Top 20 Albums of the first half of 2013

At the half way point of the year, as I prepare for a break from writing about music to pursue other interests, here are my favourite 20 albums of 2013 so far. This isn't intended to be a selection of the 'greatest' or most significant releases, but a personal selection of those I've most enjoyed listening to. This blog arose out of an act of kindness: a remarkable person enlightened me to a whole new world by introducing me to Edward Sharpe and the Magnetic Zeros. My hope is that by sharing my own musical journey, I might give someone else similar pleasure. I don't receive review copies of albums, advertising, guest list places, or photography passes, so my views are independent and heartfelt.

1) The National Trouble Will Find Me

There was never much question this would be at the top of this list from the first time I listened to it. The National further strip back their melancholy sound compared to High Violet, and it's incredibly movingly performed and sensitively performed. They are at the pinacle of this genre: utter perfection.

2) Hiss Golden Messenger Haw

 This rootsy album from North Carolina sounds immensely personal and sincere and MC Taylor's voice is charismatic and sounds well-worn. I haven't tired of this blusey album, finding its effect reassuring despite the deep lyrics about religion and doubt. It benefits from sounding more authentic than polished.

3) Portugal. The Man Evil Friends

Some have regretted the fact that the Alaskan band has left the experimental early albums behind and are reaching out to a wider audience with this Danger Mouse produced album. Yet, it's still strikingly original, and captures some of the sense of exhilaration from one of their live performances. Evil Friends ties with The Satanic Satanist as my favourite album from exceptional performers.

4) Sigur Ros Kveikur

The Icelandic post rockers have taken a more assertive turn with their latest creation, after the relatively laid back Valari. Yet, this is still music of staggering beauty as well as practically volcanic energy, and as ever, the instrumentation and production is faultless. You really do need to see them live, though.

5) Laura Marling Once I Was An Eagle

The 23 year old Brit's fourth album is remarkably mature emotionally, and appeals so much to me as it's the epitome of introversion. The opening four songs meld into each other in a continuous sweep and represent her greatest achievement yet. They were recorded at Ethan Johns' UK studio in a ten day period in long takes: this adds to the spontaneity and feeling of risk. Her voice has evolved into a passionate instrument, able to convey the pain of breakup. It marks a turning point in her life, laid down just before her move to LA; an exciting future lies ahead for her audience too.

6) Phosphorescent Muchacho

My album listening is inevitably influenced by live music experiences, and these next two choices also represent some of my favourite gigs of the year. For some, Matthew Houck's addition of electronics to the popularist Song for Zula represent too much of a departure from his folk roots. For me though, the blend of sounds is stimulating, and the atmosphere it creates is one of tranquil contemplation. It's also beautifully recorded.

7) Little Green Cars Absolute Zero

The Irish indie folk group are surely destined for great things and this album lives up to the promise of their single The John Wayne, and gives more than a hint of their stunning energy on stage. It's an explosion of joy, recalling Of Monsters and Men, but with a Laurel Canyon influence. The group are accomplished singers, and the vocal harmonies are the stand out feature for me. It's a very full sound, but you need to go to a show in a small venue to experience the thrill of them performing a capella.

8) Daughter If You Leave

The London trio's first album is subtle, with great melancholy beauty. Elena Tonra's vocals sound vulnerable, and the accompaniment is ethereal. It sounds personal, and is a reflective listen, recorded in an airy acoustic. NME found it too gloomy, but it's worn exceptionally well with me and I find it comforting and cathartic.

9) Bomino Nomad

This album will appeal both to fans of Amadou and Mariam and The Black Keys. The seasoned Tuareg singer from Niger has collaborated with producer Dan Auerbach to create a desert blues fusion, mixing middle eastern harmonies with the blues of the American South. The most outstanding feature is the amazing guitar playing, and the whole of Nomad is immense fun.

10) Joseph Arthur The Ballad of Boogie Christ

Funded by a Pledge Music campaign, prolific artist and musician Joseph Arthur has produced one of his strongest albums yet. The first of a trilogy, it's ambitious in sound as well as scale, less a solo project than an immerse full band experience. He takes you on a moving, partially autobiographical journey through his life, his friends joining him for the ride to give an orchestral sound.

11) Waxahatee Cerulean Salt

Like Daughter, Katie Crutchfield gives a highly personal collection of songs, recorded by the lake in Alambama that gives the project its name. It sounds assured and confident, with heartfelt lyrics about marriage, break-up and introspection. The addition of a band on this second album doesn't detract from its intensity or lo-fi directness.

