Blind Atlas, The King's Arms Salford, 20th June 2012 9/10

Last night was a magical meeting of musical minds: I felt so privileged to observe 14 talented musicians crammed in a tiny upstairs room of a Salford pub. The atmosphere was celebratory, since this was the album launch show for Blind Atlas' début album Kodiak Bear. I can state with confidence that you should listen to this album Bandcamp and then buy it. Yet, Blind Atlas is a band you really have to see live, as their improvisatory ability when they jam together is so joyful. The last time I had this much fun was at The Deep Dark Woods' gig in February: they share roots and country influences.

The evening was endearingly chaotic, the support artists Jo Dudderidge and Adam P. Gorman explaining the late start with reference to a lengthy discussion earlier about the Napoleonic Wars. In fact they explained that their gig near Sheffield the previous week had been so drunken and disorganised that one member of the audience was convinced that it was a conceptual art piece. The Travelling Band, for whom Jo and Adam play, didn't impress me so much when I saw them last year in a large venue, yet tonight their Appalachian folk influenced material was endearing, delivered with real passion and spirit. Banjo played a prominent role, and their opening set created a warm atmosphere.

The notion of a Manchester alt-country band might sound contrived, yet singer and guitarist Ross Thompson is from Denver. They describe themselves as 'Ryan Adams fronting the Black Keys, or perhaps Fleet Foxes with a Led Zeppelin fixation'. Ross' charismatic vocals are key to the sound, alongside Helen Temperley, who did much of the between set talking. She played violin, keys and provided vocals, most notably in The Ballad of Uncertainty. She's a classical musician, playing the viola to a high level, teaching, and writing her own contemporary classical compositions.

Part of the joy of this show for me was its inclusiveness: it bridged the artificial divide between musical genres. A string quartet accompanied several songs, whilst two African drummers provided a compelling tribal feel for Iron Wall and the upbeat, energetic 4th Street. It was also a delight to see bass player Cameron Baxtor using a violin bow. Just before the show, a Los Angeles blog posted an article 'Top Ten Classical Music Albums for people who don't know shit about classical music'. This is a worthy attempt to break down barriers, and the respect rock groups such as Blind Atlas shows towards classical music is all too rarely reciprocated. Occasions like this one remind you of the universality of the language of music and the worthlessness of genre labels.

Blind Atlas's material has been categorised as Americana or country rock, but this is an over simplification. This set and the album from which it was taken are marked by the contrast between delicate and emotional material such as Mary Anne, and more muscular  songs, driven by energetic drumming.  Ross' slide guitar work is a delight, but for me the standout thread running throughout is a grasp of melody, exemplified by songs like Kodiak Bear or For Carol. The latter is reminiscent of Dawes, although the band cite Calexico and The Rolling Stons amongst their influences. Their music is in turn melancholy and stirring, with strong lyrics, and shows a respect for past musical traditions without being derivative.

The Neil Young influences are welcome, but it was when the Grateful Dead was evoked that time stood still for me. During moments of bluesy jamming, it seemed as if I'd been let into a utopian musical universe, and the sense of freedom was liberating. I'm discovering that the most magical musical experiences are rarely at prestigious festivals with starry performers, but in a small room with a bunch of talented people sharing their love of music and fun. I was amongst 14 musicians who were here to spread their joy and love. If only such values were more prevalent in this materialistic society.

Best Coast, HMV Ritz Manchester, 17th June 2012 6.5/10

Pins

What do you do if you're a promoter struggling to sell tickets because the headline act just released a poorly received second album? In this case, arrange no fewer than three support acts including local favourite, Pins. I've seen them before, supporting Veronica Falls, and whilst they've been described as C86 revivalists, they're developing their own sound, complete with fuzz. The echo makes the voices sound dreamy, and the four Manchester girls were a very credible opener. I read with interest in this informative interview that the bassist Anna Donigan's musical journey has parallels with my own: 'I was in string quartets and orchestras and wasn’t really into popular music. I was confused – I was listening to Mozart and Debussy and finding something in that, but when I was 16 I bought Arcade Fire’s first album and I loved the instrumentation.'

Fear of Men

Spectrals


Fear of Men started as an art project whilst lead Jessica Weiss was studying at Goldsmiths and needed to create soundscapes for an exhibition. They're a low-fi band, who like Pins make dreamy, shoegaze tinged pop, influenced by the Cocteau Twins. One word in the my conciousness was derivative, but Weiss was a charismatic lead, and they're effective creators of atmosphere. Yet by Spectrals' set, I started to question the wisdom of assembling three support bands with such a similar sound. They are the product of 22 year old Louis Jones, with his younger brother on drums. The tempo was predominantly slow and the sounds reverb. soaked. They were reserved, and with a lack of stage presence, failed to engage the crowd. I wonder if Best Coast's manager lacks confidence, fearing stronger support might undermine the main act.

