Bombino, Band on the Wall Manchester, 1st November 2013 9.5/10

At a time when controversy is still raging about our Conservative Government's cynical ploy to send a billboard around London urging immigrants to go home, a reminder of how cultural diversity enriches society feels timely. It's impossible to ignore politics when discussing 33 year old Omara Moctar, aka Bombino, He's a Tuareg, from a nomadic culture spread across the Sahara which tragically fell victim to the fall out from French colonisation. After African countries achieved independence in the 1960's, the traditional Tuareg territory was carved up into modern nation states, leaving them dispersed. Bombino was forced to flea Niger to neighbouring Algeria for safety when he was just 10, later moving to Libya where he worked as a desert herder and musician. He has lived with conflict and instability for most of his life, only returning to his home in Algedez in 2010, when he played a celebratory concert and released an album of that name.

These tumultuous events have deeply influenced Bombino's music, and were explained during a pre-recorded spoken introduction to the performance. He's a virtuoso electric guitar player, learning the instrument as a young man with the aid of Jimi Hendrix and Mark Knopfler videos. This instrument is favoured by the Tuareg for its rebellious nature, and indeed it was banned by the government in Niger for its association with insurgence. In the 1980's, rebel fighters founded the seminal band Tinariwen, which fuses indigenous musical styles. Bombino's music owes much to them, yet with the key difference that he is a leader, not simply part of a collective. The first half hour of the set saw an exploration of the Ishumar style, with Bombino on acoustic guitar and an African drummer joining the bass and drum kit player on stage in traditional robes and turbans. The eastern rhythms were utterly hypnotic, and almost immediately an audience member who must have been 25 years older than me was inspired to dance energetically around the front of the stage.

Yet, with the recent album Nomad, he takes this cultural cross fertilisation further with involvement of the Black Keys' Dan Auerbach as producer. Bomino's intention in broadening his appeal is to bring wider attention to issues of the Sahel region of Africa and so help to fight the injustice there. Any lingering suspicion that he had compromised his musical values was dispelled immediately: this was a experience closer in spirit to jazz than rock. Tuareg music has similarities in sound to the blues with its use of pentatonic modes, but above all it was infused with the spirit of the dance. There were no showy antics from the stage, but the audience moved their bodies throughout, and the spirit was one of overwhelming joy. The music was hypnotic, with long instrumental sections and gentle vocals; it felt as if time had stood still, and that the ensemble was improvising spontaneously. A highlight was Amindinine, but each song deepened the intensity of the atmosphere; the experience felt far freer and and more inventive than the album.

Bombino's guitar playing is incredible for its fast rhythmic hammering and virtuosity, but the instrument was not employed for aggression, despite its association with conflict. The message is one of peace and reconciliation, and I find it difficult to believe that anyone would have emerged from this remarkable 90 minutes feeling anything but love towards all their fellow human beings. He sung with a nasal voice in his native tongue; I'm told the lyrics are reflective, about love, the desert, and the Tuareg heritage. Bombino didn't speak between songs, perhaps due to a language barrier, but the music told all. It was a story of selfless co-operation within the band and a spiritual connection with the audience. I found the atmosphere akin to a religious gathering, such was the feeling of joy and the incredibly energising musicianship. I'd strongly advise you to broaden your musical horizons beyond western music, opening your ears and spirit to the life enhancing power of African culture.

Top 30 Albums Autumn 2013

It's been some time since my last round-up, and peak season for album releases, so I've therefore had difficulty narrowing down my recommendations to just 30. As ever, the only criteria for inclusion here is my own enjoyment, so high profile releases can be found alongside neglected gems.

Arcade Fire Reflektor (Indie Rock) 9/10
No longer available to stream; here is the iTunes link for previews.

Reflektor has gathered mixed reviews, ranging between rapture and criticism of the 80 minute plus length. It has a dense sound, and it takes time to fully absorb it, but I've on the side of the supporters. Whilst it isn't quite as coherent a vision as the masterly The Suburbs, it's has a cinematic sweep that proves that there's still much life in the album format. Yet, Arcade Fire demand to be seen live, and I'll be reporting on their Blackpool date at the end of November.

Jonathan Wilson Fanfare (Folk Rock) 9/10
Influenced by Laurel Canyon rock, Fanfare is a cosmic record from North Carolina. The sound is rich, encompassing strings, horns, bells and sometimes what sounds like an orchestra. It's been described as revisionist revivalism, and goes far beyond a mere tribute to the past. I especially love the jazz amongst its eclectic influences, and can't wait to see his live show.

Haim Days Are Gone (Indie Rock) 9/10
Some were disappointed that four of the songs on this long awaited release had already seen the light of day on Haim's EP, but in truth this is one of the albums of 2013. Perhaps it doesn't quite capture the improvisational energy of their live performances, but the acclaim for the Californian sisters is fully justified.