12) Houndmouth From The Hills Beneath The City

This is fun record for those who (to misquote The Damnwells) do still listen to The Band. They share a label and a sense of exuberance with Alabama Shakes. NME found it to be twee and cliched; admittedly it doesn't break new ground, but it feels authentic and should be investigated by all lovers of Americana.

13) Austra Olympia

Toronto's Katie Stelmanis has a pure, dramatic voice, creating a chilling atmopshere, Yet Olympia is more optimistic than 2011's Feel It Break, with greater variety of mood, and an enlargement of the instrumental palate, with some tropical tones. She retains her economy of line, though, which gives rise to a single minded, coherent creation. The production is top notch.

14) Atoms for Peace Amok

Thom Yorke's side project is clearly from the King of Limbs era: intricately layered, subtle, and perhaps a little studied. It sounds like a follow up to Eraser, with experimental electronic sounds and afro beats. Several reviews reflect a feeling more of respect than rapturous love. Thom's vocals sound a little tentative, concentrating on the top of his range. Yet, this is clearly the work of a genius, and rather like an abstract work of modern visual art, slowly reveals itself as you contemplate its meaning.

15) Veronica Falls Waiting for Something to Happen

Upon first listening, I wondered if this London pop was ephemeral: breezy but insubstantial. It's certainly dreamy, with a retro C86 influenced sound, and on repeated listening you appreciate the intricacy of their sound, filled out by their harmonies. They creates a refreshing atmosphere, warmer than their first album, with great interplay between the guitars.

16) Lady Lamb The Beekeeper Ripely Pine

This debut is notable for Aly Spaltro's powerful, emotive vocals and honest lyrics. The 23 year old Brooklyn resident's moniker came to her in a dream, but it has bite and attitude. Ripely Pine is full of youthful, energetic enthusiasm, which more than compensates for its sometimes sprawling structure.

17) Local Natives Hummingbird

Hummingbird is a serious album, which reveals its nature gradually, perhaps reflecting the weight of expectation they must have felt touring with Arcade Fire and collaborating with The National's Aaron Dessner here. It's darker than their debut Gorilla Manor, culminating in the beautiful Columbia which is dedicated to Kelcey Ayer's mother. This is profound music, the introspection and lack of immediacy being integral to its moving nature.

18) Dawes Stories Don't End

Dawes is one of my favourite bands, and much though I love Taylor Goldsmith's warm melodies, I wonder if this is just too radio friendly and middle of the road. It can be saccarine, and I prefer Nothing Is Wrong, yet this throwback sound is comforting and Goldsmith hasn't lost his songwriting skill or live magic. There has been sadness in their past lives, and so it's wonderful that they've found redemption in music.

19) Widowspeak Almanac

One review described this album as a blend between Beach House and Neil Young, presumably referring to its soft focus impressionism and Americana. The duo from New York's second album has a melancholy beauty. Thick As Thieves has a haunting melody and simple directness; the whole feels pastoral. I'm not sure it will win any awards for the cover art, though....

20) Houses A Quiet Darkness

A Quiet Darkness has been the victim of a Pitchfork injustice: they called it a dirge, whereas it's actually incredibly beautiful, sad and subtle. It's nearly an hour long, and whilst there's limited variety of mood, it's an immerse experience, with intelligent lyrics. Perhaps Houses has been overshadowed by The National's sad but incomparable album released shortly afterwards.

Next 10 Favourite Albums

• Caitlin Rose The Stand-In
• GhostPoet Some Say I So I Say Light
• Junip self-titled
• Kurt Vile Walkin On A Pretty Daze
• Low The Invisible Way
• Nightlands Oak Island
• Savages Silence Yourself
• Treetop Flyers The Mountain Moves
• Villagers Wayland

Top 20 Albums June 2013

This has been an exceptionally strong month, with at least half a dozen albums likely to be strong contenders for my best of 2013 list: musical riches indeed.

Sigur Ros Kveikur (Post Rock) 9.5/10

The Icelandic post rockers have taken a more assertive turn with their latest creation, after the relatively laid back Valari. Yet, this is still music of staggering beauty as well as practically volcanic energy, and as ever, the instrumentation and production is fautless. Note the clip above is from a live performance of the opening almost industrial track Brennisteinn.

