. Admittedly, Klara didn't smash up her acoustic guitar, but they both put every ounce of their soul into the performance. This commitment, and their musicianship restored my hope for the future of music, after the challenge of the recent BRIT Awards (Adele excepted). I went away wondering what the pair will do next; it's quite possible as they mature they'll chose a different music path, yet I've faith as they find themselves, whatever they do will be authentic. Make sure you catch them live in their current form at the first opportunity.

Set List

This Old Routine

Hard Believer
Emmylou
Blue
In The Hearts of Men
Heavy Storm
New Year's Eve
Ghost Town
To A Poet
Wolf
When I Grow Up
Dance to Another Tune
I Met Up With The Ring
The Lion's Roar

Samantha Crane

The Deep Dark Woods, Castle Hotel Manchester, 20th February 2012 8.5/10

2012-02-21T10:28:00.001-08:00

In in my Review of Dawes earlier this week I mentioned that my only regret was that the venue lacked character; well this wasn't a complaint that could be levelled at the Castle Hotel, Manchester. It was so intimate that the Deep Dark Woods' keyboard player, Geoff Hilhorst was unable to fit on the stage and had to sit to one side. Don't be misled by the word 'Hotel': this a pub, and if it hadn't been for the stifling heat, you could almost have closed your eyes and been in a bar in rural Canada. The small space was crammed with roots music enthusiasts, some of whom had travelled wide to see this band on their first tour here. Remarkably though, a few people at the front found room to dance, and almost everyone seemed to be moving their bodies in sympathy with the music by the end of the set.

Deep Dark Woods was formed in 2005, but their blend of bluegrass, country, blues, folk and rock sounds as if it was conceived eons ago, or at least at the time of The Band. They've released four albums, each a positive progression; Winter Hours from 2009 gained them recognition, but it was their most recent 2011 The Place I Left Behind that brought them to my attention. It's fair to say that lead singer and guitarist Ryan Boldt is not a great conversationalist on stage, being most comfortable reminding us that the band is from Saskatoon, Saskatchewan Canada. Equally, there was no light show, or wild onstage antics: the atmosphere came solely from the music.

Paradoxically, whilst the experience as a whole was uplifting, the music and more specifically the lyrics are melancholy: they sing of alienation, isolation and failed relationships. Their sad ballads can have serious subject matter, even murder, but they're also deeply imbued with a sense of nostalgia. Their drummer Lucas Goetz explained:
"To me roots music is what it sounds like: the roots of music (North American music). . . . I like to think that our band draws on themes that are common in these styles, and that we borrow some elements of the music. Those musical traditions are favourites of mine"
The glorious, rich harmonies and upbeat melodies explain why the emotional effect is far from depressing, and the slurred organ and piano sounds are fundamental to its character. Ryan Boldt's tenor voice is idiomatic, yet blends beautifully with the other band members.

The other, unexpected magic of this gig was the spontaneity. I had a conversation with a friendly roots music enthusiast whilst waiting for the show to start, and he explained that improvisation is one of the qualities he most enjoys. It also happens to be a skill many Western classical musicians rarely practice, except perhaps in the early music field. Towards the end of the gig, DDW indulged in some extended jams, and it was at this moment when the audience most came to life, and I was able to get lost in the music; this was that moment of magic. Music is fundamentally linked to place, and the zeitgeist in rural Canada tends to be relaxed, helping to give rise to this freedom in interpretation and laid back style. I've only passed through Saskatchewan, but every year I spend time in neighbouring Manitoba en route to see polar bears at Hudson Bay. Sometimes the train stops at almost inconceivably isolated settlements, off the road network, where dogs and snow mobiles seem to outnumber people. DDW's songs of prairie winters relate intimately to this experience, and gave the songs a particular significance to me.

The evening started with two support acts, both from closer parts to Manchester: James Kelly's set was notable for his virtuoso, almost flamenco guitar playing, accompanied by folk style singing. It had a bluesy feel, whilst his kick pedal added depth; there were greater energy in the performance than you expected when he walked onto stage alone with his acoustic guitar. He was followed by the 5 piece Walton Hesse, who played in an alt-country style, although they also cite Wilco as an influence, audible in their experimental side. Far from sounding fake, they set the mood for The DDWs, and were fun to watch. They explained that this was their first show after a period of rest, and I certainly hope that I can catch them again in Manchester, as long as I'm not away exploring Canada.

Walton Hesse

James Kelly

Dawes, Manchester Academy 3, 18th February 2012 8/10

2012-02-19T10:47:00.000-08:00

Robert Ellis is a youthful 22 year from Houston, Texas; his set reflected the split between folk and country styles in his 2011 album Photographs. Influences include Neil Young in the former and Willie Nelson for the latter. Except for the song photographed above, he played solo, accompanying himself on acoustic guitar, and played tenderly and sensitively. The audience listened in rapt silence, and I was touched. However, it was Dawes who provided not only a journey to North America, but also time travel.

Dawes consists of lead singer Taylor Goldsmith, brother Griffin on drums, Wylie Gelber on bass, and Tay Straithairn on Hammond Organ. They are from Los Angeles, and sinfluenced by the 1960's Laurel Canyon sound characterised by the likes of Crosby, Stills and Nash and Joni Mitchell. Their 60 minute set consisted largely of the well received 2011 album Nothing is Wrong, although they played a few numbers from their first album, North Hills, released in 2009. If you enjoy these two albums, make sure that you check out Middle Brother, which consists of Taylor plus members of Deer Tick and Delta Spirit.

Frankly, there's something very awry if you dislike the rich harmonies and warm Americana sound of Dawes. From the very first few chords I felt a deep sense of well being, love and nostalgia. Some might describe this as backward looking music, and it doesn't forge a new or experimental path, but you can hardly criticise a desire to make music steeped in your culture, guaranteed to give pleasure. Despite this being Dawes' first gig in Manchester, and competing with several other appealing gigs this Saturday evening, the venue was packed. Our nations have a strong connection, and despite the geographic distance, the cultural affinity is deep, and musical interchange strong. I'm always hearted and thrilled by the number of touring American bands who venture to this damp corner of England.

The performance was technically flawless, but more than this, Taylor Goldsmith in particular exhibited brilliant stagecraft, putting all his soul into the performance. My photographs hopefully illustrate how expressive he is, and the band's commitment was so evident and infectious. In the early part of the gig, the audience stood respectfully, but Taylor worked hard to break down our British reserve, and a sprited singalong was the reward in Time Spent in Los Angeles. I can't imagine anyone not feeling more positive about life after this performance, and I felt like giving someone a hug. Manchester's Academy is one of my favourite venues, and as ever the sound was excellent, the staff friendly, and in the smallest of their four spaces, I had an unparalleled vantage point. Yet, if I had a regret, it was that I was that the music didn't quite succeed in transporting me a bar in my beloved America, drink in hand. It's hardly Dawes' fault though that I had to drive home, and that for all its strengths, The Academy lacks character. I hope they come to your town, and that you can luxuriate in their soulful harmonies and near perfect musicanship.

Terra Naomi, Shipping Forecast Liverpool, 15th February 2012 9/10

2012-02-16T11:47:00.000-08:00

This was the first anniversary of my very first gig, and I could hardly have chosen a more apt artist to mark the occasion, since Terra Naomi was first performer I discovered independently and fell in love with in November 2010. I've written about her music previously, but this the first time I've made it to one of her shows. Indeed, this tour marked Terra's first visit to the UK for over three years. She's exceptional for her use of social media, initially via YouTube where Say It's Possible became a viral hit, and she continues to be innovative. Terra is perhaps the most conscientious artist I know in her consistent engagement with her fans. Her most recent album, To Know I'm OK was a product of Pledge Music's direct to fan model. I featured it as one of my top albums of 2011 and you can find an excellent track by track exploration with interviews here.

It was such a privilege to see Terra in a small (but packed) venue: she famously played Wembley Stadium as part of Live Earth, and yet here she was a few feet from me. Music stands and falls by its emotional impact, and I was incredibly moved by this performance. The atmosphere was one of rapt concentration: Terra captured the audience's undivided attention. Of course there was a quite different feel to a rock gig, where people are dancing, but her personality on stage made for a far more relaxed atmosphere than a classical concert. Her guitar and keyboard playing is flawless, but her most extraordinary instrument is her soprano voice. It's always perfectly pitched, and her innate musicality allows her transform it into a window on deep, heartfelt emotions of pain and joy. She has a background is in opera, and this training has given her an enviable range and level of vocal control, which she's now able to utilise with expressive freedom which is rare in the classical world.

Terra judiciously combined established favourites like the Vicodin Song with numbers such as You For Me and To Know I'm OK from her latest album. We were also treated to two new songs, A Ring is Just A Ring and Nothing to Hide, which demonstarted that her creative spark is in full flow. For me the most pleasant surprise was the inclusion of three covers, Bridge over Troubled Waters, Judas and the amazingly beautiful Leonard Cohen Hallelujah which closed the show. Sadly, this was the final UK date of Terra's tour, but she's already announced that she'll be returning her in September. In the mean time, she's also recording a live CD on the Italian leg of her tour which you can pre-order here.

There is an sincerity and directness in Terra's music making which was all the more evident on this solo tour, with only her own piano and guitar accompaniment. John Alagia, the renowned producer's influence is evident in the catchiness and rich instrumentation of the first eight tracks of To Know I'm OK, but I personally love the honesty of her acoustic sets. Terra's gift for melody and word setting is all the clearer in sparer arrangements, and her enthusiasm shined through. She clearly enjoys touring, and sharing her love of music. I'm so grateful that she's helped me to expand my own musical horizons, and strongly urge that you experience her magic for yourself.

I've previously suggested checking out another city's music scene, and on this evidence, Liverpool's is in vibrant health. We were treated to three local support acts, all playing acoustic sets. I was particularly taken with Ogo Nzeakor, a soul singer who was born in Nigeria but is very much a Scouser, particularly in his humour. His voice is rich and resonant, and expressed heartfelt emotions, such those around his late uncle who was an inspiration to him. Ogo's working on a new album for release soon, but in the meantime you can download his 2010 Stand Together free from Bandcamp. He cites influences from African folk, but I also loved the bluesy feel of songs like The Player.

NME Awards Tour, Manchester Academy 1, 11th February 2012

2012-02-12T09:54:00.000-08:00

The NME Awards tour is intended to showcase up and coming acts and promote new music. In this age of social media, NME might be seen to be less relevant and further from the cutting edge, but I happily joined a crowd of over 2000 in Manchester's Academy to see four sets in a packed evening.

1) Azealia Banks 8/10

Azealia Banks from Harlem is only 20, so you can imagine how I felt when she expressed her amazement at the youth of the audience (I'd estimate that in my late 30's, I was twice the average age). She came third in the BBC Sound of 2012 poll and is working on her first album with Paul Epworth of Adele 21 fame. Hip Hop isn't a genre I can claim much knowledge of, but I can say that I was impressed with her energy and enthusiasm. She worked the crowd brilliantly, and her single 212 raised the excitement level to heights which were to be maintained throughout the evening. The DJ, from her adopted home Montreal, danced infectiously, and whilst rap music doesn't really move me, I couldn't help but be impressed by the vigour and stagecraft. An auspicious opening.

2) Tribes 6/10

My motivation for attending this show was to decide whether Tribes are lacking in originality, or a band who will go far; their debut album released last month left me unsure. The four piece from Camden, London have been described as grunge revivalists, and the lead singer Johnny Lloyd has a strong voice. The first half of their set sagged, yet they came to life after Lloyd temporarily swapped his electric guitar for an acoustic one. Despite this, the set exposed the fact that their material simply isn't memorable enough: they may be technically accomplished, but it was all a little earthbound. Disappointing, although not so bad as to make you question the health of guitar based indie rock.

Metronomy 9/10

The English Riviera appeared on some critics' best of 2011 lists, but it didn't really engage me. I was therefore totally unprepared for this astonishing set which was mesmerising. Metronomy are an electronic group from Devon on the south coast of England, and released their first album as long ago as 2005. They embody a quirky British eccentricity, manifested in the push lights stuck to their chest and pastel portraits of the band strung above the stage. This show seemed to combine the danceability of a electro pop act like Cut Copy with the emotional intensity of War Paint. The repetitive beats were almost hypnotic, and they worked the audience into a trance-like state. They achieved that elusive but much sought after quality of transportation: that state where the worries of everyday life are totally eliminated in favour of an absorption in the present. The lightshow added to the intensity, with the syncopated rhythms and dancing. Some even predict they may occupy the void left by LCD Soundsystem. Definitel a band you must experience live to understand.

Two Door Cinema Club 8/10

Following Metronomy's spellbinding performance, the audience was in such a state of frenzy that there was crowd surfing and full tempo dancing during the music played over the PA whilst the hard working roadies set the stage up. I've seen Two Door Cinema club previously at Reading and Coachella Festivals, where I found them enjoyable but underwhelming. They're a straightforward indie rock band, with catchy hooks and an upbeat mood. They are about to take a break from touring to record a second album, and the three new songs they previewed were very much in their customary mould. There's precious little variety of tempo and I found the reliance on pre-recorded synthesiser embellishments disconcerting. Yet, this set was tremendous fun thanks to the energy of the crowd, and a well managed venue, with a mature, hands off approach to management. The celebratory mood really was infectious, and I couldn't help but be caught up in the euphoria. The credit for setting this up must be given to Metronomy, but the Northern Irish group had bounce and commitment, and were aided by the venue's thunderous sound system and top class lighting system. This set, where a competent but not amazing act were lifted by the venue and crowd couldn't have been in greater contrast to the disappointing experience I'd had earlier in the week at The Black Keys' gig. Whilst I might not have the stamina of the young crowd, I do share much of the excitement for music. My first show was almost exactly one year ago, and it occurred to me that some of the teenagers present might be almost as new to this magical artform as I am.

The Black Keys, O2 Apollo Manchester, 7th February 2012 4/10

2012-02-08T10:50:00.000-08:00

El Camino was a late entry in my top albums of 2011 and I’d been assured by several friends that The Black Keys are an amazing live band. In the light of this, my score of 4/10 may raise eyebrows, but this is a personal blog, and it reflects how I felt last night. The skill of the performers and the quality of their music was obscured by other factors, particularly the venue. I’ll say from the outset that I still rate The Keys extremely highly, love their albums, and still recommend that you see them live.

What can make live music such a special experience? One important factor is a sense of engagement, which means that your emotions are affected by the performers and the audience. At the smallest venues, there can be direct interaction, such as Zola Jesus leaping off the stage onto my shoulders, or Wild Flag last week making eye contact with me, in response to the huge smile their music put on my face. At a gig like M83’s, you can observe others dancing or moving their bodies in sympathy with the music, and take pleasure at their happiness. There’s also Adele's model of interaction, where she uses humour and her down to earth personality to chat to a crowd of 3000 people in the same tone as to her friends in the pub. The method of connection most common in classical music concerts, is where the music itself takes you on an intellectual journey of the imagination. PJ Harvey’s amazing show at this very venue had a similar effect on my last year.

Sadly, none of this applied last night. I was seated at the back of a mid sized venue, and far from being able to make eye contact with the performers, for much of the show I was only able to see Patrick Carney, as Dan Auerbach was obscured by an audience member in front. There was a constant stream of standing up and shuffling into seats from people in various stages in the cycle of taking on liquid in the bar and discharging it in the rest rooms. Being in the seated area, there was little sign of dancing. Dan and Patrick said few words between numbers, and perhaps most importantly, the sound was mediocre from my position. Listening to El Camino on the drive home, I realised that a key part of their musical appeal is the bass kick that Carney produces, which could be felt via the subwoofer in my car, but not in the venue. Given that I could see little, was being distracted by audience members who just wanted to get drunk, and that the sound wasn’t great, I would have gained more pleasure and saved money by listening at home (plus my appreciation could have been enhanced by a tipple as there would have been no need to drive).

In the light of all this, the support act Band of Skulls stood little chance. I’ve heard that they too can be stellar live, and at least I had a better view of them than the Black Keys in the not yet full theatre, but musically it was depressing. I’m afraid I’ve found their upcoming album Sweet Sour one of the most uninspiring recent releases. I like the 2009 Baby Darling Doll Face Honey and can only hope this is a mere sophomore slump. There were a few slithers of light in the rare quieter numbers such as Navigate, but it was largely meaningless bombast, marred by Matt Hayward’s (literally) off pitch wailing. Lyrics such as You're Not Pretty But You Got It Going On might give you an idea of the intellectual vacuum at the heart of this album. It is shallow stuff musically too, which might have made some visceral sense in a small basement, but just made me yearn for Portugal. The Man who supported The Black Keys on the continental Europe leg of this tour.

It would be grossly unfair to categorise The Black Keys in the same manner though. Their rise has been remarkable: in a decade they came from an Ohio backwater to sell a million copies of the 2010 Brothers album. El Camino sold 200,000 in the first week alone and their tours has been instant sell outs (which accounts for why I found myself in a terrible seat in my least favourite Manchester venue last night). They were accompanied by two additional musicians for much of the show although the middle part of the set, when they duetted, was even more effective musically. Carney’s drumming is of course incredibly tight, and Auerbach’s bluesy vocals were beyond criticism. The light show was extremely competent too, but it’s the directness of their music which make me hope that I’ll be able to appreciate them more fully at Coachella in April. The highlights were the surprising poppy Gold on the Ceiling, and Lonely Boy at the end of the set. Both are from their latest album, but there was plenty of time in the 90 minute set for them to explore their earlier material too.

I’m sorry if you’ve found this review frustrating, but live music is all about a particular moment in time. Memorable experiences can make your perception of time temporarily stand still or even enter another dimension. Conditions are often most conducive to this in smaller venues, but I had an extended period of magic in a large stadium last summer watching Arcade Fire, and as part of a crowd in the tens of thousands watching The National at Reading Festival. Perhaps the Black Keys’ rapid (and deserved) rise to fame hasn’t allowed them time to think fully consider how they present their show in larger venues, or perhaps it just wasn't my night, but I'm in desperate need of a positive experience to restore my faith in live music.

Top 40 Album and EP Discoveries February 2012

2012-02-07T08:42:00.000-08:00

Happily, the album release schedule has come to life again after the holiday lull, and 2012 is shaping up to be an amazing year for new music. Here are 25 of the albums I've been enjoying since my last update here. There's also 15 EPs (listed at the end of this blog post) including some exciting lesser known up and coming artists, several available for free and legal download.

Top 5 Albums:

Fanfarlo Rooms Filled With Light
First Aid Kit The Lion's Roar
Heartless Bastards Arrow
Memoryhouse The Slideshow Effect
Sharon von Etten Tramp

Favourite EPs:

Daughter The Wild Youth
My Name is You EP
NO Don't Worry You'll be Here Foreever

25 Albums

Ani DiFranco Which Side Are You On (Indie Folk) 6/10
This album is all about the politically radical lyrics; the music is less original but has a wholesome charm, and is beautifully crafted with funky guitar rhythms. It is no less than her seventeenth album, but if you've yet to discover this it's a fine place to start, and is a welcome antidote to the current Lana Del Rey mania.

Bears Greater Lakes (Indie Pop) 7/10
This Cleveland band's third album contains upbeat pop: definitely enjoyable and melodic. The instrumentation has been expanded from their earlier work and includes bells and strings; I could imagine they'd be a fun band to catch at a festival. Despite the wintery cover, these feel like summer tunes to make you smile.

Beat Culture Tokyo Dreamer (Electronic) 6/10
If you like electronic music, there's really no reason not to download this free album, since it's relaxing, atmospheric and lush. It feels uplifting, and the soundscapes generated by this young 17 year old artist are fascinating. Beat Culture isn't on the level of M83, but it's astonishingly well crafted.

Chairlift Something (Electronic Pop) 8/10
Caroline Polachek and Patrick Wimberly have clearly been seduced by an 80's synth sound, but there's a Feist-like darker undercurrent present too. Not all the songs are as strong as Frigid Spring or Turning, but I'm sufficiently intrigued to be seeing them live in April. This is pop is certainly more worthy of your attention than Lana Del Rey's and Polachek's vocals lift it beyond the routine.

Damien Jurado Marappa (Indie Singer Songwriter) 6/10
This Seattle based musician makes extensive use of samples, and this album, produced by Richard Swift, is imaginatively produced. It has an understated feel, and is a slow burner; initially I was unsure about including it in my shortlist, but as you listen more closely, its subtleties reveal themselves. I like the layered effects with he creates with his voice, and the psychedelic reverb.

Fanfarlo Rooms Filled with Light (Indie Pop) 7.5/10
I had a preview of this album at a gig last year: on this first listen, I was unsure, but having had time to absorb the finished article at my leisure, I'm feeling more sympathetic. It's a departure from their folk influenced first album, Reservoir: less obviously catchy, but more imaginative, especially in its instrumentation and use of electronics.

The Features Wilderness (Indie Rock) 6/10
I've come late to this rock album, as it was released last summer. It's full of energy, with catchy songs combining vintage and contemporary sounds. I can imagine that this Nashville band would be tremendous fun live, and their full length album flows well. Standout tracks include Rambo and Big Mama Gonna Whip Us Good. If you like The Strokes, you'll probably enjoy this, but I only give it a 6 because it doesn't really break any new ground, and the price of its coherence is a lack of variety of mood.

