Incoming:
I have seen Sebastian Rochford play at least half a dozen times in the last year or so, with some of the various different bands in which he is involved; what an incredible musician. One of these projects, Polar Bear, has a new album coming on March 1st, from which a groovy taster has been floating around for a few weeks:
Polar Bear - Peepers by theleaflabel
Felix, a UK band signed to US label Kranky, are touring in the new year, in support of their recent album release. Quietly interesting. Here is a not-video:
B for Butterfly are a Brit duo starting to build their public profile, as far as I can tell, by putting some songs online and then letting some people know about it, nothing more than that. How refreshing. Two new tracks were added just yesterday, making four in total.
B for Butterfly - Photograph
Timber Timbre are one of those bands who are locally acclaimed (Toronto) but haven't made much impact over here - hopefully now they are signed to a bigger label that might change. Fingers crossed for a visit this year, and in the meantime, because I like it, this:
30 December 2009
26 December 2009
Best of 2009: locals (with added bonus)
I hope you have been thrilled by yuletide loveliness; however whether yea or nay I personally am misty eyed with seasonal joy, but can just about find my way to the keyboard to assemble another little end-of-year combo of favourite things. Here are some UK-based points of interest from the last 12 months, most of whom have been mentioned here before.
There are many more UK acts I would like to add, but haven't spotted new films for - ready when you are, Go Away Birds, Fourtet, Blue Roses, Polar Bear/ Acoustic Ladyland, Beth Jeans Hou
Micachu & The Shapes
There was uniform internet-wide adulation for the album when it came out in the spring, and with good reason, as a witty, experimental and individual sonic approach is rare indeed. Nice people too, no bullshit there despite the hype.
The Leisure Society
With an endless supply of elegant tunes, the strongest of the Wilkommen acts have used their folk-infused pop for the forces of good on several occasions. Slightly reworked version of an album tune, from the EP to accompany the latest re-re-launch:
Magic Arm
Film here is for Outdoor Games, which although not a new song - I have had the track since mid-2007 - was on this year's Make Lists, Do Something album. Marc Rigelsford has a great ear for a tune, and a highly pleasing electro-folk way about him; his talents have lately been called on as support to both Grizzly Bear and Camera Obscura. Top man (in a non-retail sense).
Smoke Fairies
Dark-tinged folky tunes with great hooks, the film is from their recent tour as support for Richard Hawley.
and happily my very Favourite Musical Moment Of The Whole Year was captured by Crazybobbles, at the Union Chapel in September. Wildbirds & Peacedrums are well known to be Swedish but as we are all in the EU now, they qualify as honorary cockernees.
There are many more UK acts I would like to add, but haven't spotted new films for - ready when you are, Go Away Birds, Fourtet, Blue Roses, Polar Bear/ Acoustic Ladyland, Beth Jeans Hou
Micachu & The Shapes
There was uniform internet-wide adulation for the album when it came out in the spring, and with good reason, as a witty, experimental and individual sonic approach is rare indeed. Nice people too, no bullshit there despite the hype.
The Leisure Society
With an endless supply of elegant tunes, the strongest of the Wilkommen acts have used their folk-infused pop for the forces of good on several occasions. Slightly reworked version of an album tune, from the EP to accompany the latest re-re-launch:
Magic Arm
Film here is for Outdoor Games, which although not a new song - I have had the track since mid-2007 - was on this year's Make Lists, Do Something album. Marc Rigelsford has a great ear for a tune, and a highly pleasing electro-folk way about him; his talents have lately been called on as support to both Grizzly Bear and Camera Obscura. Top man (in a non-retail sense).
Smoke Fairies
Dark-tinged folky tunes with great hooks, the film is from their recent tour as support for Richard Hawley.
and happily my very Favourite Musical Moment Of The Whole Year was captured by Crazybobbles, at the Union Chapel in September. Wildbirds & Peacedrums are well known to be Swedish but as we are all in the EU now, they qualify as honorary cockernees.
23 December 2009
Best of 2009: foreigners (getting down to business now)
I am not proposing to do any lists of my preferences, but instead will assemble a few loosely themed favourites which I would happily recommend to anyone new to the artist.
