I managed to miss this on release last month, here's an overdue reminder for those of you who might have likewise done the same. The Tuts have progressed leaps in bounds over the past twelve months or so, having seemingly been taken under the collar by Kate Nash (who they've supported around the UK, and are currently doing the same in Europe). The trios brand of catchy, can't but help you feel better power pop is the sort of thing that's made to top the charts in an alternative world.
Their latest track "Worry Warrior" is thankfully more of the same, infectious guitar-led pop with the sort of riffery you'd expect from a Nirvana track wrapped around fiery drums, sharp tongues and gorgeous harmonies. More soon please! You can download "Worry Warrior" (and the excellent self titled debut EP) from the girls Bandcamp now.
I'd not heard of Dublin electro-pop trio Sleep Thieves until this track, "Sparks", popped into my inbox earlier this week, the follow-up to a May 2012 debut EP called Islands (available via their Bandcamp) and the first taken from their forthcoming debut album.
"Sparks" combines much of what has become a successful formula this past year with hypnotic, glittering synths and gorgeous, breathy vocals paying a big nod and wink to the sound of the 80's or the recent Drive soundtrack but done with modern technology, slick, shiny tones, full of catchy melody and beats - ultra infectious.
Trick Mammoth are a New Zealand based trio whose debut three track demo EP Baltimore highlights for sort of perfect fuzz-pop sensibilities ideal for adding a bit of colour to your day.
I came across the band via Bandcamp's fan collections when someone I followed purchased the EP (as you can on a pay-what-you-like basis from their site) with the title track "Baltimore" instantly raising nostalgic smiles with a distinctly 90's wave of bright, guitar led soundscapes and beautiful, dreamy vocals.
Trick Mammoth don't hide their influences, their lo-fi sound is jangly, smily and upbeat, a dose of fun you can already see fitting in amongst your local indie club night.
"Pinker Sea" is more languid with hazy shimmers and Millie Lovelock's soft, smoldering vocals weaving amongst lead songwriter Adrian Ng's backing harmonies and precise beats, a sweet, wistful gem from a band well worth keeping an eye on.
It's been a little while since I posted about Isobel Anderson, September 2011 with a post about her last album Dark Path in fact. So to make up for that, here's a long overdue update about Isobel's new single "Gentlemen", the first single taken from the forthcoming album In My Garden.
The track combines quirky originality with Isobel's warming voice and Ruby Colley's beautifully restrained violin - I don't think I ever recall a song sampling the sounds of a tea shop at its beginning or lyrics such as "pour me another cup of tea" and “load up my scone with some cream" amongst the more traditional leanings of love not yet won.
The result is irresistible in any case as "Gentlemen's" delicate guitar strums and soft melody soothe and charms creating a blissful sound for those of us who perhaps increasingly like the idea of scones, coffee and chess at the weekend. Mmmmm....
You can download "Gentleman" from Isobel's Bandcamp now.
I had the chance to see Agnes Obel play St Pancras Old Church the other week, I'm very annoyed I wasn't able to free up my life sufficiently to make it, it promised to be a spectacularly intimate gig at a beautiful London venue. After recently featuring "The Curse" here I'm following it up with the similarly spine-tingling "Fuel To Fire", the latest track from Agnes' soon to be release second LP Aventine (30th September via PIAS).
The track immediately pulls you in with its beautiful piano led melody and an emotive narrative that is poignant, calming, haunting all in equal measure around a delicate vocal that seduces, you are soon transported to somewhere better for five hypnotic minutes - quite stunning is this.
Agnes plays Union Chapel on October 21st - a sublime live rendition of "The Curse" is certainly enough to tempt me to make up for my recent miss and attend.
PINS are almost ready to share their debut full length Girls Like Us with the world (released next week, September 30th via Bella Union), it's already been picking up some favourable reviews, 7.5 from TLOBF, 7 from Clash and 7.5 from The 405 to name but three, all three complementary and all three mentioning a Savages comparison, an easy/lazy point based around both bands being made up of four ladies with a visceral, post-punk influenced bite. Things however are never that monochrome...
"Girls Like Us" perhaps sums up the Pins live experience (one I've seen twice in recent weeks at End of the Road and The Social) better than any track that has come before it, a dark, moody intro (backed by a similarly brooding video with the girls piercing stares intimidating) before exploding into life with tribal drums, swarming guitars and a deep bassline all wrapped up around Faith ferocious, tension-laden vocals. "Girls Like Us" sounds a lot more fun than they ever get credit for too, don't miss out.
