Reading Festival 28th August 2011

The atmosphere on the final day at Reading was good humoured, and it's worth noting in view of publicity about the recent riots in the UK that there was no disorder (crime was down 60% on last year). Even the last minute cancellation of Jane's Addiction the night before and a lacklustre set by the Strokes (so disengaged that Julian Casablancas forgot his lyrics) failed to dampen the enthusiasm of the predominantly youthful festival goers. As you'll see below, whilst I had one amazing experience which will stay with me for years, the acts on the main stage didn't move me like Arcade Fire at Coachella in April.

F*cked Up from Canada are an indie band with strong hardcore punk influences. Frontman Damian Abraham is charismatic and spent a lot of time at the front of the crowd doing bellyflops, shirtless. I liked his sentiments about everyone being beautiful, whatever you look like, and admired the energy in the music. I enjoyed this set more than I expected and Damian's engagement with the crowd was excellent. 7/10

Best Coast impressed me: Bethany Cosentino's voice is powerful and clear, as she plays the guitar and sings about love. There's a dreamy, stoner quality to their rock, which brought some easy going Californian sunshine to Reading. It's accessible music, which doesn't stretch boundaries, but is so well executed that I'll be keen to see this trio next time they're in the UK. 9/10

The View from Glasgow are a typical festival band playing sunny, uncomplicated rock, not making too many demands on the crowd. Even so, they fell flat: surely the main stage at Reading deserves better than this, especially given the talent in the NME Tent? 4/10

Chapel Club, a quintet from London, offered something more creative and imaginative than the mediocracy of The View. They owe something to Joy Division, but they have their own dark, hazy quality. Frontman Lewis Bowman rights lyrics about love and rejection, and I've a feeling, like Two Door Cinema Club, they'll be receiving an invitation to the main stage soon. I enjoyed this set, but it's not an experience which wowed me. 7/10

Warpaint were sublime, my discovery of the Festival, and made many of the other acts look forumulaic and unimaginative. This female trio from LA created a spellbinding atmosphere, other-wordly, laid back on stage as they produced ethereal, layered harmonies. Highlights included Elephant and Undertow, but the set cohered beautifully, one song blending into the next in the darkened tent, reverberating to sub-terranean bass. They had an hypnotic effect, without obvious hooks, but once I'd succumbed to the brooding effect of those pounding drums and seductive vocals, the outside world became irrelevant. Nothing here afterwards recreated this magic, but until my musical revelation last November, I haven't known emotions on this plane at all. 10/10

Interpol may be well respected, but I found their Reading performance uninspiring and dispiriting, and I'm not even sure the assembled masses enjoyed it much either. It's not easy trying to identify a highlight in a set as drab and lacking in passion as this one, but if pressed I'd say 'Evil'. I haven't seen Interpol before, so I can't say if this is typical of their current form, but after this run through, Elbow were almost a relief. 2/10

Elbow's  front man Guy Garvey sees himself as a comedian with his bloky manner: I find him patronising. This band is extremely well loved in the North West of England, and as a feel good anthemic crowd sing along, they are peerless. My issue is that this final evening on the main stage was short on musical substance, and Elbow lean far too heavily on simple melodies, lush strings, and crude emotional manipulation. This is junk food music, accessible but with little to satisfy beyond the its superficial appeal. 5/10

Muse controversially played their second album Origins of Symmetry in its entirety to celebrate 10th anniversary of its release: later material such as Super Massive Black Hole, Absolution and the closer Knights of Cydonia got a better reception. There was much theatricality: lasers, flames, giant balloons and fireworks. I appreciate the classical reference to Chopin, but their ambition was more Wagnerian. Few people would have felt let down by this two hour show, but I just wish they had some of Wagner's musical inspiration. For me Muse's music is too much about surface gloss and lacks subtlety: it’s impressive, likeable, but doesn't inspire deep thoughts or insight. If you simply want to be entertained, fine, but if you want to get totally lost in yourself, look for something greater and more profound. 6/10

Reading Festival 27th August 2011

This is only my second major music festival, the first having been Coachella in April this year. The comparisons are fascinating: the crowd at Reading was far younger, more enthusiastic, and less affluent. It felt more egalitarian: no visible VIP areas, no ban on bringing your own water, and set pricing across all food and drink vendors. As far as I could se, security had a light touch, there were numerous wacky people in animal costumes, and none of the well manicured lawns and obsession with order of Coachella. Brits are used to unreliable weather, and the rain and mud only served to enhance the feeling of co-operation and free spirited nature. What was lacking is the spectacular desert setting with mountains in the background and palm trees: Reading's a far more mundane than Indio. I also suspect Festival Republic have a smaller production budget than Goldenvoice: the sound on the main stage was poor in certain locations, and there were fewer and smaller video screens.

