The Chevin, Castle Hotel Manchester, 21st May 2012

It's exciting to catch an band at an early stage in their career in a small venue, and having the thrill of telling others about their potential. The Chevin is not an art music project: they have ambitions of popular success. It's clear that they're positioning themselves in the space once occupied by U2: this is a traditional guitar based four piece who've talked about their antipathy towards electronic music (despite making use of synths and a Macbook). Their belief in the importance of melody is a more telling pointer to their intentions, yet this is crowded ground, and I wonder if I caught them too early to assess their potential.

The Chevin takes its name from a wooded hillside overlooking Otley, near Leeds in the north of England. Their epic sound takes inspiration from that rolling landscape, yet this is the source of the key issue last night. Like Florence's Ceremonials, the music on their Champion EP cries out for a stadium setting. Indeed, they've already realised this dream, supporting White Lies in Wembley Arena in December. Yet this gig took place in a cramped back room of a pub, a venue which felt magically intimate for The Deep Dark Woods earlier this year, but stifled this rock music. The lighting only really illuminated drummer Mai Taylor, so lead singer Coyle Girelli was literally in the dark for much of the show, which must have disappointed some female members of the audience.

By far the most important requirement for a venue is clear sound: last night the modest PA was over-driven, struggling to cope with the volume and managing to be simultaneously muddy in the bass and harsh in the treble. The band also appeared to be a disconcerted by the sparse audience: the room had been over flowing for the lack lustre second support band, only to have emptied for the main act. This resulted in a sterile atmosphere and Girelli ended up thanking those who'd stayed to see them. My ears felt severely fatigued after the earlier bands, so perhaps others felt the need to rest theirs, or maybe they'd gone to The Deaf Institute to catch Oberhofer.

It wasn't really The Chevin's night then: the short, sub half hour set only really took flight for the closing songs Champion and new single Drive. There were no demands for an encore either. However, Drive showed great promise for their upcoming album Borderlands, due for August release, and I'd urge you to listen to the EP on Soundcloud. It was this, along with a recommendation from a music lover who'd seen their show at The Satellite, LA at the end of January, that tempted me to travel to this show. The EP reveals a band with confidence and swagger, with the sharp guitars and rhythms of early U2. In the studio, Girelli's tenor voice has amazing ability. Sadly, we didn't hear it against acoustic guitar last night owing to a broken string. I do hope that label pressure isn't putting them under pressure to gain too much exposure too soon. It would have been logical to delay their first headline gig in Manchester until they were ready to perform the album, and thus put together a full length set.

There was limited engagement with the small audience between songs, but we did learn that they're planning to play several festivals this summer. I hope I'll be at one of them, since I still believe that The Chevin has enormous potential, and I'd like to hear them in more favourable circumstances, performing material from their début album. I had a frustrating experience recently with a band as illustrious as The Black Keys, so I haven't given this show a rating as I don't believe it was a fair reflection of The Chevin's talent. They played SXSW this year, and are appearing on Letterman in August, so they're ambitiously aiming for a US breakthrough. I wish them well and I'll end with this quote from Girelli taken from an interview last year: 'I write from my heart. Our songs are filled with my experiences. Of love, loss, life and hope. Some of the songs on this record also deal with death after losing my grandma and a close friend to cancer just a few months apart last year.'

Sharon Van Etten, Deaf Institute Manchester, 17th May 2012 9/10

Live music can be so transformational. The evening had started off cerebrally, with Oregon multi instrumentalist Marisa Anderson weaving a complex spell of intricate improvisations on solo guitar. She was so introvert on stage as to appear oblivious to the audience, remaining in her own world. Then Brooklyn's Exitmusic came on to perform a dark, creepy set, with waves of guitar noise and a charismatic vocalist. About half way through the set, magic started to happen. I found myself completely transfixed by Aleska Palladino's reverb soaked vocals. Her voice was a beautiful contrast to the complex electronic textures from her husband Devon Church and the rest of the band. This was that moment when I became consumed by the deep emotions within the music, to the exclusion of all else, almost as if I was floating in a different reality to the present.

This sense of immersion continued for the rest of the gig, and the afterglow still lives on. Exitmusic are releasing their debut album Passage in the new few days, and if you appreciate music with noise and the experimental beauty of Sigur Ros, it demands attention. Live, they are completely focused and whilst the music is sombre, the intensity can't help be draw you in. I'm eager to see them again, hopefully as headliners. Aleska's a successful actress, yet she let the music talk: chatter would have shattered the intense, otherworldly atmosphere. I wish artists and promoters were always as bold and confident in their choice of support artists.

