Phoebe Bridgers - New Music "Introducing"

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Sorry to my source for this, my draft folder was nothing more than a bandcamp link (I do like to say if I discover an act via another blog etc and it annoys me how few do), Phoebe Bridgers is a Los Angeles artist whom appears to have progressed from a solo singer-songwriter to the more expansive indie-folk/pop which make up her Killer EP.

Opening track "Chelsea" gives the release the perfect start, growing from stark shimmering guitars and bare, dark lyrics to a storming indie track full of confident swagger and luscious melody, I read the track is a nod to Irish folk music and I can hear that in Phoebe's vocal, her voice sounds natural and clear throughout and the production is top notch too.

Elsewhere things change up considerably, the title track is a pared-down acoustic number with the great line "I'm sick of the chase, but I'm hungry for blood", is full of weighty emotions (as is much of the EP) whereas closing track "Whatever" is pure fun, a stomping Juggernaut of guitar and addictive, repetitive chorus, it hints at much more to come and completes a highly enjoy release. Killer is available to download on a pay-what-you-like basis via Bandcamp.

Liza Anne #3 - 1,000 Years

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Liza Anne has quietly come to Europe, I only found out through this video, a live recording of her track "1,000 Years" (nothing to do with that song). Her album The Colder Months became one of my early year favourites after I became smitten with its breathtaking title-track, an atmospheric beauty that slowly swells around widescreen guitars and softly emotive vocals, it sets the tone for the entire record.

This stripped back version of "1,000 Years" sees Liza joined by Paris based Josh Savage, the track is an understated, intimate and wholly gorgeous number with barely there acoustic plucks and plaintive piano chords placing the emphasis and the pair's words and voices, both haunting and delicate, this is a heart-melting video, make sure you give it a watch below.

Annoyingly (for me), her only London date penned so far is this Sunday, June 1st at a Communion Music at Notting Hill Arts Club.

I've included the album version below too. The Colder Months is available here.

Paperwhite - Magic

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Today I have two wishes; that Paperwhite were British and that this track, "Magic", was our Eurovision entry. We would have walked it (well perhaps came second). Alas the brother / sister duo hail from Brooklyn (does that actually matter?) but this track, their second (I managed to miss last year's debut "Got Me Goin'" altogether) is pure, instant love. I was going to write that in capital letters but then I remembered I'm almost 32.

"Magic" immediately sets about its aim with an anthemic introduction, a glitter-ball of sophisticated 80's leaning electro-pop before we are introduced to the utterly swoonsome voice of Katie Hamilton. The mood is youthful, romantic and effervescent througout and armed with soaring, Haim-esque choruses "Magic" has got the words 'Radio One Playlist Committee' written straight through it.

This should be massive (it's got eighty thousand plays in ten days, not too bad). Get it on iTunes now.

Hydrogen Sea - Leave a Mark

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I meant to write about a little bit about this track last month, it's been a crazy month my end and one that seemingly doesn't want to let go. Belgian duo Hydrogen Sea came to my attention through "Leave a Mark", the first track taken from their debut EP Court The Dark (the last copies of which are available now via Unday Records).

The track is pure beauty and chills, a slow motion melody of soft, bubbling electronics and languid, caressing vocals provides the ghostly air which effortless combine to draw you into a hazy, shivers-down-the-spine inducing mood. Bliss.

Dios Mio #3 - Stories

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I was pretty quick on the uptake of the original Dios Mio demos last September, almost nine months later (and after the equally great "Proto") comes the London based quartet's first 'official' single "Stories", a track which made its debut last month, but better late than never eh (and the official release date isn't actually until June 30th)...

You can immediately feel the investment in studio hours pay off, the track sounds bigger and more refined than those earlier (and still impressive) tracks, "Stories" is beautiful, brooding and infectious, with a sophisticated, smoldering melody swirling around glistening guitars, a tight rhythm section and Helena's stunning vocals, "Stories" sounds like the beginning of one hell of journey for the band...

First Aid Kit #8 - Cedar Lane (Live)

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I've posted about this track before and this act even more but my love for First Aid Kit grew even more strong with a sparkling, rocking, beautiful performance at Islington's Assembly Hall a couple of weeks ago, a far cry from the first time I saw the Söderberg sisters perform in front of 40-60 people at Glastonbury's Greenpeace stage in 2010. Their progression is startling, their live show is near perfect, sounding completely effortless and never bigger or more polished than on the tracks from their third full length Stay Gold (due June 9th and available to order on Gold vinyl now).

