Review of Manchester UK Music Venues

This article was inspired by my recent review of Fleet Foxes: I was initially tempted to write about my negative opinions of the venue, but the music made me feel more like hugging someone than having a rant, so I decided not include my comments in that review.
Here's a quick run down of some venues I've visited. I'm pleasantly surprised by the musical riches on offer in Manchester: I've the luxury of living in an idyllic rural area and yet having world class indie music an hour's drive away. Apologies to Sound Control and MEN arena: I haven't yet visited you yet.

Academy

This is probably my favourite venue in Manchester (actually 4 venues) for the wide variety and quantity of music on offer, reasonable ticket prices and friendly attitude of the staff. Academy 1 pictured has a 2300 capacity and an excellent sound system, having been refurbished in 2008. Academies 2 and 3 and the Club Academy are in the students union building. A significant practical benefit is cheap parking next door, and Kro bar cross the road for pub food. The music on offer makes this a life-enhancing place.


O2 Apollo

My least favourite venue, but thanks to its 3500 capacity this art deco former cinema is able to attract acts such as Adele and Bon Iver. The sound is fine, as are the facilities: the issue is one of management, and so could be easily addressed. I received two unsolicited comments following my Fleet Foxes review, both condemning the staff's attitude, and one person vowing never to visit again. Examples of the behaviour which has gained them a woeful reputation which I've been subjected to includes seizing sealed bottles of water at the entrance (contrary to their own policy), expensive drinks, over zealous security, and an intolerance of photography. Appreciating music is all about being in the right state of mind and rude, heavy handed staff don't aid this. At least parking is available on site, but there's little food available in close walking distance, and it's in a less than salubrious location.

Band on the Wall

This building in the Northern Quarter, opened in 1862, was originally a pub, and more recently a jazz club. A charity was awarded £4m of Arts Council and Lottery funding in 2007 to refurbish it. This has been done most sensitively and it’s one of the finest small music venues I know, retaining an intimate feel. A large (but costly) multi-storey car park is nearby (Printworks), and the city centre is a few minutes’ walk away. It’s a very stylish venue, with decent sound, and unsurprisingly has just won a NME award for best small music venue in the North West. I just wished they'd book more indie bands, as well as jazz.

Bridgewater Hall

This is a state of the art £42 million concert hall, opened in 1996, which seats 2300 and is largely used for classical concerts by the Halle. The facilities are excellent, but the sheer size means that even sat in the stalls, there’s little hope of intimacy. I’ve been critical of the acoustics for classical music but this is less of an issue for rock concerts. Parking nearby is expensive, but it’s in walking distance of the city centre with a great choice of eating and drinking. I find it has a soulless, municipal feel, and whilst I’ve found the staff there reasonable, there’s a long list of activities which are not permitted in the auditorium, crucially including photography, and it somehow doesn’t strike me as a place where having fun feels appropriate.

Day and Night Cafe

This small venue just north of the city centre was apparently a fish and chip shop in the early 1990's, but is now a bar, with a small stage at its far end. It's charmingly intimate, and has an imaginative booking policy, somehow managing to book US artists such as the Civil Wars. It's such a privilege to see musicians of this calibre in such a small space, with (limited) seating. The recent Papercuts gig suffered from muddy sound, with bass volume coming at the expense of quality, but this may have been a sound engineer's issue. Recommended, although like other city centre venues, you're at the mercy of NCP for parking.

Deaf Institute

This venue oozes character: the music hall on the top floor (capacity 260) is decorated in quirky vintage style, with features such as a terrace, domed ceiling, wall of old loudspeakers and a large mirror ball. There's a great cafe restaurant, and a basement bar. The best feature though is that they seem to be able to book some great acts such as Awolnation and Other Lives. It's about 10 minutes' walk from the Academy's cut price parking, and is one of the venues for the annual Dot to Dot Festival.