This was New Jersey native Sharon Van Etten's second time in Manchester after a four year gap, and the intimate Deaf Institute was crammed with intelligent looking music lovers. She was joined by a three other musicians, her latest album Tramp marking a transition from an acoustic singer-songwriter to lead singer of a band. Indeed, all but one of the songs tonight were from Tramp, and yet I didn't miss the stripped down intimacy of the earlier material. Backing vocalist Heather Woods Broderick in particular added weight to Sharon's vocals. Tramp was produced by the National's Aaron Dessner and includes collaborations with such indie music luminaries as Zach Condon and Wye Oak's Ken Wasner. Her profile has also been raised by Bon Iver's  cover of Love More. Sharon's music includes elements of the folk tradition, rock and Americana, but to my ears sounds of our time. It's difficult to single out a highlights of the all to brief hour long set, but the closing Magic Chords where she played the Omnichord particularly remains in my consciousness.

There was no wild dancing around stage, no elaborate gestures, attempts at crowd sing-alongs or waving of hands. The mood was introspective: this was music full of vulnerability. Some see this genre of confessional indie rock as overly serious and heavy, but I found it a far more satisfying experience than upbeat pop. Music has the ability to communicate abstract feelings and complex emotions far more eloquently than words, and Sharon's lyrics, sultry voice and creative instrumentation evoked deep feelings. It encompasses both harsh and gentle feelings, anger being a dark undercurrent which never quite explodes into the open. She did however talk charmingly between songs, revealing a warm personality, and a genuine appreciation of her fans.

It's telling that Sharonsaid in an interview: 'most of the songs never see the light of day, because I can’t get outside myself enough to say, “This song would help other people.”.' The rawness even of the songs  she has released suggests she's suffered for her art, but as I've written before, the dark music can be cathartic, and I see similarities in Sharon Van Etten's and PJ Harvey's sound worlds. Both embrace the complexity of human emotions, and both see their music as a channel for something more profound than commercial success. I often write about the euphoric shared experience of live music, but these performers are more personal. It's a voyage which takes place in the solitude of the mind. In Ask she sings 'It hurts too much to laugh about it' and the frailty laid bare in her songs brings comfort in revealing the universality of the human experience.

Set List

• All I Can
• Warsaw
• Kevin’s
• Don’t Do It (from Epic)
• Give Out
• Ask
• Leonard
• Serpents
• I’m Wrong
• Joke Or a Lie
• Magic Chords

Note that you can see some videos of the gig on this excellent blog post from another audience member.

Michael Kiwanuka, HMV Ritz Manchester, 16th May 2012 8.5/10

Like Alabama Shakes', Michael Kiwanuka's rise is an indication of the power of word of mouth in this socially-connected world. It's little over a year since he was working as a session guitarist for R&B artists: his solo career started after being deprived of his fee by rapper Chipmunk. In Februrary he'd been performing in a small venue in Manchester, yet last night I was in a crowd of over a thousand people in the HMV Ritz. The turning point was winning the BBC Sound of 2012 award: previous winners have included Adele and Ellie Goulding. His profile had already been raised by his support for Adele on her 2011 tour and the release of an EP in June 2011. He's signed to Communion Records, home of Mumford & Sons, and his début album Home Again went to no.4 in the UK chart on its release here in March.

The night started with Jake Bugg, an 18 year old from Nottingham whose break was to play the BBC Introducing Stage at Glastonbury last year. He sung folk music, playing the acoustic guitar, with a bass player and drummer providing subtle accompaniment. Regardless of age, he's already an accomplished performer, singing tenderly. The background chatter echoing around the venue didn't faze Jake, but it shattered the magic for me (the noise didn't completely cease for the main act either). I'd have liked to see him in a more intimate setting, which might have been more appropriate at this stage in his development.

Michael Kiwanuka has a reserved, even timid stage presence, reminiscent of Laura Marling, whilst leaning towards soul rather than folk music. He came out of his shell towards the end of the show, when he joked with three young ladies who had been dancing at the back of the hall and became more articulate. Yet the sincerity and authenticity in his music making cannot be doubted. The mood was supremely mellow: a very different kind of energy to the extrovert Alabama Shakes. This particularly suited the solo material, such as Rest, which was  intimate and moving. The set lasted just over an hour, consisting largely of material from his album and including two beautifully executed covers. The encore was Lasan, the result of a recent collaboration with the Black Keys' Dan Auerbach.