First Aid Kit The Lion's Roar (Folk) 9/10
This may be my favourite album so far this year and is simply charming. The young Swedish sisters have been influenced more by country music than on their first album, but the gorgeous vocal harmonies still delight. A highlight is Emmylou, but many of the choruses are beautiful, and this is the sort of album to win over those not usually appreciative of folk. I've already bought a ticket to see them live for a second time.

Foxy Shazam The Church of Rock and Roll (Rock) 7/10
Foxy Shazam always has a wild feel, in part due to Eric Nally's over the top vocals, and this fourth album won't win any awards for subtlety. It's raw and raucous, maybe bombastic, but if you're in the right mood and don't take it too seriously, it's fun. I Like It probably has the greatest appeal, whilst the catchy Holy Touch is guaranteed to irritate the evangelical Christians that it's sending up. Great guitar work too.

Gringo Star Thank Your Lucky Stars (Garage Rock, Power Pop) 7/10
Gringo Star produce classic 60's rock from Atlanta, with a murky vintage sound produced by the Animal Collective's Ben Allen. This tribute to the British Invasion is catchy and energetic, with a warped psychedelic feel. It's their second full length album and even the iTunes download has a vinyl like warmth. Come Alive is a good place to start, as long as you're not allergic to throwbacks.

Heartless Bastards Arrow (Garage Rock) 9/10
This is punchy rock, essential if you enjoy The Black Keys. Erika Wennerstrom's folksy voice contrasts with the hard hitting guitars, and it's draws you into its groove. Contrary to expectations relating to the band's name, I found it emotionally engaging and varied, and the bluesy, rootsy undertones are endearing on tracks like Skin and Bone. It also has punch though, as evidenced by Got to Have Rock and Roll.

The Jealous Sound A Gentle Reminder (Indie Rock) 8.5/10
This LA band create melodic, emotional rock, and have only just come to my attention through their second album, which is a comeback, 8 years after their first. It was produced in the Foo Fighter's studio, and Jealous Sound has opened for them, but has a less aggressive feel, closer to The National in mood than the Foos. Vocalist Blair Shehan is key to their appeal, along with strong guitar playing and a rich production. It's easily one of the strongest releases of 2012 so far, and you can listen to the title track here.

Joseph Arthur Redemption City (Singer Songwriter) 8/10
Joseph is one of my favourite live artists, and since he's generously released this double album for free download from his website, I'd urge you to support him by going to one of his shows. He's a poet and artist as well as a musician, and his politically aware lyrics take centre stage here. Joseph makes creative use of electronics, and loops, and has such a creative mind: songs like Humanity Fade are surprisingly avant garde. Some might see it as sprawling; not me though, I'm relishing getting to know its 24 tracks more intimately. The overriding impression is one of deep, compassionate humanity.

Lana Del Rey Born to Die (Pop) 5/10
Some readers might think I’ve lost my mind by giving this space on my blog. Looked at objectively, it’s not amongst the best so far this year, but neither is it the unmitigated disaster suggested by Lizzie Grant’s recent Saturday Night Live fiasco. The new songs are not on the level of Video Games, and there are several fillers, but the title track, and National Anthem are striking. It would have been wiser to issue an EP at this stage though if commercial considerations hadn’t dictated otherwise. The production is lavish, and the vocals stronger than you may have feared, but even if you ignore the woeful lyrics, you’re left with the wish that all that attention had been focused on more a more fully developed artist.

Leonard Cohen Old Ideas (Folk, Singer Songwriter) 7/10
This album has been compared to Cohen’s classic 1974 New Skin For the Old Ceremony and is said to rank favourably amongst his 11 previous albums from the past 45 years. Not having heard these yet, all I can say is that it conveys a glorious sense of emotional engagement, and Cohen’s gravelly voice is idiomatic: sometimes on the borderline between singing and story telling. He’s a poet, writing about the pains of love, and his music has a timeless quality.

Mark Lanegan Band Blues Funeral (Rock) 8/10
This album is bleak, but don't let that put you off: I love its darkness and that gravelly voice. It manages to be hard hitting without neglecting melody. It's not a short album, and some might find it a little self indulgent, but the production adds interest, electronics adding to a complex texture. Despite the minor keys and downbeat mood, it's not a journey devoid of hope, and I admire Lanegan's confidence in pursing a distinctive path.

Memoryhouse The Slideshow Effect (Dream Pop) 8/10
This imaginative, beautiful debut album is another example of my connection with Canadian music. It's extremely atmospheric and contains folk influences which render the 'dream pop' label a generalisation. The songs were inspired by photographs which can be found here, and there's a yearning quality in the music and a feeling of nostalgia. It's mellow, subtle, and Denise Nouvion's voice is honeyed. Immediately accessible, yet with impressionistic depth.

Pacific UV Weekends (Dream Pop) 7.5/10
This electronic music is highly imaginative and creates an eerie atmosphere. It's been criticised for a move towards new wave in an attempt to court popularity. I'm more interested in the emotional impact of the music than labels, and the subtext here a relationship breakup. It may be a little inconsistent, but they take risks which pay off in tracks like the the closing Unplug Me with its robotic voice and slow pace, gradually fading away.

Perfume Genius Put Your Back N 2 It (Indie Pop) 6/10
This music is undoubtedly beautiful, and totally undeserving of You Tube's censorship of its trailer for exploring gay themes. Michael Hadreas' second album is stripped back in tracks such as Normal Song and the closing Sister Song. It's touching, but it's premature to use the adjective genius: at times it's lacking in variety, and the thin on invention. Definitely worth a listen though.

Porcelain Raft Strange Weekend (Synth Pop) 6.5/10
I caught Italian Mauro Remiddi live recently, and his set was atmospheric but disconnected, the shoegaze influences failing to seize my attention. It’s carefully crafted, and contemplative, more the work of the studio than a live experience. Critical reception has generally been positive, and whilst he makes imaginative use of harmonies, I’ve yet to fall in love with it. There’s no question that I admire its dreaminess though.

Rodrigo y Gabriela Area 52 (Flamenco) 7/10
Here, the legendary Mexican guitar duo is joined by the 13 piece band C.U.B.A, who add drama and colour, but at times obscure the solo virtuosity. It's certainly not a minimalist sound, but will get your foot tapping, with plenty of brass and amazing rhythms. The compositions themselves are reworkings of existing material, which means this album isn't utterly essential, but I've found it much fun.

Sharon von Etten Tramp (Indie Folk) 8/10
Sharon's third album has been seen as representing a greater confidence, a chance for the Brooklyn songwriter to gain greater recognition. She's bolstered by eminent guests from the indie world such as Zach Condon of Beirut and Jenn Wasner of Wye Oak. It remains a highly personal work though, and there's still an understated, confessional air, so this is no sell out. Tramp can be quite bleak, almost vulnerable in moments such as the opening of All I can, but at times a more extrovert side emerges. Anyway, I can't sit on the fence any longer: its depth makes it stand out in this list.

Tribes Baby (Indie Rock) 7/10
This is simple guitar rock, and I'm undecided whether it's too populist and lacking intelligence. Reviews have ranged from NME's euphoria to Downed in Sound's lukewarm praise. I'm tending towards the latter, since it's scarcely original, but they are hotly tipped as one of 2012's British breakout bands, and I've enjoyed Baby enough to justify planning to see them live. I'm afraid you'll have to wait until after that I give my final verdict, but if you like Razorlight, this will definitely give pleasure.

The Weeknd Echoes of Silence (R&B) 7/10
The Canadian Abel Tesfaye is one of 2011 musical success stories: releasing three mix tapes in a year, he's poised for a Coachella appearance, despite having previously performed live only twice. I love his romantic R&B, overlooking some of the seedier lyrics to soak in the atmosphere. The final instalment of the trilogy doesn't match the excitement of the opening House of Balloons, but it would be ridiculous to overlook unless you insist on staying inside a narrow indie folk comfort zone. It's worth the free download for the astonishing Michael Jackson cover D.D. alone, and tracks such as the closing title track, a reverb. soaked ballad, is dripping in atmosphere. It's music of the night, drug soaked but strangely compelling.

White Denim D (Indie Rock) 7/10
This is the Texan Rockers's fourth album, with influences ranging from Latin American to psychedelia, but rooted somewhere in the early 1970's. There's great interplay between the guitarists, and some unexpectedly complex rhythms and more conventional, melodic vocals. White Denim isn't in the Radiohead category of genius or originality, but I do like their willingness to experiment.

15 EPs

Alabama Shakes (Soul) 9/10
Alabama Shakes is hotly tipped to go far this year, and nobody can dispute their authenticity. This quartet from Athens Alabama combine soul, gospel, rock and roll and southern blues timelessly. Their début album will be released in April, but in the mean time there's this short EP, and you can listen online to a Morning Becomes Eclectic session. From this evidence, the excitement they've created is entirely justified as they sound magical, and I will jump at my first chance to experience them live.

Au Palais Tender Mercy (Electronic) 8/10
There's something of the spirit of Zola Jesus in the bass heavy synth undertones and ethereal female vocals, but others have compared this Toronto duo to Austra. It's hypnotic, moody, and atmospheric, and I'm not surprised to read that they record their music at night. My main regret is that there are only four tracks.

Cheyenne Marie Mize We Don't Need (Indie Folk) 8/10
This young artist from Kentucky will surely go a long way. This EP contains quite a mix of styles as she experiments, with a bluesy overtone, but points to remarkable promise. Her first album, Before Lately, is more conventionally folk, and I can't wait to see how this more adventurous exploration takes her. Crucially, she has a strong and beautiful voice.

Daughter The Wild Youth (Experimental Folk) 8/10
This is 21 year old Elena Tonra and her boyfriend Igor Haefeli's second EP in a year, and it's really haunting. Elana's voice is beautiful, and the instrumentation is subtle and delicate, the duo not afraid to use space and sparseness. You can stream the EP on Bandcamp: start with the first song Home. I'm eagerly awaiting their first full length album, due this year, and really must try to catch them live before they start playing large venues.

First Rate People Someone Else Can Make a Work of Art (Indie Pop) 7/10
This five track EP from Toronto is a free download, and sounds danceable, with strong disco beats, with contemporary use of electronics. It's fun, upbeat music with catchy tunes; not likely to make you cry, but that's because it's point is to make you feel happy.

Jessie Frye Fireworks Child (Indie Pop) 6/10
This breezy pop is currently available as a free download from Bandcamp. It's actually the Texas singer's second EP; fresh and youthful, yet with bite. There's an informative interview here. This isn't a masterpiece, and she's undoubtedly been helped considerably by St Vincent's producer John Congleton, but she's worth watching.

Michael Kiwanuka iTunes Festival London 2011 EP (Soul, Blues Folk) 8/10
This soul singer is of Uganda heritage, and has created quite a buzz in the UK, being the BBC Sound of 2012 winner, aided by supporting Adele on her tour. He performs his bluesy soul acoustically, and sounds as if he's from a past era. I've selected this live EP in preference to the two studio EPs, because I'm assured he captivates audiences. His album's due in March, and I forecast huge sales, because Adele and The Civil Wars have shown that the public values authenticity.

My Name is You EP (Indie Pop) 8.5/10
I discovered this EP through a gushing review in the The Owl Mag and this male female duo is utterly charming. Their name is scarcely Google friendly, but don't let this put you off: the instrumentation is gorgeous, it's beautifully produced, and invokes a sense of joy, without being twee. You can sample some of their songs via videos on their blog; after this it should be a simple decision to buy it from iTunes.

NO Don't Worry,You'll be Here Forever (Indie Rock) 8/10
This happily is another EP which you can stream for free and buy for a price of your choice. NO could be criticised for lack of originality, but I can easily forgive them for taking inspiration from The National's emotional rock. I especially enjoy their gift for melody.

Painted Palms Canopy EP (Indie Pop) 7/10
This debut EP contains layered effects and a psychedelic feel, which leads to comparisons with Animal Collective. They’ve raised their profile by opening for of Montreal, although on this evidence they are more accessible and laid back. Painted Palms was formed by two cousins from Louisiana, although they play live as a five piece ensemble. This is well produced, and their pop is invigorating, if lacking the creativity and experimentalism of Panda Bear. Don’t be put off by Pitchfork’s review; you can reach your own opinion by streaming it from Bandcamp.

The Ridges EP (Indie Folk Pop) 8/10
This charming EP was actually recorded in an old mental asylum, which confers a welcome reverberation to the sound. They have a gift for melody, and singer Victor Rasgaitis has a lovely voice, accompanied by mellow instrumentation including cello. They have a recent Daytrotter session, which is very much worth downloading, but I particularly appreciate the added orchestral backing on this EP with dark undercurrents.

Sasha Raskin Only Music (Indie Pop) 7/10
This Israeli musician's EP is another free download. He says "Music saved my life. Whether if you're a musician or not, I guess that in some part it did the same for you."He makes extensive use of electronics, creating an imaginative soundscape with a laid back, spiritual vibe. Beautifully produced and original.

Sea States The Easy Sun (Ambient Pop) 7/10
This is a short 3 track EP, but its companions Sea States and Wintersea States are also available for free download from Bandcamp. The sound is atmospheric, subtle and has a feeling of space. It's music to day dream to, and it's grown on me with repeated listening.

The Staves Mexico EP (Folk) 8/10
I saw the Staves live last year supporting The Civil Wars, and they were delightful: if you enjoy First Aid Kit’s ethereal vocal harmonies, you may want to investigate this EP. The three sisters from Watford make simple yet beautiful folk music which I find uplifting. Whilst the EP has only three tracks, you can get another two free from their website; I’m eagerly awaiting their first full length from the Communion label.

Wilco iTunes Session 2012 (Indie Rock) 7/10
This is supplement to the 2011 album The Whole Love, and doesn't depart radically from that record. Despite this, it's a joy, and the reworking of older songs such as War on War and Passenger Side are fascinating. There's also a great cover of Nick Lowe's Cruel to Be Kind and Jeff Tweedy seems relaxed in the 8 tracks recorded in his Chicago loft. If you're a fan, there's no reason to hesitate.

Near Misses

These albums didn't quite make the cut, but are still enjoyable: White Lies Ritual, Hello Seahorse Lejos No Tan Lejos, Grace Potter and the Nocturnals, Beats Antique Elektrofone, Starfucker Reptilians, Guided by Voices Let's Go Eat The Factory, Givers in Light, Mi and L'au If Beauty is a Crime, Cat Power Jukebox, Sleeper Agent Celebrasion Sleeps, Howler America Give Up, The Active Set 11

Wild Flag, Sound Control Manchester 31st January 2012 9/10

2012-02-01T11:24:00.000-08:00

Peggy Sue from Brighton UK opened at Sound Control with a set taken almost exclusively from their 2011 second album, Acrobats. It was produced by John Parish, PJ Harvey's collaborator, and marks a radical departure from the Mumford and Sons supporting days of their 2010 début Fossils and Other Phantoms. They were technically most accomplished in Manchester, and created an intentionally bleak atmosphere, retaining harmonies from their folk days but losing some playfulness and empathy.

The audience listened to Peggy Sue intently, but there wasn't much sense of engagement: it was more a cerebral than visceral experience (although the drummer created quite a kick). Peggy Sue is in the midst of a transition, and I have to admire their courage, but it failed to fully engage me emotionally. This isn't to deny their talent, and I'll certainly be curious to hear their third album.

Wild Flag's self titled album was on my end of year albums list, and that of many professional critics. After this performance, they will be a contender for 2012's top live acts: it was just as energetic as I'd hoped, with high leg kicks from the start. I've seen many electronic acts recently, but Wild Flag proved not only that guitar rock is not dead, but that it's hard to match the excitement it can generate in a small venue. The whole set was oozing exuberance and fun, and exemplified the extrovert quality that a self effacing Brit like me so admires in the American national character.

This super group was formed in 2010 from ex members of Sleater-Kinney, The Minders and Helium, but they've collaborated previously and have rock and roll embodied in their spirits. Janet Weiss is a brilliant drummer, having played with Bright Eyes, whilst keyboard player Rebecca Cole added some 1960's chords in songs like Future Crimes. Most distinctive though is the interplay between the more restrained vocalist and guitar player Carrie Brownstein and the extrovert, captivating Mary Timony from Portland. They swapped melodic and rhythmic roles, and their songs always seem to be based around their guitar playing.

The band didn't feel the need to engage in much small talk with the audience, but the smiles on their faces were testament to their own enjoyment and desire to work hard to please us. It was in the second half of their set that they added a new dimension to their album. The imaginative, psychedelic single Glass Tambourine was stretched into a jam session, whilst Racehorse brought punk like levels of attack, mind blowing pedal effects, and manoeuvres bringing guitars from the ground to the ceiling. Mary seemed to enter a different zone during this song, becoming entirely focused in its world.

In this recent interview, Janet Weiss acknowledges sexism in the music industry, and says:
People call as soccer moms sometimes. That’s why it’s important for our music to not be timid. We’re showing people that women can be strong, women can be aggressive, women can be many things all at once. There’s a complexity that we’re working towards.

Wild Flag aren't a band merely wanting to put on a display and prove how loud they can play: melody was always at the heart of their compositions. During the early part of the set, I was concerned by the recessed balance of the vocals, which may be attributed to my position at the front of the venue. Either my ears acclimatised, or the problem was addressed later on. The two covers played as encores were on at least as exalted a level as their own material. The final one was the Bobby Freeman / Ramones song Do You Wanna Dance; a video of a performance at another show can be found here.

Earlier on in the evening, Wild Flag played a couple of new songs: the happy news is that they're planning a follow up to the first album. This was a show whose memory will makes me smile for some time, and I overheard countless people on the way out saying 'that was amazing'. Usually, I'm concerned after such joy that my next gig will be an anticlimax, but fortunately I'm seeing The Black Keys next week so should be safe. I'm also really hoping that I will catch Wild Flag again at Coachella even though it's unlikely to eclipse the memory of this night of intimate music making. I'll give Janet Weiss the last few words about this:
I don’t love festivals. I love shows that are small and sweaty. I’m happy we have the chance and to hang out with friends in the desert but, I’m not going to be proud of it like an accomplishment like writing a good song.

M83, HMV Institute Birmingham, 21st January 2012 9/10

2012-01-23T05:24:00.000-08:00

Music has a profound effect on mood, yet equally perception of it can be impacted by your prior state of mind. I'd been intrigued by Porcelain Raft's recently released début album Strange Weekend, and his performance in Birmingham certainly had an intensity, yet it failed to really move me. I questioned whether this could be the fault of the 40 year Italian Mauro Remiddi: I'd spent the 30 minutes before he came on stage failing to secure tickets for a Radiohead gig I desperately wanted to attend with my friends in April. Remiddi has previously written film music, and his sound has elements of dream pop and chillwave. As he sings about love, the sound of electric guitar gradually subsumes the vocals, with the aid of sampler and loop pedals until it envelops you. He's an accomplished performer, and although he says he enjoys improvisation, I didn't feel sufficient spontaneity: I felt as if I was watching a video, disengaged.

When Porcelain Raft finished, had I not travelled so far, I might have gone home to drown my sorrows, as the Radiohead tickets I missed out on had emotional significance for me. But as the lights dimmed, a strange masked figure came on stage, and Intro started to ring out. One of my favourite albums from 2011, Hurry Up, We're Dreaming, had sprung to life, and was suddenly became reality. Except it was thankfully far from my reality: the show took place in a parallel universe, and for 90 blessed minutes, my feelings of disappointment vanished. I'd expected this M83 concert to be full of aural beauty, but not to be such an energetic and overwhelming live experience.

The audience reaction was amazing: the crowd were in a state of ecstasy at this electronic dream pop experience. Hurry Up, We're Dreaming is darker and more ambitious in scale than earlier albums, and although the set ranged widely amongst their material, the absolute highlight for me was Midnight City, when the band was joined by a saxophone and the crowd went wild. In fact, I can unequivocally say that these three minutes were by far my happiest moments of the year so far. Saturdays = Youth was the album which moved M83 further into the mainstream in 2009, being heavily influenced by 1980's music, and Kim & Jessie and We Own the Sky formed important parts of the main set, whilst Skin of The Night and Couleurs comprised the two overwhelming encores.

I hadn't expected lead Anthony Gonzalez to be so extrovert: along with his 3 colleagues, he moved around the stage with real vigour and commitment, and at the end of the main set, briefly crowd surfed. I had an excellent view of keyboard player Morgan Kibby, who was far from passive, as I hope my photographs illustrate. The lighting was stunning, the star-like background appropriate for a band which takes its name from a spiral galaxy. M83 really is an example of an act which adds another dimension to their live show, and the audience reaction was almost on a par with the excitement at Cut Copy gigs. My only regret was that my favourite track from Hurry Up, We're Dreaming, Raconte-Moi Une Histoire, featuring that cut little girl talking about frogs, wasn't performed: perhaps they considered it too challenging to pull off live.

The 1980's were not a happy time for me, or indeed many people in Britain: it was a time of conflict, diverseness and the dominance in public life of intolerant, uncompassionate Conservatism. At this time, I was only listening to classical music, and so I missed experiencing bands such as Ultravox, the like of which have influenced M83. After tonight though, I can imagine how music would have been a counterpoint to the pervasive disharmony at that time: I witnessed a joyous coming together of people, united in their love of music, an illustration of the essential good in humanity. This show can only be described as epic: it was energising, and healing; evidence of my opinion that live music is the most emotionally fulfilling form of entertainment.

