- Ana Silvera The Aviary
- Blind Atlas Kodiak Bear
- Fiona Apple The Idler Wheel
- Farriers Years Ago in our Back Yard
- Glen Hansard Rhythm and Repose
Also Commended:
- Bon Iver iTunes Session
- Delta Rae Carry The Fire
- The Dunwells Blind Sighted Faith
- Metric Synthetica
- Ty Segall Band Slaughterhouse
30 Albums
The Aviary is amazingly beautiful, Ana Silvera's pure, vibrato free voice accompanied by lush strings, piano and her guitar. The Londoner has a background in opera, which is reflected in her vocal ability, but she's clearly also a poet, and a composer of some talent. It has emotional directness, whilst being less raw and dramatic than Fiona Apple: this is an easier, smoother listen than The Idler Wheel. It also feels intensely personal, and with the exception of The Harbour Song is sad, perhaps reflecting the premature death of her brother. If you're jaded by contemporary pop, I suggest you give this a listen on Bandcamp.
Blind Atlas Kodiak Bear (Country Rock) 9.5/10
I've enthused about the wonderful launch show for this album from Manchester based Alt Country rockers. They're led by Denver native Ross Thompson, and transatlantic influences include The Grateful Dead, Dawes, Calexico and Neil Young. Despite treading in the path of luminaries, the album feels fresh and spontaneous, with gorgeous instrumentation including strings, slide guitar, banjo and percussion. You can stream it in its entirety on Bandcamp, and you will surely be moved by the melancholy melody on the title song. A must for lovers of Americana.
I've enthused about the wonderful launch show for this album from Manchester based Alt Country rockers. They're led by Denver native Ross Thompson, and transatlantic influences include The Grateful Dead, Dawes, Calexico and Neil Young. Despite treading in the path of luminaries, the album feels fresh and spontaneous, with gorgeous instrumentation including strings, slide guitar, banjo and percussion. You can stream it in its entirety on Bandcamp, and you will surely be moved by the melancholy melody on the title song. A must for lovers of Americana.
Chris Robinson Brotherhood Big Moon Ritual (Blues Rock) 7.5/10
The Brotherhood is the product of the Black Crowes' Chris Robinson and the former Ryan Adams guitarist Neal Casal. It's incredibly relaxed and expansive, the 7 tracks lasting between 7 and 12 minutes each. This gives space for Grateful Dead style jams, and plenty of time to luxuriate in Robinson's soulful voice. It's backward looking, rooted in early 70's California, and it's quite possible that had I experienced that era, I'd find little novel about it. Yet, I love its funky groove.
The Brotherhood is the product of the Black Crowes' Chris Robinson and the former Ryan Adams guitarist Neal Casal. It's incredibly relaxed and expansive, the 7 tracks lasting between 7 and 12 minutes each. This gives space for Grateful Dead style jams, and plenty of time to luxuriate in Robinson's soulful voice. It's backward looking, rooted in early 70's California, and it's quite possible that had I experienced that era, I'd find little novel about it. Yet, I love its funky groove.
Delta Rae Carry The Fire (Indie Rock) 8/10
The six piece from North Carolina combine gospel, pop, blues and country styles, and their debut album at times feels frustratingly incoherent. Yet, I can forgive this because it's vocal harmonies are gorgeous, and it's so uplifting. It exudes fun, and if at times some of the more energetic pieces feel over produced, the folk influences are heart warming. I particularly appreciated the two acoustic bonus tracks.
Dirty Projectors Swing Lo Magellan (Indie Rock) 7/10
The Projectors' sixth album is eclectic, living up to their moniker as experimental American rockers. It's certainly intriguing, unpredictable and mind expandingly adventurous. It's not an album I'll listen to every day, but if you want to be surprised, the quirky arrangements will refresh the ears. I enjoyed the female multi tracked vocals, and orchestration. Ultimately, its eccentricity is fun.
The six piece from North Carolina combine gospel, pop, blues and country styles, and their debut album at times feels frustratingly incoherent. Yet, I can forgive this because it's vocal harmonies are gorgeous, and it's so uplifting. It exudes fun, and if at times some of the more energetic pieces feel over produced, the folk influences are heart warming. I particularly appreciated the two acoustic bonus tracks.
