Arcade Fire, Empress Ballroom Blackpool, 27th November 2013 10/10

This party must surely be the highlight of my year, and I feel so fortunate to have had an intimate experience with a band now as illustrious as Arcade Fire. Most of those with my near the front of the queue had been following the Montreal band since their Funeral days, and reminisced about club gigs at that time, but in 2013 I was given a chance to experience for the first time what others were reliving. Their attention to detail was remarkable, not just in the musicianship, but in the event organisation. Nobody minded travelling to a far flung location on the North West coast of England, since this historic ballroom was so apt in its faded bohemian grandeur.

This was Arcade Fire's final 'warm up' gig before next year's world arena tour, with a fancy or formal dress code and a Reflekor's billing. There was free face painting outside the venue, and we were handed masks and glow sticks. The magic continued when a Mariachi Band paraded past the audience waiting in the atrium, singing in Spanish, and later in the ballroom mingled with the waiting crowd. Then, we were given a dance lesson for We Exist, and the exited crowd's energy became explosive; the stage still hidden behind a black curtain, and funk and old soul booming through the PA. The event was carnivalesque, somewhere between a Caribbean street party and a masked formal ball. Whilst I have fond memories of their 2011 Coachella The Suburbs performance, this felt far more intimate and animated. Ticker tape substituted for the memorable illuminated beach balls back then in the desert.

Finally, fake musicians in papier-mâché masks came on stage and started to play, only to be displaced by the real Arcade Fire. They were a ten piece band, four session players including two percussionists who joined the regular drummer Jeremy Gara. Immediately, the hard hitting rock of Normal Person was absolutely explosive, manifested not just in the shatteringly tight sound but in the movement and dancing on and off stage. Their physical presence makes nearly all other acts seem static by comparison, and the audience interaction was rich. Win Butler frequently came out from behind his microphone stand in front of, and into, the audience. One crowd surfer was even invited onto stage by Win, and danced with him. His wife Regine Chassagne was a joy to watch, even if her vocals only really came into the foreground in Sprawl II from The Suburbs; I wish she had a more prominent role in Reflektors. For me, the set reached an apotheosis in Here Comes The Night Time with its suppressed tension, which reinforced the feeling that we were in fantasy world, far removed from the concerns of normal life.

In an example of the spontaneity, the first encore My Body is a Cage (which closes Neon Bible) was performed on a side stage in the middle of the ballroom. Meanwhile, Win donned papier-mâché and later reflective masks, which he playfully took off to reveal his true self. The lighting was extravagant, and  like everything else beautifully choreographed. Arcade Fire has been criticised for exploitively appropriating a culture in Reflektor which is not their own. However, this view lacks credibility as Win paid tribute to Haiti when introducing the song of that name, which closed the evening. The ticket included a charitable donation, and the use of exotic culture elements felt fantastical, and far from commercialised. The party atmosphere grew in vibrance and intensity through the 15 song set, but by Joan of Arc it was already frenzied. Win didn't tell anecdotes between songs, but he did very plausibly say that we were the most participative audience of the tour.

A more substantive criticism has been about the music of Reflektors: whilst album sales suggest that the public has not lacked enthusiasm, reviews have been mixed. Some accuse it as lacking originality, with influences from Bowie, Talking Heads, U2, and most prominently LCD Soundsystem with James Murphy's involvement. I've found it's taken many listens to fully appreciate; and I still find that The Suburbs has more light and shade. However, it was clearly written to be performed live, where it feels fiercely energetic. For all the talk of Reflektor's disco feel, last night Arcade Fire was above all a rock band, with the ability not so much to command the audience, as create a space in which they can be themselves. The themes show the humanity at their heart: We Exist was inspired by a gay teenager trying to talk to his father, and as well as outsider status. It's about make believe, mirrors and flashbulbs, and the tenuous concept of reality. Sometimes it's important to let go, and the escapist fantasy land which this amazingly creative group constructed was a place of joy, vibrance and tolerance.