Saxophone during City of Light
Setlist
Intro, Teen Angst, Kim & Jessie, Reunion, Sitting, Year One, One UFO, We Own The Sky, Steve McQueen, Wait, This Bright Flash, Claudio Lewis, Midnight City, A Guitar and A Heart.
Encores: Skin of the Night, Couleurs

My first post of 2012 has come so late in January simply because the live music scene in my local Manchester has been frustratingly moribund since the holidays. Fortunately for my sanity, it picks up considerably in February, and April will take me to sunnier climes for the Coachella Festival (featuring M83 amongst many other amazing acts). The new album release schedule has also started to pick up, and I have several recommendations in the pipeline. Note that I've changed my gig camera, and I will be concentrating on still photography rather than video, as this is more in line with my interests and aptitude. Finally, if by some miracle anyone reading this has a spare ticket to Radiohead at Santa Barbara bowl on April 12th, please get in touch: you can @jeremyindie on Twitter or leave a comment on this blog.

Top 50 Albums of 2011

2011-12-21T14:17:00.000-08:00

1) Portugal. The Man In The Mountain, In The Cloud
I often think about life-changing experience of seeing Portugal. The Man live, in a small venue, stood on the front row. That feeling isn't quite captured in this studio recording, but it’s still second only to the Satanic Satanist in my affections. It's the pick of the year because it's given such joy, and never fails to sweep me along in a wave of musical love every time I listen.

2) Bon Iver, Bon Iver
This has the potential to become a classic album: meticulously crafted in a studio, it yields more on each listen, and was very nearly my favourite. It's dominated by the timbre of Justin Vernon's gentle multi-tracked falsetto voice, but the backing instrumentation of strings, synths and percussion is also gorgeous.It's beautifully recorded and produced, and above all, it moves me deeply, leaving me with a serene sense of satisfaction at the end. It's given particular pleasure this year listened to amidst nature on my iPod.

3) Adele 21
Adele's popularity doesn't stop me rating 21 so highly, as her voice is rich, powerful and astonishing. It looks likely that we'll have to wait some time for her next album, but in the mean time, her recently released Albert Hall live album is essential listening for a flavour of the amazing experience of her gigs.

4) Awolnation Megalithic Symphony
The most energising album of the year. I find 'People' and 'Sail' two songs with the most direct emotional impact, and as the title promises, it feels as if it has been conceived as a coherent whole, culminating in Knights of Shame, with its journey through music styles. Above all it rocks.

5) Other Lives Tamer Animals
This album could easily had taken the top position: perhaps it appeals to me so much because of its classical influences. It's subtle and has masterly control of structure across the album, using melody to create tension. There's an almost orchestral sound at times, with a panoramic quality. Above all, it's beautiful, and eventually weaves its way into your soul.

6) Civil Wars Barton Hollow
Joy Williams and John Paul White have the most astounding chemistry on stage and on record. This gentle music is also passionate, and feels timeless and natural. There's obviously a country and folk influence; the instrumentation is sparse; but the singing is exquisite, and it's mournful beauty is so refreshing.

7) Black Keys El Camino
El Camino is a late entry to my 2011 top 50, but I simply cannot resist turning up the volume and rocking out. It's a romp through rock history, direct, and incredibly tightly played. Yes, it's a departure from Brothers, but it's invigorating.

8) Beirut The Rip Tide
The Rip Tide is one of those rare albums which I was convinced was masterly on the first listen, and from about the third track I already knew it would be in my end of year top ten. Zach Condon’s simplified his music language, and it has direct, melodic appeal. There isn’t the rich intricacy of the recent Bon Iver, but there is a spontaneity and joy, together with rich instrumentation and memorable melodies. For me, the standout track is Santa Fe, and any concerns about the album's short length are irrelevant, because you will want to just play it straight through again.

9) Tidelands If
Like the glorious Other Lives, Tidelands make a dreamy, incredibly beautiful sound, with a tinge of melancholy; I absolutely adore this album. The sound is almost orchestral, with flugel horn, guitar, drums, keyboard, violin and cello. Mie Araki is a classically trained percussionist, whilst Gabriel Montana Leis, also from San Francisco, is an accomplished instrumentalist. The compositions have a symphonic quality, and the array of musicians usually produce a gentle sound, but with occasional climaxes of startling discord. Leis' voice is distinctive, the harmonies gorgeous, and it's uplifting and inspiring. This début album deserves to be more widely recognised; if you haven't already heard it you should.

10) PJ Harvey Let England Shake
This an intelligent music, as much about the lyrics as the song writing and has been universally acclaimed by British critics, winning the Mercury Prize and appearing on many end of year lists. I didn't fully appreciate its artistry until I saw it live; now I feel it's strikingly original, even daring, and definitely PJ Harvey's greatest work to date.

11) Antlers Burst Apart
A moody, dreamy album with some of the melancholy of recent Radiohead, although The Antler's harmony and instrumentation is quite different. There's no doubt this is highly sophisticated, intelligent music, which requires time to absorb and understand its subtlety. I've now come not just to admire its creativity, but to love it.

12) The Weeknd House of Balloons
I was initially unconvinced by The Weeknd, but it's become an essential soundtrack to late night drives home from gigs. It's amazing well produced (you can truly feel the bass), and appeals even to non-R&B specialists. The stand out feature for me is Abel Tesfaye's vocals; an astonishing début, and I'm impatient for the delayed third mixtape.

13) M83 Hurry Up We're Dreaming
Anthony Gonzalez takes us on a journey through this expansive double album (each track on first half has a counterpart on the second). It's euphoric, hazy, sometimes 80's tinged electronica, with a yearning, nostalgic quality. The stand-out track is the delightful, hippyish Raconte-Moi Une Histoire, where a cute little girl talks of a frog and 'the biggest group of friends the world has ever seen'. This album absolutely sparkles, and it really is a dream like experience.

14) Lykke Li Wounded Rhymes
Wounded Rhymes is dark, reflecting a relationship break up. The Scandinavian singer's powerful voice conveys vulnerability and longing, with a theme of love and loss. This album's at times ritualistic in feel, with drums and chanting. If you enjoy this, you must make the effort to see Lykke Li live.

15) The Roots Undun
Like Lauryn Hill's classic Miseducation, this is a concept album. Its subject is the downfall of a young man and as inthe film Memento, the story's told backwards from the point of his death. Remarkably, it ends with a pastiche of a classical suite, which has deep meaning in relation to my own musical journey. It's a thought provoking narrative, harrowing but with great beauty, reaching its emotional peak in I Remember. Like El Camino, a late but strong contender for album of the year.

16) Florence Ceremonials
I was initially undecided where to place Ceremonials; but I've judged it on its own merits, not in comparison to Lungs. It's more mainstream, less dark and original than Florence Welch's first album, yet I love its uplifting, anthemic qualities. The production is elaborate, some might say overblown or bombastic, but is lifted by Welch's powerful vocals. At times dangerously lacking in variety of mood, but I can't resist listening to it.

17) Laura Marling A Creature I Don't Know
Laura Marling has moved away from a pure folk style on her third album. Her voice has become darker, and there's a jazz vibe on tracks such as the opener The Muse. The lyrics are astonishingly mature for a 21 year old, often introspective, particularly evident on The Beast, the six minute long dark, emotional centre of the album. I was convinced of the genius of this album on my very first listen, and is depths continue to be revealed after multiple listens.

18) The Rosebuds Loud Planes Fly Low
This is The Rosebud's first album since their divorce, but isn't as full of angst as you'd expect: in fact it can feel laid back. The harmonies and keyboards are beautiful, and Ivan Howard's voice is hypnotic. It's perhaps a late night album, exploring shadows and regrets, cathartic in its gloom. It's also subtle: the emotions lie just below the surface.

19) Feist Metals
Metals has received a mixed reaction, being compared unfavourably to Let it Die, perhaps because it isn't uniformly upbeat, but I rate it highly. It is powerfully direct, emotionally devastating, and that smoky voice is seductive. The opening The Bad in Each Other, about a dysfunctional relationship, immediately seizes your attention, and then the less assertive ballad Graveyard has a more bluesy build up to its climax. The instrumentation is imaginative, with strings, and even though it's meticulously produced it doesn't seem contrived.

20) Active Child You Are All I Can See
This stands out for its sheer beauty of sound, with utterly gorgeous instrumentation including harp. Synths and soaring vocals have a dream like effect, and the album has coherence, as one track flows into another with masterly pacing. Deep, contemplative music and my pick of Chillwave this year.

21) We Are Augustines Rise, Ye Sunken Ships
This melodic rock album deserves more attention. It's singer Brian McCarthy's response to the loss of his brother to drug addiction, and there's certainly an emotional intensity. The production is subtle and intelligent, and I love its sometimes melancholy spirit.

22) Zola Jesus Conatus
The bleakness about Nika Roza Danilova's singing can be disarming. She was operatically trained, and an admirer of industrial music. She combines electronics with strong beats and ethereal singing in a bold, masterly manner; experimental yet focused. It's icy, and dark, but found it mesmerising, even if it's no match for the intensity of her live shows.

23) Wye Oak Civilian
Civilian is subtle and understated with similarities to Beach House in its dreaminess. I love the use of electronics, and the beauty of the sound. Its moody, reminiscent of a deserted moonlit drive, with thoughts entering and leaving your consciousness. Holy Holy is an extrovert track, but on the whole it is introspective. I really started to appreciate it after seeing them live.

24) Dad Rocks Mount Modern
This is a beautiful, joyful creation. The album flows gently and coherently, with Battle Hymn of the Fox Father at its heart. The lyrics are surprisingly hard hitting, and whilst it's easy on the ear initially, when you start to listen more intently you'll discover the layers of instrumentation.

25) Girls Father, Son, Holy Ghost
This male duo from San Francisco has quite a back story: Christopher Owens was brought up as a member of a religious cult. At its heart is the 8 minute Forgiveness, which culminates in a guitar solo, and betrays much pain. Some might find it backward looking, Owens attempting to absorb all at once the musical eras he missed as a child, but for me, it coheres. It's a lengthy album, sometimes self-indulgent, but I can appreciate the reflective, sensitive feel.

26) Rubik Solar
Solar is this Finnish synth pop outfit’s third album. There’s a hint of TV on the Radio and Phoenix, but they create a distinctive sound which stands out from the crowd. It starts with what sounds like a brass band number, and then launches into a melody which makes you want to turn up the volume and dance. Immense fun.

27) Cold War Kids Mine is Yours
The first half stands out, and Royal Blue never fails to put a smile on my face. Some might found it too commercial compared to their earlier work, but it's a solid album. Nathan Willet's vocals are distinctive, there's some great lyrics, and it's catchy and uplifting.

28) Boy and Bear Moonfire
Moonfire will appeal to Mumford's fans, but there is more subtlety and less outright indie rocking. You have to love their melodies and sunny disposition, and you'll have a lot of fun with this music, especially in the more poppy tracks like Milk and Sticks. Boy and Bear deserves wider recognition outside their native Australia.

29) Wild Flag, Wild Flag
This female supergroup has produced an album with joyful rock energy. The stand out for me is the guitar playing and the four part vocal harmonising. In addition, the drumming's vigorous, Cole's keyboard playing is solid and the ensemble tight. There's sufficient variety across its 40 minutes to allow the more intelligent, quirky moments to balance the harder almost punk like rock.

30) Vanaprasta Healthy Geometry
This rocks: Vanaprasta's front man Steve Wilkins creates walls of sound, and is a great vocal lead in this auspicious début. They've been compared to Kings of Leon, but I find Vanaprasta far more intelligent and nuanced. The mood is upbeat, and grabs your attention.

31) Terra Naomi To Know I'm OK
This pop album is the fruit of a Pledge Music Project and is testimony to Terra's ability to reach out to her fans via social media. The first six tracks show the magic of the producer John Alagia to bring these songs to a new dimension. The latter part of the album is more acoustically focussed, and here we can revel in her amazingly pure soprano voice, which the real appeal of Terra for me.

32) Apparat The Devil's Walk
This German electronic album from Sascha Ring has a majestic spaciousness. If you like Sigur Ros or M83 you should listen to Apparat. It's moving, beautiful and cinematic, electronic music with a sad, human heart. There are some similarities with Shoegaze, but tracks like Ash Black Veil have a strong rhythmic quality, and the surprisingly prominent vocals give an intensity to the experience.

33) Caveman Coco Beware
I wasn't surprised to hear that this five piece from New York has opened for Edward Sharpe and The Magnetic Zeros: a 1960's hippy haze pervades this project.Their sound has some similarities to Other Lives, and the instrumentation can be epic sounding. As befits the title, there's tribal drumming, and it has an elemental feeling. The music itself is relatively simple, with repetitive choruses, and has a chilled out vibe as the group jam together.

34) Washed Out Within and Without
This album, along with Active Child's, has helped to convert me to Chilwave, which I'd previously dismissed as background music. Ernest Greene's skill is in embodying a sensual, blissful mood and this is highly atmospheric.

35) St Vincent Strange Mercy
This album was a slight disappointment at first, but it's grown on me as I've delved deeper into it. It's daringly experimental, for example in Northern Lights, which starts off conventionally but becomes a crazy sonic cacophony. Great guitar playing and vocals.

36) Panda Bear Tomboy
Dreamy music, all about lush harmonies and atmosphere. Acres of reverb on the vocals make it feel like you are wallowing in a strange world. It becomes hypnotic, and really does feel original, stretching the possibilities of electronic music making. I miss the light and smoke of the live experience though.

37) Wilco The Whole Love
Here, Jeff Tweedy is in a gentle, lyrical mood, with beautiful melody and harmony in tracks such as Sunloathe. The core of the album is the 12 minute One Sunday Morning: Tweedy's voice is incredibly expressive, and it's touching. If you're a Radiohead fan, the closing Art of Almost is a must listen: it sounds as if Tweedy is an admirer of King of Limbs, but this has an American roots foundation.

38) Radiohead King of Limbs
I'm a Radiohead fan, but many were expecting something more extrovert and longer in duration. I think time will judge it more generously than current critics: Codex is one of the most beautiful Radiohead tracks yet. It would be ludicrous to rate this album is highly as Kid A, but it shows Radiohead are still creative. It demands concentration, lacks hooks, and needs many listens to fully appreciate, but is beautifully constructed.

39) Austra Feel It Break
This Toronto trio are masterly in their chilly intensity with dark, mysterious, hypnotic music. The vocalist Katie Stelmanis is a former opera student, joined by bass player and drummer. I can identify a Philip Glass-style minimalism in the use of repetition, and the singing reminds me more of the church than opera house.

40) Gotye Making Mirrors
Australian musician Walter De Backer's creation manages to combine pop music accessibility with artistic creativity. I found it haunting: its unexpected, imaginative electronic effects and rhythms get under your skin. Somebody That I Used to Know has become a hit single; yet this album works as a whole, and I prefer State of the Art.

41) Fleet Foxes Helplessness Blues
This album isn't a radical departure from their first one, but its beautiful vocal harmonies are just as seductive, and the instrumentation just as gorgeous. I initially wondered if it was fake or contrived, but seeing them live has convinced me of their merit.

42) Jezabels Prisoner
This Australian band have a rhythmically powerful, ambitiously large sound dominated by Hayley Mary's rich voice with an astonishing range of pitch. They create a distinctive, rich harmonies from drums, intricate piano playing and synth, giving an epic quality. They use reverb liberally, creating atmosphere, and if sometimes I'd wish they'd relax a little and breathe, this is a memorable sound and uplifting.

43) Middle East I Want that you are always happy
Middle Easts album is gentle, subtle and daring, making the Australians' recent break up most sad. The opening is dark, even bleak, and it's not afraid to tackle religious topics or be introspective. Much of it is acoustic, and there are striking resemblances to contemporary classic composition. It sometimes sounds like American folk music, but there are also similarities to Other Lives in its subtlety, intelligence and imaginative instrumentation.

44) Grouplove Never Trust a Happy Song
This is a guilty pleasure: it's insubstantial, catchy music which I found a lot of fun. There are plenty of singalong choruses, hand claps, and California sunshine. It doesn't show any real development from their 2010 EP, and I don't detect the depth of Modest Mouse (whom some say has influenced Grouplove's vocals). Yet Never Trust a Happy Song has made this list because it's joyful, collaborative music making.

45) Puscifer Conditions of my Parole
Puscifer is the side project of Maynard James Keenan of Tool, who like Trent Reznor is a true composer. It may surprise Tool fans in being softer, less challenging and less alienating than they expected, but it's still the product of a fertile imagination. The change in mood after the gentle opening of Telling Ghosts is so satisfying. Many tracks lack heavy guitar riffs, and display a more human, tender ambient mood. Keenan shows here that he's can be a master of melody and song writing. Don't be put off by the cover: this has depth.

46) Peter Bjorn and John Gimme Some
Another album which I appreciate infinitely more following a great live experience. It has a simple, direct appeal based on catchy tunes and driving rhythms centred on guitars, bass and drums. The overall effect is of uplifting Swedish pop, not amazingly original, but joyful.

47) SBTRKT
The opening sounds a little like a more avant garde version of King of Limbs; yet this is the product of an anonymous London producer. He's joined by an array of guest vocalists, and the mood's tribal and eclectic; the result difficult to categorise. It's often downbeat, but takes unexpected turns, and the beats and electronic sounds got under my skin. Daring, sometimes uncomfortable, but always arresting.

48) Cut Copy Zonoscope
This album was released to mixed reviews; there's no doubt it's not as strong as In Ghost Colours, but for me it's inextricably linked to amazing live experiences this year. The dance music influence is strong, and songs like Take Me over are undeniably catchy. Strong 1980's influence with plenty of synth.

49) Iron and Wine Kiss Each Other Clean
The standout factor here is the varied and imaginative instrumentation with layered textures. It goes beyond folk and there's a great deal of variety of style between tracks. Sam Beam has a real lyrical talent, and this feels timeless. It's closer to jazz than his earlier work, but still tender.

50) The Infinite Music of French Horn Rebellion
On first listen, I wondered if this was too eclectic to make sense as a cohesive album, but I've become really fond of it. The two brothers from Brooklyn make a gloriously rich sound, and even if it's not perfectly structured, it makes me want to dance. I love the rhythms, the floor shaking bass, and their willingness to experiment and take risks.

My Top 10 Live Acts of 2011

2011-12-19T02:13:00.000-08:00

2011 has been an amazing year of live music for me, which has been literally life changing. Here are my top ten acts; obviously I'm only including performers I've seen this year, so it's not a definitive list, but you should make every effort to see as many of these as possible in 2012. I've included links to my reviews of the shows and to the musicians' web sites.

1) Portugal. The Man

John Gourley's band from Alaska is easily my winner, for their amazing energy on stage; they rocked at the Deaf Institute in November and this is the band I'll be most excited about when the come to the UK again. It was their set at The Roadhouse though in April which really convinced me of the magic of live rock music: it left me high for days.

2) Cut Copy

The audience reaction to Cut Copy in the tent at Coachella was unforgettable. Their show at Manchester's Club Academy lacked that spectacular desert setting, yet it was still the best party of the year, and it's difficult to imagine a live music experience which is more fun.

3) Arcade Fire

The Suburbs is one of my favourite albums, yet live they add another dimension and are spectacularly tight and committed. Their Coachella Suburbs set with those balloons was amazing, but I think their MEN Arena gig had even more impact.

4) The National

The National's set was the highlight of my Reading Festival. I was stood at the front, at sunset, and the songs such as England from High Violet moved me to tears. They were also stellar at Coachella, again performing as the sun went down. They deserve a far higher profile in the UK.

5) Adele

Sadly it's unlikely I'll see Adele in a mid sized venue (Manchester Apollo) again, since despite her protestations to the contrary, she's destined for stadiums in future. That astonishing voice is even more powerful live, and electrifies the air in the theatre. Her personality also shines through: she'd definitely the chattiest and most humorous performer I've seen.

6) The Civil Wars

I was incredibly privileged to see Joy Williams and John Paul White from the front of a tiny venue, The Night and Day Cafe, and their set was utterly magical. The chemistry between the two is quite special, and their songs are tender and beautiful. I selfishly regret that their new found fame means my next encounter with them in March will be in a larger space, especially as they were lost in a sea of audience noise at Manchester's Apollo supporting Adele.

8) Awolnation

This new LA band came as close to Portugal. The Man for sheer raw energy as anyone this year, and songs like Knights of Shame were so invigorating. Aaron Bruno at the Deaf Institute didn't put on the most refined performance, but it was physically exhausting in the best possible way. They rock!

8) Warpaint

The female group from California created one of the most spiritual experiences of the year: they were hypnotic, and I got totally lost in their pounding drums and hazy vocals at the Reading Festival.

9) Zola Jesus

This was the surprise of the year: Zola Jesus is outstanding in understanding the psychology of engagement with the audience. Listening to Contatus at home can in no way prepare you for the seductive moodiness of her live set, experienced by me from the front row of Manchester's Academy 3.