It seems like a while since I heard from Honeyblood (it was at May's The Great Escape) but the Glaswegian duo of Shona McVicar and Stina Tweeddale have made their return with the irresistible "Bud". A track marked as their first official release that's due for release on October 21st via Fat Cat Records on pink vinyl & download.
Filled with glorious melancholy around sugary guitar fuzz, punching beats and a deliciously rich vocal "Bud" is a beautifully innocent, bittersweet pop gem that's sure to trigger any number of nostalgic youthful memory. A perfect combination of old school garage rock and more recent sun-kissed surf-pop.
For the time being at least, you can download their self-released single "No Spare Key", a track I mentioned here early last summer, on a pay-what-you-like basis via Bandcamp.
Best Coast have soon become a band that polarise opinion, half of people I know like their take on simple, nonchalant fuzz-pop whilst the other half think they are a bad cover version of about twenty other bands. Me, well I've always liked the blissfully, sweet approach they take and I personally think this new track "I Don't Know How" is the best thing I've heard from them since before the release of their debut album...
The song itself is split into two halves, the first beautifully wistful dream-pop with Bethany Cosentino's vocals more saccharine sweet than ever and the melody oozing with syrupy goodness before the track stops to gather momentum for a second half that speeds along with crunching guitars and punchy beats around the most catchy chorus of late, late summer (I can't help but feel it would have been better to release this track a few months ago in the midst of summer and not as the nights draw short and I reach for my aran sweaters), still "I Don't Know How" is exactly what I want when I think of Best Coast, joyful, catchy pop music - I've heard the track about six or seven times now and I know most of the words - that's a good thing.
The track is taken from Fade Away, the bands new seven track EP which will be out on October 22nd via Bethany's own, newly formed label Jewel City.
Here's a track I actually featured over a year ago as a (then) standalone soundcloud track, "Want" now sees its rightful release as a single on 7" (and no doubt download) via RIP Records (on 21st October). Dark Bells have slowly but surely been working their way up the London gig circuit this past year, steadily building a fanbase along the way with the ferocious roar of their live show and snarling intensity of tracks like this and previous single "Wildflower"
The tracks been mastered properly since and sounds better than ever with its rich, swirling guitar tapestry, deep throbbing bass and hypnotic drum patterns grabbing you by the bits and refusing to let go around Teneil Throssell's captivating vocals. Then it all slows down with a middle section full of tropical rhythms and dreamy psychedelia, it's a false dawn though as the track finds its strength again, soon reaching a climatic, sonic assault of a finale, the perfect balance of power and beauty, in a word - awesome.
Adna Kadic's stunning, world-weary voice had me purring all over on my 'introducing' post back in late June, she recently followed up that track "The Prettiest" with her latest single "Dreamer" and once again I find myself weak at the knees around her captivating tones and bittersweet words.
"Dreamer" is equally intimate and affecting, Adna's haunting vocals send shivers down your spine on a stark beginning before layers of restrained instrumentation and electronic glitches gradually add depth to a track full of equal parts strength and beauty.
What a prodigious young talent you have here Sweden - "Dreamer" is available to download now.
After such a majestic introduction to the dream pop world with "I'm To Blame" the pressure was instantly only Boardwalk to deliver on their follow up, thankfully "High Water", the second track to be taken from their debut, self-titled full length does all that and more.
It's sanguine, soothing melody taking you places as irresistible as the backdrop for the accompanying video with hazy, languid guitars and lush electronics creating dense, ambient soundscapes which entwine around Amber's beautiful vocals to wash you in an eternally nostalgic melancholy. Sparkling, immersive perfection.
Boardwalk is released October 15th via Stones Throw and I'm even more excited for it now.
Dios Mio are a newly formed quartet from London with just the two demos the their name so far, both enough to get a new music blogs like this a little hot under the collar, packing quite the punch with a perfect blend of fiery guitars, precise beats and luxuriously captivating vocals.
"Tough Crowd" sums that up better than my words could, intoxicating immediately with a beautiful blend of languid, grunge-pop, shimmering peaks and a delightfully rich vocal, it slowly progresses in tempo around the same dreamy melody and caressing voice until the four minute mark when the track transforms into a pop-rock beast as machine-gun drumming and swarming guitar fuzz propel the track forward amongst the softly lulled coo's of backing harmonies.