Set List

• Normal Person
• Flashbulb Eyes
• Power Out
• Joan of Arc
• You Already Know
• We Exist
• It's Never Over
• Afterlife
• Sprawl II
• Wake Up
• Ramones
• Here Comes The Night Time
• My Body is a Cage
• Reflektor
• Haiti

The Weeknd, Manchester Apollo, 23rd November 2013 6/10

I often express my belief that music is inextricably linked to place: the folk concert I reviewed recently in Winnipeg displayed an intimate relationship with the northern Canadian wilderness. Abel Tesfaye's project The Weeknd came out of a very different Canada, that of urban Toronto, and is also influenced by his ancestral home of Ethiopia. Yet, last night illustrated the void that can emerge when music is divorced from place. This tour, and his first full album Kissland, is about the anonymity of life as a star. The set had a Japanese theme, but this was the Tokyo of Lost in Translation, marred by the soullessness of modern business travel where pleasures are transient and artificial. As he sings on the title track: “I went from starting at the same four walls for 21 years to seeing the whole world in just 12 months.” Yet, it's all too clear that the world of drugs and pornography he's been immersed as a global performer is superficial and unfulfilling.

Music is also strongly connected with time, and here with the trajectory of Abel's career. When I witnessed one of his first public performances at Coachella in 2012, he appeared uncertain and unpolished on stage. By March this year, he'd matured into a charismatic performer, yet was still humble and seemingly surprised by the attention. Now, whilst appreciative of his fans, he's self aware, performing to a bank of screens displaying his own image. Abel slightly presumptively promised to tour in the UK every year from now on. The act itself had seemingly been polished by the advisors at his label, being simplified in the pursuit of greater immediacy. This sanitisation applied even to the re-arranged group of songs from his earlier Trilogy in the middle of last night's 90 minute set. I missed the original sense of vulnerability and unpredictability, that live music frisson.

The emotional void was confirmed by comparison to the first support act, Banks from LA, whose fresh performance was at times less secure, but always more spontaneous in feel. Jillian Banks has only just emerged into the spotlight, and I'd urge you to investigate her London EP. As she remarked last night, before she joined The Weeknd on tour this year, she'd been making music in her bedroom. Her voice is deep and sultry, and blends singer songwriter soul with contemporary electronics. Her feminist message also provided a necessary counterpoint to Abel's chauvinistic lyrics. She moved me far more than the other support act, the British producer Zane Lowe whose energy and enthusiasm was no compensation for his unsubtle bombast. He leant heavily on the visual impact of strobe lighting, but the fast pace seemed at odds with the more tender elements of The Weeknd's work.

Place central to the live music experience in relation to the venue too: the mid-sized Apollo is not my favourite in Manchester, and lacked the intimacy of The Ritz where I saw Abel in that performance of this year. The sophisticated visual presentation utilised elaborate lighting and video projection, and his three piece backing band was confined to a recess at the back of the stage to provide a larger dance floor for Abel. Yet there were fewer Michael Jackson inspired gyrations and fancy footwork in evidence this time, and seemingly also a dilution of the R&B influences in his music in favour of the homogeneity of EDM. His voice remains a remarkable instrument, supple and pure. Yet, its presence might have been more ghostly and subtle had it not been egotistically placed so far forward in the mix.

Abel is still only 23, and Pitchfork lacked humanity when they said of Kissland that "it's as if he's travelled the world and realised the world revolves around him". He's supporting his friend Drake on a UK tour next spring, and it's clear he has his heart set on headlining stadiums. Once a shadowy figure composing on his laptop, his face is now on the album cover, and his music has the sheen of major label production. Unlike some, I'm still able to accept his messages about money and women as a satire of exploitation, rather than a celebration of such values. Yet important though loyalty is, it may be time for me to move onto new discoveries such as Banks. Just as Abel surprised the world when he emerged with House of Balloons, so it would be foolish to lose touch with such a talent. I hope he may again surprise us by rekindling that early creativity; there's no doubting the charisma within.

Nathan Rogers, West End Cultural Centre Winnipeg, 9th November 2013

I’m writing this on a train to the Arctic, travelling across the vast expanses of the Canadian prairies before they make way to boreal forest and tundra. I visited this wonderful converted church venue in 2011 to see the blue grass group Oh My Darling. The West End Cultural Centre in Winnipeg is a non-profit organisation, funded by the community, and the performer Nathan Rogers is also deeply rooted in the Canadian cultural scene. This show was the last in a series of tributes to his father Stan, who died in 1983 in a fire on an Air Canada flight after performing at Kerrville Folk Festival. Stan has had a huge impact on Canadian folk music: his songs are favourites at campfires and his lyrics appear in school books. A folk festival is held in his name in Nova Scotia every year, and the Canmore Festival in Alberta has a stage named as a memorial to him.