Best Coast impressed me at Reading Festival last year, but since then they've acrimoniously lost a drummer, and engaged renowned producer Jon Brion. He polished and refined their sound on The Only Place, stripping back the fuzz to reveal a vacuum of invention. Live, the dichotomy between the old and new material was less evident as one undemanding short song followed another. NME panned that second album, saying: 'they’re going through the motions, with mechanical jangly pop and the wince-inducing triteness of Cosentino’s lyrics'. PJ Harvey has little to fear from Bethany Cosentino's literary talents, as she sings tritely about weed, cats, crushes and California. The short duration of the songs at least gave the opportunity to play plenty of older material in the hour long set, confirming my earlier opinion that their debut Crazy For You is stronger.

The material may be slight, but Best Coast are compelling performers. Bobb Bruno on the guitar has amazing energy, and the whole band sounded tight, the new drummer displaying plenty of bite. Bethany shows real passion, and her facial expressions are a joy to watch. She also engaged the initially reserved crowd with humorous conversation, and finally a group started dancing, and almost everyone clapping. The more introspective and languorous newer songs fell flat, yet higher energy numbers such as the closing Boyfriend finally gained my attention. Frothy surf pop hardly suits the grey skies of Manchester, yet numbers like How They Want Me To Be managed to raise the spirits in what had started to seem at risk of becoming a mediocre evening.

The Guardian posted a thought provoking article on the day of this gig entitled: 'Are you ever too old for pop?'. It's never been in doubt that I'm young enough at heart to enjoy exploring new music, yet a couple of hours into this gig, I did question my love of pop specifically. In the end though, the sheer joy of Best Coast's live performance shone through. My preference may be towards weighter or more rootsy material, yet I drove home in a more content state of mind than upon my arrival. Limited expectations worked in my favour, and I felt privileged to feel young enough to be able to appreciate four bands from the front of a fantastic venue.

Top 20 Albums of first half of 2012

I'll post a definitive best of 2012 list in December, but as we approach the half way point, here are the new albums I've enjoyed most so far. It's based purely on personal preference, and makes no claims to objectivity. Each album includes a link to a stream so you can come to your own conclusions.

1) The Lumineers

This is the album's I've listened to most so far this year, and was the soundtrack to a memorable trip to California in April. The trio from Denver never fail to make me happy with their rootsy sound. 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 nostalgic. It will appeal to lovers of Mumford & Sons, yet has a gentler feel. Ho Hey is the stand out track and there's a stream here.

2) Alt-J An Awesome Wave

This debut from the Leeds, UK quartet takes risks, and is startlingly imaginative. There’s much variety, from catchy pop tunes, folk harmonies and electronic experimentation. Their live show lives up to this album's promise, and whilst some will find the quirkiness in the vocals in particular difficult to accept, I enjoy being challenged. My favourite track is Tessellate. Check out their Soundcloud page here.

3) Sigur Ros Valtari

Valtari is music to dream to, best appreciated when you're relaxed. If there's a heaven, this might accompany your journey there. It's calm and introspective, with similarities to classical music, often without a clearly defined rhythm. 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. As of mid June, The Guardian is still streaming the album.

4) Delta Spirit

This San Diego five piece has produced a glorious combination of new and traditional Americana in this album. It's a fuller sound than 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 haunting Time Bomb. I've yet to see Delta Spirit live, but this has given much joy. There's a recent Daytrotter session and Rolling Stone has streamed the album.

5) First Aid Kit The Lion's Roar

This album is undeniably charming. The two Swedish sisters have been influenced more by country music than on their first album, and the gorgeous vocal harmonies delight. The highlight is Emmylou, but many of the choruses are beautiful, and this might even win over those not usually appreciative of folk music. First Aid Kit is even better live though. Check out their music here.

6) Lost in The Trees A Church That Fits Our Needs

There's no questioning the gentle sincerity here: it's a memorial to Ari Picker's mother, who committed suicide. She's featured on the album cover and it expresses Picker's sentiments 'I feel like if God had some sort of way of speaking, it would be through music'. He has a beautiful tenor voice and an active imagination. Clearly it's a difficult emotional journey, yet the overall impression is one of hope, and peace, not despair. You can find some media on their Tumblr page.

7) Beach House Bloom

The follow up to the gorgeous Teen Dream doesn't disappoint and, of its type, is as close to perfection as I can imagine. 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. I can't wait to see them live for the first time in October. Here's their video page.