Roadhouse

The Roadhouse, near Piccadilly Gardens, defines the word gritty, and you don’t use the washroom facilities here unnecessarily. It looks practically derelict from the outside, and you descend down a dimly let staircase to the cramped, dingy basement. However, it’s hosted bands such as Razorlight and TV on the Radio, and was the venue for possibly my most memorable live experience yet: Portugal. The Man. The staff are friendly and there’s a great sense of character especially when you can get right amongst the action at the front of the stage. A place for true music lovers, with seismic bass energy from the high quality sound system.

Fleet Foxes, O2 Apollo Manchester 28 June 2011 8/10

Mykonos from Sun Giant EP, a highlight of the evening

I went to this gig with conflicting emotions: excitement to be finally seeing one of the first non-classical acts I came to respect, coupled with apprehension about whether I'd have much fun. Helplessness Blues has been almost universally acclaimed, and although I like this album, I haven't fallen in love, being unsure how much it adds to their début from 2008. I also had doubts about Fleet Foxes' authenticity: have they been carefully packaged, complete with gorgeous album art, to reassure the mainstream consumer? Is this the sort of music to which my parents would listen, if they dared stray outside the classical straight jacket I used to inhabit? After an hour of aural politeness, would I rush out to my car to satisfy a desperate craving for challenge in the form of Nine Inch Nails?

Now, the capacity audience didn't dance wildly (there was more movement during the lovely support act, The Bees), but I needn't have worried: surprisingly, they are more compelling live than on their albums, and they are definitely real. We were treated to a vast array of largely acoustic instruments: sufficient guitars to stock a small shop, banjo, flute, double bass, mandolin, piano, and saxes. Fleet Foxes is all about the quality of the sound though, and it was richer, fuller and more impactful than I expected. The nearest we got to naivety was the first encore, a solo rendition of Oliver James, but Fleet Foxes understand the impact of bass which vibrates your entire body. To fall asleep to this, you'd either need to be either deaf, or drinking something other than the tea Pecknold was sipping throughout.

It would be impossible to write about Fleet Foxes without mentioning those gorgeous, ethereal 3 and 4 part vocal harmonies. I was struck by the quality of the singing, above all from lead Robin Pecknold, whose voice is just so beautiful and well pitched. The band didn't move wildly on stage, but I was lucky enough to be standing on the front row up against the rail, and so be able to look into their eyes to see their commitment. They were totally absorbed in the music; and so was I.

An obvious point of comparison is with Mumford and Sons, another folk inspired act who have found themselves propelled into mainstream success. Much though I enjoyed Mumford at Coachella, I've a feeling they've manipulated their sound to appeal to the mass audiences, whereas Fleet Foxes sound truer to their roots. Fleet Foxes at least give the appearance of simply having stumbled upon the big time without being packaged. Between song banter during the 90 minute set was limited, the jokes largely coming from the crowd: one or two young female members kept urging Pecknold to remove his shirt, for example.

I've recently gone back and scored my live reviews, so you might ask why I've given Fleet Foxes 8/10, when Portugal. The Man warranted full marks. Well, the emotions invoked by Fleet Foxes are those of deep satisfaction with the world, love and an appreciation of beauty. I was transported to another realm, forgetting about everyday worries (such as the venue's hostile staff) for a while during the performance. I didn't quite come away feeling I'd experienced something so transcendental that I'd be on a high for days afterwards, though. You really should seize the opportunity to see Fleet Foxes at least once, as you will probably be presently surprised, and if you're even vaguely in touch with your tender side, you won't be bored. My remaining concern is where they're going to go next: they have a lovely sound, but is there sufficient variety? Are they constrained by their genre, in a similar way to, say baroque opera composers? We shall see. I don't listen to Fleet foxes every week, but there are times when the mood they invoke is just so perfect.

White Winter Hymnal from first album

Helplessness Blues

Battery Kinzie

Postscript: Fleet Foxes didn't drive me into the arms of NIN, although I do have to admit to listening to Awolnation Megalithic Symphony on the drive home. Fleet Foxes is however always my first choice of in car music when it's snowing outside.