10) Joseph Arthur

I've seen Joseph three times this year: at Coachella as part of Fistful of Mercy; at Bardot in Hollywood (that was a blur, due to my lack of sobriety) and most memorably at Manchester's Band on The Wall. The fact that I was only thwarted in seeing him a forth time by delays in his Visa coming through should speak volumes about how highly I rank him. He's a renaissance man, painting and writing poetry alongside his great creativity as a singer songwriter. Above all, his music is moving, which is surely what the live experience is about.

5 Honourable Mentions: PJ Harvey at The Apollo Manchester, Mumford and Sons (Coachella), Rural Alberta Advantage at the Deaf Institute, Wye Oak at the Ruby Lounge, Naked & Famous during the Dot to Dot Festival.

Slow Club St Philip's Church Salford 15th December 2011 8/10

2011-12-18T08:44:00.000-08:00

Note that this review has also been published on the excellent Manchester Scenewipe web site.

I've seen a number of electronic acts recently, and I have to admit to concern this concert would be low key by comparison. There was no smoke machine or light show, and the cavernous church setting may have been responsible for the audience's initial restraint. Just before the start, I read on Twitter that the Foo Fighters had caused an earthquake in New Zealand; seismic activity seemed implausible here, barring an act of god.

My last gig at an ecclesiastical venue was the mesmerising Panda Bear at Methodist Central Hall. Given that St Philip's Church was freezing, it's fortunate that the Anglicans allow alcohol: we needed the mulled wine. That's not to say that the openers, Manchester folk group Literature Thieves, failed to warm the heart with their charming vocal harmonies. Their naivety reminded me of Stockholm duo First Aid Kit, but Angela, Amy and Cassie are a trio, accompanying themselves with drums, banjo, acoustic guitar and a pink plastic tambourine that they told us cost two pounds. They were self deprecating, professing to nervousness, but their sensitive, tender performance suggests great potential; a group to watch.

Slow Club's opener, Gold Mountain, showcased Rebecca Taylor's soulful voice and her gorgeous vocal blend with Charles Watson: their chemistry was immediately evident. For If We're Still Alive, they were joined by an extra drummer and bass player, and the mood became more up tempo, only to relax again with the sultry jazz influenced Never Look Back. The predominance of numbers from their second album Paradise emphasised how Slow Club has matured since the almost twee Yeah So. Their sound has become more brooding and experimental, fuller and more intense. Rebecca has developed real stage presence: in Where I'm waking she's become quite the sexy pop star, with a sophistication which must have unimaginable when she started playing folk gigs with Charles in Sheffield in 2006.

Slow Club conveyed real joy: not only do they visibly enjoy themselves, but Rebecca seems to smile through her expressive singing. She was chatty between songs, bringing some welcome informality to the intimidating surroundings, acting as a foil to Charles' diffidence. The refreshingly direct lyrics poignantly convey heartbreak and pain. They made dramatic and creative use of percussion, the drama of the drumming enhanced by the spacious acoustic. The party really started though at the end of the main set when the audience finally cast aside their British restraint for Two Cousins. It had a celebratory quality whose spirit reminded me of a Noah and the Whale gig in May.

The highpoint came with the encores, when they performed Home Alone 2, It's Christmas and You're Boring Me, and Christmas TV, which I sensed almost everyone present had been waiting for all evening. We all got up and started dancing in the aisles; it was the most fun I've had in a church. By the final encore Christmas (Baby Please Come Home) I was experiencing the magical ability of the best live music to transform your mood and take you to a better place. Over 70 minutes, Slow Club had taken us on an emotional journey from the despair of Horses Jumping and You Earth or Ash to transcendental joy at the end of a memorable evening.

Click on a photograph to view it full size.

Set list
Gold Mountain
If We're Still Alive
Never Look Back
Only if you're Certain
Everything is New
Beginners
Hackney Marsh
Horses Jumping
Where I'm Waking
You Earth or Ash
Two Cousins
Home Alone 2
It's Christmas and You're Boring Me
Christmas TV
Christmas (Baby Please Come Home)

Top 30 Album Discoveries December 2011

2011-12-14T05:08:00.000-08:00

Here's my final batch of album discoveries for 2011, and it's crammed with riches, 30 albums plus 5 honourable mentions (listed at the end). Don't under any circumstances miss the Black Keys' or The Roots' albums. They are mostly recent releases, with one of two inclusions from 2010. You can find my previous round up here.

Top 5:

Black Keys El Camino
Dad Rocks Mount Modern
Gotye Making Mirrors
Little Dragon Ritual Union
The Roots Undun

Honourable Mentions:

Adele Live at the Royal Albert Hall
EMA Past Life, Martyred Saints
Florence + The Machine Ceremonials
Shearwater Animal Joy
Vanaprasta Healthy Geometry

Top 30 Albums

Adele Live at The Royal Albert Hall (Pop) 9/10

You might think this combined DVD and audio release is pure commercialism, released to capitalise on the Christmas market, and ponder whether it really warrants your attention. Having seen Adele live, I can say that it really does capture the spirit of her shows, and even if you own 19 and 21, I'd urge you to listen to this. She's in fine voice, and the crowd reaction only adds to the atmosphere. In fact I suspect this will become a more regular part of my listening than her studio albums, as the audience reaction makes for a real occasion.

Atlas Sound Parallax (Experimental Rock) 6/10

Atlas Sound is Deerhunter's Bradford Cox's solo project, and this album's been extremely well received by critics. It's intentionally unsettling, with a slightly disconnected feel; the polar opposite of Adele wearing her heart on her sleeve. I admire it greatly, despite occasionally wondering if it's slightly cold and academic. The album has a coherent feel, and whilst it lacks a some bite and drive, I love the complexity and imagination of its layered electronic textures. It's unlikely to prove uplifting if you're in a depressed state of mind though!

Big Black Delta BBDLP1 (Electronic) 8/10

This is an utterly crazy album from LA, full of distorted vocals and zany electronic sounds: I loved it, but I'll understand if you don't get it. It comes from Jonathan Bates of Mellowdrone, who has collaborated with M83, and was initially given away free on the BBD website. The first track makes quite an impact, but the standout is IF*CKINGLOVEYOU (the title makes clear this isn't for the mild mannered). In fact, the music is heavily indebted to the 1980's, and it's full of dark energy; an ideal soundtrack for a late night drive.

Big Tree This New Year (Indie Pop) 6/10

This second album from a New York group who've relocated to California was one blogger's album of the year. I was impressed enough with its subtlety to buy it after streaming it here. It has a relaxed, dreamy feel, and an attractive quirkiness. There's definitely a jazz influence, and a quiet, understated beauty: worth investigating, but not one of the 2011's most memorable albums for me.

Black Keys El Camino (Garage Rock) 9.5/10

El Camino was one of those rare occasions when I was utterly captivated on my first listen, and immediately took to Twitter to urge my friends to hear it. I simply cannot resist turning up the volume and rocking out: this is a late entry in my top 20 albums of the year. I plan to write more about its appeal when I see the Black Keys live in February. I disagree those who are confused by its departure from Brothers, and feel it's too mainstream and direct. That's El Camino's raison d'être: it's a romp through rock history.

Blackout Party Closed Mouths Don't Get Fed (Country Rock) 8/10

This retro album from San Diego is a must for lovers of Dawes. It's so evident that the band are having fun, and you cannot help but get caught up in the atmosphere. If you like catchy tunes and a country vibe, stream or buy the album here and read the Owl Mag's review here. Its very lack of refinement adds to the authenticity, and there's some fantastic instrumental work.

The City and Horses We Will Never Be Discovered (Indie Pop) 7/10

This is catchy pop from New York, with a lo-fi ethos, from a band with reputation for daring music videos. The sound is tight (the unexpected flute accompaniment an indication of its character) and the emotional effect is sunny and upbeat. The appeal is in its directness: it's not the most intellectual music, but is infectious, innocent fun.

Dad Rocks! Mount Modern (Indie Pop) 9/10

This is a beautiful, joyful discovery: if you do nothing else as a result of reading this blog post, go here and take a listen to the title track. It's music which will inspire your creativity, and reaffirm your faith in humankind. The album flows gently and coherently, with Battle Hymn of the Fox Father at its heart. The lyrics are surprisingly hard hitting, and whilst it's easy on the ear initially, when you start to listen more intently you'll discover the layers of instrumentation, sometimes unexpected. If you don't believe me, take a look at this review from Drowned in Sound: it really is a special, heartwarming debut album.

Dead Sara Dead Sara (Hard Rock) 8/10

This is another début album, but it couldn't be more different in feel than Mount Modern. The impact of the opening tracks is shattering, with elements of punk, metal and blues. You might expect it to lack subtlety, but Emily Armstrong's vocals have been power and expressiveness, and there's a real sense of joy. You'll find a video clip and a review from someone lucky enough to have seen the band live in LA here: there are times when only rock will suffice, and this more than satisfies that urge.

Delta Spirit History from Below (Indie Rock) 8/10

This 5 piece band from last year shares not just a hometown of San Diego with Blackout Party, but also their Americana spirit. It's deeply steeped late 60's rock history, re-imagined from West Coast California, with a gloriously spontaneous spirit. It's escapist music, often catchy, with both beautiful ballads and more outgoing tracks. It matters not one bit they are revisiting paths illustriously trod before: that's their appeal.

EMA Past Life Martyred Saints (Experimental) 8/10

I've seen EMA live, opening for Zola Jesus; and whilst this album fails to quite capture the impact and magic of that experience, it's still an imaginative début. Erika M Anderson combines elements of grunge, goth and country with hard hitting lyrics, and yet it retains a sense of humanity. Her background's in folk, but electronics and noise are used cleverly. California's my favourite song, but the seven minute long Grey Ship is strikingly daring, and the cumulative effect is raw and powerful. This has been appearing on end of year lists for very good reason.

First Aid Kit The Big Black and The Blue (Folk) 7/10

This young Swedish duo captured my attention primarily because of their amazing voices, and Fleet Foxes style harmonies. Their album (released last year) is delightful, and whilst the folk melodies are relatively simple, no allowances need to be made for sisters Klara and Johanna’s ages. Perhaps it’s not particularly original, and the range of emotions is limited, but it’s exceptionally calming and gentle music, with those gorgeous vocals.

Florence + The Machine Ceremonials (Pop) 8/10
In the light of Lungs, some have found this to be a disappointment: it's more mainstream, less dark and original. Yet I love its uplifting, anthemic qualities, and it's become part of a small selection of albums which make up my regular listening when I'm not exploring new music. The production is elaborate, some might say overblown or bombastic, and yet its lifted by Welch's powerful vocals and vision. You may already have made your mind up about this, since it's hardly under the radar: music snobs often hate it, and its at times dangerously lacking in variety of mood, but I still love it.

Gotye Making Mirrors (Indie Pop) 8.5/10
Australian musician Walter De Backer's creation manages to combine pop music accessibility with artistic creativity. I found it hauting: the sometimes unexpected, always imaginative electronic effects and rhythms get under your skin. Somebody That I Used to Know has become a hit single; yet this album works as a whole, and I prefer State of the Art. I'm planning to see Gotye live in the new year, so taken am I with Making Mirrors.

Guards EP Indie Rock 7/10

This is 1960's influenced garage rock, full of reverb. It might lack the impact of Black Keys, but I like its dreamy nature. The falsetto voice of Richie Follin adds character, and it's often laid back, despite dark lyrics. Richie's sister is a member of Cults, and there are definitely stylistic similarities. Guards is darker though, and a little edgier. An impressive début.

The Head and the Heart iTunes Session (Indie Folk) 6.5/10

This is a must for Head and the Heart fans, and a great introduction if you missed their first EP. There are two previously unreleased songs, When I Fall Asleep and Ever Since, and alternative versions of five other songs. Some might find their style a little too populist and kitsch Americana (Pitchfolk were notoriously snobbish about them), but they are catchy and enjoyable. They will never be confused with Radiohead for musical originality, but they are undeniably enthusiastic and heart warming.

Kathleen Edwards Voyageur (Indie Folk) 7.5/10
I was impressed with Canadian Kathleen Edwards support for Bon Iver in October and her fourth album will not disappoint those who have already discovered her gentle style. Voyageur was co-produced by Justin Vernon and is deeply felt, with often melancholy themes of troubled love. Whilst it isn't a great departure in style, I sense a great depth than her earlier work, and its understatement conceals an emotional intensity, most evident in the closing For the Record.

Little Dragon Ritual Union (Electronic) 8.5/10
This third album from Sweden has divided critical opinion, but I'm definitely on the side of those who admire its eccentricity and pushing of boundaries. Initially I was unsure, but leaving it on repeat, I've found its R&B inspired beats and minimalism to be hypnotic. Their name comes from the Japanese vocalist, Yukimi Nagano, who exercises exceptional economy in his stripping back of the extraneous. My favourite track is maybe the most daring, Brush The Heat, which is close to experimental, avant garde classical contemporary music. Remarkable.

Nerves Junior As Bright as your Night Light (Electronic Rock) 7.5/10
There's a sense of melancholy about this album that at times recalls Radiohead, and the spirit of Kid A in its use of electronics. At times I found this album disheartening, but it's the product of a fertile imagination, with intricate rhythms, bluesy, distorted guitars and kick drum. I've been in two minds whether to hail it as a masterpiece: it may well merit 10/10 artistically, but I simply haven't enjoyed sufficiently. This band from Louisville Kentucky have to be admired for pushing boundaries, and I may eventually end up loving them. You can stream the album here, but I bought it, since it needs repeated listening to appreciate.

Oh My Darling Sweet Nostalgia (Bluegrass, Folk) 7.5/10
I attended the release show for this album in Winnipeg last month, and really you need to see the four female musicians live to appreciate their fun and spontaneity. It was recorded in a straw house in Manitoba, and is steeped in the bluegrass roots tradition. The banjo, electric bass, fiddle and guitar playing is virtuoso, and their enthusiasm is infectious- it will get your toes tapping.

Over the Rhine The Long Surrender (Folk) 6/10
This is a sultry album, with an intimate, personal feel, made by a husband and wife duo from Ohio, joined by guest musicians. They've been performing for twenty years, and this is no less than their 11th album. I haven't listened to any of their others, but this is a measured, thoughtful album with a gentle beauty, and lovely songcraft. The style combines jazz, folk and even gospel; it's simple and unpretentious.

Quiet Hounds EP (Indie Rock) 6.5/10
This Atlanta band have released their first EP with an air of mystery, letting the music speak for itself with a free download. It's attractive rock, with variety between tracks and a tight sound, maybe not ground breaking, but catchy enough to attract your attention. I'm sufficiently intrigued to want to hear more than these five songs, which a review eloquently described as an 'esoteric mashup hinting at Britpop and '70s psychedelia, with touches of feel-good '80s rock and a dash of Southern charisma'.

The Roots Undun (Hip Hop) 10/10
The Roots have recently created political controversy in their role as house band for Jimmy Fallon's show. I'm no expert in this genre, but like Lauryn Hill's Miseducation, it transcends boundaries and should be irresistible to all lovers of inspired music. It's a concept album inspired by a Sufjan Stevens' song about the downfall of a young man, like the film Memento told backwards from the point of his death. Remarkably, it ends with a pastiche of a classical suite, which has deep meaning in relation to my own musical journey. It's a thought provoking narrative, harrowing but with great beauty, reaching its emotional peak in I Remember. I've heard none of The Roots twelve previous albums, but I've been mesmerized by this unexpected classic.

SBTRKT SBTRKT (Post Dubstep, Future Pop) 8/10
The opening sounds a little like a more avant guard version of King of Limbs; yet this is a cosmopolitan world view, despite being the product of an anonymous London producer. He's joined by an array of guest vocalists, and the mood's tribal and eclectic; the result difficult to categorise. It's often downbeat, but takes unexpected turns, and the beats and electronic sounds got under my skin. It's daring, sometimes uncomfortable, but always arresting.

Shearwater Animal Joy (Indie Rock) 9/10
This Austin band's seventh album isn't officially released until February, but I can tell you it's stellar. It ventures more into rock territory than The Golden Archipelago from 2010. It features Andy Stack of Wye Oak, one of my favourite bands of 2011, but lead Jonathan Meiburg's vocals particularly stand out. It's often profound, dark and dramatic, carefully crafted and revealing its imagination on repeated listening. I'm making plans to see the band live for the first time next year; tracks like You as You Were have something of the epic quality and melodic gift of The National.

Sigur Ros Inni 7/10
This is a substantial double live album from a London show in 2008, and will keep fans (of which I am one) satisfied until new material, which is apparently in the works, is released. It's often slow and expansive, cinematically conjuring up soundscapes. It lacks the usual Sigur Ros string or brass accompaniment, with Joni's remarkable voice soaring above the four piece band. It's surprisingly polished for a live performance, and whilst it doesn't add greatly to the studio recordings, I still cherish this alongside the rest of Jonsi's output.

Small Black Moon Killer (Synth Pop, Dance) 7.5/10
The mixtape moniker signifies that Small Black from Brooklyn combines new material with collaborations with Das Racist, and samples of artists such as The Carpenters and Star Slinger. Two Rivers is incredibly catchy, and danceable, whilst in contrast Clear Blue Skies is dreamier and more ambient in feel. At the time of writing, it's still available for free, legal download. Moon Killer is something of a departure from their début album New Chain, but it flows amazingly well given the disparate sources, and is an immersive experience, with a debt to the 1980's.

Summer Camp Welcome to Condale (Indie Pop) 6/10
This fun album from London was a Pledge Music project and it has a certain innocence.It's no coincidence that the final track is titled 1988, and it makes heavy use of synths. It's been criticised for its retrospection and for the disparate mix of tracks, but I welcome the unpredictability through the album. It's sunny, and not to be taken too seriously: not every British artist has to attempt to emulate PJ Harvey's gravitas.

Valerie Orth Faraway City (Indie Folk, Rock) 7/10
Valerie Orth has influences in world music, jazz and pop, and has an environmental activist background (this article gives an excellent overview of her life). The singer songwriter from San Francisco not surprisingly writes intelligent lyrics, combining lyricism with drive. It's slickly produced, yet always melodic. The writing is mature, subtle but not dry, if occasionally slightly too polite and nice. Ani de Franco is one of her greatest influences.

Vanaprasta Healthy Geometry (Rock) 8/10

I love the energy in this rock album: their front man Steve Wilkins creates walls of sound, and is a great vocal lead in this auspicious début. They've been criticised for their debt to Kings of Leon, but I find Vanaprasta far more intelligent and nuanced. The mood is upbeat, and grabs, giving a vigorous impression of what I'm told is their epic live set. You should check out this Owl Mag review from a exceptionally knowledgeable LA local, and listen to Healthy Geometry instead of wasting your time on Coldplay's deeply mediocre Mylo Xyloto.

Honourable Mentions

Kings Daughters and Sons If Then Not When (Post Rock) 5/10
This is a debut album from experienced musicians, consisting of 8 tracks over 50 minutes. It sprawls a little, and doesn't grab you immediately, but it has a subtle charm, with folk storytelling and beautiful introspection.

Kitty Daisy and Lewis Smoking in Heaven (Blues, Rock and Roll) 5/10
This sophomore album from the young Durham siblings is pure retro R&B, swing and jump blues, and has been recorded using vintage equipment. They inhabit the spirit of the '50's wonderfully from these multi-instrumentalists, and apparently Amy Winehouse was an admirer. It really does swing, and whilst for me it's an occasional album, the nostalgic will love it.

Matthew and the Atlas Kingdom of Your Own (Indie Folk) 8/10
After I selected this EP for inclusion here, I learned that Matthew and the Atlas had split up, and will be continuing only as a solo project. They came to attention through supporting Mumford and Sons, and were signed by the Communion. The promise shown by this EP, and the earlier To The North make me regret the split immensely. It contains new folk elements such as banjo and accordion with tender harmonies and evocative melodies, and is a fine example of the genre.

Said the Whale New Brighton EP Indie Rock 5/10
This Vancouver EP is a mere four tracks, and reflects the city's beauty. It is easy on the ear, sunny and catchy, contemporary yet with roots. I'm pleased I discovered it via The Owl Mag's review, but it's really just a taster in advance of their upcoming album, and the glorious melody on the closing Little Bird makes you crave more.

Those Darlins Screws Get Loose (Country, Garage) 6/10
This Tennessee quartet has a welcome 1960's vibe and a country background; the strongest tracks are the two openers, especially Be Your Bro. This second album's moved towards a poppier direction, with some great hooks, and I'd imagine their live set would be well received at a summer festival. It's high energy, and if occasionally you wish for some relief from the reverb, there's a punky kick, and I'm inclined to give them the benefit of the doubt.

I've enjoyed these albums, although they didn't make the final 35:
Kathryn Calder Bright and Vivid, The Joy Formidable The Big More, Kurt Vile So Outta Reach EP, Tycho Dive, Sabrosa Purr Cocaine EP, Telstar Hot Knives, Charlotte Gainsborough Set Yourself on Fire, Black Box Revelation My Perception, The Antlers Together EP, The Drums Portamento, Andrew Bird Norman, Real Estate Days.