So to demonstrate what I consider to be a loose theme, here are some people from Abroad who have done great work this year.
Sharon van Etten released a quite wonderful album in May, Because I was in Love, full of beautiful and gentle songs that weren't afraid to take their time to tell their stories. In comparison to the earlier home recordings the songs were subtly polished, with very delicate production by Greg Weekes, giving a supportive backdrop to one of the most emotive voices around, and allowing it to shine.
Needing no introduction are this lot, who have had a great year. As discussed previously they are happy to let others work with their output, in this instance a trippy film by Allison Schulnik - check 1:28 into it (but not if you have taken anything). Got a ticket for the Roundhouse yet?
Zola Jesus is the performing name of Nika Danilova, with a home-recorded song that just blasts its way to the centre of attention; huge hooks, huge voice, huge prospects.
ZOLA JESUS "CLAY BODIES" MUSIC VIDEO from FUTURE PRIMITIVE FILMS on Vimeo.
DM Stith I have already written about twice (here and here), but that is clearly not enough. Gently moody, his swirling songs repeat themes and echo each other, with distinctions further blurred by his habit of revisiting songs from Heavy Ghost in alternate versions on a series of EP's. The album is one of those that exists as a whole entity rather than a series of stand-alone tracks, however here is a slice from it.
DM Stith- Pity Dance from Asthmatic Kitty on Vimeo.
Soap&Skin is something rare and wonderful.
Soap&Skin - Thanatos from benjamin & stefan ramirez perez on Vimeo.
So to demonstrate what I consider to be a loose theme, here are some people from Abroad who have done great work this year.
Sharon van Etten released a quite wonderful album in May, Because I was in Love, full of beautiful and gentle songs that weren't afraid to take their time to tell their stories. In comparison to the earlier home recordings the songs were subtly polished, with very delicate production by Greg Weekes, giving a supportive backdrop to one of the most emotive voices around, and allowing it to shine.
Needing no introduction are this lot, who have had a great year. As discussed previously they are happy to let others work with their output, in this instance a trippy film by Allison Schulnik - check 1:28 into it (but not if you have taken anything). Got a ticket for the Roundhouse yet?
Zola Jesus is the performing name of Nika Danilova, with a home-recorded song that just blasts its way to the centre of attention; huge hooks, huge voice, huge prospects.
ZOLA JESUS "CLAY BODIES" MUSIC VIDEO from FUTURE PRIMITIVE FILMS on Vimeo.
DM Stith I have already written about twice (here and here), but that is clearly not enough. Gently moody, his swirling songs repeat themes and echo each other, with distinctions further blurred by his habit of revisiting songs from Heavy Ghost in alternate versions on a series of EP's. The album is one of those that exists as a whole entity rather than a series of stand-alone tracks, however here is a slice from it.
DM Stith- Pity Dance from Asthmatic Kitty on Vimeo.
Soap&Skin is something rare and wonderful.
Soap&Skin - Thanatos from benjamin & stefan ramirez perez on Vimeo.
21 December 2009
Best of 2009: cheating a bit to get things going
FESTIVAL - Valentine from mox pox on Vimeo.
This is only cheating in the sense that it is from 2008, but let's not split hairs. If I had been posting things a year ago they would have been mentioned in dispatches at that time so let's just make the best of it.
As well as developing their individual side projects, the Festival sisters have been back in the studio working on new tracks, and have some European shows due in the spring. I hope these can be arranged, it will be good to see them here again - amazing voices and some fine tunes too. This was the first song of theirs to catch my ear and it is still a favourite.
15 December 2009
Taken by Trees: occidental dearth of an anticlimax
Relentless Garage
14 December 2009
Photo by Anika
There was plenty not to like about this show, yet it was a success.
The less good things included finding seats in place - excellent for comfort, but bad for atmosphere in a room of no great charm which had far too many lights on... except on stage, where the backdrop carried films from TbT's time in Pakistan, so the lighting was kept deliberately low to assist the projection, which all but made silhouettes of the band. And unfortunately Laetitia Sadier, as a very solo support act was strange; almost discordant strumming seemingly not quite aligned with her vocals, and she usually needed to indicate when it was ok to applaud as most of her songs had false endings. Didn't really work.