Tell Me a Tale is a classic song, which like much of his material feels familiar even on the first listen, but it was a shame that it wasn't accompanied by jazz flute, as on the album. He did have a five piece backing band, including a percussionist as well as drummer, and a keyboard player; they all accompanied sensitively. Yet it wasn't until the Bill Withers cover I Don't Know that they really played as an ensemble, rather than just as backing. The jam session here was thrilling, and provided an intriguing prospect of a possible future musical direction. Michael has said that he's been exploring the electric guitar and Jimi Hendrix's slower material extensively recently, and it's quite possible his second album will be more extrovert.

Michael's voice is smooth and seductive, more tender than powerful, but expressing a surprising emotional maturity for a 24 year old. Some have accused his music as being middle of the road: NME said the album: 'sounds more like a man crafting a style than really saying something'. This is a misreading, and once you've seen him live though, any such concerns are cast aside. Yes, the tempos are predominantly slow, and the sound borrowed from the early 1970's, but this humble man really does have some of that elusive magic. Perhaps it's because I can relate to his tales of being a lonely worrier, but he has an extraordinary power to affect the emotions. His eyes in particular are incredibly expressive, and he exudes a quiet magnetism.

It's been said that Michael's appeal is because the current era of austerity and recession is reminiscent of the 1970's from which influences his music. Most commentators have overlooked the Christian theme of his work though, and I'm not aware that he's talked about it publicly. Look at the lyrics of I'm Getting Ready:

Oh my, I didn't know what it means to believe
But if I hold on tight, is it true?
Would You take care of all that I do?
Oh Lord, I'm getting ready to believe.

You can certainly appreciate his music regardless of any personal views about religion, but his belief in a dimension to life beyond the literal may help to explain the power of his performance. I believe that even secular music has the potential to provide a glimpse of a possible world beyond the one in which we currently exist; and of all the arts is the one which comes closest to revealing a spiritual dimension. I suspect Michael would agree with this view, and it's part of the reason that you associate the word authentic so strongly with his work. He really is a captivating performer whom I suspect will be showing us more dimensions of his personality in future. Don't wait until he's playing arenas to see him.

Set List (non-album tracks are starred):

• I'll Get Along
• *Company (2011)
• Always Waiting
• Tell Me A Tale
• Worry Walks
• Bones
• *May This Be Love (Waterfall) (Jimi Hendrix Cover)
• I'm Getting Ready
• Anyday (Solo)
• Rest (Solo)
• Home Again
• *I Don't Know (Bill Withers Cover)
• *Lasan (B Side to single I'm Getting Ready)

Tell Me A Tale (Jools Holland show)

Said the Whale, Deaf Institute Manchester, 13th May 2012 7.5/10

This gig exemplified remaining positive in the face of adversity. Said The Whale hadn't experienced the easiest 24 hours, having had to cancel the previous night's show in Southampton due to health problems, and then having their tour van broken into in Manchester. They'd lost a lot of gear, including passports, laptops, guitar pedals and $2500 in cash. Yet they Tweeted that they hoped the money had been well spent by the thieves, and of their gratitude for the police, who managed to recover half of the lost items within an hour. Then, having made tonight's gig against the odds, they found they were playing to just 25-30 people. This made for an intimate experience, but also meant that much of the energy had to come from the band, not the crowd, many of whom stood on the periphery of the Deaf Institute's Music Hall.

 Earlier this month, Said The Whale had sold out the 1150 capacity Vogue Theatre in their home city of Vancouver, at the end of a 8 week tour which was the subject of an hour long CBC television documentary. In 2011, they completed their first tour of the US and won a prestigious Juno Award for New Group of the Year. This was only their second visit to the UK though, and it was their misfortune to play on the biggest day of the year for football in a city which seems to be even more fanatical about soccer than music. Yet, despite all this, they played with great energy and enthusiasm, and sounded honoured to be playing here. Their good natured engagement with the small and quiet audience was a reflection on their professionalism and a supremely positive attitude to life.

The five piece band's music is imbued with the clear mountain air and wide open spaces of Western Canada. Despite the over-driven Deaf Institute's PA sounding somewhat muddy last night, their sound is crisp and clean. This means that I could hear the many references to places like Stanley Park and False Creek Vancouver, my favourite city in the world for its stunningly beautiful setting and laid back feel. In fact, their third album, Little Mountain is named after a neighbourhood there. In an interview, Ben Worcester talked about the link between music and place, one which I too believe in strongly:

"The places we're in tend to affect us a lot," Worcester said. "I personally like to write about places, people or things I can connect to. That way, for however many years I'm singing these songs, I can conjure those feelings and what they're about."