8/10

My favourite 15 Albums released in the first half of 2011

I'll soon be taking some time away from live music to pursue another interest, and half way through 2011's an appropriate point to take stock and publish a list of my favourite releases so far. I've already blogged about all these albums, so I'll restrict myself to a brief comment on each one here. Please let me know by a comment on this page or via @jeremyindie on Twitter whether you agree with my choices, or think that I'm hopelessly wide of the mark.

1) Adele 21

This isn't an original choice, since Adele's popularity has eclipsed even her own expectations since this was released, but that voice is just astonishing. Even if you're not normally a fan of her soul influenced style, you can't help but be drawn in by it. I remember well getting to know 21 on a flight from Calgary to the UK at the end of January, and I just couldn't stop playing it. I'm planning to write more about Adele after I've seen her live in September.

2) Awolnation Megalithic Symphony

This is simply a killer album with amazing energy. A great sense of structure and development means it works amazingly well as a whole. Since it came out it's been my most regular listening choice, and whilst this isn't for hardcore folk music fans, I'd urge you to investigate if you want to have fun. Initially my favourite track was People, but I've grown to appreciate the eclectic Knights of Shame most of all.

3) Bon Iver

This deserves to become a classic album: it's just so beautiful with amazing production, subtle instrumentation and haunting singing from Justin Vernon. The atmosphere is gentle and contemplative, and it seems supremely capable of soothing life's anxieties.

4) Other Lives Tamer Animals

This could be seen as an idiosyncratic choice, and perhaps I've rated higher than others would because the sound is strongly influenced by classical composers. It's really grown on me, and is definitely a positive progression from their self-titled début, with stunning orchestration and a panoramic sweep which draws you into an enchanting world.

5) Civil Wars Barton Hollow

My first Civil Wars concert, coming up in September, will be one of my most eagerly awaited of the year, not only because of this gorgeous album, but due to the expectations created by a friend's review of a recent gig in LA. The music is stripped back: simply presented, but incredibly moving and heart-warming and almost timeless. They fully deserve the success they're currently enjoying in the USA.

6) Cold War Kids Mine is Yours

This has grown on me since I saw them at Coachella, and Royal Blue in particular never fails to put a smile on my face. Some might find it too commercial compared to their earlier work, but I disagree. Nathan Willet's vocals are distinctive, there's some great lyrics, and it's catchy and uplifting.

7) Rural Alberta Advantage Departing

This album almost merits inclusion here by virtue of its cover image alone, and it's gone up hugely in my estimation since I saw the RAA live. The music isn't particularly sophisticated, and some may find Nils' nasal voice difficult to tolerate, but it always gets me tapping my feet. It's folk music with the addition of synth keyboard and punk-like drumming, raucous, not always subtle, but truly life enhancing. I played this to a friend from the North Country, and she told me it's typically Albertan in its assertiveness; proof of the link between music and place.

8) Lykke Li Wounded Rhymes

This 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, and the number of strong songs is remarkable. Great song writing and vocals which benefits from repeated listening and has inspired me to arrange to see her live later this year.

9) Radiohead King of Limbs

I freely admit to being a Radiohead fan, and so it disappoints me that this album has been misunderstood: only today I read a review of their Glastonbury set in The Time which described King of Limbs as 'boring'. This is lazy journalism: yes, those who think Radiohead should still be producing records like The Bends will dislike this, but I find it subtle and atmospheric. Codex is one of the most beautiful Radiohead tracks yet, and whilst on reflection I don't rate this album is highly as Kid A, I think there's a lot more creativity to come from Thom Yorke. It does demand concentration, lacks hooks, and needs many listens to fully appreciate, but is so original and daring.

10) The Middle East I Want that I am Always Happy

This first full length album from this Australian six piece collective has been overlooked, but is a hidden gem, subtle and moving over its 14 tracks. It sometimes sounds like American folk music, but there are also similarities to Other Lives in its subtlety, intelligence and imaginative instrumentation. The final track lasts ten minutes, and if you find The Vaccines frothy and vacuous and are in need of more substantive fare, do listen to this. Boldly, the first track is slow and quiet, moving in its reserve.

