Top 25 Albums November 2012

This list reflects my personal favourites from the 80 or so albums I've listened to this month. Each is judged on its own merits, but amongst those which made the cut there's a predominance of understated, roots and folk influenced albums above more weighty rock; this is a month for beauty.

Dark Dark Dark Who Needs Who (Indie Pop) 9/10
This is a beautifully melancholy album, introvert and gentle in its feel. I love the use of acoustic instrumentation including piano and accordion, and restrained drumming. The singing of Nona Marie Invie is beguiling, the mood influenced by her break-up with the group's co-founder last year. In a world where everyone seems to want to shout loudly, the restraint of this jazz and folk influenced group from Minneapolis could be easily overlooked.

Lau Race the Loser (Folk) 9/10
This Scottish folk trio's third album is captivating and surprisingly bold, reflecting the involvement of  American producer Tucker Martine. The instrumentation consists largely of fiddle, accordion and guitar, but also electronics, most evident on Far From Portland. The combination of traditional Celtic jigs and reels with this new found experimentation and an ability to improvise is startlingly refreshing.

Lord Huron Lonesome Dreams (Indie Folk) 8.5/10
Pitchfork dismissed this album as 'sepia toned', and I admit that some will find it a little too sweet toned and polite. Yet, Fleet Foxes have proven that folksy Americana can capture the imagination, and I appreciate the beauty. It's LA based Ben Schneider's debut album, and I have been luxuriating in the beauty of those harmonies. It's an album to sit back and enjoy in its entirety as one track blends seamlessly into the next.

Gary Clark Jr. Blak and Blue (Blues Rock) 8/10
This is an eclectic album, with influences from rap, soul, funk and above all blues. It's direct and has bite: on first listen, it's clear this is bold and exciting. It's lavishly produced by Mike Elizondo of Fiona Apple fame, yet some may wish for something more stripped back. Others have remarked his voice is a little thin, although the guitar playing's ample compensation. It's a celebration of our melting pot culture, and I can imagine the buzz around the polo fields of Coachella if he plays there in April.

You can stream a track from Tweaker's album here.
Tweaker Call the Time Eternity (Industrial, Electronic) 8/10
Tweaker is a project from Chris Vrenna of Nine Inch Nails, and is weighty and melancholic. He left Marilyn Manson's touring band as drummer to work on his 3rd album a year ago, and the sinister results are totally involving. It has an dark, experimental feel, and you simply must listen closely to take in the subtleties. Just don't expect Trent Reznor's genius.

Bat For Lashes Haunted Man (Indie Pop) 8/10
I was on the fence about this album after the first few listens, feeling that it only really took flight after the sublime Laura. Yet, my appreciation has grown immensely the experience of seeing her memorable live show. Less ephemeral music does take time to appreciate, and now I realise the imagination behind its atmospheric, personal sounds. It hasn't quite displaced the richer sounding Two Sons in my affections yet, though.

Andrew Bird Hands of Glory (Country, Folk) 8/10
The follow-up to the still recent album Break Up Yourself is rootsy and more bluegrass influenced. He includes a couple of country covers, and ends with an extended, bold 9 minute Beyond the Valley. It's only 8 tracks long, and whilst I wish for more of his own material, his violin playing is exquisite. Essential listening for lovers of folk.

Bryan John Appleby Fire on the Vine (Singer Songwriter) 8/10
This Seattle based artist creates sounds of delicate, heartwarming beauty, poetically written and full of biblical imagery. I find it incredibly powerful emotionally, and the pacing is masterly in the melancholic, heartfelt The Lake. Listen to a song like the 7 minute Boys, which takes a surprisingly dissonant turn, and you'll realise this is not backward looking folk, but original modern art.

Goodnight Texas A Long Life of Living (Indie Folk) 8/10
This gorgeous Americana album is the fruit of Patrick Wolf and the Stone Foxes' Avi Vinocour. The roots instrumentation includes harmonica, mandolin, guitar and banjo, yet it's the song writing which is so memorable. It's wonderfully executed, and full of cherishable melodies: an absolute delight.

