Top 25 Albums October 2012

The aim of this blog is to suggest starting points for your discovery of new music, so I give equal consideration to well known and under the radar artists. I'm therefore continuing with my experiment of including previews of tracks, in the hope that it will inspire you to explore something new. The biggest disappointment for me this month was Mumford and Son's overly safe Babel. I also failed to share others' enthusiasm about Muse's new album. Fortunately there are some strong discoveries led by Efterklang.

Top 25 Albums
Efterklang Piramida (Post Rock) 9.5/10

This subtle Danish album is masterly in its creation of a dark, eerie atmosphere. It was recorded at an abandoned mine on Svalbard above the arctic circle and includes ambient sounds. The subtlety and sparseness means that it takes time to appreciate, and quiet, reflective time to listen, but if you make the effort its desolate beauty will enter your consciousness. It sounds distinctive, but if you appreciate Sigur Ros, you should definitely listen to this.

Moulettes The Bear's Revenge (Folk) 9/10

A former member of Moulettes, Ted Dwane, is now with Mumford & Sons, but don’t let all the attention on their second album obscure this one. It’s eccentrically English, less crowd pleasing, and with a more vivid imagination. The footstomping Uca’s Dance is one of the standouts, but gentler songs such as Song Bird give a more melancholy air. It feels so inventive, with the gorgeous female vocal harmonies and a rich array of acoustic instrumentation, including violin, cello, banjo and bassoon. Not all of the tracks maintain the brilliance of the opening numbers, but the closing Blood and Thunder compensates for this. I’m told they’re amazing live; I can't wait to experience it myself.

How to Dress Well Total Loss (Electronic) 9/10

It's difficult to imagine a greater contrast with Mouettes, but Tom Krell's R&B influenced follow up to the brilliant Love Remains is inspired. It's dark and melancholy, the product of a period of depression following a relationship breakup and loss of his best friend and uncle. The disjointed electronics and falsetto soul voice create a chilling atmosphere. Yet it's not a bleak experience: instead humanity comes to the fore, which means it should appeal to fans of both The Weeknd and Bon Iver.

Audra Mae and the Almighty Sound (Folk Pop) 9/10

Oklahoma's Audra Mae has amazing charisma, and this upbeat album is full of retro fun. Her voice is amazingly powerful and she blends country, swing, blues, folk and pop. This isn't delicate, reserved folk: it's an extrovert foot tapping romp, full of catchy tunes such as Little Red Wagon.

First Aid Kit iTunes Session (Folk) 9/10

This delightful Swedish folk duo have created an essential compliment to The Lion's Roar for their fans. It includes a cover of Patti Smith's Dancing Barefoot, new single Wolf and a guest appearance at the end by Connor Oberst. Yet the production of songs from their two albums and EP is bolstered by strings, and feels more polished than previously, without loosing the direct simplicity of the songs. All 8 tracks bring a huge smile to my face.

The Chevin Borderland (Indie Rock) 8.5/10
Borderland manages to live up to the promise shown by the single Champion. The Yorkshire band are currently on tour in America and I predict they'll gain considerable popular success for this album. It's easy on the ear, upbeat melodic rock with an epic quality inspired by their home landscape. They didn't quite live up to their promise when I saw them live in May, but on the strength of this anthemic album, I'm seeing them again this month. I expect crowded stages for The Chevin on the festival circuit next summer.

Neil Halstead Palindrome Hunches (Folk) 8/10

This is the Brit's third solo album, and consists of stripped down folk, his voice recorded in a halo of reverberation alongside acoustic guitar. Violin and banjo also appear in what could be mistaken for middle of the road background music. Yet, if you listen closely, behind the understatement you will find deep emotion, and the production sounds amazingly present on headphones. Some will seek greater variety of mood, but I love that rich voice and gentle sensitivity.