This version of "Cedar Lane" is labelled as a live "acoustic" version (and I think I spot their Dad on guitar) yet it sums up that maturity. A full, rich melody that is an absolute joy to listen to. I've repeated this track a half dozen times already and I'm still smiling - I absolutely love the change between their voices, Klara's beautiful lead and the way Johanna's voice complements it, slightly huskier, her voice makes me swoon everytime it kicks in and those harmonies at the songs climax. Wow. I can't wait to see them again (September at the Royal Albert Hall!!!).

Big Deal #3 - Always Boys

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Big Deal waste no time following up last years June Bloom with a new EP Sakura, due July 15th via Mute. For now we've been treated to it's lead track "Always Boys", a song which reaffirms the band as one of our most under-rated acts, rising from a mellow, spacey introduction to big, soaring highs with a real feel of summery pop and addictive sing-along verses.

The guitars fly in from different angels, driving hard and laying the scuzz on thick ever-propelled by a runaway percussive beat. Alice takes on sole vocal duties on the track, her voice smooth and dreamy and the result sounds like it should be the soundtrack to your summer, a rich and expansive noise that keeps on giving.

Deers - New Music "Introducing"

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I'd seen the name Deers a few times before I finally listened to the Madrid based duo late last week, they've picked up some pretty impressive press armed with just two raw demos on a bandcamp page (NME Radar buzz band of the week, TLOBF song of the day and so on).

For me, late on the scene, it was love at first listen with "Bamboo", a ramshackle garage-pop gem which blends about a dozen genres into one concise four minute track, languid, slacker riffs, addictive stickly-sweet choruses, the Shangri-Las harmonies, a perfect blend of snarling voices and raw noise.

The other track you can listen to from Deers (both of which  can be downloaded now for how ever much money you'd like - head to Bandcamp now) "Trippy Gum" has a more surf-pop vibe, breezy guitar's and swirling pysch rhythms, it's purposely messy and rough around the edges but for now at least, that only adds to the endearment.

Deers play what I assume to be their debut UK show at London's Sebright Arms on June 9th - info / tickets.

Tape Waves #6 - Looking at the Sun

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Following hot on the heels of the a-side "Stay All Night" comes the flip track to the new Tape Waves 7" release "Looking at the Sun", a song that I probably should have posted the other side of the holiday, with it's woozy, relaxing melody and Kim's breathy, haunting vocal whispers guaranteed to get you in the mood to hop in the car and head for your nearest beach...

As the wonderful review at Norman Records so aptly surmises (where you can also buy the release) "They have a lovely sound that perfectly matches the imagery on the sleeve". Hazy, languid and beautiful. Those twinkles at the end - swoon.

Go grab a long drink, close your eyes and pretend you're on holiday. Your day is guaranteed to get brighter for around four minutes.

Hey Elbow - New Music "Introducing"

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Continuing with my Scandinavian love-in (although most weeks could be considered that here), Hey Elbow are a new trio from Malmo whom have just released their debut single "Blanca" via Double Sun.

The track is big, bold and brilliant, combining echoed, uncompromising vocals and dreamy backing harmonies with a wall-of-sound backdrop where huge sounding electronics, big pounding kettle drums beats and soaring horns hammer home the unsettling, don't listen to on your way home alone at three am mood. I've seen Chelsea Wolfe comparisons in every review I've read, I don't get that at all, I'd go with Esben and the Witch with the brass elements of These New Puritans. That sounds like something I'd love now doesn't it...

Get the track on iTunes now.

Alice Boman #5 - Lead Me

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Alice Boman is another of those artists I seem to feature here everytime she releases a new track, if you press play on the video below you'll soon understand why. "Lead Me" is taken from Alice's forthcoming EP II and is beautiful. That would probably be enough for some blogs but I do like to add a paragraph of waffle...

"Lead Me", here recorded live in a beautifully lit kitchen, is much like Alice's tracks before it, heading straight for the heart, an intimate, delicate tale of the trials of love, backed solely by softening keys "Lead Me" is possibly the brightest moment we've heard from Alice so far, it's the perfect way to start your long weekend.

I've also included the newly released video for a track I've covered previously, the equally gorgeous "Over" taken from the same release. A release you'll probably want (and luckily for you, can have by pressing on this link).