Other Lives Map The Gap EP (Indie Folk) 8/10
The four tracks here don't satisfy my impatience for another full length from Other Lives, yet their epic, orchestral folk remains beguiling. Despite an impressively layered version of Dust Bowl, the EP stands out for the Atoms for Peace remix of Tamer Animals, utterly transforming the original. It was recorded in Oxfordshire whilst they were touring and Dead Can shows electronic Radiohead influences.

Freelance Whales Diluvia (Indie Rock) 8/10
This second album from the New York five piece is dreamy in tone, and whilst you might expect it to be influenced by nature, there's actually a science fiction theme. The songs are longer than average, with complex textures and extensive use of synthesiser; the lyrics are blurred. It might not make an immediate impact, but its rich instrumentation draws you in, and it ultimately has an uplifting effect.

Gus Black Split the Moon (Singer Songwriter) 8/10
This is a live recording from the last day of Black's 2011 tour in Berlin, and the gain in atmosphere from the studio album The Day I Realised is palpable. He's accompanied by a band, but the minimalist sound is centred on Gus' acoustic guitar and voice, with a feeling of rapt concentration (the audience apparently restrained). This was clearly a remarkable performance, and we can share in some of that magic at home.

The Young Unknowns You Are a Young Unknown EP (Indie Rock) 8/10
I have The Owl Mag to thank for my discovery of this currently aptly titled Brooklyn group. Lead singer Meredith Meyer is joined by four male band members; there are some similarities in sound to Wye Oak. After streaming the upbeat, driving Target Practice I immediately bought the entire EP. I sincerely hope their name soon becomes ironic.

Gypsy and The Cat The Late Blue (Indie Pop) 7.5/10
I loved the Australian duo's debut, Gilgamesh; this one has less of an 80's sound, instead being more laid back. They were influenced by 60's psychedelic rock, and it has an almost dream pop feel. It was mixed by MGMT's Dave Fridman, yet Lionel Towers is a classically trained pianist (the other half of the band being drummer and guitarist Xavier Bacash).

Amelia Curran Spectators (Indie Folk) 7.5/10
The Canadian won a Juno Award for her 2009 album Hunter, Hunter, and this sixth album also contains powerful song writing. The production is no acoustic, minimalist concept: she's variously accompanied by horns, strings, electronics and drumming. I particularly like San Andreas Fault, where her heartbreak is compared to an earthquake; throughout her vocals are clear and haunting.

Inlet Sound The Romantics (Indie Folk) 7.5/10
The painting on the cover gives an accurate impression of what to expect: melodic, breezy folk pop. The Ontario group may be too polite for some, with insufficient variety of mood, but if you enjoy Said The Whale or The Decemberists, The Romantics will give pleasure, and soars grandly.

Rayland Baxter feathers and fishHooks (Alt Country) 7.5/10
The Nashville artist's capitalisation is playful here, and his debut album reflects his touring life with The Civil Wars. Pedal Steel is provided by his father (who played for Bob Dylan), and other accompaniment by his friends. Lovers of Americana will surely adore the mellow, honest feel.

Lindi Ortega Cigarettes and Truck Stops (Alt Country) 7.5/10
This sophomore album reflects the Canadian's move to Nashville, and is notable for Lindi's seductive soprano vocals. The music is blues and soul influenced, and whilst it doesn't break any new ground, she reinterprets past legends for a new generation. The production includes upright bass, mandolin and piano; tracks like The Day You Die will get your feet tapping.

Amy LaVere & Shannon McNally Chasing the Ghost Rehearsal Sessions (Alt Country) 7/10
Recorded in Memphis, this has a spontaneous feel as these two artists started to collaborate prior to a tour in California. LaVere plays the upright bass and McNally the guitar; both sing, their voices blending. I suspect this isn't intended to be a definite statement from the pair, but it's lots of fun.

A Fine Frenzy Pines (Singer Songwriter) 7/10
Alison Sudol has created an understated, gentle album, which despite the hour length doesn't overstay its welcome. Perhaps I enjoy it because one review mentioned a classical music influence. It's a concept album about a tree, and her own stage name comes from a Midsummer Night's Dream. It's no King of Limbs though: if you're looking for experimentalism, you'll be disappointed. It is however inspired by a love of nature, and concern for our planet, and if you enjoy the quiet subtlety, you will appreciate this.