Winnipeg is Nathan’s home crowd, and I was in a minority at this sold out show in not knowing the lyrics to the songs. The atmosphere was incredibly warm and friendly: Canadian hospitality is legendary, and it’s typical that the stranger sat next to me ended up giving me a lift back to my hotel. This generous nature is reflected in the music’s glorious melodies and the geniality between Nathan and the double bass player, guitarist and electric fiddle player. Anecdotes were told between songs, ranging from humour at his reaction to playing a love song written to his mother to the moving expression of love for his wife, bringing tears to his eyes. Many of the songs have maritime themes, and Nathan’s reference to the time he was on a cruise ship which ran aground in the North West Territories in 2010 drew laughter from the audience.

Nathan grew up with folk music, and as a boy performed in a choir at boarding school, later studying for a degree in comparative religion. He's an accomplished throat singer, and has released three solo folk albums of his own. He's now committed to the roots trio Dry Bones, from whom two of his band members last night were taken, and their musicianship was almost flawless. He’s said to resemble his father physically, but his voice is said to be thinner, yet I found it a beautifully poised instrument. He opened with the song Canol Road, describing a remote section of the Yukon, which I’m lucky enough to have travelled myself. It’s a wilderness area, and the music is best understood in the context of this landscape and its nature.

The show really came to life in the second half, when some of Stan’s earlier, better known songs were performed. Mary Ellen Carter opened this section, and led to a joyous sing along. In fact, throughout the feeling was incredibly joyful truly a celebration of Stan’s legacy. The applause after each number was rapturous, particularly after a men’s choir joined for the final two numbers of the main set. They sung with vigour before the concert at the entrance to the venue, and afterwards outside, untroubled by the zero degree temperatures.

The choir was most movingly employed in Stan's most loved song, Northwest Passage, which topped a poll to find an alternative Canadian national anthem. It recalls the history of the early explorers and compares this journey with his own travels through the region. It could hardly be a more apt prelude to my own adventures in the north to see polar bears, which I'll be documenting in my other blog. Stan performed it a capella, but the sincerity of the choir and band here was so uplifting. An unexpected diversion to Ottawa en route from Montreal nearly led me to miss this occasion. I’m so glad I made it, since the enthusiasm of the audience was utterly infectious; for this reason my memories of this evening will be enduring.

Set List

Canol Road

Free in Harbour

Make and Break

Bluenose

Sound Effort

Jeannie C

Dark-Eyed Molly

Lock Keeper

Mary Ellen Carter

Turnaround

Lies

Field Behind Plow

45 Years

Barrett’s Privateers

Northwest Passage

Lyrics to Northwest Passage

Chorus:

Ah, for just one time I would take the Northwest Passage

To find the hand of Franklin reaching for the Beaufort Sea

Tracing one warm line through a land so wide and savage

And make a northwest passage to the sea

Verses:

Westward from the Davis Strait 'tis there 'twas said to lie

The sea route to the Orient for which so many died;

Seeking gold and glory, leaving weathered, broken bones

And a long-forgotten lonely cairn of stones.

Three centuries thereafter, I take passage overland

In the footsteps of brave Kelso, where his "sea of flowers" began

Watching cities rise before me, then behind me sink again

This tardiest explorer, driving hard across the plain.

And through the night, behind the wheel, the mileage clicking west

I think upon Mackenzie, David Thompson and the rest

Who cracked the mountain ramparts and did show a path for me

To race the roaring Fraser to the sea.

How then am I so different from the first men through this way?

Like them, I left a settled life, I threw it all away.

To seek a Northwest Passage at the call of many men

To find there but the road back home again.

Bombino, Band on the Wall Manchester, 1st November 2013 9.5/10

At a time when controversy is still raging about our Conservative Government's cynical ploy to send a billboard around London urging immigrants to go home, a reminder of how cultural diversity enriches society feels timely. It's impossible to ignore politics when discussing 33 year old Omara Moctar, aka Bombino, He's a Tuareg, from a nomadic culture spread across the Sahara which tragically fell victim to the fall out from French colonisation. After African countries achieved independence in the 1960's, the traditional Tuareg territory was carved up into modern nation states, leaving them dispersed. Bombino was forced to flea Niger to neighbouring Algeria for safety when he was just 10, later moving to Libya where he worked as a desert herder and musician. He has lived with conflict and instability for most of his life, only returning to his home in Algedez in 2010, when he played a celebratory concert and released an album of that name.