"Lions" is just as worthy of praise, punching you right in the chest with a vibrant, thumping melody and forthright vocals, the track then continues to rip along in overdrive around dynamic, catchy hooks. Helena's effortlessly switching her voice from commanding to softening choruses. I'm already in love.
You can listen below and download both tracks on a pay-what-you-like basis via Bandcamp. Shows are promised for Autumn.
I featured Crying towards the end of July when they released their debut track "Bodega Run", it was swiftly followed by the release of the seven track EP Get Olde which I belatedly found last week, it offers a similarly short, sharp blast of 80's computer game soundtrack / meaty guitar riffs / sweetly sung vocals combination over fourteen breathless minutes, it's a bit hit and miss but Get Olde will certainly sound like nothing else you've heard this year.
Alongside the excellent "Bodega Run", "Bloom" exemplifies their unique 8-bit sound where heavy hitting drums propel a bristling, exciting Game Boy soundtrack melody set off perfectly by the gorgeous tones of vocalist Elaiza.
It's available on a pay-what-you-like download basis from Bandcamp with a cassette soon to be released by Double Double Whammy.
I've definitely not posted about Esben and the Witch here enough recently. One of the major pitfalls of running a new music blog amongst a full time job, family, running regimes and an active social life is spare time can be pretty sparse. By the very nature of this, I spend quite a vast majority of my free time writing/listening to new music so by default actually listening to all the albums from artists I've previously featured can be tough. It's pretty silly when you think about it - you spend all this time building up a band, saying how great they are etc and then promptly forget about them in favour of 'your new favourite thing' shortly after they finally release their album. C'est La Vie.
I return to the Brighton trio with a spine-tingling video to "The Fall of Glorieta Mountain", a gorgeous, softening track taken from January's full length Wash The Sins Not Only The Face, it showcases an intimate side to the band far removed from the imposing, hard-hitting drums and rallying cries that propel the likes of "Iceland Spar" or "Marching Song". Here Rachel Davies beautiful vocals are the centre point, shrouded in languid, glistening guitars whilst the odd bit of subtle sythns creep up on you with devastating impact.
I came across another track recorded for the same Bowlegs session, "Yellow Wood" which starts similarly restrained but is filled with a more typically 'Esben' sound, with ominous, claustrophobic soundscapes created by metronomic electronics, shimmering guitars and haunting, imposing vocals building and building to a climatic veil of darkness as Rachel's vocals turn to despair around a deafening crescendo of noise.
Two incredible live videos which will surely make the following sentence sound even better. Esben and the Witch are due to head out on a week long UK tour next month, including a date at London's The Lexington on October 7th (full dates).
Sydney's Missing Children came to my attention through their new single "The Core" (the second track to be taken from a forthcoming EP due in October. It highlights a marked step up that instantly appeals with an atmospheric, dynamic sound that builds around emotive, powerful vocals and luscious instrumentation.
The sextet start all seductive and restrained on "The Core" with a rich melody that is considered and beautiful before gradually raising and raising to a huge climatic finale as soaring strings collide with pummeling beats and heavy guitars - that's a pretty special conclusion there.
I've never come across a 'wall cloud' before, if you haven't either it appears to be an extension of a soundcloud stream combined with visual components, a slide show of pictures and in this case poetry. It's a cool idea to add to your overall listening quality and experience that probably aims at keeping you focused for four minutes straight - a task by itself in 2013.
Of course I wouldn't be featuring one here without good reason and that is the new single "I Want To Lose" from Meredith Meyer's Young Unknowns...
The track is as introspective and close as the title suggests with a chorus of "I want to lose everything, except for you, except the truth", its beautiful melody soon fogging over your mind with an irresistible combination of Meredith's luscious, softening vocals and intimate instrumentation with shimmering guitars and subtle electronics perfectly adding to the sweetening ambiance; tender, heart-wrenching and too damn bloody gorgeous. You can grab the single via iTunes.
Young Unknowns haven't quite finished with last years debut EP You Are A Young Unknown (available from their Bandcamp) either with a recently released video to one of its highlights "Young Man". It highlights another side to the band and together they make the ideal showcase, where "I Want to Lose" is all intimate and beguiling "Young Man" is youthful and carefree, smooth and progressive power pop with a driving melody increasing around strong drums and rich, empowering vocals. Unknown is definitely not how this band should remain.
Here's a post I've been meaning to do for ages, I got one of the limited tapes by Minneapolis trio Strange Relations much earlier this year, it came with a lovely handmade lyric book and really should be sold out by now - especially when you take a listen to their beautifully melodic pop which equally flirts with dream pop seduction, punchy beats and shoegaze guitars.