Sophie Hunger The Danger of Light (Singer Songwriter) 7/10
Sophie Hunger grew up in Switzerland; her music is quirky and strongly jazz influenced. She's multi-lingual, and I can hear the influence of Kurt Weill alongside that of folk singers like Beth Orton and Laura Marling. The deluxe version of The Danger of Light is generous in length, but sometimes the stylistic and linguistic contrasts give it a disjointed feel. This eclecticism is also part of her appeal though and she understandably has a loyal following.

The Hillbender's label won't allow the Souncloud preview to be shared, so you'll need to visit this page to listen to it.
The HillBenders Can You Hear Me? (Bluegrass) 7/10
The Missouri based bluegrass group's second album deserves wider than specialist appeal, as they bring elements of rock and roll and jazz into this traditional genre. A song like Radio has a pop-like melody, and it's clear that their performance style is high energy. They include standards such as Train Whistle alongside their own material; the whole is most enjoyable.

John Fullbright From The Ground Up (Roots Rock) 6.5/10
The young Oklahoma's first release sounds surprisingly mature, infused with country and folk and an easy lyricism. Fullbright plays most of the instruments on the record, and writes cutting lyrics, be it a critique of capitalism on Fat Man or Christianity in Gawd Above. Crucially, his voice is characterful, and I suspect this is far from the last we'll be hearing from him: a talent to watch.

Benjamin Gibbard Former Lives (Indie Rock) 6/10
The solo debut from Death Cab for Cutie's frontman has received mixed reviews, yet it's laid back quality appeals to me. On Bigger Than Love he duets with the wonderful Aimee Mann, and Teardrop Windows is another highlight. An album which is easy to dismiss, since it's far from innovative, yet you can easily find yourself listening and almost subconsciously realising that you are enjoying it.

Tall Ships Everything Touching (Math Rock) 6/10
In this rock from Falmouth in the South of England, guitars take centre stage from the outset, alongside complex rhythms. Sometimes it can seem a little fussy and contrived, but others will enjoy the intricacy.  Influences include Foals and Yeasayer, and the closing, extended Murmations shows an impressive command of structure. Definitely clever, if an album I admire more than love.

Also Recommended

• Amy Cook Summer Skin
• Bad Books II
• Black Prairie A Tear in the Eye is a Wound in the Heart
• Caroline Herring Camilla
• Dog is Dead All our Favourite Stories
• Gliss Hunting EP
• Godspeed You Black Emperor Allelujah Don't Bend Ascend
• Jeremy Messersmith Paper Moon EP
• Menomena Moms
• Neil Young & Crazy Horse Psychedelic Pill
• Rosie Flores Working Girl's Guitar
• Sarah Blasko I Awake

Alt-J, Royal Northern College of Music, 27th October 2012 10/10

Some gigs are preceded by apprehension, but I felt pure excitement and anticipation before this one. An Awesome Wave is one of my favourite and most frequently played albums of the year, and the venue was unusual, complete with pipe organ and hexagonal stage area. It was evident from the start of the support act that the sound was of exceptional clarity, and the lighting set-up top-notch. This gig sold out immediately, prompting the promoter to put on a matinee earlier in the day, and I sensed this might be the last chance to see Alt-J in a venue of this size. Joe Newman explained that Manchester had supported the band from the beginning, and I sensed this was their way of returning the favour. As another audience member Tweeted to me afterwards, this was one of those 'Were you there?' occasions.

Remarkably, it was the start of Alt-J's only second headline tour, the first being in May this year: their rise in the UK really has been meteoric. The first album reached 19 in the album charts, amazing for art rock, and is favourite to win the 2012 Mercury Prize next week. In the last month, they've appeared on Jools Holland and toured America where they sold out venues. Tessellate has even been covered by chart toppers Mumford and Sons. They formed at Leeds University but are now resident in Cambridge, deliberately locating themselves away from the mainstream UK music scene. They are unashamedly intellectual; some would say pretentious. The album is subtle and complex, but does little to prepare you for the impact of their live performance.