Rival Sons Head Down (Garage Rock) 8/10

This garage rock album is an explosion of raw energy. The Californians take inspiration from classic rock of the 60s and 70s, bringing it to life with their enthusiasm. If The Black Keys appeals to you, this is definitely worth investigating, although it’s more bluesy. The extended Manifest Destiny songs show their more spiritual side, dealing with the plight of the North American First Nations. The album is brilliantly executed, and whilst it was recorded in a studio, it has the thrill and electricity of a live performance.

Kingsley Flood Colder Still EP (Americana) 8/10

I highly recommend Kingsley Flood's debut album Dust Windows, but this spirited EP shows their development in the past two years. It sounds richer, and despite being recorded in a studio Brooklyn has a rootsy, spontaneous feel. I love the varied moods and acoustic instrumentation across the 6 songs, and this is more than just a stopgap until their sophomore LP is released.

Chris Robinson Brotherhood The Magic Door (Blues Rock) 8/10
The album can currently be streamed on CRB's website.

The Magic Door comes only 3 months after the Black Crowes singer's first album, also one of my monthly choices, and has continuity in style with Big Moon Ritual. It shows a reverence to classic rock and southern blues: the feel is mellow. It's a must for Grateful Dead fans, yet should attract a new generation of listeners with Robinson's idiomatic vocals and gift for melody. The extended Vibration and Light Suite is my highlight, and leads me to conclude this album is even stronger than the first.

Hiss Golden Messenger Poor Moon (Americana) 8/10

Poor Moon will surely appeal to CRB listeners (see review above), and indeed Neil Young fans. This is, if anything, even more laid back, the songs gradually gaining momentum. Vocalist MC Taylor and instrumentalist Scott Hirsch are joined by a large backing band, fusing elements of country, funk, bluegrass and rock. The themes include folklore, religion and mythology, and it gradually offers up its secrets. This is a work indebted to the past, yet unafraid to take risks.

The Alialujah Choir Self Titled (Indie Folk) 8/10

This Portland group consists of band members from Weiland and M. Ward. As expected, there are beautiful vocal harmonies, and a spacious, relaxed feel which will appeal to lovers of Fleet Foxes. It manages to avoid feeling bland, but it's low key, and some may wish for greater variety of mood. I enjoy relaxing to its beauty though.

Calexico Algiers (Indie Rock) 7.5/10

I don't consider Algiers to be as strong as Calexico's last album Carried to Dust, yet the Arizona group still gives pleasure. It's less challenging than I'd like, yet beautifully produced with its strings and brass, with Latin and New Orleans jazz influences. The Splitter track previewed here is my favourite for its epic feel and instrumentation. Enjoyable, but not ground breaking.

Tom McRae From The Lowlands (Singer Songwriter) 7.5/10

The British singer songwriter's follow up to 2010's Alphabet of Hurricanes has a lovely, understated lyricism. This sixth album is stronger than his previous one, and relatively stripped down, with acoustic guitar and some string accompaniment. It's subtle, touching and benefits from its lack of embellishment.

Beth Orton Sugaring Season (Folk) 7.5/10

East Anglian Beth Orton is better known as an electronic artist, but following marriage and childbirth, she's produced a warm feeling folk album centred around acoustic guitar. It was recorded in Portland and has a stripped down feel, yet with much charm. Cat Power fans should certainly investigate this. The melodies are beautiful, the accompaniments sometimes jazz influenced, yet some will wish for a little more grit on this autumnal sounding creation.

Woods Bend Beyond (Folk) 7.5/10

This is the Brooklyn band's seventh album; characterised by 60's influenced psych-folk and Jeremy Earl's falsetto voice. It's less lo-fi than their previous efforts, benefiting from a tighter production. I particularly appreciate the homage to the Grateful Dead in Cascade, although I'm told their live jams are considerably more spontaneous and epic.

Sean Taylor Love Against Death (Blues Folk) 7.5/10

This is a political album, but unless you're a mad Tea Party supporter, don't let that put you off. It's intensely heartfelt and personal, a 'direct challenge to a reality dominated by greed, inequality, and injustice'. The key to the bluesy feel is Sean's softly spoken voice, which creates a touching intimacy. It was recorded in Austin, but the lyrics are full of references to recent British history.