I question the musical sensibilities of the organisers: their horizons were far too limited: an emphasis on Brit pop and rock acts, with no sign of American roots, little indie folk music, virtually no chillwave, world music or even rap. Perhaps they will adopt a more diverse artistic policy next year, since for the first time Reading didn't sell out until the last minute. My own tastes are not entirely mainstream, influenced by my classical background and a love for West Coast North America, but some of the acts on the main stage looked tired and formulaic. There was far too heavy a reliance on revivals on the main stage, looking backwards to past hits.

The Coopers are a folky pop act, with two Australian members, and whilst not in any way profound, were most enjoyable. An up and coming act to watch who opened Day 2 of Reading (my first taste of music there, as I was unable to attend on Friday) with joy. 6/10

The Joy Formidable from Wales were a lively opener on the main stage, and make a remarkably big sound for a trio. They made a greater impact on me when I saw them in a small venue earlier this year, but Ritzy Bryan puts on a lively show, smashing her guitar on the tam tam at the end of the set and with her enthusiasm, managing to distract the crowd from the rain showers. I suspect they gained several new fans here. 7/10

The Pigeon Detectives from Yorkshire put on a theatrical performance, Matt Bowman thrusting himself into the crowd and managing to spray a decent amount of water on my head (I was on the front rail). They were fun, but despite the fact the crowd appeared to love them, the music itself seemed pretty formulaic to me. 5/10

Edward Sharpe and the Magnetic Zeros have great personal significance; they are the band who converted me to indie music, and the first non-classical act I saw live. You could almost say they changed my life (although in truth it was the dear friend who introduced me to them that did that). I hold their album in such reverence that I was inevitably disappointed by the short set, seemingly with almost as much eccentric rambling from Ebert as music. Jade Castrinos rescued it with a moving performance of the exquisite Fire and Water, followed by a beautiful rendition of Carries On from Ebert. We heard one new track, which was in the simple, childlike manner of the solo Alexander album, and struck me as someone inconsequential. Ebert seemed detached last time I saw him in San Pedro on the Railroad Revival Tour, and whilst he was more committed in Reading, I do hope the break he talked about revives him. It would be so sad if this project runs out of steam just as its gaining recognition in Europe. 7/10

A messianic looking Alex Ebert at the front of the crowd. He spent nearly as much time here as on stage.

Two Door Cinema Club are a young band from Northern Ireland, and gave a strong, confident set on the main stage from their debut album Tourist History. This is the second time I've seen them this year, and this time, playing to a home crowd, seemed to be more extrovert in projecting their catchy songs. I was entertained but not really challenged: I'm not sure how much staying power this band has, but I enjoyed the moment. 7/10

The Kills put on a dark, moody performance with deep, body vibrating bass, and impressive singing from Alison Mosshart. I recommend their album Blood Pressures highly, although this Reading performance failed to connect with me: perhaps it was fatigue, or an overdose of loud rock which led me to desire something more relaxed at this point. 7/10

Cults from New York were frustrating: they started more strongly than the previous time I saw them, despite some sound problems, with upbeat, catchy folk rock. However, Madelline Follin's vocals were erratic at times, one song being excruciatingly off pitch, and they didn't fulfil their potential. 4/10

Cloud Control from Australia were perhaps the discovery of Reading for me: plenty of musical interest, wonderful vocals, and tent filling energy. I wasn't totally lost in their music, but the harmonies are lovely, and there's a bright, easy going quality. The highlight was Ghost Story. 8/10