These tumultuous events have deeply influenced Bombino's music, and were explained during a pre-recorded spoken introduction to the performance. He's a virtuoso electric guitar player, learning the instrument as a young man with the aid of Jimi Hendrix and Mark Knopfler videos. This instrument is favoured by the Tuareg for its rebellious nature, and indeed it was banned by the government in Niger for its association with insurgence. In the 1980's, rebel fighters founded the seminal band Tinariwen, which fuses indigenous musical styles. Bombino's music owes much to them, yet with the key difference that he is a leader, not simply part of a collective. The first half hour of the set saw an exploration of the Ishumar style, with Bombino on acoustic guitar and an African drummer joining the bass and drum kit player on stage in traditional robes and turbans. The eastern rhythms were utterly hypnotic, and almost immediately an audience member who must have been 25 years older than me was inspired to dance energetically around the front of the stage.

Yet, with the recent album Nomad, he takes this cultural cross fertilisation further with involvement of the Black Keys' Dan Auerbach as producer. Bomino's intention in broadening his appeal is to bring wider attention to issues of the Sahel region of Africa and so help to fight the injustice there. Any lingering suspicion that he had compromised his musical values was dispelled immediately: this was a experience closer in spirit to jazz than rock. Tuareg music has similarities in sound to the blues with its use of pentatonic modes, but above all it was infused with the spirit of the dance. There were no showy antics from the stage, but the audience moved their bodies throughout, and the spirit was one of overwhelming joy. The music was hypnotic, with long instrumental sections and gentle vocals; it felt as if time had stood still, and that the ensemble was improvising spontaneously. A highlight was Amindinine, but each song deepened the intensity of the atmosphere; the experience felt far freer and and more inventive than the album.

Bombino's guitar playing is incredible for its fast rhythmic hammering and virtuosity, but the instrument was not employed for aggression, despite its association with conflict. The message is one of peace and reconciliation, and I find it difficult to believe that anyone would have emerged from this remarkable 90 minutes feeling anything but love towards all their fellow human beings. He sung with a nasal voice in his native tongue; I'm told the lyrics are reflective, about love, the desert, and the Tuareg heritage. Bombino didn't speak between songs, perhaps due to a language barrier, but the music told all. It was a story of selfless co-operation within the band and a spiritual connection with the audience. I found the atmosphere akin to a religious gathering, such was the feeling of joy and the incredibly energising musicianship. I'd strongly advise you to broaden your musical horizons beyond western music, opening your ears and spirit to the life enhancing power of African culture.

Top 30 Albums Autumn 2013

It's been some time since my last round-up, and peak season for album releases, so I've therefore had difficulty narrowing down my recommendations to just 30. As ever, the only criteria for inclusion here is my own enjoyment, so high profile releases can be found alongside neglected gems.

Arcade Fire Reflektor (Indie Rock) 9/10
No longer available to stream; here is the iTunes link for previews.

Reflektor has gathered mixed reviews, ranging between rapture and criticism of the 80 minute plus length. It has a dense sound, and it takes time to fully absorb it, but I've on the side of the supporters. Whilst it isn't quite as coherent a vision as the masterly The Suburbs, it's has a cinematic sweep that proves that there's still much life in the album format. Yet, Arcade Fire demand to be seen live, and I'll be reporting on their Blackpool date at the end of November.

Jonathan Wilson Fanfare (Folk Rock) 9/10
Influenced by Laurel Canyon rock, Fanfare is a cosmic record from North Carolina. The sound is rich, encompassing strings, horns, bells and sometimes what sounds like an orchestra. It's been described as revisionist revivalism, and goes far beyond a mere tribute to the past. I especially love the jazz amongst its eclectic influences, and can't wait to see his live show.

Haim Days Are Gone (Indie Rock) 9/10
Some were disappointed that four of the songs on this long awaited release had already seen the light of day on Haim's EP, but in truth this is one of the albums of 2013. Perhaps it doesn't quite capture the improvisational energy of their live performances, but the acclaim for the Californian sisters is fully justified.

Israel Nash Israel Nash's Rain Plans (Indie Folk) 9/10
Israel Nash's voice has been compared to Neil Young's, and the sound recalls Fleetwood Mac and classic 70's rock. The Missouri native is now based in Texas, and the music is redolent of wide open spaces. An album to relax and get lost in, and one I've already have some wonderful times with.

San Fermin self-titled (Indie Rock) 9/10
The product of a classically trained musician, and written in Banff, Canada, this debut album could be described as orchestral pop and will appeal to open minded listeners. The album represents a dialogue between a love struck man and a standoffish woman. At times I'm reminded of The National in the vocal style, and the album has real sweep through its 17 tracks, becoming more adventurous towards the conclusion.