I saw Alt-J at Parklife and Reading Festivals this summer, but it's striking how much their act has developed in intensity since then. Even their now bearded appearance has changed. Their new found fame has led to them being compared to Radiohead. I agree with Joe Newman that this is ridiculously premature; keyboard player Gus Unger-Hamilton attributes it to: "I suppose it's that we're vaguely clever and posh." Yet, despite their denials, I wonder if they've been studying the great Oxford band. The intensity of Thom Green's drumming was remarkably tight, and the energy and concentration in the room was palpable. This is also an act where the music is absolutely central: there was little between song chatter, and a feeling of perfectionism and unwillingness to compromise for the sake of audience appeal. They lead instead of following taste.

As the choir started singing in the first Interlude, I felt a real sense of euphoria: this was thrilling music making. The set list was all too short, notable for a Still D.R.E. and Kylie Minogue mash-up (Slow Dre) and a new jazz influenced song called Dissolve Me.  Yet my highlights were Breezeblocks, enhanced by strobe lighting, Bloodflood and the masterly Taro. The energy level in the room remained high throughout, and my only regrets were the set time of scarcely an hour (understandable when they only have one album) and the all seated configuration. There's no doubt the audience were completely engaged, but this manifested itself emotionally rather than physically. By contrast, their Reading Festival set was a party, with crowds of teenagers dancing wildly in a packed tent.

The question is whether Alt-J is a buzz band who will quickly fade into obscurity, or have longevity. Pitchfork has little difficulty answering this question: they gave An Awesome Wave a 4.8/10 rating, describing Joe's voice as: "halfway between Macy Gray and a goose gibbering over beats discarded from Eskimo Snow-era". They went on to say: "Sometimes they sound like Bombay Bicycle Club playing in a submarine. Comprehensible intonation is out of the window." There's no denying that Joe's nasal vocals are an acquired taste, as are Gus Unger-Hamilton's falsetto harmonies, but Pitchfork should have experienced a recent live show before rushing to judgement. I bought my ticket for their next show in Manchester next May some weeks ago: this will be at a far larger, standing venue, and give more evidence to answer that question. Yet, this remarkable evening will stay in my memory for a long time, and I can't remember feeling so absorbed by a performance since I saw Arcade Fire last year.

Set List

• Into
• Interlude I (Choir)
• Tessellate
• Something Good
• Dissolve Me
• Fitzpleasure
• Slow Dre
• Matilda
• Breezeblocks
• MS
• Bloodflood (Choir)
• Hand-Made
• Taro

Bat for Lashes, Manchester Cathedral, 22nd October 2012 8/10

Some performers bare their heart: Morbee Kahn of The Parlotones or Billy McCarthy of We Are Augustines use their acts as outlets for their personality, regarding them as a public expression of their life. However, Bat for Lashes' stage persona is very clearly an act: the real Natasha Kahn remains elusive. She didn't engage in banter with the audience, who listened intently, more in reverence than celebration. This isn't to say that the performance was lacking energy: she was moving almost constantly on stage; her dancing a delight to watch. Despite the fact she was suffering from a cough, the musical performance too was impeccable, as she moved from drum machine to piano, guitar and auto harp. I was privileged to observe her at the front of the stage from an arm's length, and it was evident she inhabits a private world whilst performing. I wondered if even her flashes of smile were rehearsed.

Natasha studied music and visual arts at Brighton University, and at this time created sound installations in galleries. Her performance is intended to be seen as a work of art, and as such every detail is carefully planned for a specific emotional effect. This had a magical effect, but at the expense of risk and spontaneity. Her world is beautiful, but ordered; in this sense there are similarities to another artist, PJ Harvey. Florence Welch, by contrast is more euphoric and uplifting, creating a much greater sense of audience involvement. Her art feels more extrovert, yet with less of a sense of mystery and spirituality  Born in London to a Pakistani father, Natasha was a teenage victim of racism and a broken home, becoming a school truant: she found relief in music, perhaps constructing her act to provide an escape from this pain. In fact, after writing this, I saw her response to an interview question about the new album's title:
For me, it’s always about ghosts from the past that I’m trying to release. The haunted man, he represents all the songs. He’s kind of present in all the songs. He might be a soldier that hasn’t come home from war, or a lover I am looking for, or a traumatized man that needs healing.