Avett Brothers The Carpenter (Folk Rock) 7/10

There are plenty of banjos here, and some may object to the Avett's polishing of their bluegrass music to appeal to a mainstream pop audience. Yet for all the commercial appeal, there is raw emotion in A Father's First Spring, written after their bass player's two year old was diagnosed with brain cancer. Sometimes the lyricism comes too easily, but this is more heartfelt than Mumford & Son's Babel.

Lucy Rose Like I Used To (Indie Folk) 7/10

Lucy Rose's debut album has received mixed reviews, perhaps because some mistake its British reserve for blandness. I love the Bombay Bicycle Club singer's light touch, and whilst this doesn't break any boundaries, it's grown on me with repeated listening. I've seen her live twice recently, and this of course influences my perception of her recorded work. Laura Marling is more charismatic, but her fans should listen to this too.

Animal Parts Animal Parts (Indie Folk) 7/10

I have The Owl Mag to thank for discovering Joshua Cockerill's under the radar second album. Their review points to Neil Young, Bright Eyes and Wilco influences, and a love the country feel. The 21 year old Canadian benefits from backing instruments including cello, violin and flugelhorn, and shows real potential. One to watch.

The Invisible Rispah (Electronic) 7/10

Rispah is named after lead singer Dave Okumu's mother, and is deeply influenced by her death. It incorporates a recording of Kenyan spirituals sung at her funeral. As a 'love letter to grief' it is surprisingly restrained and minimalist at times, yet clearly cathartic and brooding. The Mercury Prize nominated group has (like Alt-J) been rather unhelpfully compared to Radiohead, but the creativity evident here can't be ignored.

Emily Portman Hatchling (Folk) 7/10

Hatchling is the British folk singer's second album where she intersperses traditional songs such as Silver Swan with her own compositions. Her voice is delicate, and the beauty enhanced by use of cello and viola backing, banjo and ukulele. The subject matter includes myth and fairy tales, but there's a feeling of almost classical restraint in the performance some will find surprising. Utterly charming.

The Wilderness of Manitoba Island of Echoes (Indie Folk) 7/10

I was initially disappointed with the Toronto group's second album, finding it inauthentic, leaving behind folk for blander pop. As someone who's travelled through the wilderness of Manitoba, I found it difficult to see the connection. Yet, I can now appreciate its low key beauty, and when you listen carefully, you can luxuriate in the instrumental textures. Manitoba is pretty flat and empty, but like this music, its appeal gradually creeps up on you.

Sea Wolf Old World Romance (Indie Rock) 7/10

One review described this as 'a fine collection of Coldplay B Sides'; it sounds closer to Band of Horses to me. It's an album some may find simply too pleasing, and easily lyrical, and it doesn't deviate from its mid tempo template. Yet, despite all this, I found it soothing and in its undemanding way, Alex Brown Church's autumnal beauty brings pleasure.

Mumford and Sons Babel (Indie Folk) 6/10
This was one of my most eagerly awaited albums of the year, since Mumford was the second indie band (after Edward Sharpe) I fell in love with. Their Coachella 2011 performance also ranks as one of my favourite live music experiences. Alas, despite record breaking sales, it's a let down, lacking in light and shade. It's beautifully produced, but all that banjo and overwhelming climaxes seem to be in vain. It's sad that there's been an absence of development since Sigh No More, and they've played overwhelming safe. Some will also choke on the evangelising lyrics such 'I set out to serve the Lord'; Marcus' parents run a less than tolerant fundamentalist Christian organisation. But even (rightly) judged on the music alone, this is seriously lacking in fresh inspiration. If you approach it without preconceptions, it can be enjoyed on its own terms, but I can't help but think of what could have been

