Top 20 Latest Album Discoveries (March 2011)

The last couple of weeks have been seen few live music opportunities, probably because everyone's been in Austin for SXSW, but I've lots of exciting shows lined up in the next two months. In the mean time, here's a quick mention of some of my favourite downloads since my last summary here. Where I've admitted obvious new releases such as The Strokes Angles, Elbow Let's Build a Rocket Boys, or What did you expect from the Vaccines it's because I haven't been able to connect with them as meaningfully as those listed here.

Alexander

I've already blogged about the live performance I attended in February, but the album has a slightly different feel in that everything is performed multi track by Alexander Ebert (aka Edward Sharpe) himself. I miss the collaborative feel of his work with The Magnetic Zeros, but there's a warm glow to the whole experience, and an almost psychedelic feel. It's full of the spirit of the 1960's, and standout tracks for me are Awake my Body and Million Years. 8.5/10

Amadou & Miriam Welcome to Mali

This is unbelievably inspiring and uplifting, a fusion of African rhythms and blues, and listening to it will convince you that there is hope for humanity. The first track, Sabali, with electronics is my favourite, and I'd like to imagine it may represent a new direction for the couple, joined with numerous guest musicians here. If you enjoy this, I'd recommend checking out 1 Giant Leap, another example of cross cultural fertilisation. 8/10

Awolnation Megalithic Symphony

The most energising album I have come across for a long time, this has formed part of my daily listening since it was released. It isn't gentle or subtle music, but put simply, it will make you happy, and inspire you to reach outwards into the world. Awolnation understands the power of bass, and I can literally feel this music in my body. The production is notably more accomplished than their earlier EP. I find 'People' and 'Sail' two songs with the most direct emotional impact I can imagine, and as the title promises, it feels as if it has been conceived as a whole, rather than a collection of songs. 9.5/10

City and Colour Bring Me Your Love

This is from 2008, but I had to include it thanks to Dallas Green's vocals and the folk-influenced instrumentals (with banjo, harmonica and drums joining the prominent acoustic guitar). It may initially appear simple, but the album's grown on me and I think there's a melancholic depth under the surface. If there's a criticism, its that there's an element of repetition amongst the tracks. 7/10

David Ford Let the Hard Times Roll

Expect to hear more about this soon, as I'm attending a live performance by this British singer-songwriter in a month's time. There's a passion and authenticity of feeling, the lyrics being influenced by the financial crisis, wars, and destruction taking place whilst they were being written. It isn't a sterile political exercise though: he has a real gift for simple melody, and there's a balance between more intimate love songs and outgoing anthems. There's an immediate appeal, and there's no reason why this shouldn't have a higher profile than it has currently. 8/10

David Gray Foundling

Another artist I'm seeing live in the near future, this is the most recent and ninth album from David Gray. It's pretty understated and introspective, with well-crafted lyrics, and has been criticised by some reviewers for being too low-key. It has real integrity, and whilst he isn't exactly avant-garde, I easily formed an emotional connection with these songs. I would suggest that you listen to his album Draw the Line first though, as it has a fuller sound, and a more upbeat feel. 7/10

The Daylights

A melodic, passionate rock trio from LA, with an epic cinematic sweep, keeping your attention across the 15 tracks. This was a Pledge Music project, and the band sound very mature and polished: clearly they'd played together extensively before going into the studio in London. They surely must be on the verge of achieving much greater prominence, as they have mainstream appeal, and the album is simply so well executed. Their style isn't ground breaking, and there's a hint of Coldplay and even U2 here, but the album is coherent and I've enjoyed it immensely. Do investigate this band. 8/10

Dogcatcher KILR

This has far more heavily jazz influenced than most of my listening, but I've been utterly charmed by its laid back vibe. I'd like to quote from the excellent Owl Mag's review which can be found here, as they describe the atmosphere of the album far more eloquently than I'm able to: Discovering Dogcatcher is akin to walking into some random, dimly lit, intimate, music venue with no expectations apart from getting a quick drink. Hanging by the bar, nursing a drink facing away from the stage, the music starts, and suddenly, Heine’s velvety voice rings out, slowly seducing you, song after song, deeper and deeper, weaving a spell over you, and then it’s over.  9/10

