First Aid Kit, Manchester Club Academy, 24th February 2012 9/10

I tend to set my expectations before a concert. In this case, I'd already seen the band (albeit as a support act), and their latest album was in the top 5 of my most recent album round up. I was therefore expecting to enjoy the gig, but I wasn't expecting to be amazed, since First Aid Kit are a folk duo. Now, I love folk music, but live, it can be a cerebral and controlled experience, not risky and exciting. The opener, Samantha Crain made really lovely sounds, but didn't push the boundaries. She was introverted at the beginning of her set, but gradually opened up, eventually leading us in a spirited sing along. Her voice is exceptionally characterful, reminding me of the sound of the wonderful Jamie Drake. Samantha is from Oklahoma, and her second album You (Understood) reached Europe only late last year; I recommend investigating her. She came back to the stage for the encores; by that stage the atmosphere was more fevered.

Such is the success of The Lion's Roar that this gig sold out and was moved to a larger venue, necessitating queuing to get a spot at the front of the stage. It's gone straight to the top of the album chart in First Aid Kit's native Sweden, and reached the top 40 in The UK and Australia, a remarkable success given its genre. They first gained recognition through a cover of Fleet Foxes Tiger Mountain Peasant Song on Youtube in 2008, which now has 2.8 million views. They look (and were) incredibly young on that video, and it's really quite touching to see how they've matured. In Manchester though, their choice of cover was Fever Ray's When I Grow Up (see set list below). 

The Lion's Roar should have given me a clue that this gig would be something special: the instrumentation is fuller than their 2010 debut The Big Black and The Blue, and it owes a debt to Americana, most evident in the name checking song Emmylou. Here they were joined by a drummer, who added welcome bass to the texture. The music may be more upbeat in The Lion's Roar, but lyrics are often sad, and their is beauty in its austerity. It's charming on disk, but the song structures are simple; some might say the Swedish duo are simply covering British and American folk. Live, it was something else though.

I can assure you that there was no lack of authenticity: the first thing to strike me was the fullness of the sound: it was rich with the most gorgeous harmonies. Younger sister Klara is the more extrovert, being lead singer and acoustic guitar player. Johanna acted as second vocalist and keyboard player, although as you'll see from the photograph below, she also turned her hand to auto harp. The highlight was undoubtedly the unmiked performance of Ghost Town, where the sisters moved to the edge of the stage, inches from me, and sung hauntingly, all the more powerful for its sparseness. They may be almost half my age, but they showed great maturity in their stagecraft, and were pitch perfect throughout.

Most striking, though, was their energy: after Ghost Song, the set moved into another transcendent plane. They cast aside any residual Northern European reserve and started to rock out, moving around the stage with surprising freedom. Admittedly, Klara didn't smash up her acoustic guitar, but they both put every ounce of their soul into the performance. This commitment, and their musicianship restored my hope for the future of music, after the challenge of the recent BRIT Awards (Adele excepted). I went away wondering what the pair will do next; it's quite possible as they mature they'll chose a different music path, yet I've faith as they find themselves, whatever they do will be authentic. Make sure you catch them live in their current form at the first opportunity.

Set List

This Old Routine

Hard Believer
Emmylou
Blue
In The Hearts of Men
Heavy Storm
New Year's Eve
Ghost Town
To A Poet
Wolf
When I Grow Up
Dance to Another Tune
I Met Up With The Ring
The Lion's Roar

Samantha Crane

The Deep Dark Woods, Castle Hotel Manchester, 20th February 2012 8.5/10

In in my Review of Dawes earlier this week I mentioned that my only regret was that the venue lacked character; well this wasn't a complaint that could be levelled at the Castle Hotel, Manchester. It was so intimate that the Deep Dark Woods' keyboard player, Geoff Hilhorst was unable to fit on the stage and had to sit to one side. Don't be misled by the word 'Hotel': this a pub, and if it hadn't been for the stifling heat, you could almost have closed your eyes and been in a bar in rural Canada. The small space was crammed with roots music enthusiasts, some of whom had travelled wide to see this band on their first tour here. Remarkably though, a few people at the front found room to dance, and almost everyone seemed to be moving their bodies in sympathy with the music by the end of the set.

Deep Dark Woods was formed in 2005, but their blend of bluegrass, country, blues, folk and rock sounds as if it was conceived eons ago, or at least at the time of The Band. They've released four albums, each a positive progression; Winter Hours from 2009 gained them recognition, but it was their most recent 2011 The Place I Left Behind that brought them to my attention. It's fair to say that lead singer and guitarist Ryan Boldt is not a great conversationalist on stage, being most comfortable reminding us that the band is from Saskatoon, Saskatchewan Canada. Equally, there was no light show, or wild onstage antics: the atmosphere came solely from the music.

