Feist, Manchester Apollo, March 2012 8/10

This was my first return to this venue since a dismal evening with the Black Keys a few weeks ago, and true to form, door security did their best to make me feel unwelcome. That the touts outside were trying to unload tickets at below face value was none too encouraging either. Worse, I was once again seated up in the Circle, not in my preferred spot on the floor, albeit only 5 rows in. Fortunately the audience were far more attentive this time, and the atmosphere more conducive to music lovers. M. Ward from Portland, Orgeon, opened and was most notable for the vigour of his guitar playing. He's about to release his seventh album, A Wasteland Companion, and he delivered his folk with passion. Yet, he was confined to the corner of a dark stage crammed with Feist's gear, and his solo material was lost in this large space. I'd like to see him in more intimate circumstances, as all the signs are that he has charisma.

Feist immediately commanded the stage with Undiscovered First, aided by sophisticated lighting and a projection system. I find such technology a pale substitute for being close to the performers, yet even from afar, her energy on stage was easily apparent. She moved gracefully, and was accompanied by the magnetic, lively young trio Mountain Man. They filled out the vocal harmonies throughout, and graciously Feist gave them the opportunity to perform a solo number towards the end of her 90 minute set. She also brought a three piece backing band, including keyboard player, drummer and a multi instrumentalist (who memorably used a violin bow as a drum stick), but no bass player. I'd expected to see the strings and horns she uses in the studio, but  this was still a rich, complex soundscape. Manchester was part of a multi-date tour, and I've previously found that everything can sounds too rehearsed in such circumstances. It was technically flawless, but there was thankfully enough of a mercurial improvisatory quality to avoid too studied a feel.

As she opened Graveyard, Feist remarked: 'you know when you start on an A minor chord that this is going to be a serious piece'. Whilst this is basic music theory, it does indicate that in no way does Feist patronise her audience. Her breakthrough was the song 1234 being aired in an Apple iPod Nano commercial, but her music is highly subtle, often oblique, sophisticated rather than crowd pleasing. This is particularly evident in the 2011 album Metals, which was performed in its entirety at this show. It's darker than her earlier writing, often a mixture of anger and sadness. The gloriously energetic A Commotion was full of chaos and noise, and exemplified the freeness with which Feist and her band where able to reinterpret these creations for an audience. Yet, the full force of the band was often held back (Get It Wrong Get It Right was centred on a tiny, quiet music box), so that it could be unleashed with real punch. Folk came to the fore in songs such as Anti Pioneer and Bittersweet Melodies, yet this is carefully crafted, sophisticated art music.

Feist's parents are both artists, and it's clear she's very conscious of the visual effect of her performance, particularly in the way that she projects her personality through her movements on stage; be it the shaking of her hair, stomping of the foot, or balletic dancing. She was also surprisingly engaging between songs, having the ability to  transition seamlessly between talking and singing. She involved the audience in more than one sing along, even managing to get us to sing in harmony, and conveyed her cheerful Canadian amiability. Yet, if there was a doubt, it was the elusiveness of that distinctive, raspy voice in this large space. At times it felt as if such a delicate instrument was struggling to register with the microphone. It may have been a quirk of my position in the venue, but it's not the first time that I've complained about engineers recessing the lead vocals in the balance. This is a pity, as her intelligent lyrics should get equal billing with her glorious musicianship. Overall though this was a fine evening, which has led me to explore her back catalogue further, surely a sign that the live experience has deepened my appreciation of her art.

I can recommend the following interviews with Feist: this one about Metals from Pitchfork, and this from The Observer newspaper.

The Civil Wars, Manchester Academy 2, 16th March 2012 10/10

Now, you could argue that this review is superfluous since I've already written about The Civil Wars' shows. They are one of the very finest live music experiences around right now, so I make no apologies for drawing your attention to them again. This really was my most captivating and moving concert so far this year and you mustn't miss them next time they come to your town. I'm such a fan I'd already bought a ticket for their next show here (in October) before his one; that'll be in a much larger venue, the price (or reward) of their success. Their appeal is far wider than just folk or country music aficionados, and they are for anyone open to being moved.

