Top 12 Albums, December 2013

December is more a time for reflection than exploration: both the new release schedule and live music scene slow down. I've been taking the time to go back and discover some great performers of the past, guided by an amazing new music loving friend. However, at the close of the year here are a final few 2013 discoveries I hadn't previously mentioned. I'll be back towards the end of January to review gigs by Lindi Ortega and London Grammar; meanwhile thank-you for following my musical journey this year.

Goat Live Ballroom Ritual (Pysch Rock) 9.5/10
This album captures June 2013's Camden's Electric Ballroom performance by the eccentric Swedish collective. Goat's live appearances have an almost mythic reputation, fuelled by their use of masks and the alleged curse placed upon their Lapland village for adherence to witchcraft and idolatry. Goat's music is certainly eclectic, and some will consider it unfathomably crazy. However, I'm entranced by the amazing cosmic vitality, and I'm happy to get lost in the frenzy.


Blood Orange Cupid Deluxe (R&B) 9/10
Some reviews have commented on the inspiration 27 year old British producer Dev Hynes has taken from the gay scene. This album is indeed tender, but has wide appeal, and should be investigated by admirers of The Weeknd's PR&B. Guest appearances include his girlfriend Samantha Urbani from Friends, as well as a member of Chairlift and a pair of rappers. It's sophisticated music, strongest in its first four songs, with a melancholy feel, and it's his sense of vulnerability which gives this album unexpected depth.


The Civil Wars Bare Bones EP (Country Folk) 8.5/10
This duo has been on hiatus for over a year now, and this iTunes EP presents alternative, stripped down versions of six songs from their Self Titled (and possibly final) album. They sound even raw and poignant here, notably on the final track I Had Me A Girl. A must for fans who, like me, are saddened by the impossibility of seeing them live.

This EP isn't available to stream, but you can preview it on iTunes.

Bombadil Metrics of Affection (Folk Pop) 8/10
This quirky album from Durham, North Carolina combines some of The Beatles' playfulness with Americana folk instrumentation including banjos, piano and cello. It has a direct emotional impact. Released in the summer, the 13 songs tell vivid stories and the vocals are impeccable. This is unexpected and strangely addictive; well worth investigation.


Elephant Revival These Changing Skies (Indie Folk) 8/10
Recorded at Bear Creek Studios, this folk music from Colorado has much beauty. The sound is graced with celtic sounding violin and mandolin; its influences from contemporary folk are many. It may not be revolutionary, but its harmonies are gorgeous, the rhythms alive, and there's a real sense of connection to nature.


Brian Wright Rattle Their Chains (Americana) 7.5/10
The Texan's fourth album is a world away from the contemporary urban feel of Cupid Deluxe: it's a traditional fusion of country, rock and folk. It's beautifully produced, with a timeless feel: Brian's a talented song writer. It differs from his last record House On Fire in featuring a full band backing; it feels more upbeat and polished, but perhaps less emotionally harrowing.


The Strumbellas We Still Move on Dance Floors (Indie Folk) 7.5/10
This fun album from Ontario should appeal to lovers of The Lumineers and Of Monsters and Men. The country and pop influences are a derivative, and there's little new or ground breaking here. There is however a Canadian melodic warmth. This is a feel good album whose choruses will get your feet tapping, and harmonies will bring a smile to your face.


Migrant Kids self-titled (Post Rock) 7.5/10
This debut from Austin is a concept album about the break up of a relationship; they're devotees of the director David Lynch. Musically notable for its breathy vocals and rich harmonies, it features two purely instrumental pieces. It has a breath of ambition, sometimes feeling sprawlingly abstract despite a length of a little over half an hour. Even if the risks don't always pay off, it has a real emotional power and intensity.


Josienne Clarke & Ben Walker Fire & Fortune (Folk) 7.5/10
This English folk album has deep roots in traditional music, but also includes original compositions. Both performers are classically trained, and Josienne's voice is wonderfully pure, yet this may also appeal to lovers of jazz. On first listen, it may feel almost too sparse, but its melancholy subtlety gradually reveals itself.