Paradoxically, whilst the experience as a whole was uplifting, the music and more specifically the lyrics are melancholy: they sing of alienation, isolation and failed relationships. Their sad ballads can have serious subject matter, even murder, but they're also deeply imbued with a sense of nostalgia. Their drummer Lucas Goetz explained:
"To me roots music is what it sounds like: the roots of music (North American music). . . . I like to think that our band draws on themes that are common in these styles, and that we borrow some elements of the music. Those musical traditions are favourites of mine"
The glorious, rich harmonies and upbeat melodies explain why the emotional effect is far from depressing, and the slurred organ and piano sounds are fundamental to its character. Ryan Boldt's tenor voice is idiomatic, yet blends beautifully with the other band members.

The other, unexpected magic of this gig was the spontaneity. I had a conversation with a friendly roots music enthusiast whilst waiting for the show to start, and he explained that improvisation is one of the qualities he most enjoys. It also happens to be a skill many Western classical musicians rarely practice, except perhaps in the early music field. Towards the end of the gig, DDW indulged in some extended jams, and it was at this moment when the audience most came to life, and I was able to get lost in the music; this was that moment of magic. Music is fundamentally linked to place, and the zeitgeist in rural Canada tends to be relaxed, helping to give rise to this freedom in interpretation and laid back style. I've only passed through Saskatchewan, but every year I spend time in neighbouring Manitoba en route to see polar bears at Hudson Bay. Sometimes the train stops at almost inconceivably isolated settlements, off the road network, where dogs and snow mobiles seem to outnumber people. DDW's songs of prairie winters relate intimately to this experience, and gave the songs a particular significance to me.

The evening started with two support acts, both from closer parts to Manchester: James Kelly's set was notable for his virtuoso, almost flamenco guitar playing, accompanied by folk style singing. It had a bluesy feel, whilst his kick pedal added depth; there were greater energy in the performance than you expected when he walked onto stage alone with his acoustic guitar. He was followed by the 5 piece Walton Hesse, who played in an alt-country style, although they also cite Wilco as an influence, audible in their experimental side. Far from sounding fake, they set the mood for The DDWs, and were fun to watch. They explained that this was their first show after a period of rest, and I certainly hope that I can catch them again in Manchester, as long as I'm not away exploring Canada.

Walton Hesse

James Kelly

Dawes, Manchester Academy 3, 18th February 2012 8/10

Robert Ellis is a youthful 22 year from Houston, Texas; his set reflected the split between folk and country styles in his 2011 album Photographs. Influences include Neil Young in the former and Willie Nelson for the latter. Except for the song photographed above, he played solo, accompanying himself on acoustic guitar, and played tenderly and sensitively. The audience listened in rapt silence, and I was touched. However, it was Dawes who provided not only a journey to North America, but also time travel.

Dawes consists of lead singer Taylor Goldsmith, brother Griffin on drums, Wylie Gelber on bass, and Tay Straithairn on Hammond Organ. They are from Los Angeles, and sinfluenced by the 1960's Laurel Canyon sound characterised by the likes of Crosby, Stills and Nash and Joni Mitchell. Their 60 minute set consisted largely of the well received 2011 album Nothing is Wrong, although they played a few numbers from their first album, North Hills, released in 2009. If you enjoy these two albums, make sure that you check out Middle Brother, which consists of Taylor plus members of Deer Tick and Delta Spirit.

Frankly, there's something very awry if you dislike the rich harmonies and warm Americana sound of Dawes. From the very first few chords I felt a deep sense of well being, love and nostalgia. Some might describe this as backward looking music, and it doesn't forge a new or experimental path, but you can hardly criticise a desire to make music steeped in your culture, guaranteed to give pleasure. Despite this being Dawes' first gig in Manchester, and competing with several other appealing gigs this Saturday evening, the venue was packed. Our nations have a strong connection, and despite the geographic distance, the cultural affinity is deep, and musical interchange strong. I'm always hearted and thrilled by the number of touring American bands who venture to this damp corner of England.

The performance was technically flawless, but more than this, Taylor Goldsmith in particular exhibited brilliant stagecraft, putting all his soul into the performance. My photographs hopefully illustrate how expressive he is, and the band's commitment was so evident and infectious. In the early part of the gig, the audience stood respectfully, but Taylor worked hard to break down our British reserve, and a sprited singalong was the reward in Time Spent in Los Angeles. I can't imagine anyone not feeling more positive about life after this performance, and I felt like giving someone a hug. Manchester's Academy is one of my favourite venues, and as ever the sound was excellent, the staff friendly, and in the smallest of their four spaces, I had an unparalleled vantage point. Yet, if I had a regret, it was that I was that the music didn't quite succeed in transporting me a bar in my beloved America, drink in hand. It's hardly Dawes' fault though that I had to drive home, and that for all its strengths, The Academy lacks character. I hope they come to your town, and that you can luxuriate in their soulful harmonies and near perfect musicanship.