The night started with Matthew and the Atlas, an indie folk group from Aldershot UK, who are signed to Communion Music. Here, they performed a stripped down set compared to their previous work, with just banjo and violin to accompany lead singer and acoustic guitarist Matt Hegarty. He has a distinctive, gravelly voice and they performed largely soft country ballads, with the odd foot stomping barnstormer. Joy Williams of The Civil Wars said later that they tried to find support bands who don't suck, and Matthew and the Atlas were glorious, totally committed in delivering their melodic, heart warming folk. Matt isn't outgoing on stage, instead you could see the tranquility in his expression as he got lost in the music. They've supported Mumford and Sons previously, but their music is more subtle and gentle.

The moment Joy and JP came on stage in their trademark black suit and dress, and started to sing, time stopped, and there was a palpable tension in the air.  A Twitter follower said he'd 'never seen an audience so quiet with sheer amazement'. Their first album, Barton Hollow, was released independently in February 2011, and was included on many best albums of 2011 lists, including my own. Whether or not have you it already, you should also go to their web site and download their free 'Live at Eddie's Attic' album. If you're the United States, you can also download a new Live at Sundance EP from Google Music. Their reputation has spread through the generosity of releasing these free recordings, word of mouth, and tireless touring. They are truly hard working musicians and they're well on the way to realise the desire Joy articulated at this show of becoming an international group.

To appreciate their real magic though, you just have to see them live. They are such fun to watch due to the exquisite chemistry between them. Joy had a beaming smile throughout the set, whilst JP compliments her outgoing Californian personality with his dry Southern humour. They famously met during a songwriting session in Nashville, Tennessee in 2008 when this unlikely pairing created sparks off each other. Their intertwining vocal harmonies are bewitching, and their singing and playing was pitch perfect throughout, yet utterly natural and unforced. I could watch Joy's dancing and hand movements all day long, and it was heartbreaking when the set ended just over an hour after it began.

Joy said explained her bump 'isn't from my dinner', dedicating a song to her unborn baby and husband (who's not JP, contrary to the assumptions of many). She described how she could feel it moving during different songs each night. They included covers: Portishead's Sour Times and as an encore Billy Jean; these were exquisite, but I hope that they manage to take time out of their busy touring schedule to write some new songs of their own. Much of their music has a sombre nature, yet they are delivered with such love. As with many of the greatest music, the experience is exceptionally spiritual, and I walked out of the venue feeling more at ease and content with the world.

Set List

• Tip of my Tongue
• Forget Me Not
• From This Valley
• 20 Years
• I've got this Friend
• Sour Times (Portishead)
• Barton Hollow
• Falling
• C'est la mort
• I Want You Back
• Birds of a Feather
• To Whom it may Concern
• My Father's Father
• Poison & Wine

I'll leave you with a series of pictures showing the beautiful interaction between The Civil Wars on Stage.

Florence + The Machine, Manchester Arena 15th March 2012 8/10

I love being close enough to a performer to see their body language, the expressions on their face, and instrumental technique. It’s therefore rare for me to attend an arena show: this is only my third (excluding festivals). However, Florence + The Machine has special significance for me: it was the second non-classical act I heard and fell in love with, and I’ve been waiting to see them live ever since. I therefore found myself amongst more than 20,000 fellow music Mancunians, a considerable distance from the stage, trading intimacy for the atmosphere of being part of a powerful, shared experience.

The night started with Spector, a 5 piece indie rock band from London, whose first album is due out next month. Their front man, Fred MacPherson, is an experienced musician, and he commanded the stage confidently, perhaps too much so when he berated audience members for checking social networks during the performance. Their music certainly captured my attention: it was rock with synths, modelled on The Strokes. They were nominated for the BBC Sound of 2012 Poll, and I’m keen to hear them in closer quarters, without the inevitable distractions inherent in watching a support act in a huge venue. I’m afraid I can’t be as positive about the other opener, The Horrors, who totally failed to engage with me emotionally. Many critics disagree: their third album Skying was well received in the UK and won best album prize in the 2012 NME Awards.

Florence opened in spectacular fashion with Only If a Night, from Ceremonials. I prefer the quirky style of Lungs, but her more mainstream second album was surely conceived for a stadium experience. I was reminded of opera, since this was a highly visual show, with a dramatic and beautiful art deco stage set. There was almost an orchestra on stage too: a string section, two keyboard players, guitarist, harpist, and horns (although not the gospel choir she’s adding for her MTV Unplugged album due in April). By far the most prominent part of the instrumental mix were the tribal drums, though, attacked with huge energy. Above all though, her vocals soared, daring in their range, and with staggering power.