Other Recommended Albums

• Alexander Wolfe Skeletons
• Angel Olsen Half Way Home
• Azure Ray As Above So Below
• Bear Mountain XO
• The Belle Game Ritual Tradition Habit
• Brother George Big Peney
• Chet Faker Thinking in Textures EP
• Daniel Herksedal & Marius Neset Neck of the Woods
• Dum Dum Girls End of Daze EP
• The Eastern Sea Plague
• Flying Lotus Until The Quiet Comes
• George Sarah Who Sleeps The Sleep of Peace
• Hundred Waters self-titled
• J. Thoven City Maze EP
• Jens Lekman I Know What Love Isn't
• Matthew Dear Beams
• Seahorse I'll Be New
• Taken by Trees Other Worlds
• Teen Daze The Inner Mansions

Two Door Cinema Club, Sound Control Manchester, 5th September 2012 9/10

Two Door Cinema Club is on the crest of a wave following Alex Trimble’s performance of Caliban’s Dream for a television audience of over a billion people at the Olympics Opening Ceremony. Their second album Beacon has made a successful chart debut this week, and their next London show sold out in two minutes.  Even Barack Obama is reported to be a fan. They formed in County Down, Northern Ireland in 2007, the name coming from a mispronunciation of their local Tudor Cinema. I named Tourist History as one of my top ten album choices in my very first roundup back in 2010, saying that it was tuneful and they deserved greater recognition.

I was concerned this Manchester gig might be an anti-climax following their amazing set at Reading Festival last month, where as many as 20,000 people packed the NME Radio 1 tent with an amazing party atmosphere. Last night was far more intimate, a rare show in a small venue with four hundred very hot and sweaty bodies crammed into Sound Control’s loft. In fact, it ended up being one of the most inspiring explosions of joy I’ve experienced in live music. As at Reading, the audience was incredibly young and enthusiastic, screaming wildly at the merest hint Alex Trimble might be about to appear on stage. Once the main act started, they jumped up and down with boundless energy despite the stifling heat.

Two Door Cinema have developed their live act significantly since I first saw them at Coachella 2011 and the NME Awards Tour in February. They played incredibly tightly in Manchester, and the sound combined clarity with punchy bass (testament both to the venue and sound engineer). They’ve become one of those acts whose live experience is on a different planet to the albums. The music is accessible, and enjoyable, making clever use of melodic hooks, but also quite formulaic. Beacon played safe, merely refining their radio friendly formula, and the old and new songs cohered well. When Alex announced that he was playing a quieter, slower song (Eat That Up, It's Good For You) the contrast was less than expected, and the previously unperformed song they played still seemed familiar. The set list might have had 17 songs, but the brevity of their material meant they were onstage for only 70 minutes.

The key to Two Door Cinema’s live acts is the way reaction they inspire in the audience, and it’s intriguing how they achieve this. Alex Trimble is quite a reserved character, and can even appear shy on stage. Whilst expressing his appreciation for the fans, he didn’t speak to the audience at any length. There are no gimmicks such as an elaborate light show, and unlike the support band they didn’t attempt to stage dive. Instead, they’ve engaged with fans over the long term, building exposure over the past two years. Yet I believe it’s the immediacy of the music which inspires this joy at. Whilst there are elements of electro pop, Two Door Cinema demonstrates the continued relevance of guitar based rock to a young audience. I’m sure that they will be routinely playing stadiums in the near future, and their prospects for recognition in America are favourable as they embark on a tour next month.

This is overwhelmingly positive music, despite the hints of more introspective, melancholy undercurrents on tracks like Settle. It’s a more visceral, physical experience than the intellectual Grimes, and in terms of creativity they are on a different planet to a band like Radiohead. The immediacy is a long way from classical music too, but its key is the sense of escapism it engenders. For an hour last night, all other thoughts were excluded from my consciousness, and my brain could concentrate on emotions. I didn’t see the world in a different light afterwards, as with some more challenging live music, but I loved living purely in the present for a while.