8) Alabama Shakes Boys and Girls

Alabama Shakes' début album from Alabama is 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. When I rank the live performances I've seen this year, The Shakes will be near the top, but the album doesn't quite match that experience, and I find the sound quality thin compared to real life. Find some audio and video on their home page.

9) Carina Round Tigermending

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. There's a stream on her website.

10) Edward Sharpe and The Magnetic Zeros Here

As I predicted, critical response to this album has been mixed, and despite being a huge fan of Edward Sharpe it hasn't quite made the top of my list, . It's the first half of two instalments this year, the second promising to be more extrovert. There isn't a hit here to rival Home, but its heart warming collective spirit is beautiful. I'm pleased Alex Ebert has the confidence to take the Zeros in a distinctive direction. A couple of the songs from Here and some earlier material can be found on their inventive web site.

11) Fiona Apple The Idler Wheel

I haven't yet had time to take stock of this album, but it's already made an impact on me. It's raw and stripped back with piano to the fore, and a far from comfortable listen. Fiona's voice is remarkably malleable, and here is deployed to the service of the lyrics rather than for prettiness. I found similarities with contemporary classical song in its emotional effect, and there's no doubt this is a powerful statement. The entire album is currently streaming on NPR.

12) Sharon Van Etten Tramp

My opinion of Tramp has been enhanced after experiencing it live. It can be bleak and vulnerable, but with an understated, confessional air. It's one of those albums which gradually gets under your skin, and The National's Aaron Dessner production beautifully complements Sharon's wonderful voice. Relive her SXSW performance here.

13) Trampled by Turtles Stars and Satellites

This bluegrass group are known for their high octane energy, yet their new album is incredibly tender and heartfelt. I rate this acoustic album so highly because of that intangible quality: its feel. Like The Lumineers it's heartwarming, and I love its melancholy aspects. Needless to say, the fiddle, banjo, and bass playing is virtuoso, and the vocal harmonies lovely. A less frenetic feel means that when a song such as Alone does eventually reach a thunderous climax, the impact is all the greater. You can listen to the entire album here.

14) Exitmusic Passage

This dark, brooding album is all about atmosphere, and Aleska Palladino's seductive vocals are set in a sea of reverb and noise. This isn't the album for a summer drive to the beach: it's more likely to make you cry with its feeling of loneliness. Yet it has a cinematic feel, and the soundscape the four piece creates can't help but draw you in with their layers and effects. Palladino's vocal and instrumental skills are never in doubt here. The title track can be found on Bandcamp.

15) Mesita The Coyote

Colorado's James Cooley clearly has a fertile imagination: this really does sound original, despite being indebted to artists as varied as Brian Eno, Bon Iver and Radiohead. It's complex, carefully constructed music which demands your undivided attention, the layers remarkably generated by the 24 year old Cooley alone. I find it transporting and inspiring. There's now a free 5 track sampler available for download on Bandcamp.

16) Alcoholic Faith Mission Ask Me This

Ask Me This starts with glorious close harmony part singing, and takes you on a voyage of discovery. The Danish group may have folk roots, but they are not afraid to use synths alongside acoustic strings (most notably in Alaska). I find it beautifully imaginative and the vocals are outstandingly well deployed. Listen in full on their website.

17) Deep Sea Diver History Speaks

Deep Sea Diver is the side project of The Shins' guitarist Jessica Dobson. The album is dominated by her vocals, has punch, and her husband's drumming is tight. The melodies are intricate, and I love hearing the frisson between the four band members. If you enjoy the Shins, you should try Bandcamp's stream.

18) Grimes Visions

Young Montreal electronic 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. I'm looking forward to seeing Grimes live in the autumn and I'm not surprised this album has just been nominated for the Polaris Prize. You can listen to the song Oblivion here.

19) Jack White Blunderbuss

Blunderbuss' is 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 widespread critical acclaim is justified, and whilst it's not for the faint hearted, you can't argue with its energy. Here's his YouTube channel.

20) Electric Guest Mondo

Broken Bells is one of my favourite albums, and this has some of the same Danger Mouse 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. Three songs can be found on Soundcloud.