As expected, the hour long set was dominated by numbers from her just released third album The Haunted Man. Its racy cover art provoked comment from the vicar who introduced proceedings, but Pitchfork was euphoric, awarding it 'Best New Music' status. I am more measured in my praise, finding it inconsistent, taking flight after the fifth track Laura. This ballad was my highlight of her performance, when at last I felt we were experiencing real rather than theatrical emotions, and along with the final encore Daniel it was the most moving part of the night. The backing group, including cellists and electronic instrumentalists stayed in the background, although like all else this evening were impeccable in their execution. Amongst the louder songs, Horses of the Sun was particularly stirring.

Architecture and place are incredibly important, and yet gigs all too often take place in dim, seedy basements (e.g. Soup Kitchen) or bland purpose built performance spaces (e.g. Academy). The medieval Manchester Cathedral added immeasurably to the drama and atmosphere, transforming a performance I would have admired to one which was truly memorable. Liberal use of dry ice, and in the support act smoke from an actual fire (thankfully quickly extinguished), made me imagine I'd been transported back to the middle ages. Wonderful lighting effects bathed the nave's 15th century sandstone walls in hues of purple, blue and green, whilst the generous acoustic heightened the sense of other worldliness. Stage props such as lanterns and the vintage radio Natasha held in the air during Haunted Man seemed superfluous against the Gothic arches and glistening golden altar screen.

Ultimately, I didn't find this quite as spiritual an experience as the surroundings might suggest, since I haven't yet fallen in love with all of the music on her latest album. Yet, Natasha's stagecraft was exemplary and she exuded calm confidence. Some of the pain and intimacy in the music is hidden behind a theatrical facade, yet it becomes evident when you listen. The moody, outwardly chilly emotions were intentionally contrived, and in consequence the atmosphere closer to a Roman Catholic mass than a Protestant revivalist meeting. I left in awe, grateful that live music had once again taken me on a journey in an unexpected direction. Seize any opportunity to see a performer as accomplished as Bat for Lashes in venue as unusual, and magical as this one.

Set List

• Lillies
• WAGTD
• Glass
• Travelling Woman
• Oh Yeah?
• All Your Gold
• Marilyn
• Horses of the Sun
• Laura
• Horse and I
• Prescilla
• A Wall
• Pearl's Dream
• Haunted Man
• Daniel

The Chevin, The Parlotones, Manchester Academy 3 16th October 2012 9/10

Kahn Morbee

Tonight, I was almost as excited to hear the support band than the main act. This is despite the fact that the my first encounter with The Chevin didn't quite live up to my high expectations. Back in May, the venue's sound was poor, the audience was impassive, and the set briefer than I had hoped. A lot's happened to the four piece from Leeds since then: they've toured America, made their début on Letterman in August (as guests alongside Michelle Obama) and more importantly released their first album, Borderland in September. It's one of my top albums of the month, epic sounding guitar rock, wonderfully melodic and uplifting. They put on an energetic set this time, and I was particularly taken by the drummer's amazing commitment. The band's live sound is exceptionally loud (learn from Grimes' recent woes and wear earplugs) and bass heavy; I wish Coyle Girelli's impassioned vocals could have been further forward in the mix.

The Parlotones has also had a momentous few months, having released their fifth album Journey Through the Shadows earlier this year (another of my albums of the month). In the hope of conquering America, they've just moved to LA. They are the biggest rock act of the last decade in their native South Africa, routinely playing stadiums there, and have toured relentlessly. In 2011 they played over 300 gigs throughout the world. Their first album was released in 2003, and the four members grow up and attended school together. Their break was the use of the track Beautiful in a Fuji advert in 2006: this helped to get them signed to Universal. None of this background knowledge prepared me for the impact of their live show, however.