Boom Forest self-titled (Techno-Evangelistic Folk) 7/10
John Paul Rooney, like Foreign Fields, is from Baraboo Wisconscin, and attempts to recreate the atmosphere of an enchanted forest. The credits on the Bandcamp page for this pay what you like album suggest that whilst the sound might be lo-fi, it is far from minimalist. He marries electronics with an array of acoustic instruments such as mandolin and banjo. His pure voice, reflecting his upbringing singing in a boys choir, is for me the stand out feature of this fascinating, experimental production.
Milosh Jetlag (Electronic) 7/10
Rhye's Woman was one of my albums of 2013; this is useful supplement for its admirers, featuring the soulful voice of Michael Milosh. It's an intimate listen, the electronic, ambient soundscapes and minor key melodies giving a dreamlike sensation.  Ultimately, it's less memorable and more downbeat than Woman, but that remarkable counter tenor is mesmerising.


Mikal Cronin MCII (Indie Rock) 6/10
Best know as garage rocker Ty Segall's partner, Cronin's solo album appeared on several end of year lists. Whilst it's not one of my records of the year, I do admire its fuzzy guitar, punch and hooks. It's likely to appeal particularly to fans of Nirvana, who were Cronin's first musical love. I personally find greater affinity with the 60's than the 90's, confirmed by my recent interest in The Beatles, but others may love it.

Top 20 Albums 2013

1) Arcade Fire Reflektor
This may be a controversial choice for album of the year, since critical opinion has been divided. I was initially one of the doubters, and it takes time and repeated listening to fully absorb the depth of this creation. Its structure is less immediately satisfying than The Suburbs', but I disagree with those who feel the energy subsidies in the second half. Others have argued that the 80 minute length is excessive, yet my least favourite track is the shortest, Flashbulb Eyes. Their live show has turned Reflektor into a trigger for to travel back to an unimaginably creative and joyful evening. I'm sure I'll be returning to this for many years to come.

2) The National Trouble Will Find Me
Until last month I was certain that Trouble Will Find Me would be my album of 2013. I found it difficult to envisage that The National could release an album I love even more than High Violet, but in stripping back their lush strings, they've produced something even more personal and moving. It takes their melancholy side even further, and I'm moved immensely by its shear beauty. Ultimately, I chose the more danceable joy of Arcade Fire, but this remains so touching.

3) Hiss Golden Messenger Haw
 The appeal of this album lies in its simplicity, and the relaxed, soothing atmosphere. South Carolina's MC Taylor's voice is charismatic and sounds well-worn and sincere. I haven't tired of the blusey sound, its effect reassuring despite the deep lyrics about religion and doubt. It benefits from sounding more authentic than polished, and I've returned to it frequently since my initial discovery.

4) Daughter If You Leave
The London trio's first album has a 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. It rose significantly in my ranking after my live experiences this year, which made me aware of its power and subtlety.

5) Phosphorescent Muchacho de Lujo
This is one of my most frequently played albums of the year: the only criteria for this list was enjoyment, and I've made no attempt to try to represent a broad cross section of genres, or list the most significant or critically acclaimed titles. For some, Matthew Houck's addition of electronics to the popularist Song for Zula represent too much of a departure from his folk roots. I find the blend of sounds stimulating, and the atmosphere it creates is one of tranquil contemplation. It's also beautifully recorded and experiencing it live gives a fuller understanding of the album. For this reason, I've listed the deluxe version, which adds a moving stripped down live performance recorded in a church in London.

6) Jonathan Wilson Fanfare
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 despite its debt to the 70's goes beyond a tribute to the past. I especially love the jazz amongst its eclectic influences, and its melancholic mood stimulates my imagination.

7) Portugal. The Man Evil Friends
The controversy of the slickness of this Danger Mouse produced album became all too evident during their Manchester show this year, when the shouting of insults did little to spread love. That evening proved so upsetting that I haven't listened to Evil Friends since. Yet, returning to it for this assessment, the energy is clear, and it's the Alaskans' finest work yet. I find some of the lyrics difficult to accept, but for sheer catchy energy I have to include it high on this list.

8) Volcano Choir Repave
Repave is almost a Bon Iver album by another name, and so features Justin Vernon's familiar falsetto. It's composed largely by his colleagues from Wisconsin but contains the expected tranquil beauty. The highlight is Alaskans, but the relatively succinct whole is full of subtleties that reward close, repeated listening and dreaming to.

9) The Civil Wars self-titled
This already sad album is made all the more poignant by the knowledge that The Civil Wars will not be touring it, and that it may be their last joint creation. Their strife has given it an edge lacking in Barton Hollow, and is a near perfect valediction. It's overwhelming tragic, full of regret and emotion which transcends its unlikely combination of pop and country origins.