 

Sea Change #2 - Bridges

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Sea Change (aka Ellen Sundes) was one of my revelations at The Great Escape (and judging by the reviews I've read, many others too). Even as an act I'd blogged about before the festival I was taken aback by her live show, performing as a trio in a pitch black (and tiny) basement I saw as intense and chilly a set I've ever, extraordinarily dark, her (surprisingly) epic electronic soundscapes and bass guitar rhythms combined perfectly around her undeniably sweet, ethereal vocal. It was simply stunning.

Her latest track "Bridges" was released a couple of days before I departed for Brighton and with some distance from that performance the track still mesmerises, it starts relatively calm with ambient glitches, effects and spectral vocals immersing you within its hypnotic, dream-like state before spiraling to a searing finale of electronic noise, guitar and emotion. If you still haven't discovered Sea Change, now is your chance.

There's some Sea Change merch - including two 7" vinyls I didn't know existed and a complete live bootleg (free) to be had from the official store - here.

Photo Credit - Martijn Veenma

Southern - Oh Won't You Go

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Southern are a band I've been meaning to see live / investigate properly for some time now, I actually tried to see them at The Great Escape but the venue was full and there was a massive queue to get inside so it was not to be. Instead I've had to make do with the track I'm going to feature this afternoon as my real introduction...

The Belfast-born, Liverpool-based brother and sister duo have just shared new track "Oh Won't You Go" from their recently release EP Where The Wild Are and it's actually nothing like what I was expecting, a sparse setup with swooning guitar and pared-back percussion creating a misty, dream evoking mood in which Lucy's honey-toned vocals capture your imagination. It's nothing other than gorgeous.

I've included the title track too, a big, soaring guitar pop beast with addictive, super-charged hooks and dual vocals. It's hard to believe it's the same band. I like that, a band willing to unexpectedly change things up.

The EP is available now via iTunes.

KAIROS - New Music "Introducing"

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KAIROS is Lena Simon from Seattle who came to my attention thanks to playing a bit of bass for a band I've featured here before, La Luz (I was gutted to miss their London show - I was in Bratislava).

Her debut EP has just been released and whilst it's not the same sound as La Luz's 'surf-tinged garage pop', it's highly enjoyable in it's own right. Kairos floats more into ambient skies with smooth synth and guitar textures woven around Lena's gorgeous vocals, it's full of a gentle human touch that soothes and calms in equal measure.

I'll concentrate on the tracks that book-end the six track, self-titled release, the stand-outs "Casanova" and "Can/Cannot", the former is a lovely slice of melancholic soft-pop with mellow guitars, restrained beats and luscious dreamy synths, the woozy feeling it leaves you with is nothing short than heart-stoppingly beautiful. "Can/Cannot" sees Lena's take on Marry Me era St Vincent, an irresistible alchemy of minimalist, shimmering melody and graceful, slightly quirky vocals, absolute ear-candy.

Kairos was released this week and is available now via Bandcamp on digital / 12" vinyl.

The Night VI #3 - Sienna (acoustic)

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In my iTunes account I currently have a playlist of about a dozen tracks that I am currently obsessing over, one of them is "Sienna" by The Night VI, as immaculate a slice of soulful pop I've heard all year. Now, as if to make my love for the track grow even more, the sextet return with a new acoustic version of the song..

It strips out some of crystalline production and puts the emphasis firmly on the cool instrumentation and Sophie-Rose's flawless vocal, the result sounds simply beautiful, restrained, effortless and enchanting. You can grab it as a free download below. You can't go wrong there, can you.

Get the original too.

Ellen and the Escapades #4 - Lost Cause

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It's been over two years since I've featured (and perhaps listened) to Ellen and the Escapades, one of the pitfalls of continual new music discovery is that many acts you post about and enjoy can be forgotten in the midst of time. The Leeds band return to my attention with their new single "Lost Cause" (due for release on June 2nd - available via iTunes).

The track is a beautiful, brooding return, armed with a familiar but new sound and a melody that is gracefully simple and complex too. It gets under your skin with swooning strings, dark guitars and a defiant drums beat that forms the focal point of the track around Ellen's rich, warming vocals before growing to a stirring, heartfelt conclusion.

"Lost Cause" is beautifully written, understated and well, lovely. Listen below:

Pretties For You - We Have Our Reasons

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Oh, Luxury, you've only gone and done it again. Another band I'd never heard of from Sweden who tick every single one of my boxes...