Terra Naomi, Shipping Forecast Liverpool, 15th February 2012 9/10

This was the first anniversary of my very first gig, and I could hardly have chosen a more apt artist to mark the occasion, since Terra Naomi was first performer I discovered independently and fell in love with in November 2010. I've written about her music previously, but this the first time I've made it to one of her shows. Indeed, this tour marked Terra's first visit to the UK for over three years. She's exceptional for her use of social media, initially via YouTube where Say It's Possible became a viral hit, and she continues to be innovative. Terra is perhaps the most conscientious artist I know in her consistent engagement with her fans. Her most recent album, To Know I'm OK was a product of Pledge Music's direct to fan model. I featured it as one of my top albums of 2011 and you can find an excellent track by track exploration with interviews here.

It was such a privilege to see Terra in a small (but packed) venue: she famously played Wembley Stadium as part of Live Earth, and yet here she was a few feet from me. Music stands and falls by its emotional impact, and I was incredibly moved by this performance. The atmosphere was one of rapt concentration: Terra captured the audience's undivided attention. Of course there was a quite different feel to a rock gig, where people are dancing, but her personality on stage made for a far more relaxed atmosphere than a classical concert. Her guitar and keyboard playing is flawless, but her most extraordinary instrument is her soprano voice. It's always perfectly pitched, and her innate musicality allows her transform it into a window on deep, heartfelt emotions of pain and joy. She has a background is in opera, and this training has given her an enviable range and level of vocal control, which she's now able to utilise with expressive freedom which is rare in the classical world.

Terra judiciously combined established favourites like the Vicodin Song with numbers such as You For Me and To Know I'm OK from her latest album. We were also treated to two new songs, A Ring is Just A Ring and Nothing to Hide, which demonstarted that her creative spark is in full flow. For me the most pleasant surprise was the inclusion of three covers, Bridge over Troubled Waters, Judas and the amazingly beautiful Leonard Cohen Hallelujah which closed the show. Sadly, this was the final UK date of Terra's tour, but she's already announced that she'll be returning her in September. In the mean time, she's also recording a live CD on the Italian leg of her tour which you can pre-order here.

There is an sincerity and directness in Terra's music making which was all the more evident on this solo tour, with only her own piano and guitar accompaniment. John Alagia, the renowned producer's influence is evident in the catchiness and rich instrumentation of the first eight tracks of To Know I'm OK, but I personally love the honesty of her acoustic sets. Terra's gift for melody and word setting is all the clearer in sparer arrangements, and her enthusiasm shined through. She clearly enjoys touring, and sharing her love of music. I'm so grateful that she's helped me to expand my own musical horizons, and strongly urge that you experience her magic for yourself.

I've previously suggested checking out another city's music scene, and on this evidence, Liverpool's is in vibrant health. We were treated to three local support acts, all playing acoustic sets. I was particularly taken with Ogo Nzeakor, a soul singer who was born in Nigeria but is very much a Scouser, particularly in his humour. His voice is rich and resonant, and expressed heartfelt emotions, such those around his late uncle who was an inspiration to him. Ogo's working on a new album for release soon, but in the meantime you can download his 2010 Stand Together free from Bandcamp. He cites influences from African folk, but I also loved the bluesy feel of songs like The Player.

NME Awards Tour, Manchester Academy 1, 11th February 2012

The NME Awards tour is intended to showcase up and coming acts and promote new music. In this age of social media, NME might be seen to be less relevant and further from the cutting edge, but I happily joined a crowd of over 2000 in Manchester's Academy to see four sets in a packed evening.

1) Azealia Banks 8/10

Azealia Banks from Harlem is only 20, so you can imagine how I felt when she expressed her amazement at the youth of the audience (I'd estimate that in my late 30's, I was twice the average age). She came third in the BBC Sound of 2012 poll and is working on her first album with Paul Epworth of Adele 21 fame. Hip Hop isn't a genre I can claim much knowledge of, but I can say that I was impressed with her energy and enthusiasm. She worked the crowd brilliantly, and her single 212 raised the excitement level to heights which were to be maintained throughout the evening. The DJ, from her adopted home Montreal, danced infectiously, and whilst rap music doesn't really move me, I couldn't help but be impressed by the vigour and stagecraft. An auspicious opening.

2) Tribes 6/10

My motivation for attending this show was to decide whether Tribes are lacking in originality, or a band who will go far; their debut album released last month left me unsure. The four piece from Camden, London have been described as grunge revivalists, and the lead singer Johnny Lloyd has a strong voice. The first half of their set sagged, yet they came to life after Lloyd temporarily swapped his electric guitar for an acoustic one. Despite this, the set exposed the fact that their material simply isn't memorable enough: they may be technically accomplished, but it was all a little earthbound. Disappointing, although not so bad as to make you question the health of guitar based indie rock.