Smith Westerns from Chicago have a retro sound, with a gift for melody, and the confidence of youth. I didn't catch all of their set, but liked what I heard enough to download their sophomore album Dye It Blonde on my return home. 7/10

Along with Warpaint, The National was my highlight of Reading and made most of the other headlines look superfluous. If anything they were even more impressive than in their Coachella set, where they were placed on the secondary (Outdoor) stage. This emotional, often sad rock has real depth, and I became immersed in the music over the hour long performance, accompanied by a beautiful sunset. Matt Berringer came off the stage, right into the audience. They ranged widely through Boxer, Alligator and most movingly for me High Violet, with England and Bloodbuzz Ohio particularly sublime. 10/10

Sunset during The National's set.

Bombay Bicycle Club from London were eager to promote their new album A Different Kind of Fix to the packed NME Tent. I have a great deal of respect for their music making, yet it fails to really ignite my imagination, live or recorded. I only caught the end of their set, and there's no doubt they were well received, it didn't quite take off for me. 6/10

Crystal Castles are a Canadian Electronic duo who put on a spectacular light show and pushed the boundaries of comprehension. When I saw them previously at the Outdoor stage at Coachella, their act didn't really make sense, but this time, inside a crowded tent, I was caught up in the frenzied atmosphere and experimental feel. 8/10

Pulp were extremely well reviewed, but I'm not going to attempt to rate them since I only caught the end of the set, and they're not really to my taste. They were a big draw to many though and Jarvis Cocker was certainly charismatic.

The Strokes were the Saturday evening head liners and kept the crowd waiting for what seemed like an interminable time, and when they finally decided to come on, I was suffering from fatigue. They fell flat, and were the disappointment of Reading given my high expectations from recordings and praise from others. I've since re-watched the set on television, and my initial judgement has been confirmed: they were a real let down and as they rushed through the set left you wondering if they really wanted to be here. One for die hard Strokes loyalists only who may have enjoyed Saturday evening more than the band itself appeared to. 2/10

Wye Oak, Ruby Lounge Manchester UK, 22 August 2011 8/10

Wye Oak (Andy Stack and Jenn Wasner) is a duo from Baltimore who have played together since childhood, taking their name from the state tree of Maryland. On only their second visit to Manchester, Jenn was most gracious and appreciative towards the audience. They're clearly eager to travel far and wide to share their musical passion, and in a recent interview, they articulated an aim of sustainability rather than chasing great commercial success.

The Ruby Lounge in Manchester city centre is an intimate venue, with excellent sound, and I was close enough to the stage to be really immersed in the performance. We were treated to two support bands: The Steals and Air Cav, both with folk influences and a spiritual dimension which set the mood for the creativity of Wye Oak. The main act's hour long set largely comprised their album Civilian, released in March 2011 on Merge Records; although we also heard a song from the 2009 LP The Knot, and a new and promising number from their next, as yet unrecorded album (see the video at the end of this post).

Wye Oak are an excellent example of an act conveying unexpected joy live: I expected them be thoughtful and restrained, cerebral rather than visceral. Whilst the predominant mood was indeed melancholic, I was amazed by their energy and freedom. They conjured up often dark moods, with sad melodies, defly flipping from anguish to calm shoegaze.

They are multi instrumentalists who produce a slow, subtle building of intensity, with judicious restraint and yearning beauty. It's not quiet music though: we heard thundering drums and ringing guitars in layered textures, and it was fascinating to watch Andy playing drums with one hand and bass keyboard with the other. However, the key to Wye Oak's appeal is Jenn's expressive, dreamy, and often sensual voice, full of emotion and power.

They are very different in character from the folk duo The Civil Wars: more raucous, with influences from rock and noise. Having said that, the final number, Doubt from Civilian was tender and touching, and songs such as We Were Wealth have a quiet beauty.

Commentators have made comparisons with the fellow Baltimore duo Beach House, but Wye Oak has more variety of mood and sound (and sadly less wide recognition at present). They make extensive use of feedback and fuzz, for example in Plains (which also has great melodic qualities). In addition to the title track Civilian, another highlight for me was the relatively upbeat Holy, Holy, which really rocked.

