Top 20 Albums of 2014 so far

Here's a personal list of the albums I've enjoyed most so far this year. It's not intended to encompass all of the most influential or acclaimed works, but simply include those I haven't been able to stop listening to. This blog will now be going on a summer break, as the Manchester live music scene winds down, and I focus on other interests.

1) Sharon Van Etten Are We There
A wonderfully emotionally healing listen; introverted and sad. This self-produced album about love is sung incredibly sensitively and the lyrics are masterly. The placement of Are We There at the top of this list reflects the truth that music must be judged on its ability to move you.

2) St Vincent self-titled
Influenced by my favourite live performance of the year so far, this is quirky, creative rock, so imaginative and full of inventive detail. Those who find it too detached and cerebral really need to experience it in person, but take a listen to Prince Johnny and be seduced. Every detail is meticulously thought through, but the whole envelops and transports you.

3) Warpaint self-titled
This music from LA is so high up my list for the hypnotic atmosphere is creates. I'm surprised by the critical reviews from the likes of Pitchfork since this is sensual music, which gains much from Stella Mozgawa's drumming. It demands repeated listening, and it's easy to get lost in its hazy dreaminess.

4) EMA The Future’s Void
Erikia M Anderson is a must see live yet is uncompromising in her artistic integrity. It's a harder listen than St. Vincent, with industrial influences, but also strikingly relevant with its themes of digital culture. A softer emotional heart can be found in 3Jane which is a recommended way into this work.

5) Lana Del Rey Ultraviolence
This is the surprise of the year, a luscious production by Dan Auerbach which is sounds gorgeous, and melancholic. Some my find its length and consistency of mood indulgent, but Lana Del Rey has abandoned her annoying rap vocal style in favour of a timeless, retro vibe.  I suspect much of the criticism is directed not so much at the music as her alter ego, and a misinterpretation of the lyrics. The finest track is Brooklyn Baby, though I appreciate the incorporation of Mancini's Romeo and Juliet them in Old Money.

6) Glass Animals ZABA
Oxford's Glass Animals' début album sounds quite distinct from Alt-J, but shares some of the their quirky British experimental spirit. There are hip hop beats, imaginative electronics, and jazz rhythms, but they sound genuinely original. I'd urge you to investigate this group, who deserve attention.

7) The Antlers Familiars
Familiars majors on subtlety, the Brooklyn band's fifth album sounding even more mellifluously gorgeous than its predecessors with the addition of horns to the texture. The pace is leisurely, and the effect calming, without it being in the slightest bit bland or polite.

8) Sea Wolf Song Spells vol. 1 Cedarsmoke
A delightfully stripped down indie folk album funded by Kickstarter, its simplicity is affecting. Alex Brown Church has a real gift for melody, and these simple arrangements place his vocals and acoustic guitar to the fore. There's nothing revolutionary here, but it's beautifully crafted.

9) Lykke Li I Never Learn
The Swedish singer's pop music is about heartbreak, and a ballad like Never Gonna Live Again has wide appeal. Yet, for all the reverb and anthemic melody, there's a haunting directness which comes from its sparseness.

10) Augustines self-titled
I initially under-estimated Augustines' second album, being flummoxed by the dramatic change of mood. Yet this blue collar rock's optimism is incredibly inspiring on repeated listening, a triumph of hope over adversity. Happily, their commitment to fans and relentless touring has rewarded them with a higher profile.

11) Wild Beasts Present Tense
For me, this works better in the studio than live, when its subtleties can be obscured. Still, the Kendal group's fourth album is their greatest achievement yet, and the increased focus on synths doesn't dilute the distinctiveness of Hayden Thorpe's falsetto vocals.

12) St Paul & The Broken Bones Half the City
The Birmingham, Alabama six piece soul group has so far achieved far greater recognition in America than here. They are unbelievably engaging live, and despite a male lead vocalist, will  appeal to fans of Alabama Shakes. They're revivalists above all, and Paul Janeway is such a charismatic singer and performer.