Portugal. The Man Evil Friends (Indie Rock) 9/10

Some have regretted the fact that the Alaskans have left their experimental early albums behind and are reaching out to a wider audience with this Danger Mouse produced album. Yet, it's still strikingly original, and captures some of the sense of exhilaration from one of their live performances. Evil Friends ties with The Satanic Satanist as my favourite album of one of my most loved bands.

Joseph Arthur The Ballad of Boogie Christ (Indie Rock) 9/10

Funded by a Pledge Music campaign, prolific artist and musician Joseph Arthur has produced one of his strongest albums yet. The first of a trilogy, it's ambitious in sound as well as scale, less a solo project than an immerse full band experience. He takes you on a moving, partially autobiographical journey through his life, friends joining him for the ride to give an orchestral sound.

Laura Marling Once I Was An Eagle (Folk) 9/10
  The 23 year old Brit's fourth album is remarkably emotionally mature, and perhaps appeals so much to me as it's the epitome of introversion. The opening four songs meld into each other in a continuous sweep and represent her greatest achievement yet. They were recorded at Ethan Johns' studio in a ten day period in long takes: this adds to the spontaneity and feeling of risk. Her voice has evolved into a passionate instrument, able to convey the pain of breakup. It marks a turning point in her life, laid down just before her move to LA; an exciting future lies ahead for her audience too.

Bombino Nomad (Desert Blues) 8.5/10

This album will appeal both to fans of Amadou and Mariam and The Black Keys. The experienced singer from Niger has collaborated with producer Dan Auerbach to create to desert blues fusion, mixing middle eastern harmonies with the blues of the American south. The outstanding feature is the amazing guitar playing, and the whole is immense fun, and upbeat in mood.

Austra Olympia (Synth Pop) 8/10

Toronto's Katie Stelmanis has a pure, dramatic voice, creating a chilling atmopshere, Yet Olympia is more optimistic than 2011's Feel It Break, with greater variety of mood, and an enlargement of the instrumental palate, with some tropical tones. She retains her economy of line, though, which gives rise to a single minded, coherent creation. The production is top notch.

Houndmouth From The Hills Beneath The City (Americana) 8/10

This is fun record for those who (to misquote The Damnwells) do still listen to The Band. They share a label and a sense of exuberance with Alabama Shakes. NME found it to be twee and cliched; admittedly it doesn't break new ground, but it feels authentic and should be investigated by all lovers of Americana.

Efterklang Piramida Concert (Indie Rock) 8/10

The experimental Piramida was one of my favourite albums of last year, and this new live recording with The Copenhagen Philharmonic adds colour to the sparse atmosphere of the original. The Danes meld the worlds of rock and classical, the strings and choral harmonies complimenting the drum kit, complex rhythms and contemporary style of solo vocals. A must for the adventurous.

Groenland The Chase (Indie Folk) 8/10

Despite the name this comes from Montreal and is dominated by the jazzy, cabaret style vocals of Sabrina Halde. The instrumentation is adventurous, taking in ukulele, keyboards, bass, cello, violin and more. If you close your eyes, it's possible to imagine you're in a cafe in French Canada, such is the spontaneity, and the band have an ear for catchy melody.

Mount Kimbie Cold Spring Fault Less Youth (Electronic) 8/10

The London electronic duo's second album takes you on a fascinating journey taking in post dubstep sounds, the vocals of rapper King Krule and hip hop beats. It feels eclectic, and sometimes the destination seems unclear, but at least these diversions show a willingness to take risks. It may at times lack coherence, but it demands the attention of anyone interested in the future direction of electronic music.

The 1975 IV EP (Indie Rock) 7.5/10

I've included an EP in this album roundup because you really shouldn't wait for their album release before securing a ticket to see Manchester's answer to The Big Pink. The beats on this EP are strong, and live they have a shatteringly powerful effect. I'm less of a fan of the unsubtle but catchy opening song The City and have greater admiration for the second track Haunt / Bed with its slow build up and airy vocals.

Smith Westerns Soft Will (Indie Rock) 7/10
  In contrast to Mount Kimbie, this is backward looking, and sometimes too middle of the road. Yet Smith Westerns demonstrated at Coachella this year that they're a perfect accompaniment to summer relaxation. The layers of reverb and warm harmonies give reassurance, and may alienate some fans of their edgier earlier work, but is unlikely to do them any commercial harm.

Emily Barker and the Red Clay Halos Dear River (Folk) 7/10

This Australian is accompanied by British musicians, and her latest folk pop album is being released on a Scottish label. I was lucky to see the collaborators live recently; the album sounds more polished, although a solo acoustic version is also being released. It's easy on the ear, with gorgeous tunes and thoughtful often dark lyrics with themes such emigration and even her Dutch grandfather's wartime experince.