The perfect introduction is the track which plays if you load up their Bandcamp (where you can download / purchase the bands Ghost World EP) "Endurance", where languid, cascading guitars and pitter-patter beats lead slowly into Casey Sowa's beautifully affecting vocals - there's a rarity too with Strange Relations, a lead vocalist / drummer.
Elsewhere "Better Than Well" soars and drives around a heavy-doses of reverb and hammering beats, while title track "Ghost World" starts all delicate sweet with breathy and soft instrumentation gently building upon layers of sonic intensity to a frenetic conclusion.
As the Cities favourite son (well mine anyway) says, Rock 'N' Roll Is Alive! (And It Lives In Minneapolis).
Farao returns after springs exquisite "Skin" with the similarly beautiful "Tell A Lie", it sees Kari Jahnsen moving past a damaging relationship with on the intimate tale of dishonesty.
Throughout her voice remains graceful and fragile disguising any bitterness amongst darkly atmospheric organ swirls, looping guitar and a metronomic beat. The haunting, otherworldly melody highlights a much progressive sound from Kari's previous project Like Spinning (though I'm still holding hope that "The Hours" makes a recorded return).
"Tell A Lie" is released on November 4th with an EP expected early next year.
I came across Danish trio Boho Dancer looking through the line-up to a little folk festival that is taking place not too far away from me in a couple of weeks time - Folkstock at Aldenham Country Park on September 21st (I'm not sure I can make it though) - part of the line-up are the exquisite Sophie Jamieson, Josienne Clark & Ben Walker and Worry Dolls so it promises to be a lovely day (helped if autumn holds out no doubt), I'll concentrate on the new discovery now...
Taken from their recently released debut Gemini are two intoxicating previews, "Like Rain" gently weaves together an atmospheric tapestry of beautiful harmonies and finger picked melody, enchanting and haunting in equal measure whilst the darker "Bohemian Child" begins with Gothic like chants before Ida Wenøe's striking, emotive vocals and rich instrumentation combine to captivate the listener fully.
What starts off as a beautiful if straight-froward cover of Arcade Fire's "My Body is a Cage" bursts into life half way with expansive beats and deep bass-line, creeping up on you in an eerie yet undeniably gorgeous way. Their album is available now via Rough Trade with a host of gigs arranged for the week in the UK - dates on their Facebook.
Brighton's Dog In The Snow have already established themselves as a new band to follow with four tracks full of experimental mysteriousness and beautifully haunting chills, they return this week with the commanding "Fire in the Sky", their first new track since February's "Fear" to surely convert more admirers to their following.
There are many layers and textures to the track, the foundation of which jumps right at you with tribal drums loops galloping throughout, they are gradually joined by melodramatic piano and claustrophobic synths, the rhythmic melody is uncompromising throughout creating a hypnotic, unsettling atmosphere amongst Helen's entrancing and engaging vocals. That's five great tracks now - surely enough for an EP release?!
In the meantime you can grab a free download of "Fire in the Sky" via the Soundcloud link below.
You must have been somewhere very remote if you didn't know that Arcade Fire were about to drop a new single, last night all the mysteriousness ended (well earlier if you took notice of the leak) when at 9pm on September 9th "Reflektor" was released online (and in record shops as a 12" single - good luck if you are still looking for one) - typifying the cryptic release, it was left to David Bowie's Facebook page to spill the beans (he provides a couple of lines of backing vocals late on in the track too).
"Reflektor" doesn't immediately strike you as Arcade Fire, indeed the funk-laden bass-line and shuffling percussion sound more Prince or LCD Soundsystem (James Murphy has long been announced as the producer of the forthcoming album) but as the track progresses and builds around the groove, Win Butler's distinctive vocals (equally Régine Chassagne's too) start to shine through, at almost eight minute you can call it an epic if you like as amongst the synths the track reveals itself to be as poignant and wonderful as we've come to expect from Arcade Fire - a stunning return.
Reflektor is released October 29th - You can pre-order the double LP/CD via the bands website (which also promises early access to a shortly to be announced world tour)- exciting times.
Check out the video below, it features the band in papier-mâché heads and a man dressed in a mirror - a reflektor I take it!