The Projectors' sixth album is eclectic, living up to their moniker as experimental American rockers. It's certainly intriguing, unpredictable and mind expandingly adventurous. It's not an album I'll listen to every day, but if you want to be surprised, the quirky arrangements will refresh the ears. I enjoyed the female multi tracked vocals, and orchestration. Ultimately, its eccentricity is fun.
The Dunwells Blind Sighted Faith (Indie Rock) 8/10
This Leeds group impressed me at the Dot to Dot Festival recently, and as the opening track shows the brothers produce great vocal harmonies. Other songs such as Oh Lord have a bluesy feel, which will doubtless help their efforts to break into the USA. Their folk rock is easy on the ear, melodic, and likely to appeal to Mumford and Sons' fans.
This Leeds group impressed me at the Dot to Dot Festival recently, and as the opening track shows the brothers produce great vocal harmonies. Other songs such as Oh Lord have a bluesy feel, which will doubtless help their efforts to break into the USA. Their folk rock is easy on the ear, melodic, and likely to appeal to Mumford and Sons' fans.
Emeli Sande Our Version of Events (Pop) 7/10
The inclusion of such mainstream pop in this blog may be surprising, but Emile Sande has been compared to Adele, not least because that's her real name. Her voice lacks the more famous Brit's power, but is still the most notable feature here, since much of the R&B influenced music is too safe and derivative. Yet the debut from the Scot of black South African descent stands above most of her chart peers, and a deserved winner of the Brits Critics Choice Award.
Empires Garage Hymns (Garage Rock) 6/10
Chicago's Empires are edgier and harder hitting than the folk influenced albums on this list, trading subtlety for power. It has a grungy feel, and elements of The Gaslight Anthem, though sometimes the musical interest drops. Not in the Black Keys league, but still with plenty of energy, and Sean Van Vleet's voice is endearingly gritty. You can stream the entire album on Bandcamp.
The inclusion of such mainstream pop in this blog may be surprising, but Emile Sande has been compared to Adele, not least because that's her real name. Her voice lacks the more famous Brit's power, but is still the most notable feature here, since much of the R&B influenced music is too safe and derivative. Yet the debut from the Scot of black South African descent stands above most of her chart peers, and a deserved winner of the Brits Critics Choice Award.
Chicago's Empires are edgier and harder hitting than the folk influenced albums on this list, trading subtlety for power. It has a grungy feel, and elements of The Gaslight Anthem, though sometimes the musical interest drops. Not in the Black Keys league, but still with plenty of energy, and Sean Van Vleet's voice is endearingly gritty. You can stream the entire album on Bandcamp.
Farriers Years Ago in Our Backyard (Indie Folk) 9.5/10
I love folk, and this five piece from Northern Ireland has produced a beautiful, uplifting first album which I can't stop playing. Rachel Coulter has an outstanding voice, and the inclusion of viola in the textures gives warmth. The authentic feel means you can imagine stumbling across this in a country pub after a hike, yet as well at the obvious Celtic feel, there are country influences too. I can't keep my feet still whilst I'm listening to this- the enthusiasm is infectious. San Remo is indicative of their melodic talent. Recommended for lovers of The Lumineers.
I love folk, and this five piece from Northern Ireland has produced a beautiful, uplifting first album which I can't stop playing. Rachel Coulter has an outstanding voice, and the inclusion of viola in the textures gives warmth. The authentic feel means you can imagine stumbling across this in a country pub after a hike, yet as well at the obvious Celtic feel, there are country influences too. I can't keep my feet still whilst I'm listening to this- the enthusiasm is infectious. San Remo is indicative of their melodic talent. Recommended for lovers of The Lumineers.
Fiona Apple The Idler Wheel (Singer Songwriter) 10/10
This long awaited (and delayed) album is challenging and uncomfortable: don't expect to fall instantly in love. Its rawness is also its genius, in what is surely one of the outstanding releases of the year. The sound is stripped back, the uneasy emotions reinforced by the jazz percussion of Charley Drayton. Fiona's piano playing is outstanding for the daring use of pauses, and syncopated rhythms. Yet, it's the way that her wonderfully malleable voice gives a window into a troubled soul that makes this dark work so compelling. This is exemplified by the manic closer Hot Knife, a product of perfectionism.