13) Tom Hickox War, Peace and Diplomacy
This UK singer songwriter's father was a notable classical conductor. Tom has developed in a different musical direction, the sound sparse, lyrics thoughtful and gentle instrumentation folk influenced. Some may find his voice affected, and the mood is sombre, yet sensitivity does not preclude drama. After discovering him supporting Lindi Ortega, I've grown to love this unusual album.

14) SOHN Tremors
The Austrian producer is now based in London, and his music invites comparisons with James Blake's. I love its tranquillity which is combined with dance music influences. Some have criticised the synthesis of contemporary sounds, but composers have been borrowing from each other for hundreds of years.

15) Arthur Beatrice Working Out
This London based quartet is in the shadow of London Grammar and The XX before it. Their debut is a little inconsistent, not all tracks being as inspired as Grand Union, which benefits from Ella Giradot's female vocals. Despite not dazzling on first listen, I've played Working Out repeatedly over the past few months.

16) Fanfarlo Let's Go Extinct
Fanfarlo's third album didn't initially convince me as they've moved from folk to pop, and I was torn between including this and the Broken Bells in my top 20. Yet, the textures are delightfully intricate and transparent, the lyrics inventive, and the spirit uplifting.

17) Highasakite Silent Treatment
This Norwegian band's international début uses synths, drums and lead singer Ingrid Helene Havik's voice to deliver bold pop songs. They are expansive in form and less insular than you might imagine, Havik being influenced by the myths and music of native Indians.

18) Hundred Waters The Moon Rang Like A Bell
Signed to Skrillex’s label, this LA group makes extensive use of electronics, which can steal the limelight from Nicole Miglis' vocals. I love the experimental feel and subtlety: the length and consistent of mood throughout the sweep of the album is analogous to classical music's form.

19) Jack White Lazaretto
This is a vivid, larger than life blues rock record, with guitars to the fore. It full of life and energy. I've found it more satisfying than Jack White's first solo album, Blunderbuss, with more a polished, nuanced production.

20) I Break Horses Chiaroscuro
This is album for lovers of M83, though the Swedish electronic duo borrow more from shoegaze. The dark qualities suggested in the title are occasionally reminiscent of Grimes, and whilst Pitchfork criticised this sophomore album for a lack of originality, it is an apt accompaniment to late night drive.

15 Highly Commended Albums

• Broken Bells After The Disco
• Broken Twin May
• Chatham County Line Tightrope
• Conor Oberst Upside Down Mountain
• Dawn Golden Still Life
• Death Vessel Island Intervals
• Emma Ruth Rundle Some Heavy Oceans
• The Gloaming self-titled
• Hillstomp Portland Ore.
• Hiss Golden Messenger Bad Debt
• Horse Thief Fear in Bliss
• Phantogram Voices
• Matthew and the Atlas Other Rivers
• Moulettes Constellations
• Nick Mulvey First Mind

Top 5 EPs

• Vancouver Sleep Clinic Winter EP
• Farao self-titled EP
• Robyn & Rokysopp Do It Again EP
• Marika Hackman Sugar Blind EP
• Ed Harcourt Time of Dust EP

Wye Oak, Soup Kitchen Manchester, 11th June 2014 8/10

Whilst I was waiting outside Soup Kitchen, Andy Stack assured me that there were still plenty of guitars in this tour, after I betrayed a little trepidation about Wye Oak's new direction. He was right: I hadn't noticed how frequently Jenn Wasner adopted bass guitar in their 2014 album Shriek, when all the media attention has been focused on her use of synth keyboards. Much, perhaps too much, has been made in the blogosphere about the likelihood of the duo falling apart had they not evolved. Jenn has talked about the strain of touring Civilian, saying she felt like a human jukebox playing the same songs repeatedly. They've planned a more realistic schedule this time, and seemed genuinely grateful to the audience, greeting them warmly. In stark contrast to EMA in Manchester earlier this month, everyone listened attentively in the packed, sold out venue, and there was no sign at all that they found the experience anything other than enjoyable. It's also worth noting that both are refreshingly down to earth and friendly.