11) Terra Naomi To Know I'm OK

This is testimony to Terra's ability to reach out to her fans via social media, and fulfils her considerable potential. The first six tracks really show the skill of producer John Alagia and the other musicians involved in this project. Terra's a great song writer, but for me the real luxury in this album is her amazing voice, which is pure and moving. You For Me, the first track, catchy and so happy, is currently available as a free download from Terra's website.

12) Martime Human Hearts

A rock album, which is uplifting, with a confident feel, a complete opposite to Other Lives or The Middle East with bold guitars, driving drums and assertive singing from von Bohlen. It feels edgy and catchy, and is adult rock, which I've been loving when I'm looking to escape.

13) Joseph Arthur Graduation Ceremony

Another album which I've appreciated more since seeing the artist live, with a sense of creative freedom which showcases Joseph's intricately layered, textured creations. The harmonies are beautiful and the lyrics exceptional. This isn't a showy album, but is one of his strongest to date, and a perfect introduction to Joseph's artistry.

14) Fleet Foxes Helplessness Blues

I wasn't as taken by this initially as some other reviewers, feeling that they hadn't really moved on from their first album. This is missing the point though: like Mumford and Sons, Fleet Foxes have carved out a niche, popularising folk and brought new audiences to indie music. Helplessness Blues is marvellously produced and executed, with so skilful acoustic instrumental playing. At the end of the day though, it's all about those lovely vocal harmonies.

15) The Infinite Music of French Horn Rebellion

Something of a wild card inclusion, one of the few places I've seen this album mentioned is the Owl Mag, and it's flawed, a mixture of styles which don't always hang together coherently. NME were scandalously rude about it, but it's pushed Peter Bjorn and John off my top 15 list because it makes me want to dance. I love the rhythms, the floor shaking bass, and their willingness to experiment and take risks. Not polished, perhaps overly long, but music's all about emotion, and this has made me happy.

Top 25 Album Discoveries June 2011

I've had tremendous fun listening to recent music to decide what to include in this round-up. I'm not trying to single out the most significant 25 new albums: the sole criteria is my own enjoyment.
Notable recent releases amongst the 40 or so that didn't quite make this short list include: Foster the People, Cults, What did you expect from the Vaccines, Mona, Owl City All Things Bright and Beautiful, City and Colour Little Hell, Architecture in Helsinki Moment Bends, Danger Mouse Rome and Sondre Lerche. As usual, most of these albums were released since the last update, but there's some older material I've just discovered.

Top Five

• Neutral Milk Hotel In the Aeroplane Over the Sea
• Bon Iver
• Terra Naomi To Know I'm OK
• We Are Augstines Rise Ye Sunken Ships
• Maritime Human Hearts

The Antlers Burst Apart is a moody, dreamy album, self indulgently wallowing in slow tempos and chilling visions. There's a hint of the melancholy of recent Radiohead, even the spookiness of King of Limbs, although The Antler's harmony and instrumentation is quite different. There's no doubt this is highly sophisticated, intelligent music, but at times I admire it more than love it. It certainly requires time to absorb and understand, and is a work of great subtlety. It's positively upbeat compared to their last album, Hospice, but the gloomy lyrics and nocurnal feel mean that you might want to stick with Foster the People if you need a 'pick you up'. 7/10

Apollo Sunshine Shall Noise Upon is a 2008 release from Boston which is tinged with the psychedelic atmosphere of the 60's. It's the trio's third album and has majestic orchestration, melody, and often a relaxed, laid back vibe. I've heard them compared to Flaming Lips, but they have less drive, and it's far from derivative music. They are not afraid to be experimental, but if you're open minded, you'll want to explore this album which was apparently recorded in a "house inhabited by spirits". 7/10