Set List

• Next Year
• Undercover Martyn
• Do You Want It All?
• This is The Life
• Wake Up
• You're Not Stubborn
• Spring
• Sleep Alone
• Sun
• Something Good Can Work
• Pyramid
• Handshake
• Eat That Up
• What You Know
• Some Day
• Come Back Home
• I Can Talk

Top 25 Albums August / September 2012

After a summer break to concentrate on my other blog, I'm resuming writing about live and recorded music. I'm revising my approach to my album line-ups: I'm continuing to listen to as wide a selection of albums as ever (upwards of 60 a month), but to avoid my posts becoming unwieldy, I'm concentrating on a smaller number that particularly impressed me, whilst still listing the others I've enjoyed most.

My expertise is in classical music, yet I aim to convey my enthusiasm for indie music, and suggest some starting points for your own exploration from an unusual perspective. I'm experimenting with including sound samples in this round up to aid this process.

25 Top Albums

Saint Saviour Union (Pop) 9/10
Critical opinion to this debut album released via Pledge Music has been mixed, yet I love it for taking risks. Becky Jones has a distinctive and powerful soprano voice, sounding ethereal. The mood is often dark, most notably in the stand out This Ain't No Hymn. The texture layered with extensive use of minimalist repetition and electronics.

Frank Ocean Orange (R&B) 9/10
Frank Ocean's New Orleans R&B balances the strong representation of folk in this list, yet he shares a gift for melody. His voice is charismatic, and the 10 minute long Pyramids epitomises his willingness to experiment. It's an album bursting with imagination, such as the use of synths and moody drum patterns, full of moody reverb. This is great music regardless of genre and an excellent place to start expanding your horizons.

Praything Her Skin Caught The Glow (Indie Pop) EP 9/10
The British but Florida based Ju Kovacevich's gorgeous EP is available on Bandcamp as a 'name your price' download. As this interview explains, it's a break-up record, melancholy in feel with prominent piano, but far from angry. Influences include Neil Young and Sigur Ros, but I'm reminded of the classical minimalist Philip Glass and Beach House. I love his falsetto, and the percussion contrasts with its serenity.

Aimee Mann Charmer (Singer Songwriter) 9/10
An appropriate title for this delightful album, which doesn't break new ground but is imbued with American optimism. My favourite Aimee Mann is the Magnolia soundtrack, but this feels fresh and vibrant, and of course benefits from the instantly recognisable vocals. I love its feeling of natural, easy inevitability.

The XX Coexist (Indie Pop) 9/10
A gloriously introspective and understated creation, the London trio avoid a sophomore slump after their Mercury winning début. The sound is sparse, stripped back to tender emotions about love with overlapping vocals. Some may find it soporific, but it gradually weaves its way into your subconsciousness.

River City Extension Don't Let The Sun Go Down (Indie Folk) 8.5/10
This 8 piece band from New Jersey is a must for lovers of Americana. I love the acoustic instruments, including bass, cello and banjo, and the rootsy harmonies, but it's not entirely backward looking. The sparseness of the last of 14 the tracks doesn't quite work for me, but the sense of collaboration and camaraderie makes me want to see them live.

Wild Nothing Nocturne (Dream Pop) 8/10
This is Jack Tatum's second album, and like Gemini is influenced by the 80's, with plenty of synth as well as acoustic guitar in the mix. It's laid back in feel, and the reverb soaked atmosphere washes over you smoothly. However, it isn't lacking emotional engagement, and I've found it wears well, despite its apparent simplicity. Paradise is my highlight.

Holy Other Held (Electronic, R&B) 8/10
This anonymous Manchester artist produces what some describe as 'witch house'. It's sad, slow music, using stretched out garage beats and pitch shifted vocals. This description might sound miserable, but in fact I find it exceptionally beautiful, even mesmerising. I can't wait to experience the atmosphere of the live show in October.