Wye Oak's 2011 show at The Ruby Lounge made a powerful impression on me: their studio work did nothing to prepare me for their sheer power on stage. Introducing Spiral, a song written in 2012 which pointed to their new direction, Jenn explained it was the result of a collaboration of two perfectionists. I loved the marimba loops and circular stucture. All of the performances last night were absolutely precise, with immense attention to detail. Andy's technical skill in simultaneously playing drums and keys is astonishing to watch, and the whole set was rhythmically tight. Jenn appeared totally absorbed in the music, energised, moving constantly, and expressive in her face. This level of commitment must explain why they have found their touring so draining. In an interview, she explained that with Shriek they deliberately anticipated having to play their songs repeatedly, and ensured that they were challenged to stave off any tedium.

Jenn's voice doesn't always enunciate the words clearly, but it's characterful, and creates an atmospheric effect not dissimilar to Andy's smoke machine, which she joked about throughout the show. It's difficult to envisage them being able to improve their delivery, so the level of enjoyment depends on your reaction to the songwriting (which Jenn has said is the musical experience she gains most satisfaction from). They started with Before and Shriek, which also open that album, and both made a strong impression; despite the move towards synth pop, the writing felt far from predicable. Yet, it was with the rock of Plains from the Civilian album that the gig really sprang to live. The audience started to move, and the impact of Holy Holy which followed was staggering in the intimate venue. One of Wye Oak's distinctive characteristics is their exploitation of the shock of quiet and loud dynamics; they've also added digital effects to their recent material.

I'm yet to fall completely in love with Shriek, and for me the highlights were the closing encore Doubt, performed solo by Jenn, and the title song of Civilian, which felt so dramatic. The tension slipped during a few songs like Sick Talk from the middle of Shriek, but this reflects my idiosyncratic personal taste (which doesn't extend to Jenn's pop side project, Dungeonesse). Yet an imaginative Kate Bush cover, Running Up That Hill, and their own song I Know The Law showed that a move away from folk influenced indie rock doesn't preclude thoughtful music making. Wye Oak is in transition, and I can't wait to hear how they continue to evolve. Their performances exude life and joy, belying the often dark subject matter, and as a live act, they're incredibly energising. Of course music industry economics have increased the importance of touring, but indie music is so much the richer for the personal sacrifice groups like Wye Oak make to perform in small venues for minimal financial reward.

Parklife, Manchester 8th June 2014 8/10

This is Parklife's second year in Heaton Park, and on Sunday the weather was characteristically Mancunian, heavy showers punctuating moments of sunshine. My musical preferences left me to opt out of the first day: judging by the mud a thunderstorm had left behind, this may have been a fortuitous decision. The organisers kept ticket prices low, which is commendable but left the festival feeling crowded, with few spaces to relax. There were also reports of long queues and logical issues on the first day. By Sunday, it appeared to be running smoothly and the enthusiasm of the youthful crowd compensated for any practical hardships. Here are my highlights.

1) London Grammar 9/10
This set was dominated by Hannah Reid's powerful, rich voice. The performances emphasised rhythm, as the crowd danced, at times seemingly inspired by the extensive ecosystem of remixes of their material. The highlight was the mesmerizing Nightcall, a Kaplinsky cover from the Drive soundtrack with string backing, The entire set was emotionally intense, and I found it a magical experience from the front rail. The fact the set was devoid of gimmicks or extrovert antics on stage, relying purely on the power of music.

2) Warpaint 9/10
This was the most imaginative, engaging music of the day, yet the crowd were slightly bemused, many of those at the front seemingly waiting for Sam Smith to appear in the next set. Perhaps Warpaint would have been better placed on a secondary stage, yet despite the chatter around me I still managed to get drawn into the mysterious, hypnotic atmosphere they create.