Adam Barnes, Chris Ayer, Matt Simons The Thirsty Scholar Manchester 8th Dec 2011

2011-12-08T11:00:00.000-08:00

I expected to write about my impressions of Lelia Broussard in this Manchester pub last last night. Sadly, this was not to be, since she trapped her hand in the tour van door just before the show and was unable to play her guitar, and felt too shaken to sing. I discovered this young New Yorker on Pledge Music, and I'd urge you to listen to her album Masquerade, and particularly the catchy pop song Satellite. Her style is very American pop: upbeat, light and easy on the ear, and from her brief appearance in a trio during one song, I could sense she has great stage presence and a sweet voice. Sadly, she spent most of the evening nursing her injury with a pint of beer and a glass of ice; I hope there'll be another chance to see her.

I've previously mentioned that you should take risks with live music, and explore alternative scenes, or unfamiliar performers. I hadn't heard any of tonight's other performers before, even on recordings, and they all made beautiful sounds. In some ways I felt as if I was going back in time with the informality of proceedings: people wandered in and out of the bar, some listened; other regulars carried on with their conversations. The idea of sitting reverentially in silence listening to music in concert halls dates back only to the 19th century and the Romantic Movement. In Mozart's time, it was quite normal to chatter, drink, eat and go about your social life whilst a performance was taking place. The sense of relaxed discovery and my complete lack of preconceptions or expectations was so refreshing.

I was particularly moved by Adam Barnes from Oxford, the only British artist here. He is undertaking his first full UK tour, but has previously supported William Fitzsimmons and Slow Club. He describes his music as American style nu folk, and influences including Bon Iver, Frank Turner, Dallas Green and Joshua Radin. He was accompanied by a keyboard player and his acoustic guitar, and his songs are simple and unsophisticated. It was his sensitive delivery and full, expressive voice which really brought his performances to life and captured my attention. He deserves a much higher profile, but part of me will be sorry if he achieves this success, as the magic was for stumbling upon him by accident, in a tiny, intimate venue. I'd urge you to listen to and buy his album Blisters on Bandcamp: if you enjoy acoustic folk music, £5 is an absolute bargain.

Chris Ayer from Virginia is a more established artist: he's released seven albums, and played over 500 shows in the US and UK. He played solo, with guitar, and his influences include Paul Simon, Amos Lee and Jeff Mangum. His style is far more mainstream than Mangum, but he has a great tenor voice, and like Adam Barnes, a tenderness and unforced naturalness in his performance. The intelligent lyrics betray the fact he studied philosophy and music at Stanford, and they are combined with catchy tunes, delivered with confidence and conviction. I find his work at times almost too pleasant and lacking in grit, but this is a matter of personal taste, and no reflection on his talents. My favourite classical music (for example Wagner) is typically heavy and complex. I'm open minded in my explorations of popular music, but my preferences may eventually settle on more challenging material. You can start your discovery of Chris Ayer by listening to this album.

Finally, Matt Simons was the most jazz influenced of these three singer-songwriters. His work has been compared with Gavin Degraw, Ben Folds, Stevie Wonder and John Coltrane, and was distinctive here in his use of piano. He played in duo (and in harmony) with Chris Ayer, and much of his work was catchy and upbeat. He has a degree in jazz saxophone performance, and the songs I found most convincing were laid back and rooted in this jazz tradition. It's definitely worth your time to stream the tracks on his website, and you can even download a free album of covers here. The highlight of his engaging set was a Charlie Chaplin song, Smile.

I've intentionally provided links to music from all the performers, as this review is all about discovery. I'm not deeply immersed in any of them, but my advice if you're read this far is to be adventurous and wide-ranging in your explorations: take risks! If you can't travel regularly to see new music, take solace in the fact that there are advantages to doing so online. The downside of the informal atmosphere in this pub was that some were here just to socialise and drink, not listen. Towards the end of the evening it could be difficult to concentrate on the more subtle aspects of art, but music is more accessible than it has been at any time in human history, and hence the journey can continue at mine, and your, leisure. My last live review before Christmas will be Slow Club; then hopefully I'll be able to provide a long overdue album roundup, along with my end of year lists.

Panda Bear, Methodist Central Hall Manchester, 2nd December 2011 7.5/10

2011-12-04T10:58:00.000-08:00

A friend and fellow blogger has just written about taking a break from live music after a truly transcendent show. These sentiments are relevant to my review, since I found myself standing on the front row for Panda Bear in Manchester still on a high from a remarkable Zola Jesus concert. It's fair to say that whilst this was an unusual and inspiring evening of music making, it didn't quite have the revelatory effect on me that Zola Jesus did.

Panda Bear still created quite an event: on a night when Rihanna had filled a nearby stadium, he attracted hardcore music enthusiasts from far and wide. Pandas are a rare species, and it had been four years since Noah Benjamin Lennox had last played in Manchester. I'd seen him earlier this year at Coachella, as part of an Animal Collective set, but this was my first experience of his solo project. He apparently told the promoters in advance of this gig that he's not likely to return here for at least three years: perhaps it was the thought of setting up the vast array of analogue and electronic equipment which almost filled the stage. Noah's from Baltimore, but moved to Lisbon in 2004 because it was 'a slow moving kind of place'. His art is the type which requires mental preparation: you need to cast aside contemporary life and open your mind to submission to art, in the same way you might approach a modern art gallery.

Religion somehow came to the fore tonight. The event itself was held in a Methodist Church Hall in Manchester, a fine location chosen for its 25 foot screen with a triple projection system. The absence of alcohol there was a reminder of my own non-conformist upbringing: as a son of the manse its influence on my life is inescapable. Noah himself majored in religion at Boston University because of his interest in the 'concept of God'. His singing, bathed in a haze of artificial reverb and natural echo from the large hall at times reminded me of the celebrant's chant at Westminster Cathedral: it was ethereal and timeless.

The support act, Stellar OM Source from the Netherlands gave an insightful interview which eloquently expresses some of my own feelings about great live music, continuing the spiritual theme:

Those feelings of attaining something higher in joy, in the mind, in the body, and climbing and wandering in those zones, transcendental states... I hope people will feel so energized, empowered, transported, and so uplifted by intense esthetic and physical pleasures.

Christelle Gualdi's performance was akin to a DJ set, except that I witnessed her manipulating the music more freely, and her body language spoke volumes of her immersion on the electronic sound worlds she was creating. Her proto-techno, acid house influenced compositions are wholly instrumental; but what was lacking was not so much the voice as the atmosphere of the crowd dancing, and a light show. She's clearly incredibly gifted, but I'd love to hear her work in the context of a rave, not just as a passive witness.

In contrast, my overwhelming impression of Panda Bear's set was sensory overload: it was a hypnotic experience, with stunning visuals and lighting, copious smoke, and a mass of electronic loops, echoey beats and Noah's haunting, indistinct vocals soaring above the space. It was minimalist and repetitive, yet anchored by his profound sense of melody. The intention, and effect, was to place you in an altered state: there was no option but to submit. This was a full on experience, requiring concentration and close attention, rewarding you with real beauty. Much of the set was from his masterly Tomboy album released in April this year, which is more stripped down than 2007's Person Pitch, yet with greater impact and bite. This bear has more bite than a chill wave artist, and gives a more physical experience.

Make no mistake: Panda Bear live is a one-off, must see event, and in this relatively small venue had a more intense effect than Animal Collective on the main stage at Coachella. He was aided by Peter Kember (known as Sonic Boom) who produced Tomboy, but compared to Zola Jesus, I missed a sense of audience engagement. Whereas she interacted in a close and remarkably powerful manner with the crowd, Noah remained in a trance like state, often with his eyes closed at the back of the stage. This made it a more intellectual and less psychologically engaging experience; I was more of an awed observer, and less of a participant. Even so, at times I could barely see through the smoke and strobe lighting, and I closed my eyes, revelling in the magical sonic beauty.

Stellar OM Source (support act)

Videos

EMA, Zola Jesus Manchester Academy 3, 24th November 2011 9.5/10

2011-11-27T09:19:00.000-08:00

I'm writing this the morning after a mesmerising show, emotionally exhausted from an intense, psychological experience. Even if you don't read any further, do consider going to a Zola Jesus gig: I hope that like me, you will be captivated. Her fan base is still relatively small, at least in the UK, but intensely loyal. An informative Wikipedia article describes her music as synthpop, gothic rock, electronic and experimental rock, but in order to understand her appeal you need to look more widely at her persona and performance art.

For once, the support act was well judged: in fact despite not having heard of EMA previously, I now hope to go to one of her headline shows. Erika M Anderson, from South Dakota, has a striking appearance and is an accomplished user of blogs to engage with her fans. EMA blends musical styles: often even within a song there are grunge, goth, and country genres. She's immensely energetic and committed, and deafening noise and whole body vibrating bass combine to create an almost overwhelming experience. As with Zola Jesus, you won't be checking Twitter or thinking about work during her performance: this is all-consuming. Leif Shakelford is a virtuoso electric guitar player and keyboardist, whilst a second guitarist and drummer added to the shattering mix. What I love about this performer is the sense of liberation: she holds nothing back, and despite the dark nature of much of her music, is evidently having fun.

Zola Jesus is sometimes bracketed with Lykke Li (I enjoyed the Scandinavians recent performance in the same venue too), and whilst there are some stylistic similarities, her sound is unique. Nika Roza Danilova chose her provocative stage name to show the futility of religion, and yet she didn't pursue an operatic career owing to battles with stage fright. Her new persona is deeply conceptualised: she's studied philosophy and is an exponent of situtationism where art is represented through one's life and music. Some might say that this elaborate construction serves as protection for her nerves, but happily it has remarkable effects on her performance.

More than anyone else I've seen, Zola Jesus understands engagement with the audience, not by superficially chatting with them (all she said was 'thank-you Manchester') but on a deeper psychological level. By the end of the hour long set I was almost in a trance, absorbed by the almost primeval atmosphere. She achieves this engagement in part by her stagecraft, including amazing use of arm gestures and dancing. She also approaches the very edge of the stage, touches the hands of audience members, and enters the crowd to dance and sing amongst them. Her expression was captivating, and in this small venue, stood right at the front of the stage it was an all-enveloping experience.

The backing band remains anonymous, clad in black and dimly lit. They consist of a drummer and three keyboard players, equipped with Macbooks: this an electronic sound devoid of guitars but no lack of bass. Zola Jesus' voice adds soul and manages to combine power, belying her diminutive stature, with purity and a sense of vulnerability. As you'd expect given her classical training, she is pitch perfect and technically an amazingly consistent vocalist. You could accuse her music of lacking variety: the mood between songs (and between her albums) is similar, yet I feel this is part of her plan. I wished the gig could have continued all night, as I'd almost been hypnotised, and the spell would have been shattered by a mellow acoustic number.

I have go back to the experience I had with Warpaint at The Reading Festival this summer for another performance which was so emotionally powerful, capturing my attention to the total exclusion of all else. The atmosphere was similarly mystical, connecting with the soul at a deep level. I've admired Zola Jesus' recent album Conatus, but it didn't prepare me for the intensity of her live performance: like Portugal. The Man, she's a performer whose recorded work can't really do justice to their talent. It seems appropriate that on Thanksgiving Day, two American performers only added to my gratitude for the exceptional power of music.

Fanfarlo, Manchester Deaf Institute 24th November 2011 6.5/10

2011-11-26T08:04:00.000-08:00

How do you approach new music? I dedicate time to listen to a new album sequentially in its entirety without distractions on my hi-fi. Later, if initial impressions are positive, it will find its way onto my iPod and become part of my fabric of my life. It can take many listens, in different circumstances and moods before I can come to a conclusion about whether I like it. Often music which initially impresses wears badly (whilst Nine Inch Nails proves the opposite can apply). Tonight though, my introduction to Fanfarlo's new album took place live, in a packed Deaf Institute, rather like my very first rock concert when I heard Alex Ebert's Alexander for the first time.

Previously whilst I'd enjoyed Fanfarlo, I felt that Reservoir was a little derivative, and it proved to be one of those albums which dazzled on first listen, but I now return to only occasionally. The word twee certainly won't be associated with their second album, Rooms Filled With Light, to be released at the end of February 2012. Even their old songs sounded unfamiliar tonight, and have been reinterpreted as the group re-invents itself. First though there was the shock of Fanfarlo's chosen support act, the electronic artist Christos Fanaras. The audience completely failed to comprehend his act, being unsettled throughout, which meant circumstances mitigated against connecting with it. This is difficult music, akin to avant garde contemporary classical, yet eventually I was won over by its hypnotic effects, even if this solo electronic performer was reliant on a light show for visual interest.

Fanfarlo justify Fanaras' inclusion as he's one of their recent influences, but it was bold to use the support act to introduce the audience to a whole new genre. Radiohead could pull this off, but Fanfarlo are not established enough to take their fans so far out of their comfort zone. There is logic though: Fanfarlo mentioned Steve Reich as an influence in a BBC Radio interview broadcast just prior to this concert, along with late 1970's artists such as Fleetwood Mac, David Bowie, Talking Heads and Kraftwerk. Neither Noah and the Whale or any other New Folk artists were mentioned, and yet it's inevitable comparisons will be made with their more celebrated fellow Brits.

Last Night on Earth, which I've also seen live, takes Noah and the Whale in a more upbeat direction, whereas Rooms Filled With Light has echoes of more arty New Wave and is more complex to assimilate. They have traded their folksier elements for a moodier, more electronic sound, with a darker feel. This can work stunningly well, for example in the intricate rhythms and counterpoint of Replicate, which opened the gig and can be downloaded for free from the artist's website. Almost inevitably though, it was the older material which got the audience most engaged, and my highlight was the encore The Walls are Coming Down. I admire their new found experimentalism, and they are skilled and engaging live performers, but an energy was missing; perhaps a spiritual sense. Their name comes from the 19th Century French critic Charles de Baudelaire's novella, and was chosen to convey a sense of romanticism. I commend this intellectualism, but there's a hint of British restraint in their performance; perhaps a greater freedom will come as they continue to develop musically.

The jury is still out on Fanfarlo's reinvention for me. I need to listen to the album at my leisure, and perhaps hear it live again when their performances have been honed with the experience of audiences. What isn't in doubt is that the band comprises five accomplished musicians, multi instrumentalists such as Cathy Lucas (violin, keyboards, vocals, but sadly no longer mandolin); Simon Bathazar (who has traded his clarinet for a saxophone); and Leon Beckenman (whose trumpet playing makes me wish Fanfarlo would further embrace jazz influences). However, the excitement of listening to new music for the first time wasn't quite fulfilled. I attribute this partially to the memory of Portugal. The Man's remarkable performance one week earlier in the same venue being so fresh in my mind. You should certainly make the effort to see Fanfarlo, and buy their new album when it's released, but it won't change your life.

Set List

Replicate
Tightrope
Pilots
Digdog
Lenslifes
Comments
Deconstructown
Finish Line
At last
Flood
Lunadogs
Feather dusters
Shiny tintings
Wee willy Wilkins

Portugal. The Man Manchester Deaf Institute November 16th 2011 10/10

2011-11-17T12:06:00.000-08:00

There was never any question whether I'd attend this gig, despite the fact I'd been travelling back from the Arctic for the previous 3 days, and managed only 2 hours sleep on a plane the previous night. I reviewed my first Portugal. The Man concert here, and several months later I often recall that joy. Despite the fact that I've now seen numerous other amazing acts, and attended several festivals, my original judgement stands: this is one of the very finest live experiences.

John Gourley acknowledges in this recent interview that Portugal. The Man has yet to receive widespread recognition in the UK, despite signing to a major label. The happy consequence of others' ignorance was being able to see them in an intimate venue, stood an arm's length from the stage. I've heard rave reports of their new light show in American shows, but here only the Deaf Institute's in house rig was used. Gourley said no more than 'thank-you' and 'we're Portugal. The Man from Alaska and Portland'. No jokes, no gimmicks, no encore; just the band and its fans united by a love of music.

The commitment of all five musicians is remarkable: they gave their absolute all, and it's hard to imagine how they could have physically sustained it for longer than this 65 minute set. Some acts (for example, Bon Iver) add little to their already great albums, but you really have to experience Portugal. The Man live to be hit with an irrepressible force of energy. This manifests itself in both in the instrumentals (tight, drumming, for example, hard hitting guitars), and in the on stage persona of Gourley and his colleagues. Whilst they certainly rock, I found the lyrical moments, such as in 1989 from Censored Colors to be the most moving: I love their vocal harmonising, electric fuzz and irresistibly catchy melodies.

I love the recent album In the Mountain, In The Cloud, but live they have a freer, more improvisatory quality: they have yet to make a recording which fully captures this risk taking. They opened with the incredibly upbeat So American, but the set was also generous in its selections of material from Satanic Satanist, Portugal. The Man's masterpiece. The euphoria peaked with Guns and Dogs and the closing People Say. I was completely sober (having just driven 200 miles) yet by the end of the set, I experienced an amazing high. Everything else was irrelevant: I was living in an idealised version of the present, and was so emotionally engaged that it would've been impossible for any extraneous thoughts to creep into my mind.

The rest of the audience were similarly engaged, but although there was dancing, they didn't go wild as at Cut Copy recently; perhaps mindful of this, John Gourley Tweeted, asking for the crowd at his London gig tonight to be rowdy. Still, it was the first anniversary of the explosion in my musical horizons (a momentous event in my life which occurred due to the generosity of a dear friend), and there couldn't have been a more apt way to mark it than this sublime experience. Like travel, live music allows you to see everyday life from a different perspective: priorities are put into perspective, and it has the power to make those who submit to its emotions more open, tolerant individuals.

Sorry, no video, and it was very low light for available light photography, but I will never use flash at gigs.

Oh My Darling, West End Arts Centre, Winnipeg, 5th November 2011 8/10

2011-11-08T20:12:00.000-08:00

There’s a danger of becoming comfortable with your local music scene: you get to know the venues, places to eat nearby, and which rules can be broken. I’d urge you to take some risks: explore an unfamiliar music scene, go to see a band whose music you haven’t heard before, and try a different genre. Taking my own advice, I found myself making last minute plans to see a roots bluegrass group in Winnipeg, Manitoba, and having far, far more fun than I expected. Indeed for sheer pleasure this exceeded far more illustrious bands I’ve heard in Manchester.

I’m lucky to live within reach of the UK’s second city for live music, after London, and in my arrogance hadn’t imagined somewhere as far flung as Winnipeg could have such a vibrant musical scene. On this Saturday evening, there was a choice of five gigs listed on Songkick, but even though I hadn’t heard them, a Google search showed that Oh My Darling were huge locally (and have just returned from a 60 concert European tour). I took a chance buying a ticket despite not having heard a note of this group.

This was a real event: it seems most of the town, from all age groups, had sold out the West End Arts Centre and much to the excitement of the audience the four piece were joined by a drummer and extra guitarist for this special release show for their second album. A special beer had been brewed for the occasion, and I the sense of anticipation reminded me of waiting to see Adele (whom remarkably the music enthusiast sat next to me on the front row hadn’t heard of, despite attending six shows a week in Winnipeg).

It’s fascinating to compare live music scenes: the atmosphere here was staggeringly relaxed and friendly, with no security guards, and little risk of trouble given that everyone there seems to have known each other for years. Unusually, there was no support act, but two sets by Oh My Darling, separated by an interval. A local musical figure provided an introduction, and the band themselves chattered to the audience between each song. One of the more moving moments was when the lead singer explained that a song they were about to play had come into her head the day after her grandmother passed away, and she regarded it as a gift from her.

Oh My Darling’s sets consisted largely of original songs, written in an old time style: their latest album is titled ‘Sweet Nostalgia’, and they play tribute to past North American music, whilst making it their own. They all sung (very beautifully and characterfully), and played electric bass, fiddle, acoustic guitar and banjo skillfully. They are true musicians, not manufactured celebrities, and utterly inside their folk style, steeped in it to the very core of their existence. All four were beaming with joy throughout the performance, danced, clapped, and go the audience moving. A special mention has to go to the lead vocalist Venessa Kuzina for her voice, charisma and enthusiasm. I went away with a deep sense of satisfaction and joy.

I’ve written before about my belief of music’s deep relationship to place, and Oh My Darling exemplify this. I’ve also written about love of Canada music, and my connection with it. As I travel on a train through the Wilderness of Manitoba I’ve been listening to the eponymous band, and the wide open spaces, hour after hour, relate closely to the relaxation and expansiveness in the music. The magic of this gig lay in the musicianship of the four young ladies, the sense of both continuity and reinvention in the music, and above all the intense pleasure and fun all those present experienced. Oh My Darling is touring Europe in 2012, and I will be seeking them out again.

Lykke Li, Manchester Academy, 31st October 2011 8.5/10

2011-11-01T12:39:00.000-07:00

If this was a formal review site, rather than a personal blog, I'd analyse Lykke Li objectively and state that she puts on an accomplished show, but ultimately is a little limited in her musical range, with an accomplished voice rather than an amazing one like Adele's. However here, I assess live music by whether I wake up the morning after still buzzing with excitement, and whether that elusive, transformational 'magic' was achieved: this show easily passed these subjective criteria.