Their geographical horizons have extended recently to encompass Montana in the beautiful Big Sky, MT which talks about wild flowers, and Arkansas with the upbeat Jesse, Ar. I just hope that events haven't prompted them to write a song about Manchester's criminality. Said The Whale's songs mix many styles including indie rock (e.g. Camilo), roots folk (O Alexandra), synth pop (Heavy Ceiling), and jams (Hurricane Ada). Last night's set list was predominantly from Little Mountain, but a highlight from their back catalogue was the title song from their New Brighton EP. Ben and Tyler Bancroft traded front man duties, whilst keyboardist Jaycelyn Browns' smile exuded joy. Drummer Spencer Schoening showed great energy and versatility, and Nathan Shaw provided a solid bass foundation.

It's difficult to adjust expectations after an utterly mind blowing concert, and as I listened to the (very respectable) support bands in a virtually empty venue, I found it difficult to forget being mesmerised by Alabama Shakes in a packed hall 3 days ago. Yet, judged by objective standards, Said The Whale put on a highly entertaining and moving live show, and when I left the venue I felt considerably more relaxed and contented than on my arrival. Their music is highly accessible: moments such as the vocal harmonies in the tender Big Wave Goodbye put a smile on the face of this folk lover, yet  a song like We Are 1980 manages to be catchy. This variety is a key to their broad appeal: they have a sense of fun, enthusiasm, and joy, even in this highly imperfect world.

Alabama Shakes, Methodist Central Hall Manchester, 10th May 2012 10/10

The excitement last night was palpable: Alabama Shakes' first show in Manchester had long since sold out, despite a move to a larger venue. The five piece from Athens, Alabama has enjoyed a meteoric rise, emerging from a high school friendship between lead singer Brittany Howard and bassist Zac Cockrall. The trigger for their explosion into the indie music world was a post on the Aquarium Drunkard music blog, containing a stream of the song You Ain't Alone. Their first EP was only released last September, and the début television appearance (on Conan in February) came before this April's album release. They generated a huge buzz from their SXSW shows and gained endorsements from Adele and Jack White. Boy and Girls was the top selling Record Day purchase in the UK this year.

Before experiencing their show, I found it difficult to reconcile this immense popular and critical success with their apparent lack of commercial awareness. It seemed naive in this post Lana Del Rey world to hope that their rise could be attributed to exceptional musical ability; Adele looked like the exception. The knowledge that Brittany studied psychology added to the concern that perhaps we were being manipulated: surely they had to be too good to be true? Boys and Girls had been one of my top five albums in my monthly summary, yet for all its merit, the album is a pale impression of their show. Little can prepare you for the shock of seeing Alabama Shakes live.

There were no gimmicks: no electronics, hip hop beats, or elaborate visual effects. A slightly shambolic air was heightened by The Shakes' need to borrow a working bass guitar amp from the support band, delaying their arrival on stage. The lighting was dim and unimaginative, and the vocal sound at the front was poor. I'd expected to write about Brittany's throaty voice, which dominates the album, but for the first two songs it was almost inaudible; the situation then improved but she remained too far back in the mix. Three times between songs people from the crowd shouted 'more vocals'. Brittany eventually responded by promising to sing louder, but we were hoping for a response from the sound engineer. For almost any other band this would have ruined the experience, yet they are so magical that it still managed to be my most mesmerising gig to date in 2012.

Put simply, Alabama Shakes has soul. Brittany has wild hair, nerdy spectacle, a natural rather than supermodel figure, and an incredibly expressive face. The energy as she dances around the stage is captivating: she just oozes charisma and commitment. Brittany's no diva though: this is a team effort. The entire band has an incredibly tight sound, and the guitar playing in particular has precise attack. The other four players remain relatively static, giving the appearance of introspection, yet it's clear that they're listening intently to each other. This manifests itself in the rhythmic clarity and also in their dynamic shading. The band is capable of effortlessly changing gear from letting rip ferociously to real tenderness. They may sound uninhibited and free, yet behind it lies a wonderful appreciation of nuance and detail.

The music is unashamedly backward looking, a mixture of soul, blues and rock and roll. With only one album, they have a limited catalogue to draw on, and in truth some of their songs are less memorable than the single Hold On. Fame doesn't appear to have dented their creativity though: surprisingly they played a bluesy new song, Mama as part of a more extensive set list than expected. We really do urgently need a live album from them though: Boys and Girls sounds quite thin and timid in comparison with the show, and I'm impatient to hear those new songs again.