Pretties For You, a quintet from Gothenburg already have an album to their name but come to my attention with their enormous single "We Have Our Reasons", a compelling, slick beauty which would have topped the charts if it was released in the 80's.

It's not just big, it's colossal, a compulsive marriage of buzzing synths, Cure-esque guitars and a truly stunning vocal, it's made to be heard in huge venues with a sound system capable of matching it'se propulsive rhythms. Perhaps now Coldplay have gone (back) all miserable on us, there's a space going on the stadium tour circuit?!

Pretties For You have just released their nine track album of the same name (and available via Luxury) and I recommend you give it a spin if you're still reading this post. I'll just mention the opening track "Talk" here, a track which is similarly brooding and epic, with darkly dramatic soundscapes akin to Garbage amongst swelling power pop choruses. It's a potent combination.

Tapes Waves #5 - Stay All Night

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The wonderful glow of sunshine that made our weekend's so fine may have departed to be replaced by a bed of cloud but fear not, there's a brand new song by Tape Waves to keep your mood beautiful.

"Stay All Night" is the first track we've heard from the Charleston duo since their debut EP (one which I probably should point out that I helped to re-issue on cassette via my Beautiful Strange label) and marriage (congrats) and it's all sorts of gorgeous, with soft delicate percussion and restrained guitar chimes providing an effervescent melody for Kim's delicate, whispers to leave you weak at the knees.

It's the sort of track that will have you dreamily walking along the road tapping along to the beat - just remember to look out for lampposts as you do. "Stay All Night" is released May 26th on limited 7" via LebensStrasse Records - pre-order.

Lykke Li #7 - No One Ever Loved

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Lykke Li's recently released album I Never Learn contains nine tracks of heart-break, an open book of emotions and mourning. Here's another one; (Lykke's contribution to the soundtrack of the film The Fault In Our Stars) "No One Ever Loved".

The track is a beautifully taut piano led ballad that is both simple and devastating, serene ivory twinkles and ambient effects guide Lykke's typically intimate, pleading vocals and as a listener you are left close to tears.

There's a line in the track that sums up Lykke Li's third album material perfectly "yeah, it kills me every time"... indeed it does.

Alvvays - Adult Diversion / Archie, Marry Me

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I mentioned Alvvays in my review of The Great Escape (Friday) but I felt they deserved their own blog (as do a few other TGE discoveries which will follow in due course). The Toronto quintet were somehow new to me when I went to see them last weekend after a friends recommendation, it took all of about thirty seconds for me to fall for Alvvays and I was soon left wondering quite how I'd not heard of them earlier, a 'new music' blogger after-all is meant to be ahead of the game...

They've got two tracks for share on their soundcloud page with an album seemingly due quite soon and both tasters are superb, the two reference points that keep coming back to me when I listen are Fear of Men and Pains of Being Pure at Heart, two fine bands to be drawn in the same breathe as, it's the urgency of the fuzz-pop guitar rhythms that draw the latter and the gorgeous, breathy vocal of Molly Rankin the former.

"Adult Diversion" was the first track they released late last year and it's simply the perfect slice of playful jangle pop, carried by sprightly drums and waves of reverb-laden guitar, it sweeps you off your feet and soon finds you immersed in it's infectious, head-bopping melody. Their second track "Archie, Marry Me" is more bittersweet but equally wonderful, the guitars are thicker and the vocals come with added heartbreak, the two make for a fine introduction. I'll see you down the front whenever Alvvays return to theses shores.

The Great Escape 2014 - Saturday Review

Reviews of Thursday and Friday.

Saturday you've arrived so soon, the final day of The Great Escape and the weather forecasters (unusually, of course!) have it wrong. Instead of rain Brighton is full of blue skies (the wind is still relentless). After breakfast, coffee and another Ben's cookie (yum) it's an early start at Boutique. I can't remember what this place was called last year but it's not your usual gig venue, a red lit basement with seedy/sexy ambiance. It's not exactly the sort of place you'd expect to see The Cadbury Sisters but here they are on stage.

They are wonderful too and deserve a much bigger crowd then they are playing too, combining heart melting vocals with ever changing instrumentation. Ranging from sublime harmonisation with delicate acoustic backing to soaring peaks of complex, shimmering guitars and percussion. Their set reaches an almighty peak on their final track (and most recent single) "Milk" and I'm already in line to buy their forthcoming EP.