The operatic analogy shouldn’t be stretched too far though: her control of pitch wouldn’t be tolerated by the classical establishment. I’ve heard technically concerning live Florence performances; here Between Two Lungs was way off key, but I was sufficiently caught up in the occasion not to be troubled by her tuning elsewhere (I was once a cellist, so I’m fussy about intonation). It also seemed remarkable that she could combine her vocal agility with vigorous, yet graceful dancing across the stage. I was reminded of Zola Jesus’ stagecraft in her carefully choreographed methods of engaging with the vast audience, and Florence too is an intellectual who has chosen to engage with a popular audience. She can’t rival Adele for audience banter (or indeed vocal richness). However, she’s the daughter of a Harvard educated professor of Renaissance Studies, and her work has literary associations, as well as a certain British eccentricity.

My overwhelming impression of this show is one of palpable joy in Florence’s performance style, bounding acrobatically around stage with a huge smile (visible on the video screens either side of the stage). Yet, her earlier material especially appeals to be because of its darkness and depth. After attending one of her mother’s lectures as a teenager she said: "I aspire to something like that but with music. I hope that my music has some of the big themes — sex, death, love, violence — that will still be part of the human story in 200 years' time." Florence has seen darkness in her life, facing depression, the suicide of her grandmother when she was 14, and two relation breakups with her former partner. This show forms part of a two year Ceremonials world tour, and happily I have will be seeing it at Reading and Coachella Festivals too this year. Admittedly the music can be bombastic, but it was a grand occasion to rival the likes of Verdi’s Aida. By Never Let Me Go and No Light No Light which closed the 16 strong set, the audience was euphoric, and went away having experienced a transformative piece of art.

Laura Marling, Victoria Hall Stoke, 11th March 2012 9/10

I love a wide variety of music, from opera to industrial rock, yet it seems recently that I've been most lucky with and touched by roots and folk traditions. The elusive live magic, I'd been craving finally returned tonight in an almost spiritual manner. There were no gimmicks, and most of the instrumentation was acoustic, just the experience of exceptional musicianship. I hadn't been to this venue since attending classical concerts in my teenage years, and now it's had a nine million pound refurbishment. In contrast to Manchester's Apollo, where Laura Marling played on Friday, the staff couldn't have been friendlier, and the facilities were superb. This tour has a remarkable 40 dates, and so for once I was able to exercise consumer choice, and see an artist I love in a convivial setting. The reward for queuing in the cool British air was a prime position, just a few feet away from the source of the magic; live music at its best.

Pete Roe opened: he's a long standing member of Laura Marling's band and was inspired to pursue music after watching the documenting 'The Last Waltz' at the age of 13. This Bristol native delivered a stripped down folk set, accompanying himself on acoustic guitar; beautifully executed and setting the atmosphere for the evening. After that came a shift of place, from England to Ontario, Canada, and atmosphere, from the warm and cosy to the chilling. That's not to say that Timber Timbre, playing a solo set, wasn't compelling to listen to. His folk music takes inspiration from seances, witchcraft, horror movies and murder, and the spooky vibe is heightened by Taylor Kirk's rich, deep and distinctive voice. His fourth album Creep on Creepin' On was shortlisted for last year's Polaris Prize, and I'd like to hear a full band live performance with strings and the brilliant Colin Stetson on saxophone.

Laura Marling's musicianship is at odds with her understated presence on stage, which goes beyond British reserve towards shyness. She spoke so quietly I could barely make out her words, and she asked her backing group to each speak towards the end of the set, as if having to avoid talking herself. This very un-Adele like demeanour was most charming. I was grateful that the audience listened to this gentle acoustic music with reverence, and it was almost miraculous that this self-effacing 22 year old kept a few thousand people spellbound. Her band, included double bass, cello, banjo, flute, drums and piano from Pete Roe. They accompanied sensitively, filling out the textures, but never seizing the limelight.When she played, any nervousness disappeared, and she in fact looked remarkably relaxed, regularly getting lost in the music.

It was the hushed middle part of the set, when the backing musicians went off stage, which was most spiritual. Marling's voice is beautifully delicate and flexible, and a richness in the lower registers has developed as her style has evolved. She performed an untitled new song solo, as well as the bonus track Flicker and Flail  from her most recent album A Creature I Don't Know, and a Ryan Adams cover. The early material such as Ghosts, written when she was 17 was delivered in just as delicate folk style as when it was recorded. I've always loved the folk melodies embodied in English classical music such as Vaughan Williams, and Marling has been touched by the same deeply rooted tradition. It's fascinating though to see the pace of development in style towards jazz and folk rock in her recent material, which suggests exciting possibilities for a career that seems likely to be long and illustrious.