Metronomy 9/10

The English Riviera appeared on some critics' best of 2011 lists, but it didn't really engage me. I was therefore totally unprepared for this astonishing set which was mesmerising. Metronomy are an electronic group from Devon on the south coast of England, and released their first album as long ago as 2005. They embody a quirky British eccentricity, manifested in the push lights stuck to their chest and pastel portraits of the band strung above the stage. This show seemed to combine the danceability of a electro pop act like Cut Copy with the emotional intensity of War Paint. The repetitive beats were almost hypnotic, and they worked the audience into a trance-like state. They achieved that elusive but much sought after quality of transportation: that state where the worries of everyday life are totally eliminated in favour of an absorption in the present. The lightshow added to the intensity, with the syncopated rhythms and dancing. Some even predict they may occupy the void left by LCD Soundsystem. Definitel a band you must experience live to understand.

Two Door Cinema Club 8/10

Following Metronomy's spellbinding performance, the audience was in such a state of frenzy that there was crowd surfing and full tempo dancing during the music played over the PA whilst the hard working roadies set the stage up. I've seen Two Door Cinema club previously at Reading and Coachella Festivals, where I found them enjoyable but underwhelming. They're a straightforward indie rock band, with catchy hooks and an upbeat mood. They are about to take a break from touring to record a second album, and the three new songs they previewed were very much in their customary mould. There's precious little variety of tempo and I found the reliance on pre-recorded synthesiser embellishments disconcerting. Yet, this set was tremendous fun thanks to the energy of the crowd, and a well managed venue, with a mature, hands off approach to management. The celebratory mood really was infectious, and I couldn't help but be caught up in the euphoria. The credit for setting this up must be given to Metronomy, but the Northern Irish group had bounce and commitment, and were aided by the venue's thunderous sound system and top class lighting system. This set, where a competent but not amazing act were lifted by the venue and crowd couldn't have been in greater contrast to the disappointing experience I'd had earlier in the week at The Black Keys' gig. Whilst I might not have the stamina of the young crowd, I do share much of the excitement for music. My first show was almost exactly one year ago, and it occurred to me that some of the teenagers present might be almost as new to this magical artform as I am.

The Black Keys, O2 Apollo Manchester, 7th February 2012 4/10

El Camino was a late entry in my top albums of 2011 and I’d been assured by several friends that The Black Keys are an amazing live band. In the light of this, my score of 4/10 may raise eyebrows, but this is a personal blog, and it reflects how I felt last night. The skill of the performers and the quality of their music was obscured by other factors, particularly the venue. I’ll say from the outset that I still rate The Keys extremely highly, love their albums, and still recommend that you see them live.

What can make live music such a special experience? One important factor is a sense of engagement, which means that your emotions are affected by the performers and the audience. At the smallest venues, there can be direct interaction, such as Zola Jesus leaping off the stage onto my shoulders, or Wild Flag last week making eye contact with me, in response to the huge smile their music put on my face. At a gig like M83’s, you can observe others dancing or moving their bodies in sympathy with the music, and take pleasure at their happiness. There’s also Adele's model of interaction, where she uses humour and her down to earth personality to chat to a crowd of 3000 people in the same tone as to her friends in the pub. The method of connection most common in classical music concerts, is where the music itself takes you on an intellectual journey of the imagination. PJ Harvey’s amazing show at this very venue had a similar effect on my last year.

Sadly, none of this applied last night. I was seated at the back of a mid sized venue, and far from being able to make eye contact with the performers, for much of the show I was only able to see  Patrick Carney, as Dan Auerbach was obscured by an audience member in front. There was a constant stream of standing up and shuffling into seats from people in various stages in the cycle of taking on liquid in the bar and discharging it in the rest rooms. Being in the seated area, there was little sign of dancing. Dan and Patrick said few words between numbers, and perhaps most importantly, the sound was mediocre from my position. Listening to El Camino on the drive home, I realised that a key part of their musical appeal is the bass kick that Carney produces, which could be felt via the subwoofer in my car, but not in the venue. Given that I could see little, was being distracted by audience members who just wanted to get drunk, and that the sound wasn’t great, I would have gained more pleasure and saved money by listening at home (plus my appreciation could have been enhanced by a tipple as there would have been no need to drive).

In the light of all this, the support act Band of Skulls stood little chance. I’ve heard that they too can be stellar live, and at least I had a better view of them than the Black Keys in the not yet full theatre, but musically it was depressing. I’m afraid I’ve found their upcoming album Sweet Sour one of the most uninspiring recent releases. I like the 2009 Baby Darling Doll Face Honey and can only hope this is a mere sophomore slump. There were a few slithers of light in the rare quieter numbers such as Navigate, but it was largely meaningless bombast, marred by Matt Hayward’s (literally) off pitch wailing. Lyrics such as You're Not Pretty But You Got It Going On might give you an idea of the intellectual vacuum at the heart of this album. It is shallow stuff musically too, which might have made some visceral sense in a small basement, but just made me yearn for Portugal. The Man who supported The Black Keys on the continental Europe leg of this tour.