Port St Willow Holiday (Indie Folk) 8/10
The debut album from Portland is subtle and atmospheric, being conceived as a coherent whole. It's been compared to The Antlers' Hospice, and will fuel your imagination with its quiet melancholy. You can stream in its entirety on Bandcamp, where you can appreciate the graceful horn and trumpet. To say that it lacks variety is to miss the point; this is music to dream to.

David Byrne and St Vincent Love This Giant (Indie Pop) 8/10
Album available to stream on NPR for a limited period
This high profile collaboration needs little endorsement from me, but its funky feel is refreshingly quirky. Brass instruments, specifically horns, sound jaunty, and it was inspired by Walt Whitman's Song of Myself. The interplay of the characterful voices is delightful, and the energy here is infectious.

A Dark Horse EP (Indie Folk) 8/10
An all too brief 4 tracks, this EP is available for a 'name your price' download from Bandcamp. It feels gentle, with largely acoustic instruments, and the two musicians behind this beautiful creation are from Ireland. It's self-produced, so sounds honestly simple, but the extended closing song rewards the listener's patience as it builds to a rousing climax.

Tidelands We've Got A Map (Indie Rock) 8/10
San Francisco's Tidelands is one of the friendliest indie bands you'll come across, and deserve much wider recognition. This is their second album, and if you enjoyed the first, this is similarly refreshing 'orchestral indie'. The whole album can be streamed at Bandcamp: my favourite track for its rhythmic energy is The New Black. I love the use of layered acoustic instruments along with Gabriel Leis' electric guitar and Mie Araki's committed percussion playing. A truly beautiful experience, sincerely felt.

Evening Hymns Spectral Dust (Indie Folk) 8/10
This is one of several contemplative, subtle albums on this list, this time from Toronto. It has a personal intensity, and lead Jonas Bonnetta gives an illuminating track by track analysis here, talking movingly about grief from his father's death. It's most touching, yet is also a collective effort, including members of Timber Timbre and The Wooden Sky. A beautiful, cathartic experience.

Two Door Cinema Club Beacon (Rock) 8/10
I've had two memorable live encounters with Two Door Cinema Club recently, and following front man Alex Trimble's appearance at the London Olympic Opening Ceremony, their profile is sky high in the UK. Yes, this is mainstream pop, making heavy use of hooks and repetition, but I value its uplifting quality. It's a little more polished than their début Tourist History, but doesn't represent a significant departure in style. Some will regret that they've played safe, but given their current success this is understandable. To appreciate the album fully though, you really need to go to one of their shows.

Grizzly Bear Shields (Indie Rock) 8/10
The Brooklyn quartet's album doesn't instantly capture your attention, lacking the immediacy of big tunes, but it gradually seduces you. The highlight is the beautiful Half Gate, and I love the blend of electronic and older instruments. There is a subtle genius underpinning this album, and Sun in Your Eyes makes for a satisfying close. Yet, I'm not sure it has the impact of Veckatimest, and so fear I admire rather than love it.

Communist Daughter Lions & Lambs EP (Indie Folk) 8/10
This Wisconsin group is named after the Neutral Milk Hotel song, although in sound the falsetto vocals are closer to Bon Iver. The warm melodic invention and vocal harmonies are explained by the fact that this EP was inspired by the recovery of lead Johnny Solomon from addiction. I found it most touching and quietly powerful; recommended.

Jenn Rawling & Basho Parks Take the Air (Indie Folk) 7.5/10
This is the most rootsy album on this list, utterly charming Americana. The Portland duo consists of fiddle player Parks and folk singer Rawling, and happily you can stream it on Bandcamp. It's lyrically beautiful, with lovely harmonies, and thoughtful lyrics. It's not intended to be innovative, but folk lovers will enjoy it greatly.

Urusen This is Where We Meet (Indie Folk, Rock) 7.5/10
You can stream a track from this album on Bandcamp
This London based folk band are well established but under the radar; this release is charming, beautiful and meditative. I particularly appreciated instrumental flourishes such as the cello in Step Off The Train. It won't necessarily challenge you, and doesn't break new boundaries, but it will warm your heart.