This long awaited (and delayed) album is challenging and uncomfortable: don't expect to fall instantly in love. Its rawness is also its genius, in what is surely one of the outstanding releases of the year. The sound is stripped back, the uneasy emotions reinforced by the jazz percussion of Charley Drayton. Fiona's piano playing is outstanding for the daring use of pauses, and syncopated rhythms. Yet, it's the way that her wonderfully malleable voice gives a window into a troubled soul that makes this dark work so compelling. This is exemplified by the manic closer Hot Knife, a product of perfectionism.
Friends Manifest (Indie Pop) 6/10
Friends puts on a fun live show, complete with crowd surfing from Samantha Urbani and a funky rhythm section. If only the musical invention was as consistently catchy as A Thing Like This, which led to an all out party when I saw it live. The single Mind Control is another highlight, as is I'm His Girl. Yet at other times the tension drops, and the reverb and jungle beats become tiresome. It's still unclear whether Friends will fade into obscurity or release a knock out second album, but there's promise here.
Friends puts on a fun live show, complete with crowd surfing from Samantha Urbani and a funky rhythm section. If only the musical invention was as consistently catchy as A Thing Like This, which led to an all out party when I saw it live. The single Mind Control is another highlight, as is I'm His Girl. Yet at other times the tension drops, and the reverb and jungle beats become tiresome. It's still unclear whether Friends will fade into obscurity or release a knock out second album, but there's promise here.
Glen Hansard Rhythm and Repose (Indie Folk) 8.5/10
Hansard wrote this album in New York, without the Irish backing of The Frames or The Swell Season's now married Marketa Irglova. It's a subtle, heartfelt album, of quiet power, but some have regretted that he doesn't break new ground, and wasn't a solo effort. That voice is full of feeling though, and I find the restraint adds to its impact. This is grower, which will gradually draw you in and perhaps bring tears to your eyes.
Hansard wrote this album in New York, without the Irish backing of The Frames or The Swell Season's now married Marketa Irglova. It's a subtle, heartfelt album, of quiet power, but some have regretted that he doesn't break new ground, and wasn't a solo effort. That voice is full of feeling though, and I find the restraint adds to its impact. This is grower, which will gradually draw you in and perhaps bring tears to your eyes.
Grace Potter & The Nocturnals The Lion The Beast The Beat (Indie Rock) 7/10
Grace Potter's fourth album moves away from country towards rock, but still rooted in the early 70's. It's most noticeable for Potter's powerful vocals, but becomes routine in its invention after the arresting opening title track. Their Coachella set was solid, and this is an enjoyable, well produced, but not particularly original effort, lifted by that voice.
Hacienda Shakedown (Garage Rock) 6/10
Shakedown benefits from the production skills of Dan Auerbach of The Black Keys, but in contrast to Ty Segall, the energy level of this garage rock is lower. It may be more laid back, but it is groovy, with funky rhythms in songs such as Savage. The catchy tunes aren't enough to erase memories of the brilliance of El Camino or Brothers though.
Grace Potter's fourth album moves away from country towards rock, but still rooted in the early 70's. It's most noticeable for Potter's powerful vocals, but becomes routine in its invention after the arresting opening title track. Their Coachella set was solid, and this is an enjoyable, well produced, but not particularly original effort, lifted by that voice.
Shakedown benefits from the production skills of Dan Auerbach of The Black Keys, but in contrast to Ty Segall, the energy level of this garage rock is lower. It may be more laid back, but it is groovy, with funky rhythms in songs such as Savage. The catchy tunes aren't enough to erase memories of the brilliance of El Camino or Brothers though.
Hooray for Earth True Loves (Synth Pop) 7.5/10
I discovered this band through an enjoyable live festival performance. The sound leans heavily on synthesisers, in common with MGMT. The bass in thunderous on tracks such as Last Minute and the title track, which is powerful, with an 80's flavour. The inspiration sags towards the end but has potential to get far larger crowds dancing than the small venue I saw them in.
Jesca Hoop The House That Jack Built (Indie Pop) 6/10
This is the Californian singer songwriter's third album, written after the death of her father. It's quirky rather than depressing though, and despite taking imaginative turns, leaves me somewhat unmoved. Perhaps this is because Jesca has moved away from folk towards pop, relying on production tricks. It also lacks enough memorable melodies. The critical consensus has been favourable, so you may find this more engaging than I do. D.N.R. is the strongest track, dealing with her family loss.