 

 

Fitz and The Tantrums Pickin' up the Pieces

This 6 piece band from LA has been attracting positive feedback at SXSW and has a full and catchy soul influenced sound. It's pure entertainment and party music: I love the instrumentation, including sax, organ and bass (no guitars) and there's a 60's feel. I'm not concerned by the fact their appeal is on the surface, or that they are derivative, as they make me want to dance. 7/10

Fleet Foxes Helplessness Blues

This made my list of my top ten most eagerly awaited albums of 2010. It's possible to criticise Fleet Foxes for being 'fake' and crowd pleasing, and certainly they have a prominent popular profile. The new album isn't a radical departure from their first one, and will appeal to the same community. I can understand if you think it's simply too 'nice' and the innocent melodies are contrived: the pleasure here is of simple harmonies, and to enjoy it you need to cast aside memories of geniuses like Trent Reznor and Thom Yorke. I'm seeing them perform from this album live in June, and after that will hopefully be able to reach a firmer conclusion. They suffer slightly in comparison with Mumford and Sons as they are simply not as emotionally engaging, but this still gives me a lot of pleasure. 7.5/10

Foster the People EP

The 3 tracks here bodes well for the album Torches, out on May 24th. It's catchy, immediately appealing and upbeat music, which has made this list because of the groovy beats, feel good factor, and accomplished execution. 7/10

Hotels and Highways Lost River

I discovered this band via a Tweet from Jamie Drake and I've been utterly entranced by it. It has folk roots, but there's also jazz and blues in there, and it's so heartwarming. Above all, there's a sense that everyone's having fun, and the music is flowing naturally and organically. It's full of references from the past, even The Band, but the harmonies and beautiful atmosphere mean that it's so tempting to keep playing it over and over again, and be transported to a very happy place. 9/10

Jay Nash Diamonds and Blood

 One of the easier decision to include on this list as it's simply given me so much pleasure since I discovered it, which I attribute to Jay's rich voice, great lyrics, and natural musicality. There's quite a laid back feel to the album, and lots of emotional warmth and directness. Note it's only available on iTunes. 8/10

The Kills Blood Pressures

This is dark and gritty, and the female half of this duo (Alison Mosshart) is in the Dead Weather, whom I also admire. It's harder, more relentless music than much of this list, which has folk roots of one sort or another, and is moody, with complex textures. I found it compelling, with a density and power which I admire and it still has melodic appeal. 7.5/10

The Low Anthem Smart Flesh

I admired Oh My God Charlie Darwin and this album continues in much the same gentle, warm vein with an extraordinarily atmospheric recording in a reverberant acoustic (actually a disused pasta factory). There's a feeling of regret in some songs, with retro banjo, pump organ and even bowed saw instrumentation.  Hey all you hippies is a dead ringer for The Band, and has a rustic charm, whereas Boeing 737 is more epic and polished. I think Charlie Darwin has a greater coherence, but this is still thoroughly enjoyable. 7/10

 Noah and the Whale Last Night on Earth

Like Smart Flesh, this was on my top ten list of eagerly awaited albums for this year, but unlike The Low Anthem, Noah and the Whale's style has gone off in a new direction. There's a jauntiness here, an optimism and hope, and we're a world away from the melancholic folk of The First Days of Spring. I'm sure that this change will divide opinion, and some will say that it's overblown and missing the acoustic purity of their earlier work. I'm going to reserve opinion until I see them live in Liverpool in May, but this it's certainly upbeat and engaging. 7/10

The Rural Alberta Advantage

This is a subtle, understated album which might not grab your attention immediately, as the three piece band is relatively small scale, and there's a wintry chill and disconcertedly nasal vocals. As the album progresses, it thaws out with Barnes' Yard being relatively lively; and whilst short and on the surface not immediately engaging, there's enough interest here to pique my curiosity, and persuade me to go to see them on stage.
6/10

Sufjan Stevens The Age of Adz

In some respects I'm still trying to properly comprehend Stevens' eclectic style, and I'm hoping for some clarity after I see him live in May. It comprises electronic soundscapes, and is ambitious in scale, with the final track being a classical music scale 25 minutes. Some would call it indulgent, but I'm on the verge of concluding that he's a genius. It's imaginative, idiosynratic, experimental and never dull. The BBC said it's 'suffused with individual moments of brilliance but let down by its self-conscious incoherence', but I wonder if they just didn't give it sufficient time. 7.5/10

Truth and Salvage Co.