The evening started beautifully with a support band that I'd eagerly see as head liners: the folk duo First Aid Kit; youthful Swedish sisters. I was struck by the magnetic smile on their faces as they made joyful music, with Fleet Foxes' harmonies and enchanting songs. Their 45 minute set varied between foot tapping folk numbers when they were joined by a drummer, and sweet lullabies accompanied by auto harp. They sung in English, and their sound contained elements of American roots, as well as pop: they really were spell binding.

Reviews of the 2011 album Wounded Rhymes (produced by Bjorn Yttling of Peter, Bjorn and John) have emphasised the stark contrasts between the powerful and vulnerable as she switches between aggressor and victim roles. Instead, I was struck by the unity and coherence of her vision: numbers from the 2008 Youth Novels are more upbeat, but the entire set had a cool, mysterious aura. The sheer intensity and dark mood reminded me of the remarkable PJ Harvey set in Manchester a few weeks ago. Lykke Li also benefited from extensive and imaginative backing: the 5 musicians included drummer, keyboard player, guitarist, backing vocalist, but most strikingly an additional percussionist. Surprisingly, rhythm even more than melody made the greatest musical contribution to the atmosphere.

Almost more important, though, were the visuals: Lykke Li was dressed in black, whilst lighting (and use of darkness) increased the theatricality. Whilst I've gone to the ballet in my past lives for the music alone, in this show, the dancing really did capture my attention. Lykke Li's energy and commitment added to my total absorption in the experience, from a centre front row vantage point. The lead singer of an up and coming Manchester band who was present Tweeted that the music was amazing, but the audience were lethargic. There was some singing along, but the crowd was not whipped up into the frenzy of Cut Copy last week. This is missing the point though: it was a more spiritual experience.

Lykke Li spent time in the Southern California desert, writing songs for Wounded Rhymes, and in this revealing interview wrote about the spirituality of music:
'It's about going inside yourself and then bringing out something. It's such a spiritual thing for me. And very deep. I don't know if you meditate, but if you hit that, kind of unified feel, I feel like that's the same thing when you sing. It's something greater than you. You can take all your longings and go somewhere with it.'
To me, music, and wilderness are the two experiences which help me to make a connection with the world beyond that explained by science. I was reminded of the comments by my friend and musical expert Colette, in her review of a Fiona Apple gig this week, which echo my feelings about great music:
'Not only is her voice impeccable, her presence engaging, and her performance magnificent, she also seems to have a visible, direct connection to. . . if you don’t believe in God, you will.'
Some may have misguidedly found Lykke Li cold last night: she made little attempt to talk to the audience, didn't introduce any of her songs, and her expression was distant. This was more than just professional focus: instead, I really believe that she was in another realm, contemplating the meaning of life.

The evening ended with just one encore, but it was the highlight of the set: Unrequited Love. Wounded Rhymes was written after a relationship breakup, and this was a night of much soul wrenching and great intensity. It's fascinating to speculate where Lykke Li will take her numerous new found fans next: after playing 60 gigs since spring, she's earned some more time in the desert to re-fuel that creativity and continue her deep thoughts. So have I; I'll be taking a short break from live music to spend some time in The Arctic amongst nature, and Lykke Li's albums will be part of my soundtrack to that barren landscape.

The singer herself appealed to the audience near the start to refrain from videoing the gig, but I'm sharing my still photographs.

Cut Copy, Club Academy Manchester, 26th October 2011 9/10

2011-10-27T11:02:00.000-07:00

Over the past year, I've been discovering that life can be fun, and that pleasure is something to celebrate, not feel Protestant non-conformist guilt about. An epitome of my recent process of enlightenment is Cut Copy: I discovered them at Coachella, and memories of the Mojave Tent back in April are still vivid. When I found that the Melbourne electro pop / rock group were coming to Manchester, I cleared my schedule. This Warehouse Project event was intended to be a late night rave, (literally) underground, but the City Council, who've evidently not yet understood the value of fun, denied its licence, and instead it took place in the familiar setting of the University's Academy.

The first half of the set was dominated by the 2011 album Zonoscope, and Take Me Over was particularly upbeat. Cut Copy's masterpiece though is the 2008 In Ghost Colours, and it was during these numbers that the crowd really transitioned into a state of bliss. It can be difficult for electronic acts to match the production values of their albums in concert, but observing Cut Copy at very close quarters from the front rail made me realise that they're a hybrid electronic and rock act, with electric or even acoustic guitars crucial to the mix. The one disappointment of the evening was the vocal balance: from my position, it was recessed, and Dan Whitford's voice sounded surprisingly weak, and slightly off pitch from time to time. In fact, the support band Spector's lead Fred Macpherson was stronger vocally, but whilst he contended professionally with a half empty venue, I felt his colleagues failed to give charismatic backing to match.

By the time Cut Copy came on stage, the hot, compact basement was absolutely packed. Dan Whitford was akin to a conductor, with the audience his orchestra and choir. Without prompting, everyone sang along to the anthemic melodies with all their hearts. The atmosphere was similar to that of a religious revival: we were guided to momentary euphoria by the build and release of the songs, rapt, under the invigorating spell of music. There was minimal talking between songs, aside from the odd instruction to dance; yet this was hardly necessary, as the band's energy was utterly infectious. The highlight was Lights and Music, which whipped the crowd up into a frenzy. The bass was thunderous, but it was not only this which made for a physical experience, but the dancing of the crowd packed closely around me.

This indoor setting was infinitely more mundane than Coachella, and yet the power of this collective musical experience is to transport those who submit to it to another place. Day to day existence is totally shut out, and even afterwards, you're given a new perspective on the world, as if enlightened or spiritually energised. Mundane professional concerns become less of a burden, and you start to ponder more profound issues instead. There was a riot of dancing, jumping, raising of hands and clapping which have made for physical tiredness as I write this; yet more important is the incredible emotional regeneration. Music can indeed be a powerful form of therapy. I hope it's not too idealistic to express the view that the togetherness exhibited here forms an alternate view of the way society could be organised. The expressions on the mostly young faces I saw walking outside betrayed a love and joy which give hope for the future direction of our planet.

I didn't notice anybody taking video footage of this event: it was all about savouring the moment. If you want to understand yourself how Cut Copy can change your life for the better, you'll need to seek them out yourself. Last week, Bon Iver's show was far superior from a dispassionate, technical perspective, yet at that event I was a spectator, not a fundamental part of something amazing, as I was at Cut Copy.

Set List

Bon Iver, Manchester O2 Apollo, 19th October 2011 7.5/10

2011-10-23T06:59:00.000-07:00

Note: click on a picture for a slide show.

This evening could hardly have started more auspiciously: I had the best seat in the house, on the front row near the centre of the stage, and my levels of anticipation were immense, since I was about to hear the first UK performance of one of the year's best albums. I may have written about this venue's hostility to its customers before, but this wasn't going to affect my enjoyment tonight. Before I express my personal feelings, you should note that the UK newspaper with the music coverage I respect most gave this gig a rapturous four star review.

The support act Kathleen Edwards from Ottawa had been unknown to me until I listened to her third album Asking for Flowers in preparation for this concert. She sang sensitively, and played the guitar and violin beautifully. She embodies an air of authenticity and honesty, and her folk-based music set a tender, restful tone (despite the fact certain audience members around me appeared not to be more interested in having a conversation than listening to her). She also talked and sung in Wapusk about the polar habitat of Hudson Bay, an area of close to my heart and subject of my other blog, which led a friend to email me: 'see, you can combine your passions'.

Bon Iver's self titled album had up to this point been a private experience for me: I'd got lost in the music in some amazing natural settings; just me and Justin Vernon. Tonight was anything but intimate: the backing band of nine multi instrumentalists seemed extravagant, as did the lighting rig. We were a long way from that cabin in Wisconsin where the lonesome lament to lost love, For Emma, Forever Ago was recorded. The new album represents a significant departure from such minimalist beauty: with looser song structures, richer textures, and use of electronics. It was meticulously constructed in the studio, and whilst the album still feels like an individual's conception, this was not the case in Manchester.

Tonight was a collaborative project, brilliantly executed (with musicians of the calibre of Colin Stetson), but emotionally closer to a classical orchestral concert than the finest rock gigs. I found myself in complete admiration, but I didn't lose myself; great live music should be liberating, involving, and utterly absorbing. To my surprise, since I prefer his new album, it was the older material which felt more direct, and when I sensed Justin Vernon himself was able to relax more, having shed the responsibility of directing a large ensemble (Re: stacks being the best example of this freedom). He talked to the audience little through the near two hour set, and whilst there was one successful sing-along in What Might Have Been Lost, we sat for the most part still in rapt concentration, detached from those on stage. The standout performance from the new album was Calgary, and it was towards the end that the set really started to come to life, with Skinny Love and Wolves (act I and II).

I talked about Dallas Green's journey in my review earlier this week, and Justin Vernon's also travelled a long way, this folk singer even collaborating with Kayne West on My Beautiful Dark Twisted Fantasy. The new album was released to universal acclaim, but it's a studio creation. Live, too much complexity has been added: I'm pleased for his success, but this tour might actually have benefited from tighter budgetary constraints (sparing us the strobe light show in Creature Fear). Justin Vernon's soulful falsetto voice remains, and the band made a gorgeous, sometimes ethereal swell of sound. But Adele and Arcade Fire have shown me recently that the finest live music experiences can take me well beyond the realm of the comfortable spectator from my past classical concert going life. Bon Iver is still a cause for celebration though: I've a feeling like mine, Justin Vernon's journey has only just started, and I'm excited where it might lead him, and me.

Video was strictly banned, so I'm going to include a couple of audio clips and some extra still photos:
Calgary
For Emma, Forever Ago

City and Colour, Manchester Academy 1, 17th October 2011 8.5/10

2011-10-18T12:24:00.000-07:00

I've endured several dismal support bands in the last few months, and criticised promoters' dearth of imagination, so it's I'm pleased they were more courageous here. Hanni El Khatib might not have been an obvious choice for this gig stylistically, yet his R&B garage soul certainly stirred the rain-soaked Manchester audience to life. Ultimately, although I liked the music, the execution didn't quite come together, especially vocally. He's just released his menacing first album, When The Guns Come Out, and whilst I admire the concept, I don't (currently) think he's mastered live performance. He's still infinitely more interesting than other support acts I've seen in this venue, and I'm pleased I was given the chance to come to my own judgement about this LA artist.

A year ago, I still hadn't listened to any non-classical music. Like me, Dallas (City) Green (Colour) has been on a journey. This hardcore guitarist and vocalist's folk influenced side project gained far more popular appeal than he expected after the release of his debut album Sometimes in 2006. In fact he's come so far that Alexisonfire broke up in August 2011 due to City and Colour becoming all-consuming. His second album Bring Me Your Love is my favourite, and has more varied folk like instrumentation than Sometimes, with instrumentation including harmonica and banjo. I was a little apprehensive about this gig though, since his 2011 release Little Hell was a comparative disappointment, being too soft-centred and middle of the road.

I needn't have worried though. What I'd missed in listening to Little Hell is the direction that the more vigorous numbers signal. To my amazement, since I'd pigeon holed them as mainly acoustic folk artists, Dallas and his four piece backing band can rock, rousing numbers having surprising punch. It feels as if now Alexisonfire has ended, he's bringing some of his punk energy to City and Colour. It also gave the 90 or so minute set variety, and surprise where the calm of a quiet, acoustic opening to a song was suddenly shattered.

I'd heard that Dallas can be very witty on stage, with a wry sense of humour, but this didn't come to the fore in Manchester, and he was less chatty than I expected. That's not to say that he didn't establish a strong rapport with the audience, but this was done through music, and more specifically singing. This was achieved with a combination of spontaneous singing along to choruses and choreographed participation orchestrated by Dallas. He totally commanded the stage, and had the crowd in his hands. He ranged widely through the back catalogue and his new material; one of my highlights was Comin' Home.

The most memorable feature though is Dallas' honeyed voice, which is so lyrical and melodic. It's a mellow yet powerful sound, in which he combines with beautifully crafted tunes and amazing guitar work. I've talked about the impact of the full band, yet the solo acoustic numbers were incredibly haunting and spiritually transcendent. I have a love of Canadian music (and indeed the Canadian landscape), and I've previously loved acts such as Rural Alberta Advantage, Arcade Fire and Braids. On the strength of this live performance, I'm placing City and Colour in the top tier of Canadian music, and you really have to experience Dallas' amazing musicianship live to fully appreciate his talent.

Videos

(note I was stood directly underneath the PA system and there is some bass distortion on the sound, sorry)

Little Hell

Fragile Bird

The Girl

As Much As I Ever Could

Waiting

25 Top Album Discoveries October 2011

2011-10-16T14:36:00.000-07:00

This is another batch of the albums I recommend since my last summary in September.

Top 5:

Apparat The Devil's Walk
Future Islands On The Water
Ohbijou Metal Meets
Puscifer Conditions of My Parole
Zola Jesus Contatus

Honourable mentions: Firehorse And So They Ran Faster, Of Monsters and Men, and Papa A good Woman is Hard to Find (the only reason that wasn't in the top 5 is because it's an EP).

Apparat The Devil's Walk (Electronic) 9/10
This German electronic album from Sascha Ring is one of the strongest releases on this list, with a majestic spaciousness. If you like Sigur Ros, or enjoyed M83 from my last round-up, you must listen to Apparat. It's moving, beautiful and cinematic, electronic music with a sad, human heart. I've found it most effective late at night, or gazing out of the window on a rainy day. There are some similarities with Shoegaze, but tracks like Ash Black Veil have a strong rhythmic quality, and the surprisingly prominent vocals give an intensity to the experience.

Beach Fossils What A Pleasure (Indie Rock, Shoegaze) 5/10

With the growing ranks of bands with coastal related names, I fear the sea may becoming as overcrowded as deer are in indie music. This EP from Brooklyn has a feeling of nostalgia, and a love of reverb, and they make a pretty sound. Yet there's too much surface allure at the expense of depth for me, and there's a danger they will suffer the fate of background music. Whilst it's enjoyable, I think Best Coast have far more drive, and Beach House are more memorable shoe gazers, but for more a positive reaction, see The Owl Mag's review.

Bonnie Prince Billy Wolfroy Goes to Town (Folk, Country) 6/10
This is my first encounter with the prolific and much admired Will Oldham, and I was immediately struck by the stripped down, minimal feel. It has a quiet beauty, deeply steeped in blues and country, and is overwhelmingly mournful and melancholy. Angel Olson's vocal accompaniment is sensitive and tender, and there's an air of almost religious, reverential intensity. Is it too self indulgently spacious though? Some might think that not enough happens, but after several listens I've joined the ranks of Oldham's admirers, since he's just so musical.

Christopher Dallman Light The Love EP (Singer Songwriter) 6.5/10

This is simple music, with a touch of sentimentality, but is sincere and heartfelt. The lyrics are thoughtful, and Dallman's voice is mellow and expressive. He's from Malwaukee, Wisconsin but now based in LA, and there's an informative interview here. Dallman has a gift for melody, and there's although this isn't the most challenging music, it's comforting, honest, and soothing.

City and Horses We Will Never be Discovered (Indie Pop) 7/10

This is a zany, fun record which is creative, catchy and yet somehow unexpected; the cover art is well chosen in this respect. Their ridiculously, gloriously preposterous video is well worth watching too. One of the defining characteristics is the rich array of instrumentation, including flute, saxophone, piano, violin and harmonica, and I can only imagine the fun vibe they must create live. This combination of offbeat charm and jangly pop deserves to have wide appeal.

Dead Man Winter Bright Lights (Country Rock, Americana) 7/10
Dead Man Winter is the side project of the bluegrass group Trampled by Turtles' lead Dave Simonett. Instead of their usual acoustic instruments, we can revel in some rock 'n roll electric guitar, drums and keyboard. The first track, Nicotine, is catchy, and whilst there's nothing revolutionary here, I loved its rootsy feel and memorable melodies. The addition of fiddle is a nod to The Turtles, although the frenetic banjo playing is missing, and it has a more laid back vibe. On first listen, I felt it wouldn't be memorable enough to make this list, but it's here because I've ended up listening and enjoying it far more frequently than I expected.

The Deloreans American Craze (Indie Rock, Power Pop) 8/10

This is a crazy feel good record, which rather than taking you into the future is a retro trip back to the 1950's. It's drenched in reverb (perhaps too much for some tastes), and becomes a little too eclectic after two incredibly strong opening songs. You may well hate this album for being ridiculously over the top, but I found it refreshing. This Louisville group are not to be confused with other outfits with similar names, and hence are not easily Googled.

Dum Dum Girls Only in Dreams (Indie Pop) 6.5/10
This was uncannily reminiscent of Best Coast in places, with throwbacks to the 50's thrown into the mix. All four girls in this LA group sing, and I love the punk-like energy. It's upbeat despite lead singer Kristen Gundred mother's recent death and great fun. It can get a little relentless though, and it's not the most varied album, being effectively one tempo, but it's full of the joy of life and Californian sun.

Firehorse And So They Ran Faster (Indie Electronic) 8/10
It may seem eccentric to include this artist from Brooklyn on my shortlist in preference to Bjork's Biophilia, but I found this more comprehensible. It's been pointed out that she's influenced by Fiona Apple, which is a huge draw in my book. Leah Siegel's voice is seductive and it's one of those albums with depth, gradually seeping into your consciousness. Machette Grand Holiday is the most upbeat, catchy track, but the mood is often more moody and dreamy. This is yet another amazing project which we have Pledgemusic to thank for.

Future Islands On The Water (Synth Pop) 8/10
This album is dominated by lead Samuel Herring's distinctive, somewhat rough voice, and the maritime theme (it was recorded on North Carolina coast). I found it atmospheric, mesmerising, and beautiful, the lush synths contrasting with the vocals. Jenn Wassner from the wonderful Wye Oak sings on the third track, The Great Fire (she's a fellow Baltimore musician). I love this album for the sense of regret and longing, and whilst some criticise the lack of variety, I think this consistency of mood makes for a more coherent, unified vision.

Katie Herzig The Waking Sleep (Indie Pop) 5.5/10

This is a mainstream sounding fourth pop album from a Nashville based artist whose breakthrough was to be asked to write a song for the Sex and the City movie. It makes use of layered electronics as well as violin and cello, but I wondered if it's actually too polished and commercial. Her light soprano voice sings well crafted lyrics, but I sometimes wish for more grit. This is extremely well executed escapism, yet I paradoxically sometimes find that I'm more comforted and inspired by artists who conveys greater pain. There's a well written, more sympathetic review here and despite my reservations I still liked it a lot.

Lisa Hannigan Passenger (Indie Folk) 4/10

This Irish artist came to my attention due to her former professional and romantic collaboration with Damien Rice. There's just enough merit to make this list, but I'm still undecided as to whether it's natural and unforced or has too much of the routine about it. There's a samey quality to the rhythms, but her singing is charming. Hannigan's debut album Sea Sow is stronger, but his will still give pleasure. I just wish it was less studio bound, the chamber arrangements less slick, and above all that Damien Rice himself would release another album!

Little Red Midnight Remember (Indie Pop) 6/10
I'm late to this Australian band: this second album actually came out a year ago, but it sometimes sounds as if it was released in the sixties. It has a catchy, singalong good time vibe, with great harmonies. There are a multitude of influences, including dream pop, The Strokes and even The Beatles. I don't feel they're yet in the front rank, and there are a few mediocre tracks here, but it's feel good music, which would be fun in the afternoon of a summer festival.

Mother Mother Eureka (Indie Rock) 7/10
My love affair with Canadian music continues with this rock band. One review rated this as 'classic': I'd say solid, definitely worth investigating, but not quite a future Arcade Fire. They actually sound pretty mainstream, with little evidence of American roots on what is their third album. It has a generally positive feel and hooks designed to appeal to the mainstream. The electronics add interest to the sound, and the song writing is creative enough to lift this above the crowd, with the strong vocals.

Papa A Good Woman is Hard to Find (Soul, Rock) 8.5/10
This three piece has been formed by the drummer from Girls, Darren Weiss. It fuses elements of Motown soul and punk rock. This is an incredibly strong debut EP, amazingly coherent and fresh, with a great swing, a sunny confidence and a timeless feel. I can't wait for the LP.

Of Monsters and Men My Head is an Animal (Indie Folk) 8/10
This six piece from Iceland have created an absolutely gorgeous debut folk album which deserves attention from Mumford and Sons' fans. There are two lead vocalists and a rich array of instrumentation including acoustic and electric guitars, accordion, drums, piano, and horn. This isn't stripped down, but instead has a celebratory feel, particularly in the stand out track Little Talks. On occasion, the joyous mood and catchy choruses recalls Edward Sharpe, and the feel good factor is almost as high.

Ohbijou Metal Meets (Indie Folk) 9/10
This is actually the Toronto group's third album, but they're new to me. It was written in a remote cabin by the sea and conjures up beautiful emotions: this really is a must listen. The big, symphonic sound is dominated by the delicate vocals of Casey Mecija, coupled with strings, synth and more conventional drums and guitar. It's quite dreamy, and achieves the magic of great music in carrying you along in its sweep and transporting you to a different place. Haunting, with depth, and not afraid to experiment with sound.