Laura Marling is already part of the British musical establishment, her first two albums both having being nominated for the Mercury Prize, and winning best female artist in last year's Brit Awards. Her background is privileged: she attended a private Quaker School in Reading, her mother was a musical teacher, and her father, who gave her a love of folk, ran a recording studio. Yet, like Adele, she's far from a manufactured star: she's gained such a following because she's a natural musician, effortless note perfect throughout, her small inflections and subtleties transforming the merely sweat to the transcendent. She ended with a glorious trio of songs: Sophia, Rambling Man and I Speak because I Can. She'd already explained that she doesn't do encores: that would be too brash and un-English for such a modest (yet brilliant) human being.

Pete Roe

Timber Timbre

Laura Marling

Veronica Falls Deaf Institute Manchester 9th March 2012 7/10

Going to live music frequently leads to an addiction, chasing that elusive magical moment when all else ceases to be important. It is a rare pleasure, and when it eludes me, as at this gig, it's difficult not to be disappointed. It was an enjoyable evening, with musical making of a high standard: and only when compared to shows such as Wild Flag's was something lacking. I'm not going to write about the support bands, who produced two thirds of the live music, as they didn't wow me. This was as much down to their style of music, and particularly their vocals, as any lack of skill.

Veronica Falls is a four piece band from London, formed in 2009; the lead vocalist Roxanne Clifford and drummer Patrick Doyle are from Glasgow. They came to prominence last year when their self-titled debut album was released to almost universally positive reviews. Many of their songs have despair laden lyrics, for example Beachy Head about the  notorious suicide spot, but the overall effect isn't downbeat. Whilst some have compared them to mid '80's indie pop, I can also detect some Mamas and Papas influence in the boy girl vocal harmonies, and this lifts the mood. Variety of tempo also avoids monotony.

The small venue was packed, and stood at the front, the vocals were particularly indistinct. This is probably by design, since even on the album the words are often masked by electric guitar, drums and the vocal harmony. The songs tend to be catchy, epitomised by Found Love in a Graveyard, which has a bitter sweat quality, and towards the end of the short set the band moved up a gear. It never really soared for me though: the jangly guitars and reverb soaked vocals stayed resolutely earthbound. 

They aired a new song which sounded bright and poppy; perhaps they want to disprove the misapprehension that they are closet goths, which the drummer denies in this interview. The encore was a well executed Roky cover, but the highlight for me was the song Stephen, a ballad about fictional, near perfect boyfriend. There was certainly a sense of fun in their performance, and whilst their wasn't much banter from the band, they did engage the audience through their music. Definitely a band to watch, and they entertain, which I think is their aim. It's not their fault I was looking to be inspired.

Top 30 Album and EP Releases March 2012

Here's my latest round of albums, and it's been an exceptionally strong few weeks since my last update.

Top 5

• Alabama Shakes Boys and Girls
• Delta Spirit
• Flights Anywhere But Where I Am
• Grimes Visions
• The Lumineers

25 Albums

Alabama Shakes Boys and Girls (Southern Rock, Soul) 9/10
This début album from Athens, Alabama has been eagerly awaited in the blogosphere and is unlikely to disappoint those who enjoyed their EP, released last autumn. It could be described as a blend of soul, blues and garage rock, and sounds as if it's been around for years. The outstanding feature is Brittany Howard's idiomatic vocals, which have been compared to Janis Joplin. Those who have been dismayed by the hype around Lana del Rey would never deny this album's old time music's authenticity. I left it too late to get tickets for their last UK tour, but I can't wait to hear them live in May. They are surely destined to become a phenomenon.

Andrew Bird Break it Yourself (Indie Folk) 8/10
This album is a grower: on repeated listens you appreciate its subtle collage of sound and its quiet experimentalism. It's actually the seventh studio album from this Illinois songwriter and contains real depth of emotion: just listen to Lazy Projector. There is surface appeal in the melody and his seductive voice, but you really need to get lost in its hour length, soaking in the folk, jazz, classical and pop influences, and letting the warm and varied instrumentation wash over you. Don't be put off by the album art: this is a must hear.