Tunng Turbines (Indie Folk) 9/10
This experimental UK group blend folk and electronics in a gloriously subtle, nuanced way. The tone is sombre, but warm thanks in part to the vocal harmonies. It was recorded in part in Iceland, and it's quirky beauty becomes more affecting with repeated listening.

Julianna Barwick Nepenthe (Electronic) 8.5/10
Recorded in Iceland by Sigur Ros producer Alex Somers, a female backing choir lends an ethereal feel. Reverb around her voice also gives a dreamlike quality, along with creative use of electronics and noise. The subject matter involves bereavement, and the beauty here is heavenly. Incredibly sensitive and moving.

Deep Dark Woods Jubilee (Roots Rock) 8.5/10
The opening track may come as a surprise to followers of this Canadian band, sounding like psychedelic Neil Young. They're at their best in the more rootsy songs like 18th December, when they tell a story, aided by vintage organ. The warm sound is testament to the fact it was recorded in a cabin in Alberta, and the 10 minute closing track gives a flavour of their live jams.

Anna von Hausswolff Ceremony (Indie Classical) 8.5/10
It's an understatement to describe this Swedish album as unusual: it's 10 minutes until Anna sings, during which time there is an instrumental section featuring pipe organ. The atmosphere is largely melancholic, but the lighter third track brings a shift of mood. The vocals can be almost operatic, and this indie album has a close affinity with contemporary classical music. A powerful experience.

Valley Maker Yes I Know I've Loved This World (Indie Folk) 8.5/10
South Carolina's Austin Crane has produced a stripped back album, enhanced by female vocal harmonisation and a spacious recording. It's incredibly beautiful, even spiritual in feel, with lyrics informed by his faith. An album which deserves far wider recognition and which can be streamed in full above.

Janelle Monae The Electric Lady (R&B) 8/10
The Atlanta star has received almost universal acclaim for her second album which almost approaches Arcade Fire's latest in length. It features starry guest appearances and blends pop, R&B, soul and funk in this concept album. It wears its length lightly, and the 70 minutes pass quickly, despite the odd annoying radio DJ interlude. A worthy successor to The ArchAndroid.

No Ceremony/// self-titled (Electronic) 8/10
As befits an album from rainy Manchester, the mood here is downbeat. The electro pop sound owes much to Crystal Castles, and the production is highly accomplished. Some may wish for a greater emotional range, but I love the energy and atmosphere.

The Head & The Heart Let's Be Still (Indie Folk) 8/10
There will be those who consider this sextet from Seattle to be too close to the raucous populism of Mumford and Sons. Yet, the songwriting is stellar, and whilst it's accessible due to the melodies, there's more subtlety than bombast. Some have even found it too laid back, but I appreciate the melancholy and its reflectiveness across its 13 tracks.

Band Of Heathens Sunday Morning Record (Roots Rock) 8/10
The album is not available to stream, but you can of course preview tracks on iTunes.

I love the harmonies on this folk rock record from Austin, which has a relatively relaxed air. There are soul and blues influences in this Americana, and even a touch of the Beatles, but overall it's contemplative and soulful.

Slaid Cleaves Still Fighting the War (Indie Folk) 8/10
The long standing singer songwriter from Washington DC deserves a higher profile; this album was inspired by the disaster of the Iraq War and blue collar life. Americana is of course influential here, and there's also a bluesy feel; recommended.

Sean Taylor Chase the Night (Singer Songwriter 8/10
The bluesy style of British singer songwriter Sean Taylor reminds me of David Ford at times, although his message is even more overtly political. Despite the American influences, this is an album by a Londoner, and the songs River and London root it in his home town. Skilful guitar work, but the moving lyrics are the key to its success.

Lindi Ortega Tin Star (Country) 7.5/10
You can stream the title track here.

You really need to see this Toronto singer live to fully appreciate her magic, and her third album has much continuity with the earlier Cigarettes and Truck Stops. Above all, it's fun, with a classic Nashville feel, and her vocals are extraordinarily agile and powerful.

Midlake Anthiphon (Indie Rock) 7.5/10
Midlake lost its leader Tim Smith last year, and some will feel a hint of blandness has crept in to their fourth album. But there's also a feeling of spontaneity as they jam together with an almost psychedelic feel. Sometimes I wish for more memorable melodies, but I love the free spirit here.