10 Honourable Mentions:

• Michael Kiwanuka Home Again
• Dry The River Shallow Bed
• Mount Eerie Clear Moon
• The Brothers Comatose Respect The Van
• Foreign Fields Anywhere but Where I Am
• Fanfarlo Rooms Filled With Light
• The Parlotones Journey Through The Shadows
• Liars WIXIW
• Bronze Radio Return Shake! Shake! Shake!
• She Makes War Little Battles

Parklife, Manchester 9th June 2012

It's fair to say though that I would rather have been in Manchester, TN this weekend for Bonnaroo than in Manchester, England. Sadly, the first act, To Kill A King, was cancelled by the event organisers and their attempt to play an acoustic set to the waiting crowd was also thwarted; but here follows a roundup of the remaining acts, and my thoughts about the event as a whole.

Stay+ 4/10

Stay Positive is a duo with one band member devoted to visuals and one musician; perhaps the absence of the former explained why this set didn't really engage me. I can imagine that given a larger crowd and the visual element, the more extrovert, dance music aspects of Stay+'s art might have created a celebratory atmosphere. Here, though, it felt like a watching a guy surfing the web on his Macbook, and I found it difficult to discern when the PA music stopped and the act started.

Alt-J 9/10

I've been extremely excited about Alt-J's debut album, and this was their first major festival performance. The crowd went wild when they played their single Breezeblocks, having already become ecstatic over Tessellate. My highlight though was Matilda. The four piece are based in Cambridge, and the quirky music, with a wild mix of influences from folk to rock and even electronics was utterly absorbing from the outset. Leader Joe Newman doesn't engage in any wild onstage antics, instead relying on the music to speak powerfully. I can't wait to see them in a headline set, as the 30 minutes here passed all too quickly.

Django Django 6/10

This Edinburgh quartet, complete with matching T Shirts, can't be faulted for their ability to get a crowd dancing. My own preferences lean more towards folk and rock than this pop, which perhaps explains why I wasn't really moved. Their sound is heavy with synths and primeval rhythms, and is undoubtedly cleverly crafted. I find the limited range of their repertoire repetitive, but don't let my indifference discourage you.

Spector 7.5/10

I've previously seen London's Spector supporting Florence and Cut Copy, but I was more impressed on this occasion than previously. Fred MacPherson is a charismatic front man who's confident in working the audience, and the other four band members now provide enthusiastic support. Their music is far from revolutionary, but their guitar pop, with added 1980's style synth, is catchy and enjoyable. I await the August release of their début album with interest.

Friends 8/10

Brooklyn's Friends was most notable for Samantha Urbani's remarkably enthusiastic and repeated crowd surfing; she also engaged her youthful demographic brilliantly between songs. The music itself was light pop, with some R&B influences. Urbani's voice is soaked in reverb with lively, rhythmic percussion. It's a fun rather than profound combination, most effective in the song A Thing Like This, which is so, so catchy. Definitely a band to watch.

Noah and the Whale 6/10

After experiencing Noah and the Whale for the first time, I was incredibly uplifted; then I saw them in a totally unsuitable arena setting where their nu folk sound was lost. Amongst the mud of Manchester, I felt that Charlie Fink had become too familiar with this material, as he seemed disengaged. The band is currently working on their next album, and I suspect that's where their interest now lies. If course, hits such as LIFEGOESON and Tonight's The Kind of Night from Last Night on Earth encouraged celebration in the young crowd, but they were hampered by the indistinct, bass heavy sound on the main stage. With mud everywhere, Blue Skies seemed like a reminder of happier times.

The Flaming Lips 5/10

This spectacular set was a showcase for Wayne Coyne's ego, and for The Flaming Lips' extensive back catalogue of material. It was a celebration, and yet like Muse at Reading Festival last year left me cold. Real magic for me isn't created by visual gimmicks such as Coyne's Zorbing. It happens when an artist like Brittany Howard sings her heart out in a small venue, and by the power of music alone transports me. Here, I felt that the audience weren't trusted to appreciate the language of music alone, and instead the creative energy was channelled into trying to ensure that we didn't get bored. For me all the showmanship had the opposite effect, and I left before the end of the show.

Parklife Weekender Festival 5/10

Live music is unpredictable, as it's all about emotional responses. On this particular grey, wet and extremely muddy day I wasn't transported to a better plane, except during Alt-J's set. This was in large part due to the choice of artists; it was heavily biased towards electronics, DJ sets and dubstep, to the extent that there were 6 tents I didn't go into at all. Lacking was any roots music, Americana or folk, and rock was also thin on the ground. The event organisation was lacking: there was a complete absence of signage, and none of the staff on duty was able to assist with directions. Of course, this isn't an event with the budget of Goldenvoice at Coachella, but I wish they'd invested more in the main stage sound system, and on getting the arena ready in time for the first acts. I'm happy that Parklife provided many young people from the nearby University with their first festival experience; but I hope their move to a new location next year gives them more space, and an opportunity to broaden their repertoire.