Ben Harper Give Till It's Gone is a mix of slow ballads and surprisingly hard hitting rock tracks complete with distortion; it's a deeply personal response to a recent experience of divorce. It features Ringo Starr on drums on 2 tracks, but is very much a solo project, in contract to his last albums. I'm lucky enough to have seen Ben live in Fistful of Mercy, and his integrity as a musician is without doubt. I do sometimes wonder if the juxtaposition of styles are to the detriment of the album's structure, but Ben's ability to channel his pain into music and the authentic emotions (and lyrics) make his tenth album sound fresh. 7.5/10

Bon Iver It's difficult to do this masterpiece justice in a short paragraph, but its certain to be near the top of my 2011 top ten. It has the potential to become a classic album: meticulously crafted in a studio, it yields more on each listen. 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 just gorgeous. Bon Iver makes more use of electronics than on the more straight-forwardly folk influenced first album, For Emma. It's beautifully recorded and produced, and I really can't see myself getting tired of it. Above all, it moves me deeply, and I'm left with serene sense of satisfaction at the end. Expect a concert review after I see Bon Iver live in the autumn. 9.5/10

Death Cab for Cutie Codes and Keys has a quiet, understated and mellow vibe. It's their seventh LP, and subtle, lacking obvious hooks and at times distinctiveness. If you're wondering why it's on this list, I can detect musical genius lurking under the surface, and I've just purchased a ticket on Ebay for their upcoming (sold out) UK tour. Death Cab take time to build up atmosphere, with more use of keyboards than the earlier more guitar centric work, and the introspection is part of the charm. I'll be fascinated to discover whether (as I'm hoping) that live they'll overcome the emotional detachment I sense on this recording. 7/10

Deerpeople EP from Oklahama is self-released and you can name your price at Bandcamp. The five indie rock tracks pass by quickly, and the instrumentation from this quintet is tight and imaginative. Despite a lush, lyrical sound and inclusion of acoustic instruments alongside electric guitars, they can rock, and you'll want to turn the volume up and dance. They formed in 2009, and I really believe that they deserve greater recognition. Perhaps there's a fusion here in style between the folk of Fleet Foxes and rock of Aracde Fire, and I'm sure they'd be great fun live. It's just a pity they've entered such a crowded space of deer themed indie bands. 7.5/10

Eisley The Valley is the 2011 release from this DuPree family quintet from Texas, and merits inclusion here because it leaves me uplifted and feeling more content with the world. It's catchy, and the stand-out song for me is 'Sad'. My concern is a disconnect between the weighty, even tragic lyrics and lighter musical style: sometimes I wish they'd be less polite and stop worrying about scaring their audience. Don't let my suspicion that raw emotions of divorce and heartbreak have been sanitised put you off though: the album's saved by some lovely melody and vocal work. 6.5/10

Flogging Molly Speed of Darkness: this celtic punk folk is all about energy and fun: I relish the prospect of seeing them live in Reading this summer. They feel like a festival act, and I suspect there's a risk of their novelty wearing thin. There are similarities in atmosphere with Mumford and Sons in their instinct for melody and rhythm, but they have a distinctive sound and aren't afraid to rock. 5.5/10

The Infinite Music of French Horn Rebellion: on first listen, I wondered if this was just a little too eclectic to make sense as a cohesive album, but I've become really fond of it. Ignore NME, who scandalously gave it 1 out of 10, and revel in the creativity and imagination. They've been compared to MGMT, but on some tracks I detect Cut Copy's influence in the strong dance beats, whilst Up All Night sounds like Neon Trees; although in truth there's a lot of variation of style between tracks. These two brothers from Brooklyn make a gloriously rich sound, and it's got more depth than other disco influenced music I've heard. This is their first album, and I'm expecting their next to be better structured, but just as feel upbeat and quirky. 8/10