Lucy Ward A Single Flame (Indie Folk) 7.5/10
I wrote about one of Derbyshire folk singer Lucy Ward's live performances in September. The album adds instrumentation including cello, bass, drums and electric guitar, but retains her hard hitting lyrics. This is a powerful statement and a must for lovers of British folk, particularly notable for its songwriting.

Nathaniel Rateliff Falling Faster Than I Can Run (Indie Folk) 7.5/10
Like The Lumineers, Nathaniel comes from Denver, and they share a rootsy sound. I love his rough hewn voice, and his acoustic instrumentation and home studio recording recalls early Bon Iver. Lovers of Americana folk should get much pleasure from this, even if it's far from revolutionary.

Wild Child The Runaround (Indie Folk) 7/10
The Austin group's second album is jaunty, upbeat folk, also clearly indebted to The Lumineers in style. The acoustic instrumentation and vocal duos have much appeal. If there's little new ground broken here, the quieter songs are beautiful.

Moonface Julia with Blue Jeans On 7/10
The solo project of Canadian Spencer Krug, this album is most notable for the wonderful piano playing which echoes his vocal melodies. This stripped down sound is powerful, and highlights his affecting voice. The starkness perhaps reflects the landscape and climate of Finland, where Spencer now lives.

Gungor I Am Mountain (Indie Folk) 7/10
This is an inconsistent and unpredictable album, and not for those allergic to Christian lyrics. Yet, the Sufjan Stevens influences and beautiful melodies will win many over to the husband and wife duo. It's far from straight folk, with use of electronics and even the dreaded autotune. They appear to be a far more dynamic proposition live, as evidenced by their Creation Liturgy album.

Foy Vance Joy of Nothing (Singer Songwriter) 7/10
An Irish spirit is embodied in this album, as it Bruce Springsteen. It's notable for its melodies, and full instrumental sound. Foy is joined by Bonnie Raitt and Ed Sheeran for their guest appearances. Sometimes it feels a little overblown, but many will find it heart warming.

St Lucia When The Night (Electro Pop) 7/10
Jean-Philip Grobler may be based in New York, yet he's from South Africa, and sunshine dominates this upbeat, danceable album. It's undoubtedly indebted to the 1980's, and is more successful than Cut Copy's similarly inspired new release.

Hjaltalin Enter 4 (Post Rock) 7/10
This Icelandic group remind me of Efterklang in their subtle rhythms and airy sounds. If you're expecting the drama of Sigur Ros, you may be disappointed, as it's understated in comparison, and more conventional than their own acclaimed Terminal from 2009. Yet, I appreciate the low key melancholy.

Willis Earl Beal Nobody Knows (Soul) 7/10
The a capella Wavering Lines opens this Chicago born and formerly homeless singer's second album. Thereafter the instrumentation opens up and this blues album is surprisingly varied and spontaneous in feel. Recommended.

Ha Ha Tonka Lessons (Indie Rock) 7/10
The fourth album from the Missouri quartet is direct, upbeat and foot stomping. The music feels almost relentlessly upbeat, but it's balanced by the more nuanced lyrics. At times I wish they'd relax, but the full instrumental timbre provides warmth, and there's no doubting their energy.

Mutual Benefit Love's Crushing Diamond (Baroque Folk) 7/10
This understated, gentle album surprisingly brought praise from Pitchfork, and has beautiful harmonies and subtle instrumentation. Recorded in Austin, it's almost Canadian in its warm hearted spirit.

PAPA Tender Madness (Indie Rock) 6.5/10
At times, this LA duo feels a little insistent and relentless; I wish for more subtlety and less radio friendliness. Yet, the rhythm section drives it forward and the tunes are catchy; music to move you to tears isn't always appropriate, and this will give pleasure.


20 Recommended Albums and EPs

• Active Child Rapor EP
• Agnes Obel Aventine
• AKW Last Lines EP
• Annie Dressner East Twenties EP
• Banks London EP
• Basia Bulat Tall Tall Shadow
• Black Hearted Brother Stars are our Home
• The Cowards Choir Reunion EP
• Cut Copy Free Your Mind
• Darkside Psychic
• Glasser Interiors
• Iko The Lake EP
• Kwes Ilp.
• Lanterns on the Lake Until The Colours Run
• The Naked and Famous In Rolling Waves
• Phosphorescent Muchacho de Lujo (live bonus album)
• The Sadies Internal Sounds
• Sigur Ros iTunes Festival London EP 2013
• Son Lux Lanterns
• The Starry Field Back on the Milks