Afterwards and into the sunlight. I decide to head to Above Audio next to check out Lay Low but I get it wrong and it's not actually Law Low on stage but a band I have never heard of before Mammút and so I stumble across my 'unheard before' band of the weekend.

Mammút are fantastic, as compelling an act I see all weekend and you really cannot take your eyes off frontwoman Kata throughout. One moment their set is beautiful, ethereal, calm and delicate before out of nowhere exploding with soaring peaks of controlled aggression. Even for somebody who doesn't particularly listen to non-English lyrics I'm hooked (they sing in their native Icelandic). I try and explain what they sound like afterwards to a friend and fail, I end up with a tired Bjork-cum-Evanescence. Thankfully you can just go and listen to one of their tracks at the end of this post.

Because Mammút were too good to leave by the time I get up the road to Blind Tiger Powder Blue are already in full swing and it's another great set - so many in one afternoon. The Canadian quartet bring a rich blend of simmering psyche rock and big, punishing beats to the table, it's a combination I can't help but adore and I instantly fall in love with the swirling guitars of "Go On Forever" and the darker mood of  finale "Run". It's played to a packed house and I'm not the only one impressed.

Afterwards we head down to the front and with the wind firmly in our faces try and track down where Blessa are due to be playing a 'secret show'. We find it by the Carousel, in fact they play under a carousel horse (I'm sure it's a first for any band).

They play a short stripped back set as a duo, I've no idea if the band have experience of this sort of setup before (I've not seen any acoustic videos from the band before) but removed from the 'full live sound' of the quintet you can hear Olivia Neller's vocal in true clarity, prettier and more intimate than ever amongst restrained electric guitar with the rendition of latest single "Unfurl" especially suited to the surroundings.

I leg it back to Blind Tiger next and have to queue to get into an afternoon show (something I don't think I've ever done before at The Great Escape, an indication of the growing popularity of the festival for sure) so I have to listen to about two songs of Mise En Scene from outside, another new band to me, when I eventually get in I understand why the place is packed out; it's raw, raucous fun and I'm impressed.

The band exude confidence as well, the trio happy to shred guitars and shout at the audience to dance along, it's loud, vivacious and commands attention from start to finish, glammy, grungey, ramshakle noise with vocals that are prettier than you'd expect, I add another band to my 'check out after the weekend' list.

Beer Update 11: £4.00 for a pint of Red Stripe.

I head to The Loft next with the aim of seeing Novella but it's after their set time and the band before them are just about to start, I decide not to stick around and continue with my plan and so it is off to The Mesmerist I go to check out local band Fickle Friends.

It's fair to say the place is rammed, I get a beer and stand tightly packed near the front. The band are good, it's hard to believe they only started at the turn of the year. The sound is tight and the melodies are sumptuous, an irresistible blend of jangly guitar and buoyant keys get the crowd shuffling their feet even in their confined space whilst the soaring vocals make me think of some of the finest moments in 80's pop. "Play" and "Swim" stand out because of their familiarity but the rest of the set is hugely enjoyable and a band confirm their potential.

There is time for a beer in the Fishbowl before I head to Audio to see Powder Blue for the second time today, I'm in time to catch the start this time and the set is more assured than their earlier one too, the more traditional gig surroundings and darkness of the venue suiting the quartet.

They seem more confident and they get a great reception, it's not hard to see why, a beautiful, hazy maze of layers guitars, keys and some punishing percussion. "Go On Forever" sounding exceptionally good live, it's so good I buy the vinyl afterwards even in the knowledge I'm carrying around it for the rest of the evening and the only real disappointment is learning Shelby is a Man Utd supporter!.

Next to Komedia and French For Rabbits, a band I've been wanting to see perform for a long, long time. Ordinarily when a band start off with their biggest two tracks ("Claimed by the Sea" and "Goat") you'd perhaps be worried about the second half of the show but not here, the duo-cum-quartet (with the addition of a touring bassist and Amos from Fanfarlo/ Sophie Jamieson on drums) blossom throughout, a gorgeous, soothing blend of swoonsome folk and soon you are carried far away from the dark, bleak surroundings of the studio bar and land somewhere much more suited to their gorgeous tones.

I stay at the venue and afterwards comes Young Summer, her vocals are good but I'm left longing for a 'real band' to support her (she is accompanied by an electronic drum kit and samples), perhaps then she'd be good but I stick around because next next it is Blessa performing in more traditional surroundings than earlier.