I discovered this band through an enjoyable live festival performance. The sound leans heavily on synthesisers, in common with MGMT. The bass in thunderous on tracks such as Last Minute and the title track, which is powerful, with an 80's flavour. The inspiration sags towards the end but has potential to get far larger crowds dancing than the small venue I saw them in.
This is the Californian singer songwriter's third album, written after the death of her father. It's quirky rather than depressing though, and despite taking imaginative turns, leaves me somewhat unmoved. Perhaps this is because Jesca has moved away from folk towards pop, relying on production tricks. It also lacks enough memorable melodies. The critical consensus has been favourable, so you may find this more engaging than I do. D.N.R. is the strongest track, dealing with her family loss.
Lakes of Canada Toll The Bell (Indie Folk) 8/10
This crowd funded debut album from Montreal is quirkier than I expected, with a jazz like sense of freedom. The acoustic instrumentation, including fiddle, mandolin, and bass is played by musicians with a classical background, is a delight. The vocals can sound a little strident, but this is often catchy, and a far from pastoral folk. The genesis of this album came from tragedy: the murder of the leaders's mother, but this is rhythmic and more jaunty than Lost in The Trees' recent tribute to a lost parent through suicide. I recommend streaming this on Bandcamp; I'm also told their live shows are stellar.
This crowd funded debut album from Montreal is quirkier than I expected, with a jazz like sense of freedom. The acoustic instrumentation, including fiddle, mandolin, and bass is played by musicians with a classical background, is a delight. The vocals can sound a little strident, but this is often catchy, and a far from pastoral folk. The genesis of this album came from tragedy: the murder of the leaders's mother, but this is rhythmic and more jaunty than Lost in The Trees' recent tribute to a lost parent through suicide. I recommend streaming this on Bandcamp; I'm also told their live shows are stellar.
Liars WIXIW (Electronic Rock) 8/10
WIXWIW is a challenging, depressing album, reminiscent of Radiohead in its catharsis. In fact the opening of His and Mine Sensations inhabits the creepy world of King of Limbs. The New York band are experimented in a LA studio, and it's refreshing that they have the confidence to produce something so dark and uneasy feeling. If you persist with this, you may well get lost in it, probably late at night, and finally appreciate the genius within.
WIXWIW is a challenging, depressing album, reminiscent of Radiohead in its catharsis. In fact the opening of His and Mine Sensations inhabits the creepy world of King of Limbs. The New York band are experimented in a LA studio, and it's refreshing that they have the confidence to produce something so dark and uneasy feeling. If you persist with this, you may well get lost in it, probably late at night, and finally appreciate the genius within.
The Mastersons Birds Fly South (Indie Folk) 8/10
Here's a husband wife duo with a rootsy, country vibe, complete with violin and acoustic guitar from Eleanor Whitmore. Chris Masterson plays electric guitar and drums, and the couple split vocals, sometimes harmonising together. Many of the songs are about relationships, and there are similarities in style to The Jayhawks. There's little new ground broken in this album, but it has a lovely vibe, and the playing is excellent. Most enjoyable.
Here's a husband wife duo with a rootsy, country vibe, complete with violin and acoustic guitar from Eleanor Whitmore. Chris Masterson plays electric guitar and drums, and the couple split vocals, sometimes harmonising together. Many of the songs are about relationships, and there are similarities in style to The Jayhawks. There's little new ground broken in this album, but it has a lovely vibe, and the playing is excellent. Most enjoyable.
Matthew Mayfield A Banquet for Ghosts (Indie Rock) 8/10
This album is dominated by Mayfield's characterful, impassioned vocals and ear for melody. This makes it easy to appreciate, but the intelligent and soulful lyrics repay repeat listening. The production is layered, and he often accompanies himself on acoustic guitar. Sometimes I wish he'd made a more stripped back album, but this will give much pleasure.
This album is dominated by Mayfield's characterful, impassioned vocals and ear for melody. This makes it easy to appreciate, but the intelligent and soulful lyrics repay repeat listening. The production is layered, and he often accompanies himself on acoustic guitar. Sometimes I wish he'd made a more stripped back album, but this will give much pleasure.