It would be grossly unfair to categorise The Black Keys in the same manner though. Their rise has been remarkable: in a decade they came from an Ohio backwater to sell a million copies of the 2010 Brothers album. El Camino sold 200,000 in the first week alone and their tours has been instant sell outs (which accounts for why I found myself in a terrible seat in my least favourite Manchester venue last night). They were accompanied by two additional musicians for much of the show although the middle part of the set, when they duetted, was even more effective musically. Carney’s drumming is of course incredibly tight, and Auerbach’s bluesy vocals were beyond criticism. The light show was extremely competent too, but it’s the directness of their music which make me hope that I’ll be able to appreciate them more fully at Coachella in April. The highlights were the surprising poppy Gold on the Ceiling, and Lonely Boy at the end of the set. Both are from their latest album, but there was plenty of time in the 90 minute set for them to explore their earlier material too.

I’m sorry if you’ve found this review frustrating, but live music is all about a particular moment in time. Memorable experiences can make your perception of time temporarily stand still or even enter another dimension. Conditions are often most conducive to this in smaller venues, but I had an extended period of magic in a large stadium last summer watching Arcade Fire, and as part of a crowd in the tens of thousands watching The National at Reading Festival. Perhaps the Black Keys’ rapid (and deserved) rise to fame hasn’t allowed them time to think fully consider how they present their show in larger venues, or perhaps it just wasn't my night, but I'm in desperate need of a positive experience to restore my faith in live music.

 

Top 40 Album and EP Discoveries February 2012

Happily, the album release schedule has come to life again after the holiday lull, and 2012 is shaping up to be an amazing year for new music. Here are 25 of the albums I've been enjoying since my last update here. There's also 15 EPs (listed at the end of this blog post) including some exciting lesser known up and coming artists, several available for free and legal download.

Top 5 Albums:

• Fanfarlo Rooms Filled With Light
• First Aid Kit The Lion's Roar
• Heartless Bastards Arrow
• Memoryhouse The Slideshow Effect
• Sharon von Etten Tramp

Favourite EPs:

• Daughter The Wild Youth
• My Name is You EP
• NO Don't Worry You'll be Here Foreever

25 Albums

Ani DiFranco Which Side Are You On (Indie Folk) 6/10
This album is all about the politically radical lyrics; the music is less original but has a wholesome charm, and is beautifully crafted with funky guitar rhythms. It is no less than her seventeenth album, but if you've yet to discover this it's a fine place to start, and is a welcome antidote to the current Lana Del Rey mania.

Bears Greater Lakes (Indie Pop) 7/10
This Cleveland band's third album contains upbeat pop: definitely enjoyable and melodic. The instrumentation has been expanded from their earlier work and includes bells and strings; I could imagine they'd be a fun band to catch at a festival. Despite the wintery cover, these feel like summer tunes to make you smile.

Beat Culture Tokyo Dreamer (Electronic) 6/10
If you like electronic music, there's really no reason not to download this free album, since it's relaxing, atmospheric and lush. It feels uplifting, and the soundscapes generated by this young 17 year old artist are fascinating. Beat Culture isn't on the level of M83, but it's astonishingly well crafted.

Chairlift Something (Electronic Pop) 8/10
Caroline Polachek and Patrick Wimberly have clearly been seduced by an 80's synth sound, but there's a Feist-like darker undercurrent present too. Not all the songs are as strong as Frigid Spring or Turning, but I'm sufficiently intrigued to be seeing them live in April. This is pop is certainly more worthy of your attention than Lana Del Rey's and Polachek's vocals lift it beyond the routine.

Damien Jurado Marappa (Indie Singer Songwriter) 6/10
This Seattle based musician makes extensive use of samples, and this album, produced by Richard Swift, is imaginatively produced. It has an understated feel, and is a slow burner; initially I was unsure about including it in my shortlist, but as you listen more closely, its subtleties reveal themselves. I like the layered effects with he creates with his voice, and the psychedelic reverb.

Fanfarlo Rooms Filled with Light (Indie Pop) 7.5/10
I had a preview of this album at a gig last year: on this first listen, I was unsure, but having had time to absorb the finished article at my leisure, I'm feeling more sympathetic. It's a departure from their folk influenced first album, Reservoir: less obviously catchy, but more imaginative, especially in its instrumentation and use of electronics.

The Features Wilderness (Indie Rock) 6/10
I've come late to this rock album, as it was released last summer. It's full of energy, with catchy songs combining vintage and contemporary sounds. I can imagine that this Nashville band would be tremendous fun live, and their full length album flows well. Standout tracks include Rambo and Big Mama Gonna Whip Us Good. If you like The Strokes, you'll probably enjoy this, but I only give it a 6 because it doesn't really break any new ground, and the price of its coherence is a lack of variety of mood.