Some may be concerned by the broadness of mix of influences (lo-fi, post punk, shoegaze, folk, indie rock), but I do find their sound original, and its brooding depth rewards concentrated listening.

Elsewhere this gig has been reviewed less positively: Jenn was described as nervous, the performance flawed, and apparently ‘the whole thing droned with grey distortion’. I have years of deep knowledge of classical interpretation, and whilst I’m sure this critical reviewer is more deeply steeped in popular music than me, I’m not too troubled by the disparity in views. In any case, just as I was about to post my review, another far more sympathetic review appeared in my Twitter feed.

For me, music’s all about emotional reaction, and the feelings explored by Wye Oak are often dark and challenging. I became totally absorbed in the performance, and loved Jenn's freedom in interpretation. I didn’t expect or desire a faithful run through of their meticulously created studio album Civilian. We were taken on a voyage to a dark, pensive world, emerging at the end into the light with that beautiful solo performance of Doubt. I've a suspicion despite her youth, she's already experienced plenty of life's pain; perhaps one reason why Wye Oak's deep music engaged me so completely.

Videos

For Prayer from The Knot

Take it in from The Knot

New Song from Wye Oak's as yet unrecorded next album

Civilian (title song)

Hot as Day from Civilian

Holy, Holy from Civilian

The Steals (Support Band 1)

Air Cav (Support Band 2)

Other Lives, Manchester Deaf Institute, UK, 17th August 2011 8.5/10

 I had two main anxieties before this gig: would it live up to the lofty expectations raised by Tamer Animals; and would seeing this complex music live remove some of its mystery by revealing how it's created? In the end, my only disappointment was in was the shortness of the set: when the band left the stage before the encores, I thought there had been a mistake. This was illusionary: time seemed to elapse quickly because the experience was so magical (they actually played for an hour). It was almost like being a participant in their out of this world video of For 12 on another planet.

The opener (pictured above) was emerging local band Coves and Caves: this is the second time I've heard them, and it's great to see them growing in confidence, relaxing and visibly enjoying making music more. Two or three songs in, they'd really engaged the crowd, making a full bodied sound from an array of instruments (including clarinet), and showing the skill of their song writing. In a recent interview, they talk about their catchy hooks and pop style, but I thought they showed rock potential with some of the meatier material.

Of course, much of audience packing this small venue had come for the band from Oklahoma: Jesse Tabish joked that there was a larger turn out in Manchester than in their home town. The set was almost entirely comprised of the Tamer Animals album (released in Europe on August 29th), with the exception of the encores. There were a few sound problems (including feedback) in the opening number, and I feared momentarily that they might struggle to recreate the complicated sound world they evoked in the studio. Their sound and interpretation in fact ended up being remarkably close to the album, which is a considerable achievement given the demands made by the scoring. 

It was immediately apparent that these were multi-talented musicians, switching between instruments mid song, and mastering half a symphony orchestra worth of hardware, including cello, violin, trumpet, vibraphone, timpani and harmonium. The richness of sound conjured up out of the air by a band of five people was amazing, having seen the number of personnel involved in an orchestral concert. Despite this, seeing them live made me realise they are less closely related to classical music than I'd previously thought: this is more primeval and deeply rooted. The aspect of the instrumentation which made most impact on me was the tribal drumming: it set down a powerful bass footprint on top of which the other textures were layered. Other Lives somehow sound as if they emanate from the landscape, evoking forces which have been around for millennia. It's an epic, panoramic view, from someone who knows the land intimately, and has a close spiritual relationship with it.

This is not simple acoustic folk music: technology is exploited liberally, evident in the synth keyboards and copious reverb. This gives a dreamy feel, where multiple parts blur into a expanse of rich sound, so you give up trying to analyse the harmony and submit to the introspective atmosphere. It's emotional stuff, coaxing long lost memories from your subconsciousness, and leaving you with faith that everything will work out in the end. It's so creatively inspiring, the transmission of love through music leaving you a little more enlightened and tolerant at the end.

I've been so immersed by the beauty of Tamer Animals that I'd missed the importance of Jesse Tabith's haunting voice. The encores gave a tantalising glimpse of the potential for a solo side project. First of all he gave a moving performance with keyboard of Black Tables from their first album, and then a remarkable cover of Leonard Cohen's The Partisan, performed in virtual darkness (as was much of the set), with the audience spellbound.