One of my best discoveries yet, and a very strong contender for my Top Ten end of year list. It's one of those albums along with Awolnation and Adele that I'm playing several times a week. It has wonderful tunes, and such a feeling of fun that I'm smiling just thinking about it. It's Americana, with twangy guitars, honky tonk piano and great production. It really is the kind of music that makes me realise how lucky I am that my life has changed so much through the discovery of indie music, and if it doesn't engage you, you must have a very hard heart. 9.5/10

Wye Oak Civilian

This is subtle, understated music with some similarities to Beach House in respect of its dreaminess. I love the use of electronics, and the beauty and imagination of the sound. Its moody, reminiscent of a deserted moonlit drive, with thoughts entering and leaving your consciousness. Like Debussy in the classical arena, it's more about atmosphere than melody, but this is clever stuff, well executed. Holy Holy is a more outgoing track, but on the whole this is introspective. I've listened to it a few times and still don't feel as if I understand it fully, which may frustrate some, but to me is a sign of depth. 7.5/10

Iron and Wine, Birmingham Town Hall UK 10th March 2011 8/10

Daniel Martin Moore

My expectations for support act Daniel Martin Moore were modest, since I'd read a pretty damning review of his album before hand, but the audience members who stayed in the bar missed an exceptionally moving experience. Daniel sings tenderly from a Christian perspective: 'Don't you ever be downhearted... the light road is always the best’. 

Even if you don't share his faith, a heartfelt sincerity shines through, and the audience stood in rapt concentration during the solo acoustic numbers. 
Between songs, Daniel made an impassioned plea to fight mountaintop removal in Central Appalachia, explaining that an area the size of Wales had been despoiled by this destructive method of mining. He then sang about the birds and sky: 'they got the land, but they ain't got us... but soon they want to get you out'.

This gentle spiritual experience ended with a change in mood with an uptempo foot-tapping number. 
I have been less enthralled listening to a download of his album 'In the Cool of the Day': perhaps he has developed since recording it, or maybe I was simply lucky enough to experience a magical moment of live music making.

Iron and wine

As soon as Sam Beam started to play, the energy in this resonant space changed: the air came alive, and I felt my body responding. I’m a strong believer that music has a sense of place, and the capacity audience had been transported in nostalgic spirit to America.

Sam, with his full beard, softly spoken drawl, and slight stature teased us: ‘You guys are fun, in a way. We are going to have a good time together. It’s all about co-operation’. He had a genuine desire to build up a rapport, and clearly cares about his fans, apologising twice for suffering from the end of a cold.

This was a true ensemble performance, a collaboration, the expanded 8 piece band mixing old fashioned harmonies with synth organ and jazz piano. The star for me was the saxophonist, who also turned his hand to flute and clarinet; the female vocal backing was exemplary; percussion playing imaginative, and everyone was visibly having fun.

Some people mourn the loss of intimacy of Beam with his acoustic guitar, but I love the surprising new direction taken in ‘Kiss Each Other Clean’. This set mixed new songs with more intimate numbers like Lion’s Mane, the mood shifting from fun, to calm, joy and love.

Sam complimented the stunning venue, the neo classical Birmingham Town Hall, and its warm acoustic enhanced the atmosphere, along with tasteful lighting. On arriving I wondered if I'd accidentally stumbled into my old life of opera going. The people here though were more friendly and relaxed than I remember back then.