Jason Kanaksis and the Coalition of the Unwilling EP is simply beautiful and moving. Jason's classically trained, and it's far from a hard rock record, being quiet, understated and calming in effect. He's collaborated with artists such as Cary Brothers, Joshua Radin and Pete Yorn, but The Dr's more than worthy of his own full length album; which I hope will follow this EP in time. He's an accomplished guitar player, but above all a sensitive musician whom I could listen to for hours. He's also a compassionate and witty human being, and his personality shines through in his music. 7/10

Jim Bianco Loudmouth hails from LA, like Dr Kanaksis, and his third album was funded by fans on Kickstarter. It's also lyrical and understated, for example in Slaughter, but tracks like Talented don't lack energy. If you enjoy David Ford, I'd urge you to check out this album from an artitst who has quite a low profile in the UK. He clearly has quite a sense of humour, but isn't without a tender side, and Loudmouth is heart-warming. 7.5/10

Joseph Arthur Graduation Ceremony. I've written about the amazing experience of seeing Joseph live and this latest album, a solo effort in contrast to his previous two, doesn't disappoint. It's produced by the uber-talented John Alagia (also featuring on Terra Naomi's latest release below) and maintains his sense of creative freedom and intricately layered, textured creations. The harmonies are beautiful and the lyrics exceptional. This isn't a showy album, and more accessible than some of previous work, it's exceptionally satisfying. A great choice as an introduction to Joseph if you've yet to discover his work. 8/10

Maritime Human Hearts really rocks, but isn't mindlessly bombastic: it's intelligent, adult rock from Milwaukee. The group emerged from the ashes of the renowned group the Promise Ring, and this is their third album. It has an uplifting effect on me, the guitars giving a really solid sound but with synths in the texture too. It's conventionally structured, with ten short songs, but when it's this well executed, it's not formulaic. They have been compared to Death Cab for Cutie, but I find this more uplifting, a summer record. A good track to start with is Annihilation Eyes: it should get your foot tapping. 8/10

Neutral Milk Hotel In the Aeroplane over the Sea. This is an album which polarises opinion, but I've fallen completely in love with it. Jeff Mangum's voice is certainly not beautiful, in fact at times it's painfully strained, but you can't fault his enthusiasm and commitment. The lyrics are not always completely comprehensible, but widely thought to be about Anne Frank. It contains elements of rootsy folk (I adore Magnum's acoustic guitar playing), psychedelic rock and lo-fi experimentation, with a motley mix of saws, banjo, zither and accordion. The experience of listening beginning to end (it isn't an album to dip in and out of) is akin to the most amazingly intense dream, intimate and yet surreal. It was evidently impossibly daunting to try to follow this utterly classic work, and so Neutral Milk Hotel split after this. I stumbled across Aeroplane after reading a comparison of Mangum's voice to Nils Edendorff's of the RAA, and it's an absolute hidden treasure. I recently suggested it to a friend, and he reported that he was having difficulty accomplishing any work after hearing it for the first time: it really does seize your attention. 10/10

Neulore Apples & Eve EP is gorgeous and a great discovery of an emerging band. It's a surprisingly mature first release from this Nashville based group who owe some debt to folk influenced groups like Mumford and Sons, but add a prog rock flavour. This is a concept album, obviously on a biblical theme, but ultimately about love. It's warm, with a rich acoustic centred sound, and I had a tender emotional response to it. At the time of writing, it's available as a free (legal) bittorrent download from Bands Under the Radar so there's really no excuse not to investigate if you like beautiful, heartfelt song writing. 8/10

Ours Mercy: Dancing for the Death of an Imaginary Enemy was released as their third album in 2008 and is driving, brooding rock music. Jimmy Gnecco sings about failed relationships with conviction, and the album is structured so it makes sense as coherently as a whole. It's quite catchy and melodic, but also darkly emotional, sometimes bleak and hard hitting. 8/10

Panda Bear Tomboy is dreamy music, all about lush harmonies and atmosphere.I can find Animal Collective impenetrable, but Lennox's solo work is more accessible, even if there's still a slightly sterile, contrived quality at times. The blurring effect acres of reverb and a softer feel than some of Lennox's other work mean that I enjoyed this more than I expected, and when in the right mood loved wallowing in its strange world. I particularly liked the energy and minimalism of Afterburner. 7/10