For all her magnetism on stage, Brittany made few efforts to engage the audience through chatter: asides were kept to a minimum. Yet, the atmosphere was electric from the moment they started to play, with mass dancing and singing along (remarkable given the album's been out for less than a month), the room hanging on to her every move. Alabama Shakes' ability to create a feeling of togetherness in the room, uniting strangers with a feeling of ecstasy is common to all of my very favourite live acts. Despite the differences in musical style, the similarity in energy level made me think of Portugal. The Man.

This gig took place in Methodist Church buildings, which meant that the band couldn't rely on alcohol to release the audience's inhibitions. It turned out to be an appropriate setting though, since Brittany reminded me of a revivalist preacher, whipping up the audience into a frenzy, and reminding them (through music) of a higher dimension to life. The subject matter of the songs may be hedonistic, but as can fortuitously happen with the best live music, the experience was religious, and the experience was transformational. The sadness that I'm unlikely to see them in such an intimate venue again is tempered by the promise of the joy they will surely bring to mine and so many peoples' lives in the years to come.

Set List
Goin' To The Party
Making Me Itch (new song)
Hold On
Hang Loose
Always Alright
I Found You
Rise To The Sun
Boys and Girls
Be Mine
I Ain't The Same
Worryin' Blues (unreleased)
You Ain't Alone
Mama (7" B Side)
Heavy Chevey
Hurricane Strut
On Your Way
Heat Lightning

Top 35 Albums and EPs May 2012

This is my latest album round up, and it's been a strong month. The vast majority of these are either new or upcoming releases, and in many cases a preview is available if you follow the link in the band's title.

Top 5

• Beach House Bloom
• Carina Round Tigermending
• Electric Guest Mondo
• Mount Eerie Clear Moon
• Sigur Ros Valtari

Also Commendable

• Allo Darlin' Europe
• Cameras In Your Room
• Here We Go Magic A Different Ship
• Jack White Blunderbuss
• Magic Wands Aloha Moon

30 Albums

Allo Darlin' Europe (Indie Pop) 8/10
This album has a warm feeling, despite its lyrics being less upbeat than the London group's first record (reflecting the continent's economic turmoil). There's a lovely feel good sense, with sing-along melodies. The over-riding optimism can in part be attributed to the Australian lead singer Elizabeth Morris, and it has a similarly positive emotional impact on me as folk music does.

Ane Brun It All Starts With You (Singer Songwriter) 7/10
This Norwegian singer has a haunting voice, and these sparse arrangements are beautifully subtle. Two fortuitous collaborations see First Aid Kit and Jose Gonzalez joining on Do You Remember and Worship. The tempos tend to be slow, making this is an album to relax to. It has strong folk influences, along with some blues. The low key mood might not excite all, but I could listen to that crystalline voice all day.

Barcelona Not Quite Yours (Indie Rock) 7/10
After a five year wait, this follow up to Absolutes was fan funded on Kick Starter. The melodic rock from Seattle is pitched to appeal widely rather than challenge the listener. There's no doubt that I've been enjoying it, but as yet it hasn't supplanted their debut in my affections. Not Quite Yours doesn't have quite the same emotional impact, or develop their art significantly, despite its accessibility.

Beach House Bloom (Dream Pop) 9/10
This follow up to the gorgeous Teen Dream doesn't disappoint, even if the Baltimore duo has only incrementally refined and clarified their sound. It's beautifully structured, so it works as a whole not just as a series of individual songs; and has a hypnotic effect which I haven't tired of after multiple listens. The sound is hazy of course, and it sounds so perfect that I wonder if they'll have to follow this up with change of direction, as it's difficult to imagine how they can develop this avenue further.

Best Coast The Only Place (Indie Pop) 4/10
I'm afraid the first word which comes to mind when listening to this album is facile. More generously, you could call it direct and sunny, but the lyrics are embarrassingly simple. Producer Jon Brion is of course renowned for his work with Fiona Apple amongst others, but his desire to polish Best Coast's lo-fi fuzz only exposes its banality. I'd already bought a ticket to see them live next month before hearing the album, and I can only hope that it'll be more successful outside the studio. I usually refrain from mentioning albums I dislike, but this is from an established artist I admire, so I feel it's not simply a case of my taste being incompatible).