Puscifer Conditions of my Parole (Experimental Rock) 9/10
Puscifer is the side project of Maynard James Keenan of Tool, who like Trent Reznor is a true composer. It may surprise Tool fans in being softer, less challenging and less alienating than they expected, but it's still the product of a fertile imagination. There is far more music substance here than on many of the more mainstream pop albums on this list, and a refreshing lack of predictability in the development during songs. The change in mood after the gentle opening of Telling Ghosts is so satisfying. Many tracks lack heavy guitar riffs, and display a more human, tender ambiant mood. Keenan shows here that he's can be a master of melody and song writing. Don't be put off by bafflingly light hearted cover: this has depth.

Rachael Yamagata Chesapeake (Singer Songwriter) 7.5/10
Another strong album fan funded on Pledgemusic, and innovatively the cover was created on an iPhone. Rachael's first solo release was Happenstance in 2004, and this won't disappoint new or existing fans. Her voice is sultry and the production by John Alagia compelling. This isn't pared down acoustic guitar and piano, but is often driven forward with drum beats and an array of instrumentation. I love the blues influence on tracks like Stick Around and the mellow, laid back vibe.

Ryan Adams Ashes and Fire (Indie Folk) 7.5/10
Ashes and Fire contains superbly crafted song writing, and is mellow, pared back, and exceptionally beautiful. I haven't yet had time to explore all 12 albums of Adams' back catalogue yet, but this is seen by many commentators as a return to the form of the classic 2000 Heartbreaker. Perhaps it doesn't bring much new to his style, and it's low key, but I'm happy to enjoy it on its own gentle, reflective terms.

Sara Lowes Back to Creation (Indie Folk) 7.5/10
Like me, Sara Lowes has a classical background, and is from my local area of Manchester. This second album, self released is compelling. It's a mixture of folk, pop and soul influences, with a retro, 1960's feel. Her voice is characterful, and whilst the mood is relatively understated, the sound itself is lovely, with great use of piano and subtle electronics. It lack compositional genius and sufficient variety of mood, but its beautiful execution lifts it well above mediocracy.

Twin Sister In Heaven (Indie Pop) 7/10
This New York quintet's first full length album is diverse in style, dreamy, and clever. There's a somewhat alienated, disconnected quality to this dream pop, created by lead Andrea Estella's surreal voice and the offbeat rhythms. It's eclectic, surreal, and fascinating to listen to. I love the subtlety, and its unhurried feeling. In Heaven definitely rewards repeated listening.

Veronica Falls (Indie Pop) 7/10
There's no doubt I enjoyed this London quartet's debut, and was unworried by assertions in some quarters that it's stereotypical indie pop. Some of themes are dark, even ghostly, but the sound is tight and it isn't depressing. They may sound vaguely familiar, and it might be a one tempo record; but you are drawn in for an enjoyable ride with those jangly guitars and vocal harmonies.

Youth Lagoon Year of Hibernation (Electronic, Dream Pop) 7/10
This is the fruit of 22 year old Trevor Powers from Idaho, his new solo project featuring falsetto vocals and electronic backing. It's certainly beautiful, serene but with an underlying sense of regret and sadness. It uses temporal space effectively, its 8 tracks usually building up gradually. Powers manages to be both dreamy and anxious; chillwave with a dark undercurrent. It doesn't completely cast aside concerns about electronic music's clinical side, but it's a fascinating vision.

Zola Jesus Contatus (Synth Pop) 8.5/10

There's a bleakness about Nika Roza Danilova's singing which is initially disarming. She was operatically trained, and an admirer of industrial music (a combination that actually doesn't surprise me at all) and this project is fascinating and rewarding. She combines electronics with strong beats and ethereal singing in a bold, masterly manner; experimental yet focused. It's icy, and dark, but found it inspiring and if it divides opinion, it's because its so original.

Albums I liked but didn't make my final short list include the following: Weekend Red, VHS or Beta Diamonds or Death, Alessi's Ark Time Travel, Sophie Hunger Monday's Ghost, Lonely Dear Hall Music, High Places Original Colours, James Blake Enough Thunder, Mayer Hawthorne How Do You Do, Scott Matthews What The Night Delivers, Big Troubles Romantic Comedy, Big Harp White Hat, Bjork Biophilia, Radiohead TKOL RMX 1-7, Eleanor Freidberger Last Summer, Marissa Nadler

Joshua Radin, Manchester Academy, 10th October 2011 7/10

2011-10-12T14:35:00.000-07:00

I sometimes write that I’ve been ancipitating a gig for months before hand; however I found myself seeing Joshua Radin almost by accident this week, having bought my ticket for the support act, Joseph Arthur. Scandalously the UK Government delayed Joseph's work visa, so he had to pull out at the last minute. I came fresh to Radin, having listened to one of his albums just a couple of times. However, I love exploration, and there was no question of me passing up the change to hear some live music. Instead, I joined his hard core fans and queued up enthusiastically to get a place on the coveted front rail.

Rosi Golan, the replacement support act, was a well-judged choice: like Radin she sings tenderly about love and relationships, creating a hushed, gentle mood. She is Israeli, but her pop songs are influenced by folk and Americana, and are contemplative, with the most subtle of accompaniments. She coped valiantly and professionally with sound problems and even the fire alarm sounding mid-song. The audience showed no desire to evacuate the building at this stage, and the show carried on, the errant alarm having been silenced.

Radin has worked as an actor, and he was almost as chatty between songs as Adele, clearly seeing it as his mission to engage the audience with humour and observations about his ex-girlfriends. He certainly established a genuine rapport (criticising George Bush and praising Obama will always go down well in Europe). He seemed to appreciate the intimate basement venue, which he described as 'old school'. Had the show taken place in a larger space I fear the magic would have been lost.

The 90 minute set ranged widely through his material, and with some of the more vigorous songs from his 3rd album, The Rock and The Tide making a particularly strong impression. The Danish drummer Frederik Bokkenheuser was a restrained accompanist, yet on the rare occasions when he was able to let rip, the joy on his face was a delight to observe. The audience was remarkably attentive, yet when Radin asked us to participate by clapping or singing along, the crowd came to life. Throughout the musicians were so evidently enjoying themselves.

For me though, the highlights were the new material he played, announced apologetically, and you can see a video of 'Where you belong' below, movingly performed acoustically at the very end of the show. This bodes well for the new album he's recording in January, which he described as 'stripped down', a return to his singer songwriter roots. His strength is in 'whisper rock': gentle, heart-warming simplicity; thoughtful lyrics sung in hushed tones.

This gig came after a difficult 24 hours for me, and I found Radin's music healing. He's been compared to Elliott Smith, but the question for me is whether his melodies are distinctive enough, and whether's there's sufficient variety of mood. He has pop sensibilities, which have succeeded in winning him a large audience, particularly with his second album Simple Times. Is there enough musical creativity, and in seeking wide appeal, does he make too few demands on the listener? He is sincere and I appreciated his hushed magic, but I doubt I’ll be reminiscing about this show in years to come. Radin isn't really a composer, and doesn't take enough risks for my taste. I respect his music making enormously, but ultimately for me it was a little limited in ambition.

Frederik Bokkenheuser

Rosi Golan

Videos

Where You Belong (new song)

I'd Rather be with You

Brand New Day

The Rock and the Tide

Today

Winter

Cloud Control Manchester Deaf Institute 3rd October 2011 3/10

2011-10-04T10:59:00.000-07:00

Cloud Control's début album Bliss Release won the Australian Music Prize, and they've supported bands of the calibre of Deerhunter, Arcade Fire and The Foo Fighters. The Australian music scene is strong at present, and I've been greatly enjoying the likes of Boy and Bear, The Jezabels and Gypsy and The Cat. Furthermore, this gig was at my favourite venue in Manchester, and I described Cloud Control's set at the Reading Festival in August as one of my discoveries of the weekend. So what went wrong?

My last gig from The Civil Wars was utterly sublime, and whilst I'd been spoilt, I wasn't expecting this evening to reach those emotional depths. The first support band though were a train wreck, and at one point, faced with technical problems, it looked unlikely they'd be able to battle through to the end of their set. The capacity crowd had already been kept waiting outside whilst an sound check went on for an hour, and by the time the second support act came on stage, patience was wearing thin. This duo were at least able to string some sort of show together, but weren't able to command attention. Towards the end, the lead singer remonstrated with someone near the front for being disrespectful for texting on their phone during the performance, receiving the inevitable reply that they weren't worth listening to.

The relationship with your audience is so important, and Cloud Control themselves could've done more to gain empathy. Being so late, and delivering a short set (40 minutes plus one encore) at this sold out gig didn't help, but the main issue was that they failed to resolve sound problems during that interminable wait. I noticed complaints about distortion on Twitter after the performance, and this helped to explain why a talented band received a less than rapturous reception. It was ambitious to play Radiohead and Arcade Fire through the PA just before they came on stage, and the atmosphere in the Music Hall failed to come to life.

The musicianship was also frustratingly uneven: if you listen to my video of Ghost Story you will detect real spirit and drive, yet in Death Cloud the singing is flat, and the playing uninvolved and depressing. My overwhelming impression from Cloud Control at Reading was of an upbeat performance with a sense of space, yet here it felt claustrophobic and failed to take flight. I expected my critique to be that it was lyrically simplistic yet catchy and full of hooks, but in fact I would've welcomed more Australian sunshine.

Cloud Control play harder and louder live than on their album, with more fuzz, which in numbers like Gold Canary paid off, but there needs to be solid technique behind it. In music, conveying emotions should be paramount, but the foundations such as pitch need to be in place first. Some have compared Cloud Control to Fleet Foxes due to their use of three and four part vocal harmonies, and the influence of the landscape of The Blue Mountains. Their execution is not as pure as the Seattle group though, and they lack a sense of serenity and feeling of timelessness. Despite this, I know from my experience that they're capable of staging a compelling show, and wonder if they've been touring for too long, and are simply exhausted. They're reported to be working on their second album, and I hope they can get some time away from their new London base to be refreshed by the natural beauty of their homeland.

Videos

Gold Canary

Ghost Story

The Rolling Stone

Death Cloud

The Civil Wars, Night & Day Cafe, Manchester 26th September 2011 9/10

2011-09-27T12:57:00.000-07:00

This magical evening was all aboutmusic in its purest form: two performers with their voices and a guitar; nobacking band, and a keyboard reserved for their signature song Poison andWine. It was also all about the chemistry of the relationship between John Paul White, Joy Williams, and the audience, expressed through music and body movement.The set and sound may be stripped back to the bare essentials, yet it isutterly captivating and all-absorbing. The authenticity of the rapport betweenthese two performers is evident, and it was so obvious they were enjoyingthemselves, believing in the beauty of music with all their hearts. Take at look at some of my videos at the end of this post, and you'll see what I mean.

Joy wore hersignature black dress, and John Paul White a suit, albeit without a tie for this informalsetting, which they described as ‘like performing in someone’s living room'. Theintimacy was a welcome contrast with the first time I saw them,supporting Adele in a 4000 seat theatre. Tonight, about 100 people were crammed intoa small cafe bar, with total hushed concentration. The set, sixty minutesplus two encores, comprised their album Barton Hollow and several covers, whichfar from being fillers, were exquisite. They sing about unrequited love, pain,hardship, grief, laughter, and beauty. Every song is perfectly formed, with the 'swampy' title song and Birds of a Feather (with an unlikely echo of Radiohead in the guitar accompaniment) being especially stirring.

That The Civil Warsshould have found such success in the USA, without major label backing, andwith no gimmicks, is heart-warming. It’s a remarkable achievement for an acoustic act to reach no.1on The Billboard Digital Albums Chart, aided by Poison and Wine's airing onGray’s Anatomy. As with Adele's success, this shows that the public value quality. They’realso testament to the judicious use of social media: their masterstroke was togive away freely for download an early live performance (they also have a free Daytrotter session). You really do need to see them in person though to understand their magic: Joy's dancing is seductive, graceful and sensual, her smile is winning, and she makes eye contact with members of the audience.

The paradox about experiencingThe Civil Wars is that the music is deeply sad, and yet you feel so uplifted afterwards, because the performance conveys such joy. This is in part due tothe humorous interchanges: as they explained, contrary to assumptions,they are not married to each other, yet they the sparks between them are so serendipitous. Joy is flirtatious and playful,whilst John Paul is dry humoured. They met by chance at a song writing sessionin Nashville in 2008, and John Paul’s Southern country roots and Joy’sCalifornian pop background spark off each other to produce somethingmagnetic.

The support act was perfectly judged: The Staves are English, yet a country influence can be heard, and they show a sensitive musicality and create sweet harmonies. They also share The Civil War's gift of chemistry: the three sisters Jessica, Camilla, and Emily from Watford show a deep connection, relying almost exclusively on their voices, with minimal ukulele and guitar accompaniment. They set the mood beautifully for the main act, and I'd urge you to listen to some of their music on Soundcloud (rather than My Space as they suggested). Their first album is in the works, and it's significant that I spotted Joy in the audience, clearly enjoying this gentle folk music.

I cannot agree more with my friend who wrote eloquently about the sense of peace and extreme happiness at a Civil Wars performance: you do indeed cease worrying about time and become liberated from the present. Joy talked about how lucky she felt to have spent the last month in the UK, and sincerely about the importance to them of sharing their music with us Europeans. They so clearly care about their audience, and have enough confidence in the power of music to dispense with all distractions. As Dryden said, 'What passion cannot Music raise and quell?'.

Videos

Barton Hollow

My Father's Father

Birds of a Feather

I've got this Friend

20 Years

Forget Me Not

Poison and Wine (Ending)

The magnetic Joy Williams.

30 Top Album Discoveries September 2011

2011-09-25T04:52:00.000-07:00

Here's my latest round-up of the 30 albums which I've enjoyed most since my previous blog post in August. There's been an explosion of strong new material since the end of the summer and it's been incredibly difficult to decide which to include on this list.

The five essential albums this time are:

Feist Metals
Laura Marling A Creature I Don't Know
M83, Hurry Up, We're Dreaming
Tidelands If
Wilco The Whole Love

AM & Shawn Lee Celestial Electric (Electronic) 6/10
This is laid back, and retro in style, since London based instrumentalist Shawn Lee has a special interest in music made between 1967 and 1973. AM from Los Angeles adds the falsetto vocals in this blend of world music, funk and pop. This collaboration was brought to my attention through the Owl Mag and whilst it doesn't engage and move me as some on this list, you have to admire this album's vibe.

Austra Feel it Break (New Wave) 8/10

This Toronto trio are masterly in their chilly intensity: this is dark, mysterious music; hypnotic. The vocalist Katie Stelmanis is a former opera student, joined by bass player and drummer. I can identify a Philip Glass-style minimalism in the use of repetition, and the singing reminds me more of the church than opera house, but this isn't pretentious art music. Some have compared Stelmanis to Kate Bush, and the Cocteau Twins have been mentioned as influences too, but she creates her own mood. This album was nominated for the Polaris Prize, and whilst The Suburbs deserved to win as an album of the decade, let alone of the year, but this is inspired in its own right.

Blind Pilot We Are The Tide (Indie Folk) 6.5/10

This is a straightforward, direct album, and whilst I admire this simplicity, it could have displayed more variety of style and tempo. I still enjoy Israel Nebeker's strong vocals, very much in the foreground, with backing including dulcimer, banjo and assorted percussion. Above all, I appreciate the beautiful use of melody, and although this album could have showed so much more creativity, it's still an uplifting experience.

Caroline Smith & Good Night Sleeps Little Wind (Indie Folk Pop) 7.5/10

This album has gradually charmed me, in part because of Caroline's seductive, characterful voice, the catchy tunes and joie de vivre. Admirers of Regina Spektor or Feist should investigate this up and coming collaboration from Minneapolis: they're beautiful, with a warm, folksy feel. My favourite track is Calliope, with rootsy influences and energetic accompaniment from The Sleeps. I'm grateful to the 185 backers on Kickstarter project who made the recording possible: the record gets stronger and stronger as it progresses.

Caveman Coco Beware (Indie Folk) 8/10

I wasn't surprised to hear that this five piece from New York has opened for Edward Sharpe and The Magnetic Zeros: a 1960's hippy haze pervades this project. My attention was drawn to this album because a trusted Twitter friend compared their sound to Other Lives, and the instrumentation can be epic sounding. As befits the title, there's tribal drumming, and it has an elemental feeling, and conveys hope. The music itself is relatively simple, with repetitive choruses, and has a chilled out vibe as the group jam together. Be kind to your soul and buy this wholesome debut album.

Clap Your Hands Say Yeah Hysterical (Indie Rock) 8/10
Some might question whether this album is too mainstream, or too influenced by the Killers, but I found it really satisfying from the first listen. Reviews in the British press of this New York band's third album have been inexplicably critical. Perhaps it's overproduced, maybe there could have been more variety, but it's just so listenable. I love the catchy melodies and Alec Ounsworth's vulnerable vocal style.

Destroyer Kaputt (Shoegaze) 7.5/10
This is a highly original album which may divide opinion: I wasn't won over initially but as I've lived with it I've come to admire its dreamy, disconnected quality. The highlight is the atmospheric closer, Bay of Pigs, which conveys a deep sense of sadness and regret. The whole album though is full of lush harmonies, imaginative use of electronic beats, gorgeous female backing vocals and perhaps surprisingly, melodic hooks. This a surprisingly accessible 'art' album, with a sultry feel, despite the climate of Dan Bejar's Vancouver home.

Echorev Find North (Indie Rock) 8/10
Another hidden gem I've unearthed thanks to the discernment of the Owl Mag, whose review you should read. The multi national band claims influences including Neil Young and Andrew Bird. It's an eclectic blend of 80s sound, electro beats and folk, concentrated into a tight 30 odd minute album. There are creative, experimental touches, for example from the German drummer, but this isn't difficult music. It's a great journey, relatively chilled out, with contrasting moods over its eight tracks and lovely singing.

Feist Metals (Indie Pop) 9.5/10
This is one of the year's most exciting releases, and the fourth album from this Broken Social Scene singer doesn't disappoint. It's powerfully direct, emotionally devastating, and that smoky voice is seductive. The opening The Bad in Each Other, about a dysfunctional relationship, immediately seizes your attention, and then the less assertive ballad Graveyard has a more gradual, bluesy build up to its climax. The instrumentation is imaginative, actually not at all stripped back with strings, and even though it's meticulously produced it doesn't seem contrived. This is masterly art, and if you only listen to one new album this month, make it this one.

Gem Club Breakers (Dream Pop) 8/10
There's an affinity with Tidelands' album (reviewed below), or Other Lives, in that this is gentle, beautiful music, with classical influences. The tempo's often slow, the volume muted, and the instrumentation includes piano, cello and horn. It's deliberately understated, melancholy and spare: yet not an academic exercise, as you can relax and wallow in the space it gives you. I discovered this Boston duo through a review in The Owl Mag and I find the music emotionally powerful in its very restraint.

Girls Father, Son, Holy Ghost (Indie Pop) 8/10
This album begins with the jaunty Honey Bunny, but darker emotions are explored as it progresses. This male duo from San Francisco has quite a back story: Christopher Owens was brought up as a member of a religious cult, and I can relate to the sense of regret for a lost youth in this album. At its heart is the 8 minute Forgiveness, which culminates in a guitar solo, and betrays much pain. Some might find it too backward looking, Owens attempting to absorb all at once the musical eras he missed as a child, but for me, it does cohere and has an immediate appeal. It's a lengthy album, sometimes self-indulgent, but I can appreciate the reflective, sensitive feel: 'If you don’t have a little love in your soul, nothing’s gonna get any better'.

Grouplove Never Trust a Happy Song (Indie Pop) 6/10
This is a guilty pleasure: it's insubstantial, catchy music which will probably be ephemeral. I found it a lot of fun though, and it defies the ironic title. There are plenty of singalong choruses, hand claps, and California sunshine. It doesn't show any real development from their 2010 EP, and I don't detect the depth of Modest Mouse (whom some say has influenced Grouplove's vocals). Yet Never Trust a Happy Song has made this list because it's joyful, with a great feeling of happy, innocent collaborative music making.

James & Evander Constellating EP (Synth Pop) 8/10
This short EP from Oakland, California has a melancholy, contemplative feel yet still has an uplifting effect. There are three original tracks and two remixes here, the title track's especially beautiful and yo can stream it here. There's a strong chillwave influence, so it's dreamy, but there are catchy hooks, calm vocals and electro pop beats. I do hope they go on to produce a full length in their new style.

The Jezabels Prisoner (Indie Pop) 7.5/10
This Australian band have a rhythmically powerful, ambitiously large sound, and their first album fulfils the promise of their three previous EPs. It's dominated by Hayley Mary's rich, room filling voice which has an astonishing range of pitch. They create a distinctive, rich harmonies from drums, intricate piano playing and synth, giving an epic quality. They are not afraid to use reverb liberally, creating atmosphere, and if sometimes I'd wish they'd relax a little and breathe, this is a memorable sound and uplifting.

Kevin Devine Between the Concrete and Clouds (Indie Folk Rock) 6/10

I found this album through my interest in Manchester Orchestra: Devine collaborated on their joint side project Bad Books. This is his sixth album, and whilst it's been said that he's absorbed some of Andy Hull's angst, I still find this pretty upbeat. This is relatively mainstream: it doesn't break any boundaries, and I'd often wish for something more demanding to stimulate my intellect. The easy lyricism and natural flow are refreshing, and whilst Hull's Simple Math is more to my taste, some will adore this.