I was surprised at the mix of ages in audience, and found the enthusiasm of a small group of fans arriving early to secure a place at the front inspiring. Now, I understand why those in the know about The Parlotones ensure that they don't miss one of their shows when they tour the UK. Above all, front man Kahn Morbee is theatrical, dancing around stage, and had the audience absolutely in his command. Much of the 90 minute set was a sing-along, Kahn cuing the crowd when he wanted us to provide the vocals. He claimed at one stage that Manchester is the only place where 200 people can sound like an arena of 20,000: I suspect though that he's able to work his magic of audience engagement where ever he goes. Above all, this was a collective experience, the audience's fervour evidenced by the South African flag being waved from the front.

The reaction of female members of the audience around me suggests that the band's muscular appearance doesn't harm their appeal, but in addition to Kahn's charisma, their use of melody is critical. The music is relatively simple, with pounding guitars and tight drumming, but those hooks ensure that the effect is so uplifting. It feels as if their time on stage was selflessly devoted to ensuring the audience had the most memorable experience. They were happy to delve deep into their back catalogue to play a song requested from the floor, found time to dedicate a number to a couple's engagement, and promised to play beyond the curfew until they were made to stop. They even issued an open invitation for anyone present to get drunk with them at a bar after the show (sadly not an option I was in a position to take up).

I've been to shows with more original, thought provoking music, but The Parlotones' aim is to please, not to stretch boundaries. I'm incredibly lucky to have seen them in such a small venue, but I think that stagecraft and anthemic sound would be as entertaining in a stadium. I'm certainly going to make the effort to see them next time they come to my part of the world. This night made reminded me of the joy of discovering a new act, and I felt rewarded for my exploration. I knew little of them before this gig, and it was a wondrous surprise that they had such stage presence. Though their hard work touring they spread their love of music and happiness: what could be more important than that?

Paul Hodgson

Hot Chip, Manchester Academy 1, October 13th 2012 8/10

As darkness fell, I saw a green glow in my rear view mirror: conscious solar activity is reaching the peak of its 10 year cycle, I assumed I was seeing the aurora. Yet then I saw the lights of some kind of craft above me and realised my Volvo had started to fly just above the M56. I guess it's logical that aliens would leverage terrestrial infrastructure, so it's no coincidence my ride in a time machine commenced as I was driving past Manchester airport. I was conveniently abducted to the front rail in a vast room: it was dark, and there was so much smoke in the air my vision was indistinct. After a lenghty pause, thunderously deep beats and soul like vocals emanated from two shadowy figures on stage, who briefly introduced themselves as Disclosure from London; the time period was unclear.

Temporal mysteries were laid to rest when six casually dressed middle aged men and one young lady came on stage and started making music: those cunning aliens had taken me back to the heart of the 1980's. They said a few words in BBC English expressing the hope that 'they'd play some good music tonight'.  Yet it was the lighting which initially attracted my attention: mesmerising, I wondered if it was in fact coming from that spaceship I'd seen earlier. But then I thought I was at a rave: there was dance music, and when I looked back from the front row, hundreds of apparently human bodies were moving synchronously and joyously. There was a feeling of being in a private world, yet having a shared experience. The sense of joy and release was palpable.

Yet, this dance music was mixed with pop: synth chords mixed with R&B influences and simple melodies. Perhaps most noticeable was Alexis Taylor's falsetto vocals, and his oversized spectacles. Then there was the guitar playing of Al Doyle, moving around stage, lost in his own world. There were songs from a future (2012) album called In Our Heads, loosely re-interpreted. Adding to the nebulous nature of time during this event, there was a feeling of improvisation. The wondrous thing is that I'm not sure even the band knew where they were going: they were luxuriating in the moment. These were seasoned performers, confident enough to go with the flow. A further surprise were the vocal harmonisations, which added beauty and humanity to this electro pop. Yet, it was dominated by heavy, hypnotic beats: a steel drum joined bongos on stage and everyone's body moved involuntarily in sympathy.