3) SBTRKT 7.5/10
I'd previously seen SBTRKT at Reading Festival in 2012 and this performance couldn't match the atmosphere of that occasion. The raw edginess felt smoothed, despite visual interest from modern tribal masks and a giant inflatable monster on stage; they appear to have embrace mainstream EDM at the expense of quirkiness.

4) Foals 7.5/10
Parklife reflects the current dominance of dnace, and the thin crowd on the main stage for Foals could lead to anxiety about the future for guitar bands. Yet the early inclusion of Olympic Airways raised morale and they produced an assured performance, even if these indie favourites are a band that doesn't truly move me.

5) Sam Smith 7.5/10
Like Lorde at Coachella, Sam Smith created huge anticipation and excitement amongst the crowd. His stage presence is shared with the New Zealander, but despite winning the prestigious BBC Sound of 2014 poll, the Disclosure collaborator's music is simply not to my taste. I was underwhelmed with his recently released album In The Lonely Hour, and the live experience failed to win me over.

6) Clean Bandit 6/10
The British band's integration of classical and dance sounds somewhat insincere, but their command of the huge crowd surprised me, and the upbeat simplicity of their music was apt outdoors in the early afternoon sunshine.

7) East India Youth
Alas a power failure deprived me of the opportunity to see more than a few minutes of the British producer William Doyle, but I was left with the curiosity to seek out more.

EMA, Ruby Lounge Manchester, 4th June 2014 9/10

Earlier this week, I found myself listening to Clean Bandit in preparation for Parklife Festival and feeling frustrated that their album is so inconsistent musically. The hit song Mozart's House crudely attempts to integrate a stereotype of classical music in a way that feels gimmicky. Yet last night, both Colleen Green and EMA more profoundly shared some of the experimental spirit apparent in edgy contemporary classical music. It sometimes felt like performance art: I was taken to an alternative reality. The delivery was less polished than St Vincent's stylised persona, but full of raw emotion.

I discovered that EMA  has a phenomenal stage presence during her 2011 appearance in Manchester, when she supported Zola Jesus, and she's subsequently released one my favourite albums of 2014. Yet issues outside the performers' control almost prevented this gig from fulfilling its potential. Restless elements in the small audience led Colleen Green to admonish the talkers, and later on EMA ended up pouring water on an inebriated audience member's head in an assertive attempt to silence him. Also, from my position on the front rail facing Erika's guitar amp, the vocals were overwhelmed in the sound mix. Erika's vocals have been compared to Lou Reed's for their emotional delivery, and their sidelining was a price worth paying to be so close to such a talented musician. She made eye contact with individual members of the audience, a memorable gesture.

Colleen Green, hiding behind her sunglasses (a very Californian look), had a more detached air than EMA on stage, performing her minimalist pop punk music alone. At times I thought she sounded like a more stoned Bethany Cosentino heard from the next room. This is not intended as criticism: the simplicity and repetition drew you into its strange world. I'd like to hear Colleen with a live drummer, yet her solo performance allowed you to focus on the essence of the music, and it felt a worthy and apt choice of support for EMA.

In contrast to this act and her own album Past Life, Martyred Saints, EMA's The Future's Void has a relatively glossy production, aided on stage by the violin playing of its producer Leif Shackleford. Yet the inclusion of songs from Erika's earlier projects Amps for Christ and Gowns revealed a more stripped back style. I found her set to be more an emotionally devastating private experience than a collective one; the complete opposite of the extroversion of Awolnation last week. It wasn't lacking in energy: songs like Cthulu gradually build up to a devastatingly intense climax. Elements of grunge, vocal distortion and imaginative electronic sounds provided a nervous edginess and I was totally absorbed. The band, which also included a backing singer and drummer, have played together for a long period, but there was little need for overt, visible interaction between them; their bonds are deeper.