First Aid Kit The Lion's Roar (Folk) 9/10
This may be my favourite album so far this year and is simply charming. The young Swedish sisters have been influenced more by country music than on their first album, but the gorgeous vocal harmonies still delight. A highlight is Emmylou, but many of the choruses are beautiful, and this is the sort of album to win over those not usually appreciative of folk. I've already bought a ticket to see them live for a second time.

Foxy Shazam The Church of Rock and Roll (Rock) 7/10
Foxy Shazam always has a wild feel, in part due to Eric Nally's over the top vocals, and this fourth album won't win any awards for subtlety. It's raw and raucous, maybe bombastic, but if you're in the right mood and don't take it too seriously, it's fun. I Like It probably has the greatest appeal, whilst the catchy Holy Touch is guaranteed to irritate the evangelical Christians that it's sending up. Great guitar work too.

Gringo Star Thank Your Lucky Stars (Garage Rock, Power Pop) 7/10
Gringo Star produce classic 60's rock from Atlanta, with a murky vintage sound produced by the Animal Collective's Ben Allen. This tribute to the British Invasion is catchy and energetic, with a warped psychedelic feel. It's their second full length album and even the iTunes download has a vinyl like warmth. Come Alive is a good place to start, as long as you're not allergic to throwbacks.

Heartless Bastards Arrow (Garage Rock) 9/10
This is punchy rock, essential if you enjoy The Black Keys. Erika Wennerstrom's folksy voice contrasts with the hard hitting guitars, and it's draws you into its groove. Contrary to expectations relating to the band's name, I found it emotionally engaging and varied, and the bluesy, rootsy undertones are endearing on tracks like Skin and Bone. It also has punch though, as evidenced by Got to Have Rock and Roll.

The Jealous Sound A Gentle Reminder (Indie Rock) 8.5/10
This LA band create melodic, emotional rock, and have only just come to my attention through their second album, which is a comeback, 8 years after their first. It was produced in the Foo Fighter's studio, and Jealous Sound has opened for them, but has a less aggressive feel, closer to The National in mood than the Foos. Vocalist Blair Shehan is key to their appeal,  along with strong guitar playing and a rich production. It's easily one of the strongest releases of 2012 so far, and you can listen to the title track here.

Joseph Arthur Redemption City (Singer Songwriter) 8/10
Joseph is one of my favourite live artists, and since he's generously released this double album for free download from his website, I'd urge you to support him by going to one of his shows. He's a poet and artist as well as a musician, and his politically aware lyrics take centre stage here. Joseph makes creative use of electronics, and loops, and has such a creative mind: songs like Humanity Fade are surprisingly avant garde. Some might see it as sprawling; not me though, I'm relishing getting to know its 24 tracks more intimately. The overriding impression is one of deep, compassionate humanity.

Lana Del Rey Born to Die (Pop) 5/10
Some readers might think I’ve lost my mind by giving this space on my blog. Looked at objectively, it’s not amongst the best so far this year, but neither is it the unmitigated disaster suggested by Lizzie Grant’s recent Saturday Night Live fiasco. The new songs are not on the level of Video Games, and there are several fillers, but the title track, and National Anthem are striking. It would have been wiser to issue an EP at this stage though if commercial considerations hadn’t dictated otherwise. The production is lavish, and the vocals stronger than you may have feared, but even if you ignore the woeful lyrics, you’re left with the wish that all that attention had been focused on more a more fully developed artist.

Leonard Cohen Old Ideas (Folk, Singer Songwriter) 7/10
This album has been compared to Cohen’s classic 1974 New Skin For the Old Ceremony and is said to rank favourably amongst his 11 previous albums from the past 45 years. Not having heard these yet, all I can say is that it conveys a glorious sense of emotional engagement, and Cohen’s gravelly voice is idiomatic: sometimes on the borderline between singing and story telling. He’s a poet, writing about the pains of love, and his music has a timeless quality.

Mark Lanegan Band Blues Funeral (Rock) 8/10
This album is bleak, but don't let that put you off: I love its darkness and that gravelly voice. It manages to be hard hitting without neglecting melody. It's not a short album, and some might find it a little self indulgent, but the production adds interest, electronics adding to a complex texture. Despite the minor keys and downbeat mood, it's not a journey devoid of hope, and I admire Lanegan's confidence in pursing a distinctive path.

Memoryhouse The Slideshow Effect (Dream Pop) 8/10
This imaginative, beautiful debut album is another example of my connection with Canadian music. It's extremely atmospheric and contains folk influences which render the 'dream pop' label a generalisation. The songs were inspired by photographs which can be found here, and there's a yearning quality in the music and a feeling of nostalgia. It's mellow, subtle, and Denise Nouvion's voice is honeyed. Immediately accessible, yet with impressionistic depth.

Pacific UV Weekends (Dream Pop) 7.5/10
This electronic music is highly imaginative and creates an eerie atmosphere. It's been criticised for a move towards new wave in an attempt to court popularity. I'm more interested in the emotional impact of the music than labels, and the subtext here a relationship breakup. It may be a little inconsistent, but they take risks which pay off in tracks like the the closing Unplug Me with its robotic voice and slow pace, gradually fading away.