Bear in Heaven, I love you, It's Cool (Indie Rock, Electronic) 8/10
The third release from this New York band has an epic feel, heavy on synths and layered textures. It goes beyond shoegaze to evocate more dynamic, danceable soundscapes, building gradually. I love the feel of space, Jon Philpot's vocals and the psychedelic minimalism. All that troubles me is a slightly mechanical feeling; but I'm not sure it was intended to express a warm humanity.

Busby Marou Self-titled (Indie Folk) 7/10
This rootsy album was actually released last year and is from a Brisbane duo As befits music from such warm climes, it's upbeat and positive, life-affirming even. It doesn't plunge depth of profundity or sophistication, but I love the instrumentation which includes harmonica, ukulele, and slide guitar. Foot tapping and fun.

Canon Blue Rumspringa (Indie Pop) 7.5/10
This is an energising, up tempo album from multi instrumentalist and Nashville native Daniel James. It's orchestral pop, with horns joining electronics and strings. The melody is often catchy, and I found it refreshing, with stellar drumming throughout. Not for every mood (this is morning music I feel), but I'm happy to find a niche for it.

Choir of Young Believers Rhine Gold (Indie Pop) 6/10
This project from Denmark is imaginatively and very fully scored, almost orchestral at times, and takes unexpected turns. This quirkiness sometimes wears thin: the longest of the nine tracks lasts 10 minutes, and it can be self indulgent. They've been known for their folk influence, and Have I ever truly been here combines Fleet Foxes' vocal harmonies with electronics. Tracks like Paralyze have a colder 80's pop feel, however. Uneven, but still fascinating.

Daniel Pearson Satellites (Singer Songwriter) 8/10
Daniel Peason lives in Leeds, UK, but his material has an American tinge, and he cites Ryan Adams as an influence. His songs are direct, and the voice warm, and there's more than enough variety of production and melody to sustain interest. I could imagine that he'd put on a captivating solo acoustic set, but the production here's fuller, with band accompaniment and multi-tracked vocals on some tracks. This debut album is self-released, and deserves to find a wide audience. You can stream four tracks here and it's available in full on iTunes.

Delta Spirit Self-titled (Indie Rock) 8.5/10
This San Diego five piece has produced a wonderful combination of new and traditional American in this album. It's a fuller sound that previously, including synthesiser, yet still with a nod to Southern revival and the 1960's. Tribal like calls at the opening of Tellin' The Mind show that they're not afraid to take risks, and they have a real swagger, especially on tracks like the more conventional but haunting Time Bomb. Likely to make my end of year list.

Flights Anywhere But Where I Am (Indie Pop) 8/10
This is a beautiful record: the album cover is apt, given its connection with nature and the muted, gentle tone. It's the antithesis of catchy, ephemeral mainstream pop, spanning almost an hour, and taking advantage of space and spareness. The Wisconsin duo (now based in Nashville) has made the first two tracks available for free download here, but you really need to appreciate it in full. They use beautiful, dreamy vocal harmonies, and made some use of electronics along with acoustic instruments. I'm looking forward to soaking it up on my next adventure into the wilderness.

Fun Some Nights (Indie Pop) 8/10
This is in many ways the opposite of the Flights album above: flamboyant, confident, over the top; but I still love it. Instead of pastel shades, there are bright colours, and rather than being intellectually stimulated you will be full of the joy of life. It's full of hooks, and sing along choruses; I admire its use of piano too. One esteemed music review site gave it just one star: I'm tempted to say they lack a sense of fun. They do use autotune, and surprisingly there are hip hop influences, but this is lyrical pop, emotionally manipulative in the best way.

Geographer Myth (Electronic Pop) 7.5/10
I discovered this San Francisco trio thanks to The Owl Mag, which compared their sound to M83. They have a cellist, Nathan Blaz, whilst Michael Deni sings falsetto effortlessly. The mood is upbeat, and much of the interest is in the dreamy textures. If there's a criticism, it's a suspicion of a lack of emotional depth. I'm not entirely won over by Brian Ostreicher's drum machine, but it's certainly atmospheric and Geographer deserve a wider audience.

Grimes Visions (Electronic) 9/10
Young Montreal artist Claire Boucher evidently has an amazingly free ranging imagination in this dream pop. It's sophisticated music, dominated by ethereal vocals, loops and crisp beats, yet eminently listenable. Her voice is light, but the range is astonishing, and this an album which flows coherently, amazing considering it's her first full length. The atmosphere is over-wordly, like Panda Bear's, and it's been meticulously crafted. Despite the wide ranging influences, it has originality in evoking moods, and is full of ideas.