Laura Marling A Creature I Don't Know (Indie Folk) 9/10
It's wonderful to see Laura Marling developing a distinctive style on her third album. She's moved away from a pure folk style, her voice has become a little darker, and there's a jazz vibe on tracks such as the opener The Muse. Her lyrics are astonishingly mature for a 21 year old, often introspective, particularly evident on The Beast, the six minute long dark, emotional centre of the album. I was convinced of the genius of this album on my very first listen, but depths are revealed after multiple listens, and it's one of the stand outs of 2012 for me.

The Leisure Society Into the Murky Water (Indie Pop) 6.5/10
This is a bright, breezy light album: not particularly demanding, but instrumentation including double-bass, violin, cello, flute, mandolin, glockenspiel, drums and maracas adds colour. The Leisure Society has been compared to Belle and Sebastian, but this is folksy British pop centred on jaunty melody. It may well make you smile and relax, and whilst the vocal harmonies and lyrics flow so easily, it's not lacking in intelligence.

Lykke Li iTunes Session (Indie Pop) 7/10
This is a minimalist recording, and a worthy supplement to her 2011 Wounded Rhymes album (which is essential listening and where I'd start with Lykke Li). It consists of a Big Pink cover (Velvet) and some stripped down, acoustic versions of existing songs where she sounds quite vulnerable. There's also an stilted interview: the questioner reads from a script and makes no attempt to engage in conversation.She's a sensitive vocalist with a distinctive timbre, and the spare arrangements here only add to the sense of brooding mystery.

M83 Hurry Up, We're Dreaming (Electronic Shoe Gaze) 9/10
This is my first encounter with Frenchman Anthony Gonzalez, and it's an amazing journey through this expansive double album (each track on first half has a counterpart on the second). It's euphoric, dreamy, sometimes 80's tinged ambient electronica, which I found incredibly beautiful and satisfying. Of course it's full of synths and reverb effects, but there's a real yearning, nostalgic quality. The absolute stand-out track for me is the delightful, hippyish Raconte-Moi Une Histoire, where a cute little girl talks of a frog and 'the biggest group of friends the world has ever seen'. This album absolutely sparkles, and it really is a dream like experience.

Meiko I'm in Love EP (Indie Pop) 7/10
Meiko's a talented singer song writer from Georgia, now based in LA: she creates quirky pop songs, with a wide appeal. Her style's light and easy on the ear, with catchy melodies, and whilst she doesn't break new ground, her voice is charming. I particularly appreciate the simplicity of the two acoustic numbers on this five track EP. The speed with which her latest Pledge Music project broke through its funding target shows her following, and if you can't get hold of this EP, listen to her 2008 self titled album.

Mogwai Earth Division EP (Post Rock) 7/10

This is soft, restrained music with cellos and violins adding warmth to the texture. The Scottish group Mogwai is better known for more raucous material, and this could be seen as soundtrack music: it does have an expansive, cinematic quality. Listen closely though to Does This Aways Happen and you will be moved by the sad emotional intensity. There are only four tracks here, so I'd also strongly recommend buying their 2011 London iTunes Festival EP, which is less gentle but equally thoughtful.

St. Vincent Strange Mercy (Indie Pop) 7/10

I'm a huge admirer the incredibly creative Annie Hall, and Strange Mercy has been almost universally acclaimed in the press. There's something disconcerting about this album, which I'm sure was intentional, but as yet, I haven't yet been able to fully grasp its structure. St Vincent's quirkiness can be refreshing, and I love Cruel, but I feel that she's worked too hard to be experimental here, and has lost sight of the overall picture. I'd start with Actor from 2009, and keep a close watch for her fourth album. A track as original as Northern Lights, which starts off conventionally but becomes a crazy sonic cacophony may convince you she's already at the top of her game, but I think the best is still to come.

Samantha Savage Smith Tough Cookie (Indie Folk) 7/10

This debut album from Calgary has a bluesy, soul feel, but it's Samantha's honeyed voice that demands attention. It feels timeless, with influences as diverse as St Vincent and Billie Holiday, yet her voice combines strength and vulnerability. I was amazed to discover she is only 24 years old and this is a wonderfully natural feeling, relaxed album.

Scattered Trees Sympathy (Indie Pop) 7/10
This is beautiful, reflective music written after Nate Eiseland lost his father. It's the Chicago sextet's second album, but rather than being expressing anger about death, it's shows the maturity and growth which comes out of loss. Some may find the instrumentation rather understated, and the lyrics emotionally draining, but you can't help but admire Nate's subdued and heartfelt vocals. I emerged from the experience with hope rather than depression, and it ends up being more uplifting that you'd expect from the subject matter.

Slow Club Paradise (Indie Folk) 5/10
This is an unassuming, unshowy sophomore album from this Sheffield UK based duo. The vocal duets are charming, and the instrumentation stretches beyond acoustic guitars to include various ramshackle percussion. It's touching, charming, and there's a mixture of catchy songs and more melancholy ballads. A standout track is the 10 minute Horses Jumping; whilst this album isn't going make you look at the world afresh, it's highly recommended for lovers of British folk pop, even if the production is sometimes just too unpolished.

Smith Westerns Dye it Blonde (Indie Rock) 7/10
I saw this Chicago trio live at Reading Festival, and can confirm they are as lively and upbeat a rock 'n roll band in person as on their second album. There's a 1970's feel if course, with great tunes, and a nod to '90's Britpop. Above all you get a feel of a group of young people having fun with guitars, paying tribute to the past yet reinventing for themselves. The standout track is All Die it Young.

Tidelands If (Indie Folk) 9/10
Like the glorious Other Lives, Tidelands make a dreamy, incredibly beautiful sound, with a tinge of melancholy: I absolutely adore this album. The sound is almost orchestral, with flugel horn, guitar, drums, keyboard, violin and cello. Interestingly, Mie Araki is a classically trained percussionist, whilst Gabriel Montana Leis, also from San Francisco, learnt the flugel horn specially for this project. Like Other Lives, there's a cinematic quality to the compositions, and the array of musicians usually produce a gentle sound, there are climaxes of startling discord. Leis' voice is distinctive, the harmonies gorgeous, and the sounds quite different to any other recent release. I found it uplifting and inspiring.

The Weeknd Thursday (R&B) 8/10
Canadian Abel Tesfay emerged from obscurity to create a sensation with his first album, House of Balloons, which I loved and has been endorsed by Drake. Thursday is the second of the trilogy, also available for free download, and it's been claimed it''s suffered from being rush released. I don't think it has the impact of the first album, but it's still tremendously atmospheric, and brilliantly produced. It's music for a late night drive home from a gig along deserted roads, chillingly raw, drawing you into a strange, shadowy world. The stand out track is Life of The Party, but it flow beautifully as an album.

Wilco The Whole Love (Indie Rock, Country) 8/10
Here, Jeff Tweedy is in a gentle, lyrical mood, with beautiful melody and harmony in tracks such as Sunloathe. This is followed by the more upbeat, fun Dawned on Me, which exemplifies the well judged contrasts in this album. I love the American rootsy foundation to their style, and whilst I'm not familiar with their entire back catalogue, I feel this new work compares very favourably to the self-titled album from 2009. The core of the album is the 12 minute One Sunday Morning: Tweedy's voice is incredibly expressive, and it's touching. If you're a Radiohead fan, the closing Art of Almost is a must listen: it sounds as if Tweedy is an admirer of King of Limbs.

Wild Flag Wild Flag (Indie Rock) 8/10

This female supergroup has produced an album with joyful rock energy: it's tremendous fun. The stand out for me is the guitar playing, and the four part vocal harmonising, yet the drumming's vigorous, Cole's keyboard playing solid and the ensemble tight. There's sufficient variety across its 40 minutes to allow the more intelligent, quirky moments to balance the harder almost punk like rock. This may be a new collaboration, but the four musicians' creativity is evident. It's a wild, sometimes ride which can take unexpected turns, and I'd love to experience it live.

Albums I liked but didn't quite make my shortlist include:

Canon Blue Rumspringa, The Albertans New Age, Work Drugs Summer Blood, Bombay Bicycle Club A Different Kind of Fix, Charlie Simpson Young Pilgrim, Big Troubles Worry, Yukon Blonde, John Steel Singers Tangalooma, The Rapture Love, Peter Wolf Crier, Neon Indian Mind Ctrl, Stylus Boy Whole Picture, Ladytron Gravity The Seducer, Super Heavy. Ed Sheeran +, Neon Indian Era Extrana, Tori Amos Night of Hunters, Blitzen Trapper American Goldring, The Rifles Freedom Run, Kyler England Electric Hum, Jake Newton Kill The Past, Tropics Parodia Flare

Adele, Manchester Apollo, 16th September 2011 9/10

2011-09-20T09:54:00.000-07:00

It's fair to say there was considerable anticipation for Adele's gig. I bought my ticket in a pre-sale seven months ago, and had I chosen to sell it in the secondary market, the proceeds would have funded my concert plans until the end of the year. I became anxious after she cancelled the first half of her UK tour due to illness, and so I felt lucky to be in the Manchester Apollo on this autumnal evening.

Unfortunately, the crowd, some of whom had been queuing all day for a prime position, were too excited to listen attentively to the subtle charms of the support acts, and there was a maddening level of background noise. Through this, it was evident that the The Civil Wars has a magical chemistry, and they made tender and moving music. Fortunately I'm seeing them in a small venue in two weeks' time, and plan to write more about them then. Amos Lee also battled valiantly against the unappreciative audience, with a pleasing 30 minute set from his Mission Bell album.

The moment Adele started singing, the auditorium was electrified: it was immediately apparent this was a special vocal talent. The friend who introduced me to Adele, writer of this review, talks of how she could see the sound, and describes her tones dancing around as she sung. It's a contralto voice of remarkably rich sonority, a Stradivarius of singers, and immense natural, unforced power. This instrument is god-given, a talent which has been developed carefully but which Adele was born with, and is almost operatic in the way it fills the space (albeit with the aid of amplification).

When she talks, and she did so at length between songs, I'm reminded of the discontinuity between the lofty musical talents of the Mozart character in Amadeus and the man's vulgar, uncouth manner. This is in no way a criticism, since she's extremely witty and gives the impression of being herself, talking and swearing in a conversational manner, almost as an equal with the audience. This gives rise to empathy as she explains about her broken relationships and nervousness at playing large venues. When she mentioned the sales of 21 recently passing the 10 million mark, she barely seemed to believe herself that she's become a global superstar.

It's so heartening that Adele's achieved this huge and wide popular appeal on the basis of her musical talent: there were no Muse style gimmicks at this show, no costume changes, laser shows or release of balloons. There was an amazing crowd reaction: everyone knew the songs, and Rolling In The Deep in particular inspired a particularly enthusiastic sing along. The highlights of the 90 minute set were the the so moving and sad piano-accompanied Someone Like You, surely her finest creation to date, and the Bonnie Raitt cover I Can't Make You Love Me.

The contrast to PJ Harvey's set a week earlier in the same venue was striking: the Mercury prize winner writes far deeper lyrics, and her compositions are more complex and subtle. PJ Harvey's voice though is weak by comparison, and she relies on backing vocalists. Adele has developed immensely since the album 19 (frankly, I found some of the songs she performed from that album mediocre), but it's the delivery of the material that's so special, not her compositions per se. Adele has recently said that she's planning to spend time in Austin and Nashville whilst working on her next album. This suggests a move away from R&B towards country, and a paring back of her sound. I think her music benefit immensely from the influences she'll encounter in the American South.

If you encounter a person who's cynical about the superficiality of the music industry, all you need to do is cite Adele. In fact, I urge you to try to experience Adele live at least once, since if you ever have pessimistic feelings, you will be able to draw on the memories of a remarkable evening, when you experienced first hand a one in several million talent. Ultimately, Adele's singing makes you feel better about humanity.

Someone Like You

Lovesong (Cover)

I'll be Waiting

I Can't Make You Love Me (Cover)

Awolnation, Manchester Deaf Institute 15th September 2011 9.5/10

2011-09-19T05:07:00.000-07:00

By the third song tonight there was carnage: a broken guitar string, a loose drum kit, and lead singer Aaron Bruno's microphone was held together with duct tape. The UK wasn't quite ready for the remarkable energy and commitment the group from Los Angeles put into their performance. This was Awolnation’s first visit to Manchester, and they put all their body and soul into making this a 'memorable evening' as Aaron’s said at the close. In fact, if you didn't have fun at this gig, there is little hope for you: it was impossible not to be drawn into the party atmosphere.

Megalithic Symphony is Awolnation's first album, but Aaron’s an experienced performer, having previously fronted Under The Influence of Giants and Hometown Hero. His charisma is the key to their live act: he was constantly dancing and moving, the crowd mimicking the moves he made on stage. I was reminded of John Gourley of Portugal The Man: not so much musically as in the energy and sense of unpredictability and danger in the performance. The audience were taking as many photographs of each other dancing as of the band: remarkably, the vibe in this small venue was reminiscent of the vast NME Tent at Reading Festival last month. There were plenty of fist pumps from Bruno and even head banging; it all felt so spontaneous and alive.

The music felt less polished and refined than on the album: sometimes Aaron’s singing could was strained, with an almost death metal shriek, but this just added to the feeling that nothing was being held back. There is undoubtedly strong inspiration from the 1950’s, but with elements of drum and bass, metal, hip hop and electronica. I was reminded of Nine Inch Nails too, but above Awolnation have grown into an amazing rock band. The venue's name is appropriate in the sense that the volume would indeed have been deafening without the benefit of earplugs. The bass was quite remarkable: the floor vibrated strongly and the sound waves could be felt by every molecule in my body.

Awolnation’s best known song is the single Sail, and as an example of glorious unpredictability of this set Aaron left the stage before the end, leaving the other two guitarists, drummer and keyboard player to continue without him. The closing Knights of Shame was the highlight of the 60 minute show, for the way in which it unites so many musical styles, and the extended jam session. Towards the end, at the point of a change of key, Aaron took the drums, still singing, a typically theatrical move. There's quite some variety between numbers, but it's held together with catchy hooks, upbeat lyrics and above all the rock aesthetic.

This was amongst my most memorable concert experiences, despite the exhaustion afterwards from all that dancing. I was at the front of a crowd of about one hundred people, reminded once again what a magical experience live music can be. Clearly, I won't hesitate to see Awolnation again at the first opportunity, but I doubt that they'll be too many more chances to hear them in such a small venue.

Videos

Sail

Kill Your Heros

Dirty Filthy Soul

Brief Instrumental Excerpt from Knights of Shame

PJ Harvey, Manchester Apollo, 8th September 2011 9/10

2011-09-11T11:39:00.000-07:00

PJ Harvey has no desire to live the rock and roll lifestyle. She told a reporter from The Times this week that far from celebrating her unprecedented second victory in the Mercury Prize, she took an early night so she could spend the next morning writing. Her set in Manchester had a minimalist presentation: little on stage action or dancing, subdued lighting, and not a word said by her until the last song, when she introduced her band in the most formal terms imaginable. The all-seated audience was remarkably hushed during the performances, and even though someone shouted 'congratulations' between songs, she refused to acknowledge the win. I didn't see anyone dance: that would have seemed inappropriate, even to those who, due to the absence of a support act, had spent longer in the bar than intended.

I'm seeing Adele in this very venue in a week's time, and the contrast in their approach is striking. PJ Harvey is consciously high brow, boldly stating in her Mercury acceptance speech that she set out to compose for posterity. She says she's influenced by the classical composers Part, Barber and Gorecki, but I see her as part of the tradition of masterly setting of the English language to music stretching back to Purcell in the 17th century and Britten in the 20th. Her voice is less powerful than Adele's; and yet I came to recognise through the set her ability to change its sound to suit the material. It can be ethereal, disturbing, and intentionally not always beautiful during Let England Shake.

PJ Harvey has ignored extant advice about engagement with fans : her first and only Tweet to date was in 2009, and she's said that she only recently acquired a computer, which she users for research only. She's a famously private person, maintaining a mystique around her which was reflected in her almost Victorian appearance: she wore a dark grey gown and leather bodice with an eccentric feather headpiece. She was usually static on stage, strumming her autoharp, or a guitar, and her band worked away studiously in the background, in a compelling aural collaboration, without visual distraction.

Yet, the evening was utterly mesmerising as we were drawn into her rich, vivid imagination; into an eerie, mystical world. Rather like the Edwardian composer Elgar, she evokes a sense of regret for an era which has passed, a yearning for the time before 1914 when war on an industrial scale swept away the innocence of previous generations. The music has mystical folk roots, but is richly orchestrated, with synthesiser creating a tapestry of tantalising timbres, and can sound daring and contemporary. It also has a very British understatement, requiring time and concentration to appreciate.

PJ Harvey's created a demanding piece of conceptual art in Let England Shake with beautifully crafted lyrics. She worked for over two years during 2007 and 2008 studying painters, poets, novelists and film makers' material about war before she even started work on the music. The masterly Battleship Hill imagines impact of life in the trenches, whilst Glorious Land reflects how England was build on countless foreign wars. The album is anti war without being overtly political, a protest through poetry and harmony. The second half of the 90 minute set ranged widely over her back catalogue, with highlights being Dear Darkness and The Pocket Knife; yet just before the encores, she returned to Let England Shake with The Colour of the Earth, a soldier's lament for a fallen friend.

Music and poetry are her chosen channels of communication, and she conjures up soundscapes so evocative that small talk between songs would have shattered the spell. Any anxiety I had beforehand that it would seem contrived & detached proved ill founded. I felt real shock emerging into the reality of the dark, wet Manchester night at the end of this experience after being taken to another plane of consciousness. This feeling of transportation is a sign of truly great live music making, and indeed art.

MP3s
(these were extracted from the video clips I captured, as the visuals weren't clear enough to post).
Clip 1
Clip 2
Clip 3

Set List
Let England Shake
The Words that Maketh Murder
All and Everyone
The Big Guns Called Me Back
Written on the Forehead
In The Dark Places
Dear Darkness
The Glorious Land
The Last Living Rose
England
The Pocket Knife
Bitter Branches
On Battleship Hill
Down by the Water
C'Mon Billy
Hanging in the Wire
The Colour of the Earth
Encores:
The Piano
Angelene
Silence

Beirut, Manchester Academy, 6th September 2011 7/10

2011-09-07T13:56:00.000-07:00

I may have been at a familiar venue, listening to music I know well, but this was radically different in feel from rock gigs: laid back and akin to a jazz band concert. Expectations aroused by the hit Santa Fe were confounded: this wasn't a party, but a showcase for amazing musicianship.

I bought my ticket on the strength of Zach Condon's recent album The Rip Tide, which was my soundtrack to a memorable wilderness adventure this summer. I found Beirut easier to appreciate outdoors by the sea, watching bald eagles fly above me, than stood in a packed Manchester venue. The mediocrity of the support act (whom I won't name) didn't help to transport me: Marcus Mumford has a lot to answer for in spawning a spate of third rate imitators. I'm all for supporting emerging bands in small venues, but as the two thousand strong crowd continued to talk above the music even after appeals from the band, we felt short changed. The fascinating and brilliant Tuneyards are supporting Beirut's London gig next week, so the promoters in Manchester had an imagination deficit.

Condon comes from New Mexico, but chose the name Beirut because he didn't feel part of the Hispanic and first nation culture in Santa Fe, and so felt the need to adopt one of his own. We heard an extensive selection from Gulag Orkestar, influenced by Condon's travels in Eastern Europe listening to Balkan folk music. He recorded all the instruments on that album himself, but now his five collaborators have become an integral part of his world, not just a touring band. The ensemble playing was amazing, giving the sense they've lived in this music for years, and trust each other sufficiently to take risks. This gave a spontaneous, improvisatory quality.

The distinctive timbre's been influenced by chance: Condon finds it too painful to play guitar due to a wrist injury, and so brass with accordion accompaniment dominates the sound. The lack of electric guitar sometimes makes it overly polite (Condon played the ukulele at times), and despite the drummer's enthusiasm, it could be bass light. It was the jazz trumpet playing which really got the audience excited, with spontaneous applause each time they let rip. Beirut also features tuba, trombone and french horn virtuosity.

I'm a former cellist though, and brass bands have never moved me: instead I was most taken with Condon's vocals, particularly on his recent material. He's assimilated and pared down a folk sound to develop a distinctive voice. This new, more direct style works: Condon may have moved away from world music, but hasn't sold out to popularity. Indeed he says he wrote the tune to East Harlem when he was 17, and recently re-discovered it. Still only 25, I'm fascinated to see how Condon develops: he's now mature enough to decide when to use Balkan gypsy instrumentation rather than letting it rip in every song, and has been able to distill the essence of Beirut's spirit into concentrated, short bursts.

The Rip Tide, live or recorded conveys a deep sense of contentment, and whilst this gig didn't match the excitement of Arcade Fire last week, I admired the band's gentle musicality and spirit. It was an experience closer to classical music, being more cerebral than visceral, yet Condon's considerable talent shines through, and I'm excited to explore his future projects.

Videos are prohibited at this venue, and still nervous from my near ejection from a recent Death Cab for Cutie gig here, all I managed was this excerpt from Port of Call.