After initially impressing me with some super sweet demos last year Mini Dresses return with a little juggernaut of a pop-hit "Everywhere I Go", racing straight out of the blocks with rat-a-tat beats, jangling guitar and bass interplay the track delightfully combines a sense of urgency with the intoxicating vocals of Lira Mondal for a dazzling whirlwind of indie-pop fun.
The highlight of the single Two though could be the second track "Watching You", slower and longer with hazy, languid guitar shimmers entwined around gorgeous, dreamy vocals. Something quite irresistible.
Download on a pay what you like basis from Bandcamp now.
Blood Relatives are the Glaswegian quartet of Anna, Callum, Alan and Nick who came to my attention through their second single "Deerheart" (released digitally today), the title track from their debut album (due for release 28th October) both via Comets and Cartwheels).
It's a track as addictive and bright as anything I've heard this summer (although it appears by the grey murk I can see out of my window that summer may well be over) with glistening guitars shimmering around precise beats, "Deerheart" is all about the combination of buoyant pop hooks and Anna's beautifully accented vocal, her voice swoons around a breathless sense of fun and adventure.
Debut "Dead Hip" is even more addictive with a relentless rhythm section and a catchy, repetitive chorus that is guaranteed to embed itself instantly in your brain. If you're looking for a sense of youthful abandon and sugar sweet indie-pop to brighten up your day, you won't do much worse than press play below...
I'm still in the midst of catching up post-holiday so expect to see lots of 'old' news here this week, few more fantastic than this though, Lanterns on the Lake have shared a spellbinding animated video to the title track from their forthcoming LP Until The Colours Run (due via Bella Union on October 7th).
The track sounds as dynamic and fresh as anything the quintet have released so far, sweeping you off your feet with a kaleidoscopic melody bursting with life, where bright, dramatic strings bustling percussion and shimmering guitars collide into rousing crescendos amongst Hazel Wilde's defiant vocals.
The band head out on an extensive UK tour to support the albums release including a date at London's Bush Hall on October 22nd - full dates.
I was recommended both on Twitter and in person at End of the Road to listen to Agnes Obel by somebody with impeccable taste (twitter user @bandswithiphone), I took heed of that advice this week with the Berlin based Dane's latest track "The Curse", the first taken from her forthcoming LP Aventine.
The track instantly mesmerizes, a dark yet seductive melody is stark and magical with little more than twinkling piano and haunting string arrangements combining with Agnes' fragile, emotive vocal. The result is devastatingly beautiful and poignant - hearts go a flutter.
Aventine is released via PIAS on September 30th and you can order it on a variety of packages from Agnes' own store here.
The main rule of this blog is spelled out within its title, I only feature music that I like but I guess there are a a few guidelines added on to that, one of those is that I don't really care when a song was released, just when I discovered it.
That brings me nicely to Brooklyn based duo The Meaning Of Life and their track "Laura V", originally released on EP Play Fuego (available on a pay-what-you-like download basis from Bandcamp) in August 2012 - it came to my attention a year later via a newly released video that's been sitting in my mailbox whilst I've been away.
Merging chugging bass and bright, infectious guitar hooks with the soft, dreamy vocals of Marta DeLeon "Laura V" is an elegant, nostalgia inducing blast of fun, all beautiful melody, rhythmic beats and luscious, fuzzy noise - I don't have a track of the day feature on this blog (probably because one post a day is usually about my limit in spare time) but consider "Laura V" today's.
Caitlin Rose covering The National, just that statement alone sounds like a perfect match and on "Pink Rabbits" (taken from the latter's most recent LP Trouble Will Find Me) it is.
A stand alone release published yesterday sees Caitlin immediately put her own stamp on the track, both are singers capable of conveying spine-tingling emotion through delivery alone and Caitlin has made "Pink Rabbits" sound her own with a few simple changes, her vocal endears with a pure, slightly bruised tone whilst the melody stirs with a luscious and grand clarity. A wonderful cover delivered with such understated ease - I'll have one every week please!
Caitlin is in the UK right now and plays London's Shepherd Bush next week - tickets.
Sunday arrives in no time at all and I spend the first couple of hours packing away our tents and taking our belongings back to the car - I'm back at work first thing Monday morning, have a long journey ahead and two young children - the decision had already been made to leave before tonight's headliners so it's nice to hear a little bit of Belle & Sebastian in soundcheck.