However, the Taken by Trees set did really work, warming up nicely from a slightly low key beginning. The measured pace of the songs - a characteristic of Studio's Dan Lissvik's production work - was not adjusted for greater dynamic effect, but the instruments all stepped out of the shadows at different times, playing arrangements that were noticeably more animated than on the album. The drumming particularly came forward in the live setting, as did the harmonies from the 3-piece band, and whilst Victoria Bergsman didn't exactly grasp for the limelight in terms of projecting herself, her elegant vocals flirted with the melodic line without ever sliding too far away.
A gentle but involving show from the band, although the venue didn't really help the crowd enjoy themselves - maybe Bush Hall or the Union Chapel next time?
14 December 2009
Photo by Anika
The less good things included finding seats in place - excellent for comfort, but bad for atmosphere in a room of no great charm which had far too many lights on... except on stage, where the backdrop carried films from TbT's time in Pakistan, so the lighting was kept deliberately low to assist the projection, which all but made silhouettes of the band. And unfortunately Laetitia Sadier, as a very solo support act was strange; almost discordant strumming seemingly not quite aligned with her vocals, and she usually needed to indicate when it was ok to applaud as most of her songs had false endings. Didn't really work.
However, the Taken by Trees set did really work, warming up nicely from a slightly low key beginning. The measured pace of the songs - a characteristic of Studio's Dan Lissvik's production work - was not adjusted for greater dynamic effect, but the instruments all stepped out of the shadows at different times, playing arrangements that were noticeably more animated than on the album. The drumming particularly came forward in the live setting, as did the harmonies from the 3-piece band, and whilst Victoria Bergsman didn't exactly grasp for the limelight in terms of projecting herself, her elegant vocals flirted with the melodic line without ever sliding too far away.
A gentle but involving show from the band, although the venue didn't really help the crowd enjoy themselves - maybe Bush Hall or the Union Chapel next time?
12 December 2009
Beak>: chinstrokers and headnodders unite in glorious harmony
Relentless Garage
11 December 2009
I have a half-baked theory that the hipper the gig, the taller the crowd, so it was all too predictable that for most of the set I could see nothing of the musicians for the forest of tall youth between me and the low performance area ( or 'stage', if you are prepared to be generous). A surprisingly large number of these unreasonably tall people in fact filtered away from the action before the end - did some find the event underwhelming? - eventually permitting some sightlines, which was nice.
The performance was a pretty much true rendition of the album, no surprise variations in the live event, with the throbbing and pulsing tracks building in intensity in a way that could be really quite mesmerising at times, so it could not be said that Beak didn't deliver - but it is such a narrow musical vision that you really have to be prepared to buy into the idea in the first place, or you might spend the time waiting for something to happen...
... which might lead you to buying beer shortly before the set finished, only to find that the audience are literally forced out of the room as soon as the music stops, which is really unwelcome.
(Zane Lowe was there, does that make it a hip gig or not?)
11 December 2009
I have a half-baked theory that the hipper the gig, the taller the crowd, so it was all too predictable that for most of the set I could see nothing of the musicians for the forest of tall youth between me and the low performance area ( or 'stage', if you are prepared to be generous). A surprisingly large number of these unreasonably tall people in fact filtered away from the action before the end - did some find the event underwhelming? - eventually permitting some sightlines, which was nice.
The performance was a pretty much true rendition of the album, no surprise variations in the live event, with the throbbing and pulsing tracks building in intensity in a way that could be really quite mesmerising at times, so it could not be said that Beak didn't deliver - but it is such a narrow musical vision that you really have to be prepared to buy into the idea in the first place, or you might spend the time waiting for something to happen...
... which might lead you to buying beer shortly before the set finished, only to find that the audience are literally forced out of the room as soon as the music stops, which is really unwelcome.
(Zane Lowe was there, does that make it a hip gig or not?)
11 December 2009
The Lost Cavalry/ Bleeding Heart Narrative/ Quinta/ We Walk On Ice
Wilmington Arms
10 December 2009Even at budget-priced admission which equated to £1.25 per band, openers We Walk On Ice were overpriced.
Bleeding Heart Narrative, usually closer to somewhat quirky experimental folky music, found themselves playing for the first time without a string section and so lined up as a standard issue rock 4-piece, and went on to play a much heavier set than I had anticipated, their approach on the night moving between vaguely Beta Band and Radiohead-ish directions. Not bad but not really representative, I hope to see them again with a more typical line-up.