Israel Nash Israel Nash's Rain Plans (Indie Folk) 9/10
Israel Nash's voice has been compared to Neil Young's, and the sound recalls Fleetwood Mac and classic 70's rock. The Missouri native is now based in Texas, and the music is redolent of wide open spaces. An album to relax and get lost in, and one I've already have some wonderful times with.

San Fermin self-titled (Indie Rock) 9/10
The product of a classically trained musician, and written in Banff, Canada, this debut album could be described as orchestral pop and will appeal to open minded listeners. The album represents a dialogue between a love struck man and a standoffish woman. At times I'm reminded of The National in the vocal style, and the album has real sweep through its 17 tracks, becoming more adventurous towards the conclusion.

Tunng Turbines (Indie Folk) 9/10
This experimental UK group blend folk and electronics in a gloriously subtle, nuanced way. The tone is sombre, but warm thanks in part to the vocal harmonies. It was recorded in part in Iceland, and it's quirky beauty becomes more affecting with repeated listening.

Julianna Barwick Nepenthe (Electronic) 8.5/10
Recorded in Iceland by Sigur Ros producer Alex Somers, a female backing choir lends an ethereal feel. Reverb around her voice also gives a dreamlike quality, along with creative use of electronics and noise. The subject matter involves bereavement, and the beauty here is heavenly. Incredibly sensitive and moving.

Deep Dark Woods Jubilee (Roots Rock) 8.5/10
The opening track may come as a surprise to followers of this Canadian band, sounding like psychedelic Neil Young. They're at their best in the more rootsy songs like 18th December, when they tell a story, aided by vintage organ. The warm sound is testament to the fact it was recorded in a cabin in Alberta, and the 10 minute closing track gives a flavour of their live jams.

Anna von Hausswolff Ceremony (Indie Classical) 8.5/10
It's an understatement to describe this Swedish album as unusual: it's 10 minutes until Anna sings, during which time there is an instrumental section featuring pipe organ. The atmosphere is largely melancholic, but the lighter third track brings a shift of mood. The vocals can be almost operatic, and this indie album has a close affinity with contemporary classical music. A powerful experience.

Valley Maker Yes I Know I've Loved This World (Indie Folk) 8.5/10
South Carolina's Austin Crane has produced a stripped back album, enhanced by female vocal harmonisation and a spacious recording. It's incredibly beautiful, even spiritual in feel, with lyrics informed by his faith. An album which deserves far wider recognition and which can be streamed in full above.

Janelle Monae The Electric Lady (R&B) 8/10
The Atlanta star has received almost universal acclaim for her second album which almost approaches Arcade Fire's latest in length. It features starry guest appearances and blends pop, R&B, soul and funk in this concept album. It wears its length lightly, and the 70 minutes pass quickly, despite the odd annoying radio DJ interlude. A worthy successor to The ArchAndroid.

No Ceremony/// self-titled (Electronic) 8/10
As befits an album from rainy Manchester, the mood here is downbeat. The electro pop sound owes much to Crystal Castles, and the production is highly accomplished. Some may wish for a greater emotional range, but I love the energy and atmosphere.

The Head & The Heart Let's Be Still (Indie Folk) 8/10
There will be those who consider this sextet from Seattle to be too close to the raucous populism of Mumford and Sons. Yet, the songwriting is stellar, and whilst it's accessible due to the melodies, there's more subtlety than bombast. Some have even found it too laid back, but I appreciate the melancholy and its reflectiveness across its 13 tracks.

Band Of Heathens Sunday Morning Record (Roots Rock) 8/10
The album is not available to stream, but you can of course preview tracks on iTunes.

I love the harmonies on this folk rock record from Austin, which has a relatively relaxed air. There are soul and blues influences in this Americana, and even a touch of the Beatles, but overall it's contemplative and soulful.

Slaid Cleaves Still Fighting the War (Indie Folk) 8/10
The long standing singer songwriter from Washington DC deserves a higher profile; this album was inspired by the disaster of the Iraq War and blue collar life. Americana is of course influential here, and there's also a bluesy feel; recommended.

Sean Taylor Chase the Night (Singer Songwriter 8/10
The bluesy style of British singer songwriter Sean Taylor reminds me of David Ford at times, although his message is even more overtly political. Despite the American influences, this is an album by a Londoner, and the songs River and London root it in his home town. Skilful guitar work, but the moving lyrics are the key to its success.

Lindi Ortega Tin Star (Country) 7.5/10
You can stream the title track here.

You really need to see this Toronto singer live to fully appreciate her magic, and her third album has much continuity with the earlier Cigarettes and Truck Stops. Above all, it's fun, with a classic Nashville feel, and her vocals are extraordinarily agile and powerful.