Cameras In Your Room (Indie Rock) 8/10
This Australian band's debut album deserves to give them greater prominence outside their home country. Their sound is emotionally powerful and ambitious in its scope, with layered instrumentation. An obvious place to start if the stirring June, where keyboardist Eleanor Dunlop's voice is moody, and contrasts with the harder edged tracks led by guitar player Fraser Harvey.

Carina Round Tigermending (Indie Rock) 9.5/10
This album from a British member of Maynard James Keenan's Puscifer has real depth and passion. She's sombre and powerful, conjuring up real drama, and the intricacy rewards repeated listening. That voice is outstanding, and speaks directly to your emotions. It's not always a comfortable experience, but its drama makes it decisively one of the albums of the year.

Clock Opera Ways to Forget (Indie Pop) 6/10
Multi instrumentalist Guy Connelly was subjected to a particularly vicious review from NME, and whilst I do find this album a little soulless at times, it doesn't deserve 2/10. The layers are carefully thought out creating interesting electronic textures, and it's not without hooks. It's album of details, such as the intricate drumming, and Philip Glass style arpeggios. The repetition and gradual building of songs doesn't quite make for a sufficiently memorable whole, however. 

Electric Guest Mondo (Indie Pop) 9/10
Broken Bells is one of my favourite albums, and this has some of the same Danger Mouse (Brian Burton) magic. It's been criticised for its backward looking, 70's soul sound, but I love the uplifting, breezy Californian pop. Asa Taccone's falsetto voice has a jazzy feel, and I find it infectiously catchy. The highlight for me is the extended Troubleman, and in fact the second half in general works better than the first. I don't care that professional critics have generally dismissed this album, as it makes me happy.

Gemma Ray Island Fire (Indie Pop) 7/10
The appeal of Island Fire to me is partly in its 60's feel, and this Brit has a real sense of fun. Much of the album was recorded in Sydney, and there's a pleasing variety between songs, even if ultimately you have to question whether it's all a little inconsequential. I doubt I'll be listening to this in five years' time, but it's an enjoyable side trip with some pleasingly quirky details.

Greg Laswell Landline (Indie Pop) 7/10
Laswell's fifth album won't disappoint fans, being stirring and accessible. The melodies soar, and it's notable for its duets with four guest female vocalists including Sia and Sara Bareilles. It's all terribly enjoyable, and reassuring: I like to be challenged more, but that's a matter of taste, and I there's no doubt that Greg fulfils his intentions admirably.

The Heartbreaks Funtimes (Indie Pop) 6.5/10
This debut album comes from the seaside town Morecombe, which I can assure you has little in common with the SoCal coast. It has a nostalgic feel, befitting its location, and lots of jangly guitars. Surprisingly, it has an energy and optimism in common with Neon Trees. It's full of upbeat popular appeal, and whilst my taste is for darker, more challenging music, I think there's a chance of The Heartbreaks breaking through. I could certainly see it working at summer festivals where more subtle, delicate sounds can be lost.

He's My Brother, She's My Sister Nobody Dances in This Town (Indie Folk) 8/10
I debated whether to include this album, since I acquired it through Pledge Music and it won't be generally available until later this year. In fact, even the title is unconfirmed, but it will be worth the wait, as this rootsy LA band exudes fun. Some of the material is included on their EP, but it's thrilling to finally hear the siblings' interchange of vocals on their full length. I'm crossing my fingers they'll tour the UK when it's released to the public.

Here We Go Magic A Different Ship (Indie Pop) 7.5/10
A Different Ship's creativity explains why they caught the ear of Radiohead produced Nigel Godrich at Glastonbury 2010, and they share some of the British group's angst. The rhythms can be complex, and it's tightly performed and of course expertly produced. A standout track is Make Up Your Mind, but the slower songs maintain the anxious, disconcerting feel. Definitely worth listening to, but it's fails to make my top 10 because songs such as I Believe in Action are weaker.

Horse Feathers Cynic's New Year (Indie Folk) 6.5/10

This is the Oregon group's fourth album, and its style is consistent with the previous ones. It's tranquil folk, unassuming and so easily overlooked. The charm is in the details, such as the lovely string work (including cello, banjo and guitar) and occasional piano.  Justin Ringle's falsetto vocals are sensitive, and the overall mood sombre. This may be too low key for some, but I appreciate its subtle beauty.