After breakfast, a bit of shopping (I even treat myself to a nice handcrafted woolen jumper) and more circus activities (my five year old has got pretty good at hula-hooping now!) I head into the Big Top solo and listen to Crocodiles, a band I'd pretty much forgotten about since I liked their "Neon Jesus" / "Summer of Hate" singles some four years ago. I find myself reminded of what I've been missing - motorik rhythms all wrapped in fuzz, a thick, toe-tapping pysche sound that has a midday crowd happily nodding along.
We take in more of the sights of the festival next and some quiet time too. A beer or two relaxing is sometimes all that is needed.
The next act we head for are The Staves, hailing from just down the road from me I'm one of the few who 'get' their Watford based anecdotes. Their humorous and repeated profanity in between songs might seem out of place but the sun is out and the sisters' heart-melting harmonies are definitely not. It's beautiful and delicate as the crowd shuffle quietly trying not to disturb anyone. That actually sums up the general atmosphere of the festival well, very dignified and appreciative - End of the Road is a festival for music lovers, pretty much every one of the 10,000 in attendance the same at heart.
We have to rush to the Woods stage to catch Caitlin Rose, she's already playing "No One To Call" as we hit range, damn you scheduling clashes! The hour set is heavily based on her latest record The Stand-In with "Silver Sings The Blues" and "Only A Clown" winning the crowd over particular well. It's an almost new band that's on tour with Caitlin so it takes me some adjusting and there is perhaps a little jet lag on display but Caitlin has the voice, the songs and soon it's the perfect festival closure (for me) in the sun.
It's nearly seven pm and I regreat having to miss Broken Twin but we head back to the car as the kids are tired and we need to get straight onto the roads to arrive home before midnight. Thankfully we do.
Thank you yet again End of the Road, you do not disappoint.
Normally I have a long-list of potential improvements for next year, with EotR I can think of two. One, organise the beer queues better, perhaps get some Latitude style keep-your-own glasses and two, let me curate a stage!!
I actually have a decent night sleep and Saturday soon arrives, the kids are nice enough to lie-in until almost eight o'clock and it's already pretty warm. Shorts are definitely the order of the day and we had for breakfast on the double decker bus - the queue is long but the bacon sandwich and coffee soon make up for it.
We head for the craft area again and my five year old has the time of her life first decorating a record with paint, then colouring in on a massive colouring board and then after she spends a full hour and a half making a Bobby Dazzler doll - all free of charge.
I take the little one for a walk around the woods and have another coffee sitting under a tree - there's all sorts of installations and things hidden in trees to discover (a picture below a homage to Scooby Doo perhaps) as well as peacocks roaming around freely - a perfect chilled out morning is had.
At half one we head for music, it's nice when a band are clearly enjoying themselves and that's obviously the case with Laish a Brighton quintet I'd not seen since The Great Escape in 2012.
Their sound is hard to pigeonhole, it's more than your standard folk-rock band - sparked with life, booming percussion, string flourishes, wry lyrics and the delicious backing harmonies of Emma Gatrill (who I've featured here a few times) and Martha Rose all combine with impeccable ease.
Daniel Green drives it all forward with a voice that rises in fall in accordance with the instrumentation, from soft and gentle to soaring peaks. The audience is well sized and the people next to me rush to the stage after the show to take Daniel up on his offer of a free hug.
We stop for lunch, a game of Pucket (a board of which we later buy and now finds itself sitting on my table) and a drink. After an easy hour we head to the Garden Stage in full sunshine to see Angel Olsen. I had listened to her briefly beforehand and was expecting a stunning voice and heart-breaking songs and that we were, but her hour long set was much better than that.
Absolutely sublime from start to end, as beguiling vocal and intimate performance as you could hope to witness, Angel in complete control throughout, her guitar plucking combines modern contemporary folk with a timeless singer-songwriter sound that could have been written some sixty years ago. In this weather as Angel fights with a full sun in her view her sad, forlorn songs could easily find new meaning, either way it's hypnotic and devastatingly beautiful. The silence from the crowd confirms they're hooked to her every word too.
We take another mini break before the busiest two hours of the day. It's unfortunate that four acts I really wanted to see (all four featured in my pre-festival picks) clash heavily. I decide to catch some, if not all, of all four so we make our way to the Tipi Tent for Golden Fable.
The sound and environment is perfect for them and they sparkle with precise beats puncturing their soaring melodies, it's both expansive and enchanting with Rebecca's beautiful vocals casting a potent spell over the crowd. Five songs in when I decide it's time to head to the main stage I'm completely torn. Thankfully the decision is made easier as I'm seeing the band again in just a couple of weeks and so I head to the main stage for Warpaint, one of the weekends main attractions.