I'm sure Other Lives would appeal to fans of Fleet Foxes, or Bon Iver (with whom they are touring in America), but I'd also recommend them to lovers of Sigur Ros, Debussy or Glass. They inhabit a niche of orchestral indie music, prioritising sublime beauty of sound above all else.

Other Lives in concert isn't an energising experience in the way Portugal. The Man or Cut Copy is: the audience didn't dance, and the band were too occupied by their various acoustic and electronic instruments to engage the audience with visual gimmicks. Instead, it was a deeply spiritual and life enhancing experience. I of course urge you to see Other Lives on tour, but it's not too difficult to relive that experience at home, as it's more about the music than the show.

Disclaimer: All of my videos from this concert are extremely dimly lit, to the extent that they're really only of interest for the audio (which is clear). I nearly didn't upload them for this reason, so you've been warned!

Dust Bowl III from Tamer Animals.

For 12, from Tamer Animals.

Old Statues, from Tamer Animals.

Excerpt from Tamer Animals' title track.

Black Tables, from Other Lives.

Jesse Tabish thanking the Manchester Audience

Top 30 Album Discoveries August 2011

Here's my latest round-up of 30 albums from the last three months which I judge worthy of a short review.

My must hear recent albums are:

• Portugal. The Man In the Mountain, In the Cloud
• Beirut The Rip Tide
• Boy and Bear Moonfire
• Imagine Dragons It's Time
• Active Child You are All I See
• Rubik Solar

357 String Band Lightning from the North 7/10

I don't write about every genre of music in this blog: one notable absence is rap, and I'm no bluegrass specialist, but this merits inclusion as a particularly vigorous, energetic example. If you were pleasantly surprised by Old Crow Medicine Show at the Railroad Revival Tour earlier this year, you might like to check out .357 String Band from Milwaukee. If you think banjos are tedious, you should listen to the riffs here, and quieter moments of repose also satisfy. There is of course some great fiddle playing, and it's not stretching it too much to say this rootsy music has punk sensibilities.

Active Child You Are All I Can See 8/10

I'm not a chillwave expert either, but what attracts me to this début album is the sheer beauty of sound, with utterly gorgeous instrumentation including harp. Synths and soaring vocals have a dream like effect, and the album has a coherence, as one track flows into another with masterly pacing. The track Playing Well features Tom Krell from How to Dress Well. The overall feel is spiritual, with a chilly edge, and I wasn't entirely shocked to discover that Pat Grossi was a choirboy in his youth. This is deep, contemplative music which I didn't initially convince me but I've grown to love.

Adele iTunes Festival London 2011 EP 8/10

If you’d like a reminder of the amazing power of Adele’s voice, this live performance from London last month will give much joy. It’s less technically polished than her 21 Album, which is where you should start, and at times her intonation concerns me. There’s a great sense of atmosphere and audience participation though, including an energetic sing along to Rolling in the Deep. It’s a pity my favourite song, Someone Like You, isn’t included, but for a live version of that you should seek out her moving Brit Awards performance with piano.

American Babies Flawed Logic 7/10

This album is deliberately rootsy, with some of the feel good factor of the amazing Truth and Salvage Co and a country vibe, but it doesn't sound contrived. There's honky tonk piano, slide guitar and a confident, very American swagger. Whilst it's a studio album from Philadelphia, it has a spontaneous, live feel and I imagine their gigs would be enormous fun: they don't hold back their emotions. I think American Babies has a wider appeal than merely to devotees of Americana, being traditional in sound yet surprising you with contemporary influences.

Barcelona Absolutes 7/10

This album was released in 2007, but is new to me, and is a must for lovers of Coldplay, its emotional melodies being easy to appreciate. Is there a little too much niceness and surface sheen? Well, it depends on your preferences, but if you listen closely, you'll appreciate the intricate rhythms, the key role played by piano, and the way carefully constructed songs conjure up a moody atmosphere. It will sometimes take a expected directions, and there's more depth than you initially hear. There's a new album in the works, and at the time of writing, the band is raising funds on Kickstarter.