Metric Synthetica (Indie Rock) 8.5/10
Synthetica is Emily Haines' fifth album with the Canadian band, and I love the combination of rock with synth pop electronics. Songs like Clone show a talent for a tune, broadening the appeal of this album to those with a preference for ligher material. It wears well on repeated listens, since it coheres as an album, and is brilliantly well produced. I love the darker, more introspective elements most, such as Clone.
Synthetica is Emily Haines' fifth album with the Canadian band, and I love the combination of rock with synth pop electronics. Songs like Clone show a talent for a tune, broadening the appeal of this album to those with a preference for ligher material. It wears well on repeated listens, since it coheres as an album, and is brilliantly well produced. I love the darker, more introspective elements most, such as Clone.
The Mynabirds Generals (Indie Rock) 7.5/10
Laura Burhenn is a multi instrumentalist and pacifist: these songs are politically charged. She's also a former touring member of Bright Eyes and this album is harder hitter than her 2010 one, exchanging acoustic for electric instruments. The rhythms are strong, and the vocals sultry on this protest album with attitude. She's aided by producer Richard Swift, who plays on the album. Sometimes I do wish she'd been less eager to chase mainstream pop appeal on the closing tracks. Still, this is heartfelt.
Patrick Watson Adventures in Your Own Back Yard (Indie Pop) 7.5/10
Laura Burhenn is a multi instrumentalist and pacifist: these songs are politically charged. She's also a former touring member of Bright Eyes and this album is harder hitter than her 2010 one, exchanging acoustic for electric instruments. The rhythms are strong, and the vocals sultry on this protest album with attitude. She's aided by producer Richard Swift, who plays on the album. Sometimes I do wish she'd been less eager to chase mainstream pop appeal on the closing tracks. Still, this is heartfelt.
This is the Canadian's fourth album, and is intimate and beautiful. It's not for those looking for grit, or to be challenged; instead it's music to relax to. I was utterly charmed by the first track, but then I began to wish he was more willing to experiment and push the boundaries. Yet, the music is subtle and delicate, and I hope it doesn't get tarred with the soubriquet 'adult contemporary'. By the way, others have compared his falsetto voice to Jeff Buckley's.
Peaking Lights Lucifer (Electronic) 7.5/10
Peaking Lights' impressionistic, hazy sound is the equivalent of Debussy in classical music: it's all about the creation of a atmosphere, with pastel coloured swirls. The married couple Aaron Doyes and Indra Dunis from Wisconsin deploy elements of dubstep, and even reggae, but the overall mood is subdued and gentle. I can imagine listening indoors watching raindrops pouring down the window, or late at night when not entirely sober. There's definitely psychedelia at work here, and effective use of minimalist repetition. Some will be bored, finding it too subtle and relegating it to background music, but I'm intrigued.
Rhett Miller The Dreamer (Indie Pop) 7/10
Miller produced The Dreamer with help from Jon Brion, but it feels homespun, with strong country influences. Miller's joined by female vocalists including Rachel Yamagata on several tracks, a fellow PledgeMusic artist. He sings about troubled relationships, and whilst I sometimes find he musical language limiting, it's sincere. The duet with Rosanne Cash on As Close As I Came to Being Right is delightful.
The Rocketboys Build Anyway (Indie Rock) 7/10
The Rocketboys is for lovers of Coldplay: melodic but at times manipulative and formulaic. It's ambitiously voiced as a stadium sound, with big choruses and sing along tunes. Build Anywhere is certainly stirring, and thanks to clever production, the Austin group don't sound as if they lost three members recently. It hasn't stood up to repeated listening as well as I'd hoped, but I can imagine others falling in love with this.
Trembling Bells & Bonnie Prince Billy The Marble Downs (Indie Folk) 7.5/10
Here, Kentucky folk singer Will Oldham collaborates with Glasgow pyschfolk duo Trembling Bells. The mixture is styles is either inconsistent or eclectic, depending on your point of view. I enjoyed the lively instrumentation, and whilst this may be a curiosity, it's a lot of fun. When Oldham duets with classically trained Lavinia Blackwall, there's surprising chemistry, and this has inspired me to investigate The Trembling Bells' back catalogue.