Perfume Genius Put Your Back N 2 It (Indie Pop) 6/10
This music is undoubtedly beautiful, and totally undeserving of You Tube's censorship of its trailer for  exploring gay themes. Michael Hadreas' second album is stripped back in tracks such as Normal Song and the closing Sister Song. It's touching, but it's premature to use the adjective genius: at times it's lacking in variety, and the thin on invention. Definitely worth a listen though.

Porcelain Raft Strange Weekend (Synth Pop) 6.5/10
I caught Italian Mauro Remiddi live recently, and his set was atmospheric but disconnected, the shoegaze influences failing to seize my attention. It’s carefully crafted, and contemplative, more the work of the studio than a live experience. Critical reception has generally been positive, and whilst he makes imaginative use of harmonies, I’ve yet to fall in love with it. There’s no question that I admire its dreaminess though.

Rodrigo y Gabriela Area 52 (Flamenco) 7/10
Here, the legendary Mexican guitar duo is joined by the 13 piece band C.U.B.A, who add drama and colour, but at times obscure the solo virtuosity. It's certainly not a minimalist sound, but will get your foot tapping, with plenty of brass and amazing rhythms. The compositions themselves are reworkings of existing material, which means this album isn't utterly essential, but I've found it much fun.

Sharon von Etten Tramp (Indie Folk) 8/10
Sharon's third album has been seen as representing a greater confidence, a chance for the Brooklyn songwriter to gain greater recognition. She's bolstered by eminent guests from the indie world such as Zach Condon of Beirut and Jenn Wasner of Wye Oak. It remains a highly personal work though, and there's still an understated, confessional air, so this is no sell out. Tramp can be quite bleak, almost vulnerable in moments such as the opening of All I can, but at times a more extrovert side emerges. Anyway, I can't sit on the fence any longer: its depth makes it stand out in this list.

Tribes Baby (Indie Rock) 7/10
This is simple guitar rock, and I'm undecided whether it's too populist and lacking intelligence. Reviews have ranged from NME's euphoria to Downed in Sound's lukewarm praise. I'm tending towards the latter, since it's scarcely original, but they are hotly tipped as one of 2012's British breakout bands, and I've enjoyed Baby enough to justify planning to see them live. I'm afraid you'll have to wait until after that I give my final verdict, but if you like Razorlight, this will definitely give pleasure.

The Weeknd Echoes of Silence (R&B) 7/10
The Canadian Abel Tesfaye is one of 2011 musical success stories: releasing three mix tapes in a year, he's poised for a Coachella appearance, despite having previously performed live only twice. I love his romantic R&B, overlooking some of the seedier lyrics to soak in the atmosphere. The final instalment of the trilogy doesn't match the excitement of the opening House of Balloons, but it would be ridiculous to overlook unless you insist on staying inside a narrow indie folk comfort zone. It's worth the free download for the astonishing Michael Jackson cover D.D. alone, and tracks such as the closing title track, a reverb. soaked ballad, is dripping in atmosphere. It's music of the night, drug soaked but strangely compelling.

White Denim D (Indie Rock) 7/10
This is the Texan Rockers's fourth album, with influences ranging from Latin American to psychedelia, but rooted somewhere in the early 1970's. There's great interplay between the guitarists, and some unexpectedly complex rhythms and more conventional, melodic vocals. White Denim isn't in the Radiohead category of genius or originality, but I do like their willingness to experiment.

15 EPs

Alabama Shakes (Soul) 9/10
Alabama Shakes is hotly tipped to go far this year, and nobody can dispute their authenticity. This quartet from Athens Alabama combine soul, gospel, rock and roll and southern blues timelessly. Their début album will be released in April, but in the mean time there's this short EP, and you can listen online to a Morning Becomes Eclectic session. From this evidence, the excitement they've created is entirely justified as they sound magical, and I will jump at my first chance to experience them live.

Au Palais Tender Mercy (Electronic) 8/10
There's something of the spirit of Zola Jesus in the bass heavy synth undertones and ethereal female vocals, but others have compared this Toronto duo to Austra. It's hypnotic, moody, and atmospheric, and I'm not surprised to read that they record their music at night. My main regret is that there are only four tracks.

Cheyenne Marie Mize We Don't Need (Indie Folk) 8/10
This young artist from Kentucky will surely go a long way. This EP contains quite a mix of styles as she experiments, with a bluesy overtone, but points to remarkable promise. Her first album, Before Lately, is more conventionally folk, and I can't wait to see how this more adventurous exploration takes her. Crucially, she has a strong and beautiful voice.

Daughter The Wild Youth (Experimental Folk) 8/10
This is 21 year old Elena Tonra and her boyfriend Igor Haefeli's second EP in a year, and it's really haunting. Elana's voice is beautiful, and the instrumentation is subtle and delicate, the duo not afraid to use space and sparseness. You can stream the EP on Bandcamp: start with the first song Home. I'm eagerly awaiting their first full length album, due this year, and really must try to catch them live before they start playing large venues.