In the dimension I normally live in, I'd found Hotchip's music to be overly mechanical, and its pop sensibilities tiresome. This is music which only makes sense in a live context. Something remarkable happened on this journey: I was transported to a realm far removed from the hurt and pain of the present, and became completely immersed in another world. This was a party; orchestrated by a bunch of middle class guys, making music sounding somewhere between Cut Copy and Metronomy. The aliens had taken me to see another window on my own world: it was British to the core in its eccentricity, the band's motley, slightly shambolic appearance, and willingness to take creative risks.

At the end, after two hours, the stage was completely engulfed in smoke; Hot Chip disappeared from view, and I began a gradual reintegration to reality. Yet the experience of  travelling back in time in a space ship remains in my memory, and whilst most will be sceptical, there will be those enlightened enough to be able to relate to this experience. I've learnt that there's much to be said for escapism: when the planets align correctly, there's nothing to match live music's ability for re-invigorating the soul.

Alexis Taylor

Joe Goddard

Rob Smoughton aka Grovesnor

Owen Clark and Al Doyle

Carina Round, Manchester Soup Kitchen, 2nd October 2012 8/10

Carina Round came to my attention through her collaboration with Maynard James Keenan's Puscifer project. Yet, her début album First Blood Mystery was released 10 years ago, influenced by Patti Smith, Tom Waits and Jeff Buckley. Her mother was a keen music enthusiast, taking her to see Metallica when she was 12. After being signed to Interscope Records she in 2004 she moved from her native Wolverhampton to Los Angeles, becoming a touring member of Puscifer in 2009. It's clear that she's been exposed to a wide and rich range of musical influences, and indeed she has an alternative country side project called Early Winters, which released its first full length album earlier this year.

Tonight's gig was part of her Tigermending Tour, funded through Pledgemusic. This album was in my top ten for the first half of 2012, and I wrote about its powerful emotional impact, depth and passion. It includes collaborations from musicians such as Brian Eno, Billy Corpan and her friend Dave Stewart, demonstrating how widely connected and respected she is. My expectations for this gig were high, and when I arrived at this new (to me) venue in typically torrential Manchester rain, it was clear it was going to be an intimate show.

After two support acts and what seemed like an interminable wait, Carina's stage presence was immediately apparent. The hour long set was, as expected, dominated by songs from Tigermending; amongst the highlights for me were Girl and The Ghost and Pick Up The Phone, with its startlingly direct lyrics. Her enthusiasm  and love of performing was palpable, although the audience responded impassively. I missed the amazing crowd atmosphere of an act like Two Door Cinema Club, but the subject matter here is of a more serious nature. This was a cerebral experience, not a party, as with PJ Harvey, to whom she's been compared.  I was also reminded of Sharon Van Etten in her ability to communicate energy and passion, and to explore melancholy themes.

Carina performed with gusto, her body movements expressive, and the three piece backing band sounded tight. The real draw here was Carina's remarkably rich and sensuous voice, which is incredibly versatile, and expressive. She's an adventurous, experimental musician, able to adapt her sound to different material, most notable in the acoustic, solo encore, performed unmiked at the front of the stage. It's a pity though that the venue's sound system revealed less detail than on is evident on the Tigermending album, and the lyrics were indistinct at times. The lighting was minimalist, the stage dimly lit, but this isn't an act in need of distractions.

Given her level of musical talent, Carina deserves to perform in larger venues than this one, but she's maintained her artistic integrity and avoided compromising for popular appeal. She showed genuine appreciation for the support of her fans as she struck up a conversation with the audience between songs. A profile of Grizzly Bear this week revealed that even this relatively high profile indie band doesn't make enough money for all its members to be covered by health insurance. Carina acknowledged last night that although her album had only just been officially released in the UK 'anyone who gave a shit could have got it (illicitly) in May'. She's an incredibly hard working musician, touring relentlessly to make a living from art. If you care about the life enhancing force that is music, you should do all you can to support artists such as Carina Round.

Set List

• Set Fire
• Weird Dream
• The Last Time
• Downslow
• Pick Up The Phone
• Die 4 u (Prince cover)
• You Will be Loved
• Elegy
• For Everything a Reason
• Girl and The Ghost
• Into My Blood
• Backseat
• You and Me