Cat Power Sun (Indie Rock) 7/10
This is Chan Marshall's ninth album and the slightly opaque mix makes extensive use of electronics. Some times I wonder if she's laboured too long over the sound. The opening Cherokee is downbeat, but the tempo picks up with the title track. This is an album I admire and there's no doubting the sincerity and the bluesy, soul influences, most apparent in the 11 minute Nothin But Time.

Sun River Sun River (Indie Folk) 7/10
There's remarkably little information online about Sun River, although their label's page links to some sample tracks and reveals they are a three piece from Denmark. It's a satisfying discovery, acoustic guitar based contemporary folk, with a laid back, understated bluesy feel. Well worth exploring if you enjoy Fleet Foxes or Midlake.

Family Band Grace & Lies (Indie Folk) 6.5/10
The core members of Family Band consist of a couple from Brooklyn. Jonny Ollsin is a metal guitarist, and whilst this is largely understated dream folk, his background manifests itself in his riffs. It's bleak, chilly album, with haunting alto vocals from Kim Krans, a visual artists. The effect is undoubtedly powerful and spare.

Mother Mother The Sticks (Indie Rock) 6.5/10
The fourth album from the Western Canadian group follows the well received Eureka, and has a welcome darker rock edge. It would feel almost menacing, were it not for their wit and sense of playfulness. It can seem a little too eclectic and inconsistent, but avoids blandness.

Unto Ashes Burial Foretold (Neo-medieval Folk) 6.5/10
You can download 2 tracks via the Music link on the artists' website
This is contemporary folk music, but initially sounds like early choral music, until your realise there are eastern influences, and a Van Halen cover amongst the tracks. Its unashamedly gloomy, apocalyptically so, but it's such a clever, seamless blend of styles, and always beautiful despite the sadness. A musical byway for the adventurous to explore; I was fascinated.

Kyla La Grange Ashes (Indie Pop) 6.5/10
I was impressed with the last Kyla La Grange show I saw, yet this debut full length has been criticised as formulaic. Live, folk influences are more evident: this pop record is over-produced by Sony, the song Sympathy giving a flavour of unadulterated song. The British singer is in the shadow of Florence, yet on its own terms Ashes is still upbeat and fun.

Alberta Cross Songs of Patience (Indie Rock) 6.5/10
A clash meant I missed the New York based Brits at Reading Festival. Songs like Crate of Gold are informed by a love of country and folk, but sounds commercial and Brit pop like. They mention My Morning Jacket as an influence, but Kasabian sometimes come to mind. The inspiration sags mid album, and there are a few too similar songs, but the closing Bonfires reminds me of their potential.

25 Also Recommended:

• Animal Collective Centipede 7/10
• Amelia White Beautiful and Wild 7.5/10
• Astronauts Etc. Mystery Colours (single) 8/10
• The Antlers Undersea EP 7/10
• Deerhoof Breakup Song
• Delicate Steve Positive Force 7.5/10
• Easter Island Frightened 7.5/10
• Jessie Ware Devotion 7/10
• Lemolo The Kaleidoscope 7.5/10
• Lianne La Harvas Is Your Love Big Enough 7/10
• Lucy Rose Lines EP 7.5/10
• Mary Epworth Dreamlife 7/10
• Milo Greene 7.5/10
• Minus The Bear Infinity Overhead 7/10
• Mountain Goats Transcendental Youth 6.5/10
• Mount Eerie Ocean Roar 7/10
• The New Old Calvary Carry Me Out This Way 7/10
• Poor Moon 6.5/10
• Purity Ring Shrines 7/10
• Shovels & Rope O' Be Joyful 7.5/10
• Stars The North 7/10
• Stealing Sheep Into The Diamond Sun 6.5/10
• Swans The Seer 6.5/10
• To Kill A King Word of Mouth EP 7/10
• Yeasayer Fragrant World 6.5/10