The dark room is more suited to the shoegaze / alternative-pop sounds of the Sheffield quintet and their blend of dreamy vocals awash with chiming, anxious guitars sounds great. Brooding yet light, gloomy yet romantic, nostalgic yet modern, Blessa tick every box.

Beer Update 12: A Pint of Red Stripe for £4.10

Next I head of to Latest Music Bar to see the first band show by Eliza Shaddad, there have seemingly been a few scheduling problems throughout the day and there is only time to hear four tracks, Eliza plays the entirety of her forthcoming EP Waters and it's delicious, the title track especially suited by the addition of a rhythm section, it sounds enormous. Compelling and beautiful in equal measure, it makes for the perfect summation of the weekend and The Great Escape 2014. Musically one of the finest editions yet (there is the niggling suspicion that Brighton is at capacity about now and I hope the festival doesn't expand too much for next year, the festivals 10th year. I shall see you there regardless.

Beer Update 13: £3.00 for a can of Red Stripe

The Great Escape 2014 - Friday Review

I'm awake early on Friday morning, I paced myself quite well yesterday (here is Thursday's review if you missed it) and after breakfast I head to do a little bit of shopping. I purchase Joanna Newsom's Ys on vinyl, something I've wanted for a while before grabbing a coffee and a Ben's cookie and heading over to Sticky Mike's Frog Bar for the music to start a little after midday.

I'm here to see Wilsen play for the fourth consecutive day. The surroundings are somewhat darker than the previous two days (both in churches) and they are playing as a trio without the drummer they'd borrowed for their UK tour (of which this is the last) but Tasmin and band continue to impress me, today felt especially beautiful given the time and location, "Magnolia" impeccably delivered serves as the most gorgeous opening to the day.

To Audio next for a band I've featured lots here September Girls. I've seen them play at least a half dozen times before but they deliver the best set I've ever seen them perform. It's (wholly) the same material and the five piece still combine doo-wop harmonies, darkly psyche rhythms and pure pop but it's delivered with a less ramshackle approach and the professional, tight and non-nonsense approach really rubs off on the music. The place is packed and nobody seemed to be leaving. That's about the best plaudit you can get.

Afterwards I head towards Dome Studio and stop for a rest in the baking sunshine (honestly) and take in the songs from a busker playing in the street nearby. The set is mainly covers, some of which are hit and miss but there are glimpses of talent and undoubtedly a lovely voice. I later find her name was Stephanie O'Brien.

I quickly grab some food from Pompoko before bumping into Josh and Soph from Hella Better Dancer on my way into the venue to watch Honeyblood in the same location where I first caught the duo perform twelve months earlier.

(Stina picks up on it too) The crowd is noticeably larger this year and their sound has grown more confident, playing tracks taken from their forthcoming album at a furious rate, the catchy hooks and rumbling percussion of singles "Bud" and "Killer Bangs" met with especially appreciative nods of approval from the crowd.

Beer Update 7: £4.00 for a local craft lager (possibly the nicest of the weekend).

I meet up with a friend at The Mesmerist next but decide to go for a quick beer before returning to the same venue to catch Laurel. I'd not heard her before but was happy to go and listen when I heard a Lana Del Rey comparison and whilst obvious, it is pretty accurate. She plays pop songs with a dark, cinematic edge with a pretty vocal and her half hour passes well enough. I can't help but keep looking at the reflection of the crowds feet from the stage too.

Beer Update 8: I had a pint of Lanes Best but I can't remember how much it cost - it wasn't overly expensive.

Time for some food now and as we are in Brighton it'd be rude not to head to the front at least once for a chippy dinner, the relentless wind means that the task is somewhat more difficult than it should be and I refrain from walking along the pier or the beach and instead take shelter inside.

It's almost seven o'clock now and time for the evening session to begin. I head to see another band I've not heard of or listened to previously but one that I'd had recommended to me; Alvvays.

Once they being it takes me about five seconds to wonder how the hell have I not come across the Toronto quintet sooner, a sound that combines the bristling energy of Pains of Being Pure at Heart with Fear of Men's way with melody, it ace and amongst pop hooks and dreamy vocals I'm already booked to go and see the band whenever they next hit London (as well as writing up a proper blog on the band soon).

In the same venue next for Marika Hackman and I'm not sure if it's because she follows the care-free indie pop of Alvvays or my pre-gig expectations were too high but her haunting harmonies don't quite hit the magnetic heights I was hoping for, the voice is there and tracks like "Cannibal" sound beautiful but goosebumps don't quite arrive.