'Headliners' The Lost Cavalry not only featured fairy lights on their ukelele (not a euphemism) but a set of perky enough songs that loped along sounding rather like Beirut, with an occasional dash of Smiths. Singer has a nice light tenor which floated nicely over the songs. However as a noticeable proportion of the audience had left after Quinta, who were the second act to play, by the time TLC were on they were struggling slightly with a sense of anticlimax.
Quinta were the most interesting act, both musically and and in delivery; it was a full-on performance piece, starting with the band members lurking amongst the audience before gradually moving on stage to play. All very stylised, with the brown outfits, painted faces and matching quiffs, the idea of playing with performance vs being watched reappeared when we were shown our reflections in a mirror, but many of the other details of the act did not offer themselves to obvious interpretation. There was an intimate and sometimes domestic quality, with a feeling of layered history and rememberances, the violins creating a poignant, wistful mood. Best moment was My Sister, Boudicca, which with just four voices and a violin was pretty stunning. Any act that includes a musical saw, glasses of water being tuned, and a story recited in the style of a 1930's BBC continuity announcer is definitely worth further investigation.
6 December 2009
Battles (@ Warp 20th): blinding
The Coronet
5 December 2009
A majestic aura surrounds Battles, which is a bit unlikely as their music is - not hard to listen to exactly, but never obvious, often jarring rhythmically, and any earworms tend to be developed (ie disappear) as soon as they arrive. Nonetheless they have the status many would wish for; maybe the (in)frequency of their live shows helps to build their mystique.
Headlining the London leg of the Warp birthday celebrations, they demonstrated their consummate musicianship with new and old songs, including one new tune that can only be described as a Northern Soul 60's surf song played by Led Zeppelin and Black Sabbath with fuzzy guitars borrowed from Girls. Frugging ensued amongst younger elements of the audience, always pleasing to see.
Best received were favourites from Mirrored, unsurprisingly, with Atlas the night's stand out by a distance. There did seem to be an unexpected flavour of the Animal Collective's live vibe to some of the action, partly in the sense that nothing sat still for 2 minutes, and partly in the way the sounds were layered and built up, so that the journey to what the next song was going to be became part of the event. There was also an unsavoury reminder, in Ian Williams' exaggerated body language, of the keyboard player from The National, who grimaces and poses to dramatise the physical challenges of, er, playing some chords on the keyboard. We could all do without such theatrics, but can cast a forgiving eye - just this once, mind - as they are, overall, so far above and beyond most others that we should be pleased to see them at all.
Also worth mentioning were Nice Nice, a duo who seemed to cover most styles, from Krautrock to Rock rock to blues rock to funk rock and more, but without seeming as undecided as this description suggests.
5 December 2009
A majestic aura surrounds Battles, which is a bit unlikely as their music is - not hard to listen to exactly, but never obvious, often jarring rhythmically, and any earworms tend to be developed (ie disappear) as soon as they arrive. Nonetheless they have the status many would wish for; maybe the (in)frequency of their live shows helps to build their mystique.
Headlining the London leg of the Warp birthday celebrations, they demonstrated their consummate musicianship with new and old songs, including one new tune that can only be described as a Northern Soul 60's surf song played by Led Zeppelin and Black Sabbath with fuzzy guitars borrowed from Girls. Frugging ensued amongst younger elements of the audience, always pleasing to see.
Best received were favourites from Mirrored, unsurprisingly, with Atlas the night's stand out by a distance. There did seem to be an unexpected flavour of the Animal Collective's live vibe to some of the action, partly in the sense that nothing sat still for 2 minutes, and partly in the way the sounds were layered and built up, so that the journey to what the next song was going to be became part of the event. There was also an unsavoury reminder, in Ian Williams' exaggerated body language, of the keyboard player from The National, who grimaces and poses to dramatise the physical challenges of, er, playing some chords on the keyboard. We could all do without such theatrics, but can cast a forgiving eye - just this once, mind - as they are, overall, so far above and beyond most others that we should be pleased to see them at all.