10) Sigur Ros Kveikur
The Icelandic post rockers have taken a more assertive turn with their latest creation, after the relatively laid back Valari, especially in the opening Brenninsteinn. Yet, this is still music of staggering beauty as well as appropriately volcanic energy, and as ever, the instrumentation and production is faultless. Jonsi's voice is as ethereal as ever, and there's a timelessly epic quality.

11) Laura Marling Once I Was An Eagle
Laura Marling provided one of the highlights of my live music year, exhibiting a magic which isn't quite captured in the studio. Yet, 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, and is astonishing mature for a 23 year old.

12) Israel Nash Israel Nash's Rain Plans
Israel Nash's voice has been compared to Neil Young's, and the sound of this album revives classic 70's rock. The Missouri native is now based in Texas, and the music is redolent of wide open spaces. I love relaxing and getting lost in this album, and any points lost for originality are regained for sheer pleasure.

13) London Grammar If You Wait
London Grammar's keenly anticipated debut album met with less critical acclaim than expected, largely due to its lack of variety of mood. Yet, their moody, XX like electronics are brought to life with Hannah Reid's haunting singing, which gives a poignant beauty. Their songs may not yet be as consistently inspired as Metal and Dust, but I've no idea why they were overlooked for the Mercury Prize nomination.

14) Bombino Nomad
Bombino was one of the most imaginative and transporting live music experiences this year, and I'm in complete awe of his virtuoso guitar playing. He collaborated with producer Dan Auerbach to create to desert blues fusion, mixing middle eastern harmonies with the blues of the American south. Yet it owes more to jazz than The Black Keys, and deserves exposure beyond world music aficionados.

15) Haim Days Are Gone
This album's been extremely well received, but I'm not yet convinced that they have the depth of material to match their amazing performance ability. Four of the songs on this long awaited release had already seen the light of day on Haim's EP, and for all its high budget production, I miss their improvisational jamming on stage. Even so, their success is justified and Days Are Gone is invigorating.

16) Deep Dark Woods Jubilee
My initial response to this album from one of my favourite alt country groups was one of slight disappointment. It may not be ground breaking, but its warmth has given much pleasure. The Canadians are 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.

17) Dawes Stories Don't End
Dawes is one of my favourite bands, and much though I love Taylor Goldsmith's warm melodies, I'm not sure if I rate this album as highly as Nothing is Wrong. It can seem too radio friendly, yet this throwback sound is warm and Goldsmith hasn't lost his songwriting ability. There has been sadness in their past lives, and its direct simplicity seems to give great comfort in the difficult times.

18) Little Green Cars Absolute Zero
The Irish indie folk group has stunning energy on stage. They're 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 enjoyable though the album is, you need to go to a show in a small venue to experience the thrill of them performing a capella.

19) Tunng Turbines
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 I've come to appreciate its dark, quirky beauty even more with repeated listening.

20) The Weeknd Kissland
I debated at length whether to include this album in my top choices: I've had a mixed experience of Abel Tsefaye live, and it feels more homogeneous and less edgy his shadowy mix tapes. I also have significant reservations about the sentiments expressed in the lyrics. In the end for all the controversy, Kissland weaved its sensual spell over me.

Next 20 Choices
21) Lady Lamb the Beekeeper Ripely Pine
22) Anna von Hausswolff Ceremony
23) Nathaniel Rateliff Falling Faster Than I Can Run
24) Waxahatchee Cerulean Salt

25) Valley Maker Yes I Know I've Loved This World

26) Austra Olympia

27) Joseph Arthur The Ballad of Boogie Christ

28) Money The Shadow of Heaven
29) San Fermin self-titled
30) Widowspeak Almanac

31) Houndstooth Ride Out The Dark
32) Typhoon White Lighter
33) Julianna Barwick Neptenthe
34) Julia Holter Loud City Song
35) Rhye Woman
36) Matthew E. White Big Inner
37) Atoms for Peace Amok
38) Daft Punk Random Access Memories
39) Houndmouth From the Hills Below The City
40) Local Natives Hummingbird

Top 20 Live Performances, 2013

It's time to list my favourite live performances of another wonderful year for music, and this time the top choice was an easy one. The links in the title will take you to the original review, and you can click on the photos to enlarge. Last year's round-up can be found here; next will be my top albums list.