How to Dress Well Love Remains (Electronic, R&B) 8/10
Surprisingly, this is the work of a philosophy student called Tom Krell who studies in Cologne and Brooklyn, and consolidates material which originally appeared on a series of EPs. It makes sometimes extreme use of distortion, which can be disconcerting initially, but I found its dreamy experiementalism mesmerising. It's exceptionally subtle, less rhythmic than conventional R&B, his vocals often obscured by fuzz and echo, drifting in an out of your consciousness. The experience if listening is rather like gazing at an abstract painting.

Jesse Thomas War Dancer (Indie Pop) 6/10
Jesse, a singer songwriter based in LA but from Kentucky, has a characterful, raspy voice, singing soulfully about lost love. I'd love to hear her in an acoustic set, as the backing here can sometimes be a little fussy, but her personality shines through. Her music is catchy, not strikingly original, but I'd imagine it would be fantastic live in a small venue, and it's really lifted by the vocals.

Lake Forest Silver Skies (Indie Folk) 6.5/10
This is the side project of Will Whitwham of Wilderness of Manitoba, and is similar in style to their work. It's centred around the sound of a 12 string guitar, and reverberating vocals; drums are absent. The tone is often melancholy, and tempo slow, and is imbuded with serenity. I loved its simple charm; some might call it bland, or unoriginal, but its introspective 'glum folk' is right up my street.

Lambchop Mr M (Alternative Country) 8/10
Despite his 11 albums, this is my first encounter with Kurt Wagner's ultra laid back, bluesy style. It's surely intended to be music for relaxation with a drink. You'll gradually noticed the unexpectedly nuanced backing from the Nashville musicians, and that its simplicity can be deceptive. Songs like Gone Tomorrow are actually cleverly constructed, and is brilliance is in making it sound so inevitable and natural. Some may mistake this for lounge music, but it's so classily executed.

Lovedrug Wild Blood (Indie Rock) 7.5/10
These indie rockers from Ohio have produced a bold, confident fourth album, which was recorded onto analogue tape in 'live' sessions. It's proof of the health of guitar rock on a grand scale, with sing-along choruses and crashing climaxes. This is energising music, with notably strong and often lyrical vocals from Michael Shepard. The melody and sense of control in Girl shows they can be subtle too.

The Lumineers Self-titled (Folk Rock) 10/10
Of all the albums this month, this one makes me feel most content; perhaps it's my love of Americana, but there's no doubt The Lumineers' have a big heart. This is despite the melancholy twinge: this trio from Denver starting player after two members lost a brother and best friend to a drug overdose. The instrumentalist Neyla Pekarek is classically trained and plays mandolin, piano and 'cello. The folk melodies are beautifully sung by Wesley Schultz, and the overall feeling is deeply nostalgic. It will certainly appeal to lovers of Mumford & Sons, but has a gentler, more subtle aura.

Madi Diaz Plastic Moon (Indie Pop) 6.5/10
I discovered Madi through Pledge Music: she's a Nashville based singer songwriter with a gift for accessible melody and a light voice. The style is straightforward folk pop, and the lyrics tend to be about relationships. She's accompanied by a band, and I found this refreshingly direct and unpretentious. She doesn't stretch boundaries like Grimes, yet this gives real pleasure, being upbeat and sunny in mood

Polica Give You the Ghost (Electronic) 7.5/10
It's a bold move for a new group (albeit one linked to Gayngs) to share an album title with a Radiohead song, but this is bold and energetic. The Owl Mag compared its sound to Zola Jesus, and it is fronted by chanteuse Channy Casselle. Polica tour with two drummers, and their rhythms give an uneasy, restless feel with R&B influences. It's mysterious, eerie music of the night, and this album's made me keen to see that live show.

Princeton Remembrance of Things to Come (Indie Pop) 7.5/10
This indie pop from LA twin brothers is introspective and impressionistic; music to think by. The standout feature is the instrumentation from the 7 piece New Music Ensemble: lots of synth, perscusion including marimba, strings and horns, reminiscent of Other Lives in its borrowing of classical techniques. This isn't a conventionally structured rock album: some will fail to engage with its layered, warm instrumentation and reverb soaked vocals, but I love the muted tone. You need to soak up this pop, letting it wash over you as you watch the world go by.