Beirut The Rip Tide 9/10

The Rip Tide is one of those rare albums which I was convinced was absolutely masterly the first time I listened to it, and from about the third track I already knew it would make my end of year top ten. I’ve enjoyed Beirut’s previous work, but it hasn’t had the impact of this. A friend observed that Zach Condon’s simplified his music language, and it has very direct, melodic appeal. There isn’t the rich intricacy of the recent Bon Iver, but there is a spontaneity and joy, together with those trademark horns, great voice, and memorable melody. For me, the standout track is Santa Fe, and any concerns about the short length are irrelevant, because you will just play it straight through again.

Blind Pilot Three Rounds and a Sound 7.5/10

This debut album, released in 2008, is acoustic indie rock from Portland Oregon, with some of the folksy influence of Iron and Wine, and a tender beauty. I love the instrumentation, including trumpet, banjo, dulcimer, ukulele and vibraphone, and occasionally Bright Eyes springs to mind. There are sweet harmonies, and mellow tunes, with are tender and life-affirming. The standout track is the 3 Rounds and a Sound, placed last on the album. The good news is that their second album is out in September and a preview track's available for download from their website.

Boy and Bear Moonfire 8.5/10

I included Boy and Bear's EP in a previous round up, and their first full album doesn't disappoint. It will appeal to Mumford's fans, but there is more subtlety and less outright indie rocking than with the famous Brits. 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. They haven't developed their sound a great deal in the short time since their EP was released, but this is an emerging band which deserves to achieve major success and recognition outside their native Australia.

Dawes Nothing is Wrong, Middle Brother 6/10, 7/10

DawesMiddle Brother here, where he collaborated with John McCauley of Deer Tick and Matthew Vazquez of Delta Spirit. I actually enjoyed this more than Nothing is Wrong: they take more risks, there's a great sense of collaboration of strong musical personalities having fun together, especially on the closer, Million Dollar Bill.

The Deep Dark Woods The Place I Left Behind 7/10

This is a quiet, gentle, reassuring album, expansive in length, and more compelling than the Deep Dark Woods' three previous albums. It hails from Saskatoon Canada, and whilst there are bluesy songs like Back Alley Blues and I Just Can't Lose, the predominant mood is alt-country folk. The relaxed mood is supported by organ, slide guitars, restrained drums, tambourine, pleasant vocal harmonies and an absence of electronics. There's an interview with the band here; I suspect you'll know already whether this is likely to appeal to you.

Eastern Conference Champions Speak-Ahh 7/10

Speak-Ahh was panned by Paste Magazine, but I find this rock album vigorous and heartfelt. Joshua Ostrander has great vocal delivery and I love the hard hitting drums and imaginative guitar playing from the other members of the trio. There are some catchy melodies, but for me it's their execution and edge to the sound which captures my attention. Eastern Conference Champions deserve a higher profile.

Explosions in the Sky Take Care, Take Care, Take Care 7/10

 
As a classical music fan, this doesn't sound too unfamiliar to me: purely instrumental, often slow paced, tracks of up to 10 minutes each; but it must have seemed radical when this post-rock first emerged a decade ago. It can be quite hypnotic to listen to, but I've a suspicion that some may use it is an accompaniment to their life rather than an end in itself. The technique is top notch, and the swirling dynamics, propulsive drumming and shimmering guitars give a feeling of tension and release. You should definitely listen to this if you haven't come across Explosions: it probably deserves a higher score, but I feel as if I've already visited this territory from a different angle previously with my contemporary classical listening.

Great Lake Swimmers Lost Channels 7.5/10

This music conveys a real sense of well being, a gentle sense of communion with nature. My favourite track is the stirring Palmistry with its guitar riffs, but this album is all about beauty, with darker emotions just below the surface. The instrumentation includes the banjos you might expect for a folk project such as this, but imaginatively combined with electric instruments and well recorded in generous acoustics. If there’s a criticism it would be that it’s sometimes a little too self-effacing compared to say recent Fleet Foxes, but if you like the lyricism of Iron and Wine, this should be explored. It didn’t wow me on first listen but I’ve surprised myself with the frequency to which I return to it, and the how often it puts a smile on my face.