Ty Segall Band Slaughterhouse (Rock) 9/10
This is the opposite to Peaking Lights: far from subtle, but full of incredible, explosive energy. If Lucifer is the equivalent of Debussy, Slaughterhouse helps you to appreciate how the audience at the first performance of Stravinsky's Rite of Spring felt in 1913 when they rioted. It has garage rock influences, but punk is also present in the screams of the title track. It's an exhilarating ride, dark, with few moments of repose. Definitely visceral not intellectual, and if it has hidden depths, I haven't found them yet, but not to be missed.
The Washers Tired Eyes (Indie Rock) 7/10
The Washers' southern rock from Texas is for lovers of the byways of Americana. Tired Eyes is their second album, yet they seem to have remained under the radar. This isn't through lack of talent: this is foot tapping music, infused with a country vibe, which above all sounds like the authentic sound of small town America. They'd gain more exposure if they streamed the album in its entirety, but the band has put one track on Soundcloud.
Peaking Lights' impressionistic, hazy sound is the equivalent of Debussy in classical music: it's all about the creation of a atmosphere, with pastel coloured swirls. The married couple Aaron Doyes and Indra Dunis from Wisconsin deploy elements of dubstep, and even reggae, but the overall mood is subdued and gentle. I can imagine listening indoors watching raindrops pouring down the window, or late at night when not entirely sober. There's definitely psychedelia at work here, and effective use of minimalist repetition. Some will be bored, finding it too subtle and relegating it to background music, but I'm intrigued.
Miller produced The Dreamer with help from Jon Brion, but it feels homespun, with strong country influences. Miller's joined by female vocalists including Rachel Yamagata on several tracks, a fellow PledgeMusic artist. He sings about troubled relationships, and whilst I sometimes find he musical language limiting, it's sincere. The duet with Rosanne Cash on As Close As I Came to Being Right is delightful.
The Rocketboys is for lovers of Coldplay: melodic but at times manipulative and formulaic. It's ambitiously voiced as a stadium sound, with big choruses and sing along tunes. Build Anywhere is certainly stirring, and thanks to clever production, the Austin group don't sound as if they lost three members recently. It hasn't stood up to repeated listening as well as I'd hoped, but I can imagine others falling in love with this.
Here, Kentucky folk singer Will Oldham collaborates with Glasgow pyschfolk duo Trembling Bells. The mixture is styles is either inconsistent or eclectic, depending on your point of view. I enjoyed the lively instrumentation, and whilst this may be a curiosity, it's a lot of fun. When Oldham duets with classically trained Lavinia Blackwall, there's surprising chemistry, and this has inspired me to investigate The Trembling Bells' back catalogue.
This is the opposite to Peaking Lights: far from subtle, but full of incredible, explosive energy. If Lucifer is the equivalent of Debussy, Slaughterhouse helps you to appreciate how the audience at the first performance of Stravinsky's Rite of Spring felt in 1913 when they rioted. It has garage rock influences, but punk is also present in the screams of the title track. It's an exhilarating ride, dark, with few moments of repose. Definitely visceral not intellectual, and if it has hidden depths, I haven't found them yet, but not to be missed.
The Washers' southern rock from Texas is for lovers of the byways of Americana. Tired Eyes is their second album, yet they seem to have remained under the radar. This isn't through lack of talent: this is foot tapping music, infused with a country vibe, which above all sounds like the authentic sound of small town America. They'd gain more exposure if they streamed the album in its entirety, but the band has put one track on Soundcloud.
Wymond Miles Under the Pale Moon (Indie Pop) 6.5/10
Under the Pale Moon is a dark record, reverb soaked, with jangly guitars and complex, repressed emotions. Miles explains that it's a “record largely inspired by the passing of a few…close friends and family", yet his response is muted rather than angry. The style owes something to the 80's, but is reflective, personal and dreamy.
5 EPs
Bon Iver iTunes Session (Indie Rock) 9/10
Bon Iver's 2011 album is one of my all time favourites, and this EP presents six of those tracks afresh, along with a Bjork cover. It's studio recorded, and so isn't the representation of his live performances some may have been hoping for. Their live renditions are not radically different from the album in any case, but non-hardcore fans may consider this to be superfluous. However, the point of the music is its subtlety, and I found the small variations here fascinating, given how familiar the songs are to me. The fact that this music is incredibly beautiful, and that Justin Vernon's performances are so sensitive, make this EP essential, despite the duplication.