1) Arcade Fire, Empress Ballroom Blackpool, 27th November

2) Sigur Ros, Manchester Apollo, 3rd March

3) Laura Marling, The Lowry, 30th September

4) Daughter, Jodrell Bank, 30th August

5) Phosphorescent, Ruby Lounge Manchester, 7th May

6) Bombino, Band on the Wall Manchester, 1st November

7) Lindi Ortega, Soup Kitchen Manchester, 4th March

8) Trampled by Turtles, Night and Day Cafe Manchester, 4th June

9) Haim, Reading Festival, 25th August

10) How to Destroy Angels, Fox Theater Pomona CA, 10th April

11) Little Green Cars, Soup Kitchen Manchester, 27th February

12) Electric Guest, Ruby Lounge Manchester, 29th April

13) The Weeknd, Manchester Ritz, 20th March

14) Portugal. The Man, Coachella CA, 13th April

15) Ghostpoet, Deaf Institute Manchester, 19th October

16) Grimes, Coachella CA, 14th April

17) Alt-J, Coachella CA, 12th April

18) Treetop Flyers, Sounds from the Other City Salford, 5th May

19) Jonathan Wilson, Gorilla Manchester, 28th November

20) Stealing Sheep, St. Philip's Church Salford, 5th May

Haim, Ritz Manchester, 8th December 2013 8/10

This was a hotly anticipated occasion: it sold out instantly, and even long before doors, the queue of excited young fans stretched half way down Whitworth Street. Haim is undeniably of the moment, and everyone knew this was probably the last chance to experience them in a venue of this size. A year earlier when I saw them supporting Florence + Machine, it was different: the crowd in Liverpool paid little attention. Yet, part of the exhilaration of contemporary music is the speed of development: back then, they'd yet to win the BBC Sound of 2013 poll whereas now the discussion has moved onto the 2014 long list (which in a sign of the times is devoid of bands). By Reading Festival in August, their first album was still to be released, but their profile had exploded, and I found their set the most exciting of the festival. Last night though was a more intimate chance to place their talent into context.

Haim's music comes from the San Fernando valley where the three sisters grew up, and reflects Californian optimism, even if its relationship with place isn't deep rooted. It's frequently compared to Fleetwood Mac, and as if to reinforce this, Haim performed the cover Oh Well early in the set. Yet, it's a product of the iTunes generation, the wide array of influences reflecting the instant availability of the entire recorded tradition. The inexplicably universally acclaimed Kanye West Yeezus was the house music during the protracted wait for Haim, and Danielle's clipped R&B vocal runs and numbers such as My Song 5 are the product of a multicultural fusion. Este has a degree in ethno-musicology from UCLA, and the other sisters' backgrounds in the music industry are well documented. An electronics player joined drummer Dash Hutton at the back of the stage, whilst Danielle's deep echoing vocals emanated from the centre.

To me, the performance, not the music is the outstanding feature of Haim and explains their success. The opening numbers Falling and The Wire were an explosion of energy, and from the moment they came on stage the audience was galvanised into a euphoric reaction. It's no coincidence that Haim means life in Hebrew, and even Go Slow had far greater intensity live than on record. Their stagecraft owes much to rock, and the blues jams were incredibly invigorating. But this is also power pop music, inspiring dancing which implies that life is all about happy escapism. It's such a joy to watch the synchronicity of a band who've grown up together, and there's nothing loose or immature about their tight musicianship. Their skill in moving to the edge of the stage, using their instruments as props, visibly displaying total commitment suggests decades of experience. Joy was just as evident in Alana's expression as the famous intensity of Este's bass face, and they were a delight to watch. Indeed, they're regarded as style leaders and, judging by their reception, are now part of the cult of celebrity.

The support act, Saint Raymond, sounded like an attempt to reduce Two Door Cinema Club to its pop fundamentals, with a directness bearing little resemblance to the complexity of the real world. Their front man Callum Burrows is only 18, and they connected with the excitable fans in the centre of the crowd, if not as convincingly with me. Haim is also a celebration of youth, with all its glamour, confidence and playfulness. The prank involving the obscure Welsh band Los Campesinos, playing to a far smaller crowd across the road, has become a minor footnote in Haim's history. I'm sure its intentions were fun, but the abuse which followed from Haim fans on Twitter sits uncomfortably with me. It was a mirror to this age of social media with its superficial connections and instant publicity; tomorrow attention will be elsewhere. To be fair, Haim expressed gratitude to Manchester for its enthusiasm, and as the first place played outside American, the UK is clearly important to them. Their target demographic seemed to love the band's flirtatious use of innuendo: Haim seem to be having fun fulfilling the hipster role expected of three glamorous sisters.