Sturgill Simpson High Top Mountain (Americana) 7/10

High Top Mountain is a country romp from Nashville which makes up in energy for what it lacks in subtlety. It's Simpson's debut solo album, with honky tonk, pedal steel and a charismatic growling voice. Slower ballads join the more outgoing numbers; if there's a criticism it's that the songs don't consistently maintain a level of inspiration, but this is much fun.

Bella Hardy Battleplan (Indie Folk) 7/10

This 29 year old Brit might find it difficult to avoid comparison with Laura Marling, but she has few American influences, and is rooted deeply in the British folk tradition. In fact it sometimes sounds Celtic, although Bella's from the Peak District near Manchester. Together with her own piano and fiddle playing, she's backed by a four piece acoustic band and benefits from a beautiful production. There's an informative interview with Bella and analysis of this album here.

KT Tunstall Invisible Empire Crescent Moon (Indie Folk) 7/10

KT's loss of her father last year is reflected in this album, along with her recent divorce. Yet, the Scot hasn't produced a depressing album: the wonderful first track Invisible Empire manages to be simultaneously jaunty and melancholy. It benefits from being stripped down and less commercial than her previous work. Recommended.

Baths Obsidian (Electronic) 7/10

This dark record from LA's Will Wiesenfeld is electronica with a human face, helped by the vulnerable sounding vocals. The sound is intricately layered and supported by a real gift for melody. It confounds any prejudices may might have about this genre, and is both beautiful and challenging.

Kodaline In a Perfect World (Indie Rock) 6/10

This Irish band is a little too close in sound to Coldplay for my taste, but this gift for melody and anthemic choruses is almost certain to bring them wide success. Steve Garrigan's falsetto voice is strong, and the songs have been written with the stadium in mind. I wish there was more individuality, but you should listen to this rock and form your own opinion.

Gold Panda Half of Where You Live (Electronic) 6/10
 
The anonymous UK producer has created a dreamy album, full of loops and samples taken from all continents. It makes much use of repetition, which could lead some to find this emotionally cold, yet the rhythms give it life and tracks such as Brazil are danceable.

Futurebirds Baba Yaga (Indie Pop) 6/10

The Athens, Georgia band make liberal use of reverb and jangly guitars, stretched across more than an hour. There are lush harmonies, but it can be too slow burning and expansive to the point of slackness. Yet perhaps I'm being overly critical: it can seem samey, but Pitchfork found more variety than me and it probably suits the kind of warm summer's day which is more common in the Deep South than rainy England.

10 Commended

• Boards of Canada Tomorrow's Harvest
• Christopher Paul Stelling False Cities
• The Dodos Carrier
• Eisley Currents
• I See Hawks in LA Mystery Drug
• My First Tooth Love Makes Monsters
• The Olms self-titled
• Tom Odell Long Way Down
• When Saints Go Machine Infinity Pool
• The Unseen Strangers Follow the Sound

Moulettes, Middlewich Folk & Boat Festival, 16th June 2013 8/10

The sun was shining as a crowd of children, dogs and families with deck chairs were enjoying a laid back afternoon in this quiet Cheshire market town. They'd just experienced a performance by an evidently popular X Factor star, and had been admiring the genteel craft stalls and boats by the canal. Middlewich is a salt town dating from Roman times, and the only hints of rebellion today were a sign calling for the reopening of the local railway station and a peace flag. In fact these were provided by the local council and the entire festival was publicly funded, free admission happily making culture accessible to all. Gentle folk music played over the PA system, and when Moulettes came on stage after a lengthy wait, there was little to suggest that this serene atmosphere would be challenged.

Moulettes is a acoustic indie folk group formed in Glastonbury in 2002. The founder members Hannah Miller on cello and Ruth Skipper on bassoon and auto harp were joined by a drummer, violinist and double bass. The instrumental playing was exquisite throughout, the interaction and knowing looks between these virtuoso musicians a joy to watch. Also notable were the vocals of the three female singers, which blended beautifully, as in the gorgeous harmonies of Songbird Ballad. An upbeat number such as Circle Song from their 2012 second album The Bear's Revenge was pure joy.