Fossil Collective Let It Go (Indie Folk) 7/10
This is an easily overlooked EP which I can thank The Owl Mag for bringing to my attention. The duo are from Leeds, yet there are country influences to their folk pop sound. You can stream the EP here and read a track by track analysis by the band. It might cover well tread ground, but if you're a fan of The Fleet Foxes it's worth investigating.
Bon Iver's 2011 album is one of my all time favourites, and this EP presents six of those tracks afresh, along with a Bjork cover. It's studio recorded, and so isn't the representation of his live performances some may have been hoping for. Their live renditions are not radically different from the album in any case, but non-hardcore fans may consider this to be superfluous. However, the point of the music is its subtlety, and I found the small variations here fascinating, given how familiar the songs are to me. The fact that this music is incredibly beautiful, and that Justin Vernon's performances are so sensitive, make this EP essential, despite the duplication.
This is an easily overlooked EP which I can thank The Owl Mag for bringing to my attention. The duo are from Leeds, yet there are country influences to their folk pop sound. You can stream the EP here and read a track by track analysis by the band. It might cover well tread ground, but if you're a fan of The Fleet Foxes it's worth investigating.
Lulu James Rope Mirage (Soul, Electronic) 8/10
I recently experienced a magical late night show by young Brit Lulu James in a tiny venue. However, her bluesy new EP is further evidence of her potential. Lulu's style has been compared to James Blake: this post dub-step makes extensive use of samples and drums. But her seductive voice ensures this isn't about sterile electronics, and the eerie atmosphere is brilliantly evoked.
I recently experienced a magical late night show by young Brit Lulu James in a tiny venue. However, her bluesy new EP is further evidence of her potential. Lulu's style has been compared to James Blake: this post dub-step makes extensive use of samples and drums. But her seductive voice ensures this isn't about sterile electronics, and the eerie atmosphere is brilliantly evoked.
Marissa Nadler The Sister (Indie Folk) 7.5/10
The Boston dream folk singer has produced a stripped down fifth album, with a subdued mood. It's emotionally powerful, and undeniably beautiful. This is particularly evident in Apostle, with just acoustic guitar and her voice, placed in a resonant acoustic. It's intended as a companion to her 2011 album, hence its brevity, and is stronger for the simplicity.
Quiet Hounds Megaphona (Indie Rock) 7.5/10
The Atlantic based band is known for wearing animal masks on stage; they've released their second EP free on their website or you can stream it on Bandcamp. It's easy music to enjoy, melodic with pleasing harmonies and with acoustic guitar's prominence betraying folk influences. Despite the quirky, short linking tracks, it isn't the most original sound. This doesn't prevent the tunes and bouncy rhythms from making your life happier though. I'm hoping their next release will be a full length.
The Boston dream folk singer has produced a stripped down fifth album, with a subdued mood. It's emotionally powerful, and undeniably beautiful. This is particularly evident in Apostle, with just acoustic guitar and her voice, placed in a resonant acoustic. It's intended as a companion to her 2011 album, hence its brevity, and is stronger for the simplicity.
The Atlantic based band is known for wearing animal masks on stage; they've released their second EP free on their website or you can stream it on Bandcamp. It's easy music to enjoy, melodic with pleasing harmonies and with acoustic guitar's prominence betraying folk influences. Despite the quirky, short linking tracks, it isn't the most original sound. This doesn't prevent the tunes and bouncy rhythms from making your life happier though. I'm hoping their next release will be a full length.
Next 15 Top Albums this month
- The Agency for the Brave and Troubled
- Cast of Cheers Family
- Diiv Oshin
- Everest Ownerless
- Exlovers Moth
- Hot Chip In Our Heads
- James Vincent McMorrow We Don't Eat EP
- Jason Serious Undercover Folk
- Leftover Salmon Aquatic Hitchiker
- Levellers Static on The Airwaves
- Loquat We Could Be Arsonists
- Mrs Magician Strange Heaven
- Spirit Family Reunion No Separation
- White Arrows Dry Land is Not A Myth
- Wintersleep Hello Hum
The Manchester Live music scene has now wound down for the summer, with the festival circuit taking precedence. I'll be concentrating on my other blog, but Jeremy's Indie Music will be back in August to report on the Reading Festival and catch up on notable album releases. I'm also considering whether to make these reviews more selective in future, without neglecting some lesser known albums I feel deserve attention.