Things aren't quite right from the outset, the start is slightly delayed with technical hiccups, it unfortunately sets the tone for the gig. Muddy sound and perhaps the bands slight rustiness mean the guitar textures and harmonies don't really click until three of four songs in with "Undertow". There are four new tracks in the set, a couple introduce an electronic sound, one very 80's and I'll definitely need to hear them again. I love this band and have seen them a dozen times already but I struggle to really connect with this performance. As Emily takes up a solo finale of "Baby" I return to the Tipi Tent and discover the rather brilliant Freedom lager, it goes down far too easily. (One niggling complaint I'll mention now was the queues for the real ale tent - I think the demand was underestimated).
I'm here for Anna Von Hausswolff and I regret missing the first fifteen minutes of her set, it soon become the highlight of the weekend (along side David Byrne & St Vincent), as compelling and breathtaking as anything I've seen in a long while.
The quintet of musicians form a semi circle around the stage with Anna on one side hunched aside her organ. "Mountains Crave" utterly transfixes before the rest of the set manages to somehow raise the intensity even more so. Striking vocals and shimmering, searing instrumentation from her wonderful band (especially the drummer) make for a vast and dramatic sound that makes the audience react like very few I've witnessed during a festival set - completely hypnotised by its spellbinding brilliance there's no sound at all until the conclusion when Anna receives a huge applause, I don't think anyone was ready for it to end.
I head to the Garden Stage next for Daughter, I only manage to catch the last five songs and it's incredible to see quite how much Daughter have grown. The announcement of "Youth" is met with teenage squeals normally reserved for the likes of Take That, Elena' smiles at it too. What I hear is as emotional and haunting as I've become accustomed to. There's a massive crowd too, everyone grabs onto the warm and beauty the band deliver with such effortless ease.
Afterwards I return to the Tipi for more beer and check out Sigur Ros. I decide it's not really for me, take a little wander and then decide I'm old and as I know the kids will me waking me up early I head back to the tent - an early conclusion perhaps but another overwhelmingly satisfactory day ends.
End of the Road, in its seventh year, confirmed itself as the best festival of its size in the UK this year, the idyllic weather definitely helped (though it sure did get chilly overnight on Saturday) but it was the glorious atmosphere and near-on perfect combination of musical acts and artistic crafts that makes the festival what it is. Basking in sunlight Larmer Tree Gardens had everything you could want, arts & crafts, decent festival food, a real ale festival and an impeccable selection of music from the delicious folk harmonies of The Staves to the brass-laden success of David Byrne and St Vincent and the imposing, wide-eyed Savages. The next few posts will be my trip through the weekend, the things I did and the bands I saw. Hopefully you'll pick up on a few nice things if you follow it through...
I'd spent the previous three days in West Lulworth with the family (a beautiful place, you should go) before packing up early on Friday and heading to Larmer Tree Gardens. We met no traffic at all and were soon in the car park. People scared of Glasto like experiences with travelling from the car park to the tent areas, fear not, you are through wristband exchange and into the camping areas in no time at all. A quick set up (thank you pop-up tents - I'd still be there now trying to put up the impressive yurt tent we were pitched next to) and we headed straight to Big Top stage to catch Widowspeak.
An incredible start to the festival saw clashes happen as early as midday. Widowspeak were a worthy selection though, as breathy, beautiful introduction as you could hope for. Playing as a duo they played songs taken from both their albums and were heavily based on the spaghetti western influenced guitar twangs and Molly Hamilton's seductive vocal purr (there is a small drum box providing some beats). A large audience lapped it up, hazy sweet and creeping mood - what more could you want. My five year old enjoys it too and pulls some dance moves more suited to the nearby silent disco which makes me worry what my future may hold!
We head outside and after spending a few minutes waiting for our eyes to adjust head to the nearby main stage to check out Landshapes. A band signed to Bella Union whom I really should have given the time of day sooner than this.
The quartet weave dreamy, upbeat melodies with funky bass, wonderfully percussive rhythms and superb harmonies that perfectly match the need of the audience sitting primarily in shorts and t-shirt with beers from the nearby bar in hand. The sun soon makes a welcome appearance, peaking from behind clouds to close a perfect summer show, the band are appreciative to their early audience and the feeling is mutual. A mental note is made to check out their record on my return (which I shall do shortly!)