Midlake Anthiphon (Indie Rock) 7.5/10
Midlake lost its leader Tim Smith last year, and some will feel a hint of blandness has crept in to their fourth album. But there's also a feeling of spontaneity as they jam together with an almost psychedelic feel. Sometimes I wish for more memorable melodies, but I love the free spirit here.

Lucy Ward A Single Flame (Indie Folk) 7.5/10
I wrote about one of Derbyshire folk singer Lucy Ward's live performances in September. The album adds instrumentation including cello, bass, drums and electric guitar, but retains her hard hitting lyrics. This is a powerful statement and a must for lovers of British folk, particularly notable for its songwriting.

Nathaniel Rateliff Falling Faster Than I Can Run (Indie Folk) 7.5/10
Like The Lumineers, Nathaniel comes from Denver, and they share a rootsy sound. I love his rough hewn voice, and his acoustic instrumentation and home studio recording recalls early Bon Iver. Lovers of Americana folk should get much pleasure from this, even if it's far from revolutionary.

Wild Child The Runaround (Indie Folk) 7/10
The Austin group's second album is jaunty, upbeat folk, also clearly indebted to The Lumineers in style. The acoustic instrumentation and vocal duos have much appeal. If there's little new ground broken here, the quieter songs are beautiful.

Moonface Julia with Blue Jeans On 7/10
The solo project of Canadian Spencer Krug, this album is most notable for the wonderful piano playing which echoes his vocal melodies. This stripped down sound is powerful, and highlights his affecting voice. The starkness perhaps reflects the landscape and climate of Finland, where Spencer now lives.

Gungor I Am Mountain (Indie Folk) 7/10
This is an inconsistent and unpredictable album, and not for those allergic to Christian lyrics. Yet, the Sufjan Stevens influences and beautiful melodies will win many over to the husband and wife duo. It's far from straight folk, with use of electronics and even the dreaded autotune. They appear to be a far more dynamic proposition live, as evidenced by their Creation Liturgy album.

Foy Vance Joy of Nothing (Singer Songwriter) 7/10
An Irish spirit is embodied in this album, as it Bruce Springsteen. It's notable for its melodies, and full instrumental sound. Foy is joined by Bonnie Raitt and Ed Sheeran for their guest appearances. Sometimes it feels a little overblown, but many will find it heart warming.

St Lucia When The Night (Electro Pop) 7/10
Jean-Philip Grobler may be based in New York, yet he's from South Africa, and sunshine dominates this upbeat, danceable album. It's undoubtedly indebted to the 1980's, and is more successful than Cut Copy's similarly inspired new release.

Hjaltalin Enter 4 (Post Rock) 7/10
This Icelandic group remind me of Efterklang in their subtle rhythms and airy sounds. If you're expecting the drama of Sigur Ros, you may be disappointed, as it's understated in comparison, and more conventional than their own acclaimed Terminal from 2009. Yet, I appreciate the low key melancholy.

Willis Earl Beal Nobody Knows (Soul) 7/10
The a capella Wavering Lines opens this Chicago born and formerly homeless singer's second album. Thereafter the instrumentation opens up and this blues album is surprisingly varied and spontaneous in feel. Recommended.

Ha Ha Tonka Lessons (Indie Rock) 7/10
The fourth album from the Missouri quartet is direct, upbeat and foot stomping. The music feels almost relentlessly upbeat, but it's balanced by the more nuanced lyrics. At times I wish they'd relax, but the full instrumental timbre provides warmth, and there's no doubting their energy.

Mutual Benefit Love's Crushing Diamond (Baroque Folk) 7/10
This understated, gentle album surprisingly brought praise from Pitchfork, and has beautiful harmonies and subtle instrumentation. Recorded in Austin, it's almost Canadian in its warm hearted spirit.

PAPA Tender Madness (Indie Rock) 6.5/10
At times, this LA duo feels a little insistent and relentless; I wish for more subtlety and less radio friendliness. Yet, the rhythm section drives it forward and the tunes are catchy; music to move you to tears isn't always appropriate, and this will give pleasure.


20 Recommended Albums and EPs

• Active Child Rapor EP
• Agnes Obel Aventine
• AKW Last Lines EP
• Annie Dressner East Twenties EP
• Banks London EP
• Basia Bulat Tall Tall Shadow
• Black Hearted Brother Stars are our Home
• The Cowards Choir Reunion EP
• Cut Copy Free Your Mind
• Darkside Psychic
• Glasser Interiors
• Iko The Lake EP
• Kwes Ilp.
• Lanterns on the Lake Until The Colours Run
• The Naked and Famous In Rolling Waves
• Phosphorescent Muchacho de Lujo (live bonus album)
• The Sadies Internal Sounds
• Sigur Ros iTunes Festival London EP 2013
• Son Lux Lanterns
• The Starry Field Back on the Milks