Ultimately, I found it difficult to set aside my remarkable Arcade Fire experience in Blackpool last month, whose musical scale of ambition is in a different universe. Reflektor has layers of hidden meaning, which are gradually revealed; yet by the middle of this hour long ten song Haim set, the musical inspiration was sagging, and even this excitable audience seem to lose some interest. Haim has far too great a talent to disappear into obscurity, but I hope they take the time out of their relentless touring schedule to focus on greater consistency in their song writing. The comparison with Arcade Fire may be unfair given the respective stages in their careers, but both have recently been at the top of the UK album charts. Haim makes most sense in a festival context, when their burst of energy is inspiring, but yesterday evening, I desired a deeper intellectual journey as well as that visceral thrill.

Setlist

• Falling
• The Wire
• Oh Well (Fleetwood Mac cover)
• Honey & I
• Go Slow
• My Song 5
• Don't Save Me
• Forever
• Running if you Call My Name
• Let Me Go

Jonathan Wilson, Gorilla Manchester, 28th November 2013 8.5/10

As I waited for Jonathan Wilson in a small venue inside a Manchester railway arch, the exquisitely gentle sounds of Feist's Metals through the PA signified a markedly different mood to the previous night's Arcade Fire party. This evening's communication was introverted and stripped back by comparison: no props or lighting, just a focus on the music. Fortunately, the recent album Fanfare ranks alongside Reflektor as one of my albums of the year, and shares an expansiveness of scale and instrumentation, for all the contrast in mood. Whilst the acclaimed albums of 2013 from Arcade Fire, Haim, and CHVRCHES amongst others take their influence from the 1980's, Jonathan Wilson's work is rooted deeply in 70's rock (originally from South Carolina, he's now based in southern California). This extended to the dress and appearance of several band members, notably the bass player. Whereas Arcade Fire transported me to a faraway place, a Caribbean Carnival, last night was more about time travel.

The studio version of Fanfare is full of illustrious contributors from the past including Graham Nash, The Jayhawks, and David Crosby on the wonderful song Cecil Taylor. It's an intricate album, and I wondered how feasibly the orchestral instrumentation could be created live; some sounds such as sax. and jazz flute were absent. Jonathan himself played various percussion instruments, and of course there was a Hammond organ, but as with Bombino a few weeks ago, the evening felt like a celebration of the guitar. The ensemble was remarkably tight rhythmically, despite the often expansive tempos. Jonathan's tenor voice is delicate and gentle, but always audible and brought a heartfelt mood. Yet, the instrumental sections were extended, and signified the moments of greatest intensity. They were as flawlessly performed and nuanced as they were beautifully expansive.

The audience moved gently to the beat, but there was little overt interaction: the band were far too absorbed by the music to make any direct gestures of encouragement. Jonathan also said little, except that that we were here for the songs, and that any attempts by him to tell stories would make no difference. Sing alongs or choreographed hand clapping would have disrupted the imagination: this was all about an inner mental journey, one which verged upon the mystical. In Lovestrong, Jonathan sings with utter sincerity about cosmic harmony accompanied by piano. His lyrics also explore themes of nature, and living 'wild and free'.

Proceedings were nothing if not expansive: after a 45 minute support slot from Brit Kieran Leonard (with a guest appearance from Ellen of the Escapades), the main set lasted over two hours. This allowed them to range across much of Gentle Spirit as well as Fanfare. It was this more recent material which made the greatest impact upon me: Dear Friend was particularly powerful with its guitar solo and subsequent jam session. Jonathan's been instrumental in reviving the Laurel Canyon scene in LA, and his reverence for the past could have seemed self indulgent. Yet, time seemed not just to go back, but stand still: there was an air of concentration and awe in the room, as everyone seemed transported to an era of hope and freedom. A devoted fan I met at the beginning of the evening was attending five consecutive dates on this tour across the UK; I'd certainly strongly encourage you to make an acquaintance with their warm harmonies at least once.

Set List

• Illumination
• Lovestrong
• Fazon
• New Mexico
• Desert Raven
• Dear Friend
• Love To Love
• Angel (cover)
• Can We Really Party Today
• Desert Trip
• Rolling Universe
• Moses Pain
• Ballad of the Pines
• Valley of a Silver Moon
• Gentle Spirit
• Trials