Imagine Dragons It's Time 8.5/10

From Utah, this is vigorous, assertive young man's music, full of energy. There's a link with The Killers (whom the lead singer's brother manages) and musical influences from Muse. It's rock with catchy tunes, which manages to be both powerful and seductive. This is an unsigned, emerging band who have made an impact on me and should make one on the wider world with their hard hitting guitars and keyboards. Invigorating.

The Kin The Upside 8/10

Brothers Isaac and Thorry Koren from Australia produce melodic, accessible rock with emotional, yearning lyrics and great harmonies. They often perform acoustically, yet here add electronics to the mix. It's a beautiful collaboration, and their song craft proves touching. It's also well worth downloading their earlier album Live at the Pussycat Club, which is a bargain from iTunes. I eagerly await their next project.


Karkwa Les Chemins de Verre 7/10

I have to admit a bias towards Canadian music. I'm not sure why, except perhaps for the fact that I love the country, and music and place have a close connection. Karkwa are from Quebec and this album's surprise victory in the Polaris Prize last year raised their profile. It's been compared to Radiohead, but I find it dreamier, more impressionistic and closer to Sigur Ros. Even if you don't understand the French lyrics, you'll appreciate its beauty and dark undercurrents. There's a sense of unease which is never fully resolved in an explosion and release of tension you yearn for but doesn't come.

Kurt Vile Smoke Ring for my Halo 5.5/10

There's a certain gloominess and introspection about Kurt Vile's personal song writing, but this is probably its point. His musical talent can't be denied, as it manages to be both relaxed and taught. The Violators add backing colour, but his guitar plucking is always at the forefront. Somehow though I find it has a depressing effect on me, and it's too self indulgent to allow me to score it more highly.

Lelia Broussard Masquerade 7/10

After the gloom of Karkwa and Kurt Vile, Lelia may be a breath of fresh air: it's light, optimistic pop; young person's music. There's a hint of soul and R&B influence, and her voice is very easy on the ear, sounding effortless. Stand out tracks include Shoot for the Moon and the title song, and she clearly has an aptitude for catchy hooks. Lelia understands the importance of engagement with fans and has utilised the excellent Pledge Music platform. My personal preference is for heavier material with more depth, but this shouldn't prevent you from seeking out her talented song writing.

Letting Up Despite Great Faults Paper Crush 8/10

Letting Up produce minimalist music, the trio from LA making heavy use of electronics, smooth vocals (at the back of the mix, to the irritation of some) and repetition. It draws you into its private world, dreamy, hazy and seductive. They're often compared to The Pains of Being Pure at Heart, but having seem the Pains live, I'm inclined to say The Radio Dept. may be a closer comparison. I'm not always attracted to shoe gaze, but this has a special quality.

Library Voices Summer of Lust 7/10

First a disclaimer: this album is so new, I've only listened to a stream, so I haven't lived with it for long. I had high expectations since I love the earlier Denim on Denim album, and this is gloriously upbeat, bouncy Canadian pop. It's less subtle than Library Voices' first album, and for me less substantial, more catchy, perhaps with an eye to broadening their appeal. I've no idea why they're not far bigger yet: this is never going to make you cry, but sometimes party music is called for. The political statement against Stephen Harper's arts cuts in the song Prime Minister's Daughter may go unnoticed, but for me it adds substance.

Nick 13 7.5/10

This is the first solo album from a Nashville singer in a psychobilly punk band, performed in a Californian country style. I do love his voice which is mellow in these smooth songs, tinged with a sense of regret. Clearly this is retro, backward looking music, in spare arrangements, but with modern lyrics, and it's more than just a tribute to a lost era. There's true sincerity and a sense of love for the genre in this album. It apparently took 3 years to make,and I sense this allowed him to live and breathe these songs.

Pepper Rabbit Red Velvet Snow Ball 7/10

Pepper Rabbit describe themselves as psychedelic pop: there's plenty of evidence of sampled sounds which create a lush sound scape. There's a richly inventive, creative force at work here, but despite all the instrumental action, the vocals remain centre stage, giving a sense of direction. Red Velvet Snowball is their second album, and like Braids who've they're toured with, they evoke a dreamy feel. There's so much going on it's hard to believe this is only a duo, but if you're open minded and don't mind a slightly zany experience, give this a try.