Listening to EMA can also be quite an intellectual experience; not just because of the bold freedom of the music, but the weighty themes of the lyrics. In common with Annie Clarke, Satellites articulates the unease generated by Government surveillance of the Internet, and Smoulder (not played last night) alludes to the shallow narcissism of social media and selfie culture. Yet, my highlight was the more tender Dead Celebrity, which closed the main set. Erika memorably performed it from the rail directly in front of me. The tone wasn't relentlessly bleak: 3Jane showed a vulnerability amidst the anger elsewhere; whereas So Blonde, inspired by the legacy of Courtney Love brought a pop feel. Ultimately, the depth of the music combined with Erika's committed performance means EMA is an essential act to see live, and only the venue and audience separated it from the near perfection of  St Vincent at the Cathedral earlier this year.

Set List

• Violin introduction
• Satellites
• So Blonde
• Marked
• Cthulu
• Neuroromancer
• Butterfly Knife
• California
• 3Jane
• Cherrylee
• When She Comes
• Feels Blind
• Solace
• Dead Celebrity
• Anteroom (encore)
• White Like Heaven (encore) 

Awolnation, Manchester Academy 2, 29th May 2014 8/10

This was one of those gigs where the audience was responsible for much of the atmosphere, and made a significant contribution to the vocals too. This can be attributed not only to the youthful enthusiasm of Manchester University's students, but also to the charisma of Aaron Bruno. Awolnation's seasoned lead was an almost messianic figure on stage, commanding the crowd. They responded by jumping up and down, dancing, singing and crowd surfing. For much of the set, he eschewed his guitar in favour of just a microphone, giving him the freedom to dance manically, and eccentrically. I'd heard a report of poor sound at their Birmingham show, but whilst it was bass heavy last night, the vocals were still audible.

Towards the end of their 90 minutes on stage, Aaron exalted: 'we will always be the underdogs'. There's a deliberate pursuit of eccentricity, which would be quite British if it wasn't accompanied by Californian swagger and confidence. I was amazed by Awolnation's energy when they played Manchester's smaller Deaf Institute venue in 2011, and their Coachella appearance six month's later was notable for inspiring a wild frenzy in the desert. The band returned to Manchester again a year ago, yet they have performed little new material since the release of their début album Megalithic Symphony. Last night, we heard an untitled song newly performed on this UK tour, and a couple of numbers from the album's deluxe edition, but otherwise the set list was almost identical to 2011's. Yet the repetition didn't make this show feel routine.

Aaron draws crowds repeatedly because the intensity of the experience he creates, and the way that the songs are transformed each time they're played live. He explained in this interview how they aim to not just perform the album, and Awolnation has phenomenal stage presence. Aaron talks directly to individual fans, and came down to the rail to touch the hands of the dedicated folk at the front; this was a collective experience. Yet, unlike Neutral Milk Hotel, the music doesn't contain profound hidden meanings, but is purely escapist fun. There was nothing reverential about the audience reaction last night either: this was a rowdy, loud affair. Aaron's vocals had greater passion than refinement: he was prone to screaming the lyrics, as he gave all.

There were times when I wished for a greater variety of mood: Megalithic Symphony in album form exhibits more variety, as ballads accompany the electro rock and 80's rock influenced songs such as Burn it Down. The encore Knights of Shame, contains an eclectic mix of styles, but here was in danger of becoming bombastic. As we develop, our tastes change, and this time I craved some respite from all this extroversion. I found the support band Eliza and the Bear relentlessly upbeat and euphoric, despite the inclusion of a trumpeter. Their emphasis on a simple rhythm and lack of dynamic range or nuance quickly became wearing. Yet, Awolnation ultimately inspired me more because of their remarkable performing ability, and the response from wonderfully receptive audience. The culmination of this combination came in their Platinum hit Sail, which had an instantaneously infectious joy. This is escapism at its most exuberant.