Yet, a darker side emerged, reflecting Moulette's prog-rock influences which blend with blues to give a real musical depth. Bloodshed in the Woodshed from their first album is a murder ballad, and one of a series of dark songs closing the set, culminating in Requiem. Hannah and Ruth talked warmly between songs, talking about their confusion at having travelled back from the midnight sun of Norway that morning. Their lyrics explore surreal characters and a fantasy world of witchcraft and weird myths. They seemed almost apologetic for taking us into the underworld, yet this Victorian melodrama is the distinctive quality that makes this entertainment constitute art. In fact, Hannah is to publish an illustrated book of the short stories that form the basis of their songs.

I wonder if some of the non-specialist audience were slightly bemused: the majority were seated so there was precious little interaction or dancing; just polite applause. Despite enjoying the sunshine, I hope to see them in an intimate indoor venue in future, amongst a more enthusiastic crowd. They are clearly a band with immense energy live, to the extent that you may be shocked if you've only experienced their albums. Their sound is tight, and the wild shifts in mood from the charming to the creepy make for thrilling drama. Their literary construct might sound contrived, middle class rather than authentic, but in fact they're assimilated elements of British folk culture into an original, stimulating musical synthesis. For all the sophistication, there is nothing dry or academic about their show: the memory I hope all those present took away was one of fun.

Parklife Day 2, Manchester 9th June 2013 6.5/10

Parklife's new location at Heaton Park to the north of the city is a vast improvement on the previous Platt Fields, and in glorious sunshine created a joyous atmosphere. It has the makings of a great festival, yet I hope in future they'll broaden the lineup.

Johnny Marr 8/10
In the absence of Savages, who pulled out at the last minute, my highlight of Day 2 was Johnny Marr. He received a hero's welcome in the Now Wave tent, and the audience engagement was memorable. The most rapturous reception understandably greeted his Smiths back catalogue; much fun was had.

Everything Everything 7.5/10
Another Manchester band came after Johnny Marr; a difficult act to follow, the set excited more intermittently. The intricate songs from Arc were immaculately delivered, with elements of math rock and electronica. Ultimately I was more impressed than moved, yet if the music engages you more than it does me, there was little to criticise here in their execution.

Liars 7/10
There was an almost punk energy in the New York band's electronica, yet the downbeat, eerie tone of WIXIW felt a little incongruous amongst the party atmosphere of a summer festival. Their intensity cannot be faulted, and their minimalism proved haunting, even if I wished for a more exultant kind of escape.

Toy 7/10
Rising band Toy gave some substance to the Now Wave arena's tag 'Sounds of the Near Future'. Their stage craft is less developed than a veteran like Johnny Marr's, with an appearance of disengagement. The Londoners have attracted advocacy from The Horrors (by whom they were followed on stage), and to my taste their  psychedelic sound has greater nuance.

New York Brass Band
This impromptu  outdoor performance next to the Big Top dance stage demonstrates the organiser's recognition that the smaller details, beyond the headliners on the main stage, are key to the festival experience.

Heaton Park

Parklife Day 1, Manchester 8th June 2013 7/10

This Manchester festival has a new location from this year, and the amazingly sunny weather was reminiscent of Coachella (except for being a pleasant 10C cooler). Heaton Park was a scenic location, and the emphasis on public transport meant the tiny minority who had to drive faced no traffic jams and only a short walk to the parking (in stark contrast to the car centric Indio). Yet, whilst the atmosphere was appropriately festive, the musical lineup for my taste was thin, with a concentration on electronic music, a few guitar bands, and no representation at all of folk and roots music.

The Temper Trap 8/10

This Australian band was the highlight of my day, with a lively stage presence, tight sound and most notably  brilliant falsetto vocals from lead singer Dougy Mandagi.

The Maccabees 7/10

There was an amazing atmosphere for the London rockers as the sun went down, and their extensive festival experience was evident in the stage craft. Yet, I didn't really fall in love with the music.

Jessie Ware 7/10

I felt Jessie Ware put on a stronger performance in the tent at Coachella than on the main stage here, yet she worked the crowd effectively, regularly coming to the edge of the stage and giving a charismatic little wave, and her vocals were flawless.

Disclosure 6/10

The British electronic group is riding high with the recent release of their debut Settle. Yet, the lack of space and absence of crowd management led to a less than comfortable crush, and despite the lighting, it didn't do much to change my mixed feelings about the album.

Rudimental 5/10

The British electronic band clearly have popular appeal, and the crowd atmosphere in the afternoon heat was phenomenal, especially for the closing Feel The Love. For me though there was too much of the routine about their mix of dubstep, drum 'n bass and garage to feel a desire to explore them further.

Parklife Day to Night