We enjoyed beautiful melody in Numbers like Me and Lazarus, and Tree by the River and great energy in 'Your Fake Name is Good Enough For Me'. Wolves (from the Shepherd’s Dog album) built up to an immense climax, an extraordinary jam session during which it was wonderful to see the musicians bouncing off each other. With coaxing from Sam, by about half way through the 90 minute set, the audience were casting aside their British reserve and showing their emotion.

There was just one encore: the moving Naked as we Came, with the everyone singing along. I’d already appreciated Kiss Each Other Clean’s new direction, but I didn’t expect to be utterly transported to another realm when listening to Iron and Wine live. This was an intense, heart-warming, moving experience, a memorable evening.

 Note that Iron and Wine recorded a Daytrotter session in January this year: as well as a free MP3 download, there's also a video to stream.


8/10

British Sea Power Rugby Library 4th March 2011 3/10

 Concert Review

Musical taste is intensely personal, and it would be fascinating to explore the reasons why the emotional connections are so different between people. Whereas Edward Sharpe was for me  a transcendental, spiritual experience, British Sea Power was visceral, physical and didn’t engage on a higher plane of consciousness.

The gig was innovatively performed in a public library, in Rugby in the English Midlands, as part of the commendable ‘Get it loud in Libraries’ scheme “designed to give people, especially young people who love music, a damn good time in a library” and “if during post gig smiley time, those cool informed kids come back into libraries for great tunes, scored music, novels, maps to find places, quiet down time, and ye olde world wide web time, then just great”. There was a very timely political slot before BSP came on about the savagery of cuts in services in the UK. I don't think there were many bankers or capitalists at this gig, so the observations were well received.

This specific library venue wasn’t ideal acoustically though: I found the sound was indistinct, muddy and painfully loud, and others I talked to agreed. This coloured my view of the support band, Life in Film from London, as I found them relentless, and downbeat, unfortuntely not in a cathartic Radiohead way. I moved to a superior location sonically for the main act, which was accounts for my distant shots of BSP through the crowd.

British Sea Power initially performed their recent Valhalla Dancehall album, and immediately the energy level in the room went up: this is powerful stuff, dense- textured; although sheer beauty seemed to be kept under the surface much of the time in favour of something more bombastic and raucous (the recorded album sounds more subtle and ethereal). The audience was predominantly male, but with a broad age spread and even a few families with children, and the venue was pretty intimate. Despite this, during first hour of so of BSP’s set, the room didn’t really come alive emotionally: yes, people were having a good time, but with the exception of some diehard fans dancing in front of the stage, they weren’t being transported to a different sphere. This wasn't helped by the dreary interludes towards the end of Valhalla Dancehall, an ill-conceived attempt at experimentation (overall I feel ‘Do you Like Rock Music?’ is a stronger album), even if there is something discinctively British about their melancholic streak.

Gradually though, the band started to relax and start listening and relating to each other: once they were well into the second hour of this epic set people in the audience started to move their bodies, and I forgot it was now late and I had a hundred miles to drive back home. Towards the end, some of the magic which had so consumed my spirit during Edward Sharpe’s show returned and reminded me of the amazing power of live music.

BSP is well known for flamboyance: one member wore a 10 foot high bear suit on their last tour, and stage dives (recently resulting in injury) are a regular occurrence, so I was a little disappointed not to see much extrovert behaviour in Rugby. They are a six piece band with a big sound, and lots of force, with an imaginative variety of instrumentation including an electric viola and keyboards brilliantly played by Abi Fry. Guitars were the dominant, unifying force throughout. The DJ at the start played Arcade Fire, and their influence can be felt at times in the epic intentions, but I don't detect their (exceptional) creative genius.

This blog’s relays my personal feelings during new musical experiences, so I don’t feel any obligation to give an objective view. I’m really glad I went to see BSP, but I’d love them to develop their song writing further, become more sensitive, and rely less upon force and bombast. There's room for all sorts though, and if they’re in your area, go along and you’ll have lots of fun watching them.  Just don’t go with expectations of having a damascene vision. Seek out Edward Sharpe if you want your outlook on life to be changed.


3/10