Terra Naomi To Know I'm OK was the fruit of a Pledge Music Project and is testimony to Terra's ability to reach out to her fans via social media. It finally fulfils her promise, having broken free of the constraints of a major label. The first six tracks show the magic of the producer John Alagia to bring these songs to a new dimension. The first track, You for Me, is currently available as a free download, and always makes me feel happy. The latter part of the album is more acoustically focussed, and here we can revel in her true magic (aside from the song writing): that amazingly pure soprano voice. I've been fortunate enough to meet Terra, which confirmed the authenticity which shrines through in her music. There's lots more about the making of this album, including interviews on the brilliant Rock is a Girl's Best Friend blog. 9/10

The Rosebuds Loud Planes Fly Low is this duo's first album since their divorce, but isn't as full of angst as you'd expect: in fact it can sound quite laid back. Sometimes I wish for a little more bite, and wonder if it lacks variety, but if you listen closely, the harmonies and keyboards are clever and Ivan Howard's voice is hypnotic. It's perhaps a late night album, exploring shadows and regrets, cathartic in its gloom. I've seen a critical review in a far more renowned web site than this one, but I think they've missed the point: this album's emotions are strong, but lie just below the surface. 7/10

The Ruse Love Sex Confusion is powerful rock music from LA, and the first of their five albums I've heard. Stand out tracks are the final one, Took So Long, and Hillside Ballroom, but the whole is very satisfying. They don't plumb emotional depths, or do anything to frighten the less musically adventurous, but if you like Coldplay this far less established band is worth taking notice of and is currently available as a free, legal torrent download here. 6.5/10

The View Bread and Circuses was a discovery stemming from my research in advance of this year's Reading Festival. This Scottish group's third album really rocks and is tremendous fun. It's accessible, tuneful, upbeat, and I'm sure it's sunny nature will work well at a British festival, even if it's raining. Now, this isn't going to move you in the manner of Bon Iver, but there are anthemic sing-along tracks, and it might get you dancing. Maybe too commercial for my taste, at least when I'm sober. 5/10

Warpaint The Fool is mesmerising and original, with imaginative use of instruments to create atmosphere and bass which your body can really feel. The sensual vocals are what really make this band distinctive, and at times it's disconcerting and almost tribal in feel, eery and bleak. This female quartet from LA have grown on me so that I've now completely submitted to this album and get lost in it. Needless to say I'm looking forward to their performance at the Reading Festival. 9/10

We Are Augustines Rise ye Sunken Ships: I really can't understand why this hasn't attracted more attention. The power of this rock album maybe explained by singer Brian McCarthy's reponse to the loss of his brother to drug addiction. The other half of this band consists of Eric Sanderson's varied and imaginative instrumentals. In sound, I'm sometimes reminded of The National, and there's certainly a melancholy streak and emotional intensity. The production is subtle and intelligent, and even if it doesn't break new ground, I love it. 9/10

Wild Beasts Smother is daring, startling and different. Hayden Thorpe has an unusual voice, similar to a classical counter-tenor, with a sense of vulnerability, and sensuality. Some of the emotions invoked are of unease, and sometimes Britten and Philip Glass' operas spring to mind. I'd understand if you considered their sound pretentious, but give it some time and effort, and you'll appreciate the Cumbrian quartet's willingness to experiment on their third LP.  7.5/10

Wilderness of Manitoba When you left the fire is an unassuming folk record, more gentle, relaxed and pastoral than their Rural Alberta Advantage neighbours to the west. It could be more tightly structured, but the gorgeous harmonies and rich acoustic instrumentation let me forgive that. There's certainly an element of Fleet Foxes and Low Anthem in their sound, and they don't break any new ground, but I love the sense of stillness and contentment I experience both when visiting Manitoba's countryside and listening to this album. 7.5/10