Beer Update 9: £2.00 (yes really) for a bottle of Becks. Prize for the most sensibly priced drinks certainly go to East Wing.

It's a short walk to The Tube next for Las Kellies, a band I caught up with about two and a half years ago now on one of their rare London shows and my love for the Argentinean trio instantly returns, a glance at their set-list reveals about twenty songs and you are left wondering how the hell they've going to fit them into a half hour set, they do and more too, continuing to play until a lady comes with a hastily made sign saying 'two more songs' (but the band don't see that and she has to change it to 'last song').

The band have the best rhythm section of the weekend, thudding bass and frantic drums propel their tracks and the quick riffs "Perro Rompebolas" is a joy. I've a soft spot from tracks from their Kellies album and "Scotch Whisky" is the perfect summation of the set, fast, ferocious, fantastic and fun.

I walk briskly to Unitarian Church because next it is Broken Twin, one of my favourite discoveries of recent time. I arrive half an hour earlier than her planned set time to find a big queue. A lot bigger than I was expecting. I spend ten minutes clock watching, worrying and not moving before we are told the venue is running half an hour late. Nerves subside because I'm pretty sure with fifteen or so people in front of me I'd get into the venue in time (although the delegate queue on the other side moves with annoying frequency and makes them return). Soon enough you can hear the deafening rumbles of some ferocious percussion from outside that signifies the Oy set, and I wait semi patiently outside. After about 45 minutes of queuing (my longest ever at TGE) and the end of the Oy set I'm finally inside and get a seat on the second row. Not too bad.

Although the picture I've included here makes them look like a rock band Broken Twin are anything but, touching deep at your emotions as Majke spends much of her time playing a real piano to one side of the stage, the true chords bring out further depth in her haunting and intimate songs. "In Dreams" is my favourite track on her sublime debut album May, I'm not sure what the echoed microphone is called but Majke nods her head up and down singing into it as the entire church watch in silence whilst her band threaten to bring down the place. They never do of course and there's a restrained elegance throughout this shiver inducing set, I've said this before and I'll say it again, Broken Twin should be your new favourite artist.

I walk out of the church and reflect, I finally decide to head to a place I'd never been before Neighbourhood. I arrive and it's not a venue at all, it's a tiny pub and the stage downstairs is easily the smallest thing I have ever come across. I'm not quite sure how they managed to pull off the line-up of acts they had (Russian Red played her earlier today; someone who sold out two dates at The Lexington playing a place that can hold about 10 people if they have instruments!).

Not long after Femme comes to the 'stage'. It's fun, immensely so and it's pretty much impossible not to have a smile on your face. She plays four songs backed by a DJ who provides the beats and in possibly the smallest place you'll ever see her and you feel lucky to have been in the crowd. For a couple of tracks two dancers reduce the audience space further and it's impossible not to dance along as well. The people clambering around on the stairs for a better view must have agreed too.

The audience is asked to go upstairs so they can get the room ready for the next act who is Sea Change and one of the discoveries of the festival is found. I'd previously heard (and blogged) about "Let's Dance" and I actually summed it up pretty well last month when I said "full of lush soundscapes and bewitching atmosphere that should go down nicely in a dimly lit sea-front basement". 

What I wasn't expecting though is quite how good it would translate to this extraordinarily dark front-room (and quite how small the venue would be). It's incredible. Much darker and intense than I was anticipating beforehand with electronic rhythms, glitches and bass guitar combining around Ellen's ethereal vocals with new track "Bridges" hitting hardest. It sent chills straight through me, managing to sound absolutely enormous and transporting you to some massive dance tent. Imagine seeing Fever Ray in front of about 15 people -that's how good this was (apart from the idiotic drunk who somehow found his way into the room). The only complaint comes when the plug is pulled on the set for apparently going on too long, I could have done with another hour.

Beer Update 10: £4.20 for a pint of Asahi.

After a little walk I head to meet a friend and watch a couple more acts and have a few beers before bed. Neither connect with me but overall Friday was quite the spectacular day. I paid £39.50 plus booking fee for my TGE ticket. I received that much value in acts today alone.