As my weekend was one of balance with two young children with me (aged five and eight months) I had to ease my usual insatiable appetite to hit front row centre for as many bands as possible with their needs so we grab some food (the first of three stops at the wonderful Pizza stall) and then head to the circus area.
There are plenty of things to pass kids time there, on this stop my little one plays hula-hoop, juggles and does some other things I have no idea what they are called. Half an hour soon passes and we head for a drink.
I have ale, there's more choice than I can cope with but I find Viking an early winner and we also grab a Frank Water bottle, a brilliant and cost-effective way of keeping supplied with cold, fresh water throughout the weekend - do check out their website and support their great cause.
I get to do a solo trip next as my partner takes the children off, I head back to the big top for Pins. They deliver a set which has developed incredibly since I last saw them yet still oozes with the same raw attitude. The quartet are tighter and slicker than ever, the vocals uncompromising amongst darkly, metronomic rhythms and guitar thrills. It's high energy and relentless (with the exception of "Eleventh Hour" which has been slowed down with languid shimmers), older tracks like "Say To Me" stand equally alongside new ones "I Want It All", "To You" and the title track from their forthcoming debut "Girls Like Us". That, like this set, promises to be electrifying.
I head straight outside to meet up with my family who have taken residence at the back of the Woods stage for Allo Darlin', the weather Gods haven't read the script and dark clouds form above, the rain keeps away but the quartet's beautiful, warming indie pop is not played out to glorious sunshine as it should have been. It matters not as the combination of tracks from their two albums (and new ones from a seemingly nearly complete third) keep the crowd smiling and singing along, Allo Darlin' seem in the rightful place and are the perfect festival band.
More family time and a change into evening wear follows before heading to the festivals most picturesque stage for the first time, we find Serafina Steer just walking ontothe beautiful garden stage.
Her fluttering harp and beautiful vocals feel right at home here and when she's joined by a guitarist and percussionist her set comes alive, soaring peaks and sparser tracks sit side by side amongst her amusing banter. "Night Before Mutiny" is saved for the end of her hour long set - a length Serafina seemed not quite accustomed to - but it was sure worth the wait, just lovely.
Time for another beer next before we grab dinner and settle down at the back of the Woods stage to watch Eels. Not my pick but as I picked most of the weekend I can hardly grumble. What I can grumble about was the rain which briefly followed, perhaps only ten minutes or so but enough to make everyone reach for their waterproofs. We were treated to a double rainbow though so I won't complain. Once the kids are asleep I venture out solo and return to the Woods stage for the evenings headline act David Byrne & St Vincent. I wasn't sure what to expect, if you've followed this blog for a couple of years you may know I'm slightly obsessed with Annie Clark but I didn't connect fully with last years' Love This Giant album. Until now.
The show was phenomenal, any doubting concerns the crowd may have about the slightly unusual pairing is cast aside after about two minutes. They walk on stage, David Byrne impeccably dressed (like a happy Johnny Cash as Annie herself says) and St Vincent with hair dyed bleach-blonde armed with her guitar.
They are accompanied by a brass band (seven or eight members deep) an immediately launch into as quirky and commanding set as you'll see this year, synchronised dance moves from the full ensemble of musicians, the band playing their part and not hidden from the audiences view as the pair take it almost in terms to lead the songs.
Byrne's questionable dance moves remind me of Kryten from Red Dwarf with karate chops and robotic movements but it works in an equally baffling and amusing way. St Vincent's art-rock guitar playing is as electric as ever, her skills unquestionable as brass trumpets et al add a funk-laden backing. There are solo tracks from both careers too, "Marrow" an early highlight and "The Party" a sombre mood changer in the encore sandwiched between the two big singalongs of the evening, Talking Heads hits "Burning Down The House" and finally "Road To Nowhere".
Marching jazz bands, St Vincent's tiny tiny steps, robo-Byrne and fantastic music, this show had it all - I don't think anyone even noticed it rained.
It was going to be hard for anyone to top that if you could pick an act you'd want to be following it, Savages would be quite high on the list. I had time to grab a beer (I hope you're noticing a reoccurring theme) and heading somewhere near the front. I'd not seen them for a little while and what was a tight-tight set is now even more so, as slick and polished as any live act today. Jehnny Beth is imperious and a genuine front of the band, she stares out to the crowd wide-eyed in between her imposing lyrics. The music masterful, rumbling rhythms and colossal soundscapes ring out and a few people at the stage seemingly lose it as they bounce around in delight.
About as good as close to an evening as you could ask for. End of the Road day one - you've treated us alright.