Also worth mentioning were Nice Nice, a duo who seemed to cover most styles, from Krautrock to Rock rock to blues rock to funk rock and more, but without seeming as undecided as this description suggests.
4 December 2009
Caitlin Rose: vomitin' n warblin'
The Windmill
3 December 2009
Despite having cancelled her lunch-time show due to illness - dodgy prawn in Brighton had laid her exceedingly low, she said afterwards - Caitlin made a good fist of playing this set, half-way through a week of UK shows
She seemed full of confidence and chatted happily between songs, wondering which way to pitch the tone of her set, but despite having some decent, and also funny, songs to call on, the songwriting is secondary compared to the voice. Thrillingly clear, powerful without blaring, and with a range of colours and inflections that sometimes reflected her Nashville background but never fell into predictable country habits - goosebumps were near regardless of how ill she was feeling. Terrific, and I'm sure the songwriting will develop.
And for what it's worth, in a venue of that size she could probably have sung unamplified, and just used the guitar amp and not bothered with the PA at all.
Caitlin Rose - Sinful Wishing Well from LaundroMatinee on Vimeo.
3 December 2009
Despite having cancelled her lunch-time show due to illness - dodgy prawn in Brighton had laid her exceedingly low, she said afterwards - Caitlin made a good fist of playing this set, half-way through a week of UK shows
She seemed full of confidence and chatted happily between songs, wondering which way to pitch the tone of her set, but despite having some decent, and also funny, songs to call on, the songwriting is secondary compared to the voice. Thrillingly clear, powerful without blaring, and with a range of colours and inflections that sometimes reflected her Nashville background but never fell into predictable country habits - goosebumps were near regardless of how ill she was feeling. Terrific, and I'm sure the songwriting will develop.
And for what it's worth, in a venue of that size she could probably have sung unamplified, and just used the guitar amp and not bothered with the PA at all.
Caitlin Rose - Sinful Wishing Well from LaundroMatinee on Vimeo.
1 December 2009
Dudes of the: Month - Candy Claws' virtual tour
Instead of all that tedious mucking about with airports and customs, and thus bypassing all the costs incurred by touring as relative unknowns, not to mention avoiding the need to scrounge sofa-space from previously unknown hosts; from the comfort of their own homes, Candy Claws are letting their songs struggle with time zones and currencies instead.
The tour consists of using a network of blogs and websites to host specific songs on specific days - in their own words:
We will be touring for our latest album, "In the Dream of the Sea Life."
This tour shall happen online, in the form of videos posted to music blogs of different cities and towns across the entire planet. The first ten dates will feature live footage of acoustic versions of each song on the album. The last ten dates will debut brand new music videos for each song.
So not only is the usual geographical zig-zag maintained in the true spirit of touring, but in an improvement on the more common model ie a real-time live show by actual people, the event for each date stays in place, to be revisited as and when until the hosting site gets bored or something.
This idea is either a) very clever or b) rubbish, and I can find arguments for both, but you will have to discuss those amongst yourselves, as I'm not getting into all that right now. I will offer tentative support for what is quite a funny idea - the online tour has been snowed in on day 6 - by pointing you here, and showing this, because it's good, which despite all of the above, is the main thing:
Catamaran from Candy Claws on Vimeo.
The tour consists of using a network of blogs and websites to host specific songs on specific days - in their own words:
We will be touring for our latest album, "In the Dream of the Sea Life."
This tour shall happen online, in the form of videos posted to music blogs of different cities and towns across the entire planet. The first ten dates will feature live footage of acoustic versions of each song on the album. The last ten dates will debut brand new music videos for each song.
So not only is the usual geographical zig-zag maintained in the true spirit of touring, but in an improvement on the more common model ie a real-time live show by actual people, the event for each date stays in place, to be revisited as and when until the hosting site gets bored or something.
This idea is either a) very clever or b) rubbish, and I can find arguments for both, but you will have to discuss those amongst yourselves, as I'm not getting into all that right now. I will offer tentative support for what is quite a funny idea - the online tour has been snowed in on day 6 - by pointing you here, and showing this, because it's good, which despite all of the above, is the main thing:
Catamaran from Candy Claws on Vimeo.
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