Jack White Blunderbuss (Rock) 8.5/10
Such is Blunderbuss' critical and commercial success that it needs little introduction from me. Despite being at no.1 in the US charts, it doesn't pander to popular appeal: it's gritty and challenging, as he sings of suffering for love. The bluesy garage rock takes risks, and is delivered with utter passion and commitment. The only reason it isn't in my top 5 this month is because you've surely already downloaded it, and I'll be amazed if it isn't at or near the top of most critics end of year lists.

Lower Dens Nootropics (Indie Rock) 7.5/10
This group has been compared to Radiohead, perhaps because of its bleak feel, yet I also detect the influence of fellow Baltimore group Beach House. Like them, the focus is on atmosphere, the creation of a sound world, but one which is more chilling, less bathed in sunlight. Initially, it's easier to admire than adore, but it can engage the emotions and rewards repeated listening.

Magic Wands Aloha Moon (Indie Pop) 7.5/10
Chris and Dexy Valentine produce dreamy Californian pop which has been compared to Metric. What sets it apart from electro pop acts such as Miniature Tigers is the dark undercurrent and variety of style, from shoegaze to a final track with beats reminiscent of Fischerspooner. They deserve wider recognition for this sensual, imaginative music.

Mariee Sioux Gift For The End (Indie Folk) 7/10
Gift For The End is an understated, subtle album, influenced by Bonnie Prince Billy, Neil Young and Joni Mitchell, yet decisively modern. Mariee has a delicate voice, and is influenced by a native American mysticism. Some have found it too relaxed, but it rewards your attention across its eight longer than customary tracks, and I find real depth and beauty.

Miniature Tigers Mia Pharaoh (Electronic Pop) 6/10

If these tunes from Brooklyn don't get your feet tapping, there's little hope. It's catchy, light electro pop with a strong beat and falsetto vocals soaked in reverb. Listening to this everyday would be little like eating donuts at every meal, but this is made for an evening in a club or a summer drive. I can't avoid mentioning the word kitsch though...

The Mowgli's Sound The Drum (Indie Folk) 6.5/10
This seven piece from California are unashamedly influenced by Edward Sharpe and the Magnetic Zeros, and so I expected to fall in love immediately. My initial response was irritation though, finding too much surface fizz and insufficient substance. I've since become more sympathetic, whilst still wondering whether its upbeat melodies and joy are contrived. You'd be silly though to be put off by my mean spirited questioning, since you can name your price on Bandcamp. Incidentally, the name comes from a band member's dog.

Moonface Heartbreaking Bravery (Indie Rock) 7/10
This is a collaboration between Canadian Spencer Krug and the Finnish krautrock quartet Sinai. It has a cinematic, expansive feel, with influences ranging from M83's pop to Explosions in The Sky. It doesn't always hang together coherently, yet my sense of frustration that it didn't reach its promised destination was tempered by my appreciation of the journey. Like the artwork, the lyrics are often dark.

Mount Eerie Clear Moon (Indie Folk, Lo-fi) 8.5/10
This is the first of a pair of records from Phil Elverum to be released this year. It's subtle and atmospheric, recorded on analogue equipment in a church in Washington State. You really need to soak it in an appropriately relaxed frame of mind, in the dark, in one uninterrupted sitting. You'll then appreciate the surprising electronic textures of later tracks like Over Dark Water. The overall tempo is slow, and it reminded me at times in mood of both contemporary and medieval classical music.

Neon Trees Picture Show (Indie Rock) 7.5/10
I'm fortunate to have attended the release show for this album in LA, and Neon Trees are tremendously energetic and engaging live performers. This sophomore album may lack a standout hit to rival Animal, and its second half doesn't the impact of Habits, yet fans of Neon Trees won't feel let down. It's 1980's influenced, upbeat, often catchy and not to be taken too seriously.

New Build Yesterday was Lived and Lost (Electronic Pop) 6/10
Considering this band contains members of Hot Chip and LCD Soundsystem, expectations were high for this release. I missed their recent live appearance in Manchester, but I find a disconcerting mechanical feeling to their debut album. It's synth pop of course, with falsetto vocals, at its best reminding me of a more muted version of Cut Copy. There are subtle layers of sound, and it's all very skilfully crafted, so it may engage you more.

Rocky Votolato Television of Saints (Indie Folk) 7/10
Rocky is a singer songwriter from Dallas, and his style is folk rock, with some alt country influences. He has an extensive discography, but Television of Saints is notable for being fan funded. This music is simple, and the production minimalist, but it has a big, warm heart. Objectively, this album may be unexceptional, yet Rocky's heartfelt singing and acoustic guitar playing have given me much pleasure.