Said The Whale Little Mountain (Indie Rock) 7.5/10
After my first listen I wondered if this tried too hard to please, but it's growing on me. It combines folk harmonies with pop catchiness and jauntiness across its generous 15 tracks (analysed one by one here). There's imaginative instrumentation and numerous references to its Canadian origins, yet with an almost Australian sense of effervesce. Sometimes I yearn for more bitter sweet melancholy, and wish they would sit back and admire the scenery, but it seems churlish to complain. Find a video and interview here.

Soft Swells Self-titled (Indie Pop) 7/10
This new collaboration has produced optimistic electronic pop, heavy on synths and guitars. One half of the duo, Matt Welsh played,with Phonograph, and along with Tim Williams is now based in California. It's an easy listen, melodic and warm, and the single Every Little Thing is a great starting point. Its surface appeal is alluring, and whilst I don't see this becoming a future classic, it evokes happy summer days.

School of Seven Bells Ghostory (Indie Rock, Electronic) 8/10
School of Seven Bells has toured with M83, and this album is almost as impressive as their Hurry Up, I'm Dreaming. Ghostory is about a haunted character called Lafaye, and has a strong rhythmic underpinning. The outstanding feature though is the angelic voice of Alejandra Deheza, the effect aided by generous reverb. You could describe it as cinematic shoe gaze; ignore Pitchfork's pretentious review and judge for yourself; I found myself getting lost in its haze.

Young Magic Melt (Indie Pop) 7/10
You can stream this New York trio's album in full here. It was compiled from music conceived in 10 different locations around the world whilst travelling. It's essentially chillwave with hip hop influences: one review described it as 'Panda Bear blinded in fog'. The structure is amorphous, as the title suggests, but to criticise it for being a fusion of styles is to miss its point. I found it bold and refreshing and love the artwork.


5 EPs

Automata Microcosm (Indie Rock) 6/10
Whilst this was released back in 2010, I've included it as the Chicago four piece has made it available for free download, and because I found it imaginative. The female vocals are strong, whilst I imagine the title refers to the wide variety of styles it encompasses. Despite this, there's a strong sense of forward motion, and it bodes well for the full length currently being recorded.

Burial Street Halo, Kindred (Dubstep, Electronic) 9/10
This is challenging, mind blowing music, and two of the tracks are over 11 minutes. Your patience and persistance is amply rewarded though: it creates a powerful, dark mood with some amazingly original electronic sounds. Ignore the genre label: if you have any sense of adventure and appreciate depth hiding amidst minimalism, this is a must listen. Kindred is the more recent of these two EPs and the title track is the place to wade straight in.

Eisley Deep Space (Indie Rock) 6.5/10
Eisley from Texas impressed with their album The Valley last year; this EP was originally to include B sides but actually comprises new tracks. This doesn't break new ground, but the title song is especially melodic. It's predominantly slow and dreamy in tempo, and is charming.

Imagine Dragons Continued Silence (Indie Rock) 7.5/10
This is the Las Vegas group's fourth EP and their first made with the help of a major label. They make liberal use of electronics to supplement their sound and its bold and assertive, with even a little hip hop influence. It's highly melodic: my only fear for their upcoming full length debut is that they will try too hard to emulate Coldplay's appeal and it will be over-produced. There's no doubting this is fun though.

Release the Sunbird Imaginary Summer (Indie Rock) 7.5/10
This is Zach Rogue of Rogue Wave's solo project, and it's a joy. The instrumentation is fuller than his largely acoustic debut Come Back to Use released last year, and it's upbeat throughout. The final track is a cover of Talking Heads' Road to Nowhere.

Honourable Mentions
Air Voyage Dans La Lune
Amos Lee At the Crow Flies EP
Ben Queller Go Fly a Kite
Beth Jeans Houghton Yours Truly, Celephane Nose
Bowerbirds The Clearing
Django Django
Dry The River Shallow Bed
Field Music Plumb
Frankie Rose Interstellar
Magnetic Fields, Love at the Bottom of the Sea
Million Young Replicants
Mount Moriah
of Montreal Paralytic Stalks
Punch Brothers Who's Feeling Young Now
Team Me To The Treetops
The Twilight Sad No One Can Ever Know
The Weeknd Balloons of Haus Remix