First Rate People Someone Else Can Make a Work of Art (Indie Pop) 7/10
This five track EP from Toronto is a free download, and sounds danceable, with strong disco beats, with contemporary use of electronics. It's fun, upbeat music with catchy tunes; not likely to make you cry, but that's because it's point is to make you feel happy.

Jessie Frye Fireworks Child (Indie Pop) 6/10
This breezy pop is currently available as a free download from Bandcamp. It's actually the Texas singer's second EP; fresh and youthful, yet with bite. There's an informative interview here. This isn't a masterpiece, and she's undoubtedly been helped considerably by St Vincent's producer John Congleton, but she's worth watching.

Michael Kiwanuka iTunes Festival London 2011 EP (Soul, Blues Folk) 8/10
This soul singer is of Uganda heritage, and has created quite a buzz in the UK, being the BBC Sound of 2012 winner, aided by supporting Adele on her tour. He performs his bluesy soul acoustically, and sounds as if he's from a past era. I've selected this live EP in preference to the two studio EPs, because I'm assured he captivates audiences. His album's due in March, and I forecast huge sales, because Adele and The Civil Wars have shown that the public values authenticity.

My Name is You EP (Indie Pop) 8.5/10
I discovered this EP through a gushing review in the The Owl Mag and this male female duo is utterly charming.  Their name is scarcely Google friendly, but don't let this put you off: the instrumentation is gorgeous, it's beautifully produced, and invokes a sense of joy, without being twee. You can sample some of their songs via videos on their blog; after this it should be a simple decision to buy it from iTunes.

NO Don't Worry,You'll be Here Forever (Indie Rock) 8/10
This happily is another EP which you can stream for free and buy for a price of your choice. NO could be criticised for lack of originality, but I can easily forgive them for taking inspiration from The National's emotional rock. I especially enjoy their gift for melody.

Painted Palms Canopy EP (Indie Pop) 7/10
This debut EP contains layered effects and a psychedelic feel, which leads to comparisons with Animal Collective. They’ve raised their profile by opening for of Montreal, although on this evidence they are more accessible and laid back. Painted Palms was formed by two cousins from Louisiana, although they play live as a five piece ensemble. This is well produced, and their pop is invigorating, if lacking the creativity and experimentalism of Panda Bear. Don’t be put off by Pitchfork’s review; you can reach your own opinion by streaming it from Bandcamp.

The Ridges EP (Indie Folk Pop) 8/10
This charming EP was actually recorded in an old mental asylum, which confers a welcome reverberation to the sound. They have a gift for melody, and singer Victor Rasgaitis has a lovely voice, accompanied by mellow instrumentation including cello. They have a recent Daytrotter session, which is very much worth downloading, but I particularly appreciate the added orchestral backing on this EP with dark undercurrents.

Sasha Raskin Only Music (Indie Pop) 7/10
This Israeli musician's EP is another free download. He says "Music saved my life. Whether if you're a musician or not, I guess that in some part it did the same for you."He makes extensive use of electronics, creating an imaginative soundscape with a laid back, spiritual vibe. Beautifully produced and original.

Sea States The Easy Sun (Ambient Pop) 7/10
This is a short 3 track EP, but its companions Sea States and Wintersea States are also available for free download from Bandcamp. The sound is atmospheric, subtle and has a feeling of space. It's music to day dream to, and it's grown on me with repeated listening.

The Staves Mexico EP (Folk) 8/10
I saw the Staves live last year supporting The Civil Wars, and they were delightful: if you enjoy First Aid Kit’s ethereal vocal harmonies, you may want to investigate this EP. The three sisters from Watford make simple yet beautiful folk music which I find uplifting. Whilst the EP has only three tracks, you can get another two free from their website; I’m eagerly awaiting their first full length from the Communion label.

Wilco iTunes Session 2012 (Indie Rock) 7/10
This is supplement to the 2011 album The Whole Love, and doesn't depart radically from that record. Despite this, it's a joy, and the reworking of older songs such as War on War and Passenger Side are fascinating. There's also a great cover of Nick Lowe's Cruel to Be Kind and Jeff Tweedy seems relaxed in the 8 tracks recorded in his Chicago loft. If you're a fan, there's no reason to hesitate.

Near Misses

These albums didn't quite make the cut, but are still enjoyable: White Lies Ritual, Hello Seahorse Lejos No Tan Lejos, Grace Potter and the Nocturnals, Beats Antique Elektrofone, Starfucker Reptilians, Guided by Voices Let's Go Eat The Factory, Givers in Light, Mi and L'au If Beauty is a Crime, Cat Power Jukebox, Sleeper Agent Celebrasion Sleeps, Howler America Give Up, The Active Set 11