Sea of Bees Orangefarben (Folk Rock) 6.5/10
This is Sacramento's Julie Anne Baenziger second album and stands out for its quirkiness. It's a breakup album, and so has a dark side, without being bleak. I like her distinctive voice and layered guitar strumming, and her music is quietly beautiful. In fact, sometimes it's almost too cheerful and accessible, and I wish she'd be less polite, whilst retaining her gift for melody. I'm told she's wonderful live, and when I get the chance to see her, I may appreciate Orangefarben even more.

Sigur Ros Valtari (Post Rock) 9.5/10
This was one of my most eagerly awaited albums of the year, since it's four years since Jonsi's band released a studio album. It's music to dream to, best appreciated when you're on the edge of consciousness. If there's a heaven, this might accompany your journey there. Valtari is calm and introspective, with similarities to classical music- the rhythm isn't as clearly defined as in most popular music, for example. I adore the deep serenity and lush electronics, but if you dislike the other output from this Icelandic source, you're unlikely to be converted by Valtari. It's devoid of catchy melodies or intelligible lyrics, yet I consider it to be deeply spiritual.

Soundtrack of Our Lives Throw it to the Universe (Indie Rock) 6/10
This is the Swedish band's sixth and possibly last album, and as ever owes a debt to Britpop. It's an extremely easy listen, melodic and friendly on the ear. It's easy to criticise it for its lack of ambition, but they could surely have stretched their fans a little more. My musical focus was a long way from Britpop in the '90s, so I can enjoy it with it with a fresher, more innocent ear than most.

Spiritualized Sweet Heart, Sweet Light (Rock) 8/10
This is an album of contrasts between hard rock and more gentle gospel choir and strings. The critical reception has been overwhelming positive, and if I haven't fallen in love yet, I rate it highly. I appreciate the quieter moments such as Too Late most, and Jason Pierce went through 8 months of chemotherapy for liver disease during the making of this album, so the sincerity can't be denied. If it wasn't for this, I'd describe it as self-indulgent (as on the final track), but you have to admire its ambition. Too sprawling to be a masterpiece, but a lushly produced must-listen.

5 EPs

Evan Voyatas Feel Me (Indie Pop Funk) 6.5/10
This might not be my favourite album of the month, but the viciousness of Pitchfork's demolition work on an artist who's yet to fully establish himself is disturbing. I can imagine this LA multi-instrumentalist working the crowd in a cramped basement, inebriated souls dancing late at night. The synths are from the 80's, the beat is strong, and the influence of R&B is palpable.

Little Red Lung EP (Indie Rock) 8.5/10
This project from LA has an experimental feel, and really does sound original. Zoe Ruth Erwin has a haunting voice, and her instrumentation includes acoustic instruments such as violin. It takes influences from folk and classical music as well as rock, and it has the ability to set off your imagination in rich and unexpected directions. You can stream it (or buy it for $5) on Bandcamp, and if you're at all open minded, you really should explore this.

The Staves The Motherlode (Folk) 7/10
I recently attended The Staves' live show on the day this EP was released, and whilst we wait for a full length, these 3 tracks will help to satisfy their growing fan base. If you haven't discovered them yet, you'll appreciate their 3 part vocal harmony if you like artists such as Laura Marling and First Aid Kit. Whilst the title track is strong, I particularly enjoyed the a capella final number.

Tic Tic Boom! Before the Sun Rises (Electronic Rock) 7.5/10
This is currently a free download from Bandcamp which I discovered via The Owl Mag. The five tracks of electro pop come from LA and are energising and danceable; I'd imagine they'd be much fun live. The tunes are catchy and the electronic beats invigorating: recommended.

We Are Augustines iTunes Session (Indie Rock) 8/10

I've been immersing myself in WAA recently, and this recent iTunes session is a useful supplement to their debut album Rise Ye Sunken Ships. Recorded live, it includes a brand new track Ballad of a Patient Man, two covers and four fresh renditions of songs from the album. It's a pity though that they didn't include the title track omitted from the album, which they played recently in Manchester.

10 Near Misses

• Ben Howard Every Kingdom
• The Dandy Warhols This Machine
• The Flaming Lips and Heady Fwends
• Garbage Not Your Kind of People
• Jay Brannan Rob Me Blind
• Maps and Atlases Beware and Be Grateful
• M Ward A Wasteland Companion
• Niki and The Dove Instinct
• Oberhofer Time Capsules II
• Ryan Adams iTunes Session