Portugal. The Man In the Mountain, In the Cloud 9.5/10

I often think about life-changing experience of seeing Portugal. The Man live, in a small venue, stood on the front row. I'm not sure if it's ever possible to capture this feel in a recording, but there's room for them in future to capture the amazing jams on record. Putting these memories to one side, it’s a stunning album and likely to be in my top five of 2011. Is it almost too polished though? It represents a development in style, lacking the some of the melodic impact of Satanic Satanist, but showing a maturity and move away from the eclectic experimentalism of earlier work such as Church Mouth. Ignore the detractors, and if you haven't already, download it immediately and prepared to be swept along as one joyful track merges into the next.

Rubik Solar 8.5/10

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. This is immense fun, which will launch you into a buoyant mood with its power and melody. One of the more urgent recommendations in this round-up.

Seryn This is why we are 5/10

This début album from Texas is in the Fleet Foxes indie folk category, although I think a closer comparison is with the sound of Wilderness of Montana, despite the geographic distance. My reservations are whether it's just too self-effacing: clearly it sounds nice, but is there sufficient variety of mood, or anything to distinguish this album from say The Low Anthem? Well, it Seryn has beauty and harmony on its side, and they've time to develop a more distinctive voice.


Smoke Fairies Through Low Light and Trees 8/10

A female folk / blues duo from the UK showcasing dreamy, close harmonies. There's a mysticism which occasionally recalls Hildegard of Bingham in spirit. It's British folk music tinged with New Orleans, with imaginative harmony, gorgeous singing and surprising energy and vigour. The BBC described Smoke Fairies as timeless and ethereal, and they've utterly seduced me.

Timber Timbre Keep on Creepin On 6/10

Timber Timbre is doom laden music, chilling and creepy, and not one for depressives. I'm reminded of the Kronos Quartet in contemporary classical chamber work in tracks such as Obelisk, but it's the quality of sound which capture the attention. I love the way it evokes this dark atmosphere and its starkness is actually beautiful. This is yet another Canadian album, and whilst it won't be on my 'high rotation' play list, you have to admire its boldness. I have to mention to the blues influence, especially on tracks such as Too Old To Die Young.

Washed Out Within and Without 8/10

Chillwave's been a style of music in the past which has failed to capture my attention, but this, along with Active Child, has helped to convert me. I've listened to this album multiple times, even going as far as getting a lossless version so I could assess the sound more closely, and I have finally been convinced. Ernest Greene's skill is in embodying a mood (sensual, as the cover art more than hints at). Ultimately, it transcends a genre I would once have mistaken for background music, and it's just masterly.

The Weeknd House of Balloons 7/10

This from Toronto is miles away from indie folk in style: it's R&B influenced, but with some of the melodic style of Hurts’ electro pop, and thundering bass. There's an element of classical minimalism (Philip Glass) too. It's a completely free download from The Weeknd's website so there's no need to take my word for the fact it's stirring and atmospheric, probably intended to be appreciated in the early hours of the morning whilst in a slightly hazy state.

Yellowbirds The Colour 6/10

This is the solo project of Sam Cohen of Apollo Sunshine, and has a 1960's pop sound. There's an expansive, warm feel centred on melody which makes it relaxed and approachable. He layers sounds (including the vocals) on top of each other, adds some country twinges, and wallows in a lush, retro sound world. This isn't an album I want to listen to every day, but it has a certain charm.



Some albums which didn't quite make my shortlist include:
Wolfgang Suedo Faults, Liam Finn Fomo, Colour Revolt The Cradle, Gillian Welch Harrow and the Harvest, Telekensis Desperate Straight Lines, Priory self-titled, Dream Diary You are the Best, Metronomy The English Riviera, The Black Atlantic Reverence for Fallen Trees, Freelance Whales Weathervanes, Walking on a Dream Empire of the Sun, The Horrors Skying, Fruit Bats Tripper, Cloud Control Bliss Release, Cloud Cult Light Chasers, Kyle Andrews Robot Learn Love, Matt Pond PA The Dark Leaves