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

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

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

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

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

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

Set List

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

Note: click on a picture for a slide show.

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

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

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

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

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

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

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

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

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

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

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

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

Videos

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

Little Hell

Fragile Bird

The Girl

As Much As I Ever Could

Waiting

25 Top Album Discoveries October 2011

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

Top 5:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Lisa Hannigan Passenger (Indie Folk) 4/10

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

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

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

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

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

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

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

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

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

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

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

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

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

Zola Jesus Contatus (Synth Pop) 8.5/10

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

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