The Great Escape 2014 - Thursday Review

I feel slightly brighter now, I'm not sure if it's because I'm away from the battering sea-front winds Brighton treated us to all weekend (although, Thursday lunchtime aside the weather was on the whole nice) or if it's a decent nights sleep or a day off alcohol (probably a combination of all three) but no sooner than it had seemingly begun, The Great Escape is over for another year. The next three posts will serve as my review, the highlights of my weekend and some general observations as we go along. The first one - on Friday and Saturday especially the day time alternative escape shows seemed busier than ever before. Friday and Saturday's review might be delayed, as I've previously mentioned, I'm moving house (in about an hour).

I arrive into the aforementioned rain. It's a terrible journey to Brighton too, problems on the railway lines mean I'm standing on a platform at Gatwick Airport for half an hour and then have to head to Hove and grab a taxi to town instead. The first thing I notice is the wind, boy, the wind. It's raining as well. A beautiful start.

After a bag drop and trip to the wristband exchange (which has moved to the Old Steine this year) it's a walk up to the station and to Green Door Store first to see Ballet School (I had planned on going to Blind Tiger but our lateness hindered that). The Berlin based trio combine big punching beats with an even bigger vocal and soaring guitars, it's a potent combination of 80's power pop nostalgia that rarely pauses for breathe and one which draws a capacity audience to a Thursday lunch time show, though perhaps a later show would have helped to get people dancing.

Beer update 1: £4.20 for a pint of San Miguel.

After it's a new venue to me, Brighthelm. It's an unusual place, the front has a day centre, down stairs there's a pre-school and in the back there is a sizeable room that looks like it usually hosts amateur theatre. The first act I see is someone I'd never come across before, Aimee Gould. She's a young singer songwriter who takes to stage with a male counterpart and the duo harmonise throughout. Aimee's voice has a soft, pretty feeling similar to that of Emily and the Woods and there are indications of future potential throughout, especially on her recently released track "Don't Let Go".

Afterwards I quickly head to Pompoko (I head here for lunch every day, one of the two places - the other being Ben's Cookies - that I wish I could clone to my hometown) and back to Brightelm for the next act Wyldeck.

The first thing you notice is the hair - there is a lot of hair on stage but soon I discover an accomplished band, their darkly hypnotic rhythms are compulsive and have people in the crowd dancing around like they've found themselves in a Clint Eastwood movie.

A bloggers mini convention occurs before The Night VI take to stage and soon I'm hit by the first really swoon-tastic moment of the festival. A set book-ended by the fabulous singles "Thinking of You" and "Sienna" highlights a band with an infinite amount of potential, shimmering crescendo's, beautiful, soothing harmonies, a devastating lead vocal, catchy hooks, it's a set that has it all.

Beer update 2: £3.50 for a can of Becks.

I head back to my room quickly to check in and drop off my bag, I'm not really a fan of carrying stuff around all day!

Next to the main area of the festival and to the green, very green surroundings of the Heineken Stage. As you walk in you wonder where the stage is, there wasn't really one. A speaker in the corner of the room gives the game away and eventually it's joined by a microphone. I'm here for Eliza Shaddad and soon she plays amongst the unusual surroundings, on the whole the audience are obliging and remain quite as her soft, devastating tones fill the room and sounds never more beautiful than on "When We". Eliza later tells me she'll play her first ever band show on Saturday night and I make a note in my diary (in my head).

Beer update 3: A pint of Heineken for free. I think I got lucky and had a drink when Heineken were handing out freebies. I'm not one to complain! (it didn't taste very good).

I was left wondering where to start the evening but agree with my friend that we'd give Norma Jean Martine a shot, I'd not heard her before but we head to The Coalition shortly before she enters the stage and I'm impressed. Very impressed in fact. A young American (though from her soundcloud page I learn she is perhaps living in London now) who's piano led pop is made for the radio, joined by bright guitars and precise beats there's an instant quality to her music and her voice is quite lovely too. I make a note to listen to her properly once the dust settles on the weekend.

Beer update 4: £4.40 for a pint of Staropramen


I head outside and battle the wind to head to The Warren, a venue tucked away behind the shopping centre and find a mini world tucked away, more reminiscent of a Glastonbury area than a venue at The Great Escape.

I'm here for Russian Red who starts bang on time (I found most venues to be very punctual). There are a few technical problems and Lourdes seems somewhat more business like than her fun-filled headlining show on Tuesday (at London's The Lexington) but I'm still putty in her hands and I absolutely adore both her voice and her new direction, the rockier full band sound of her latest record is my favourite of her three records and the only thing I am disappointed with is that the show finishes after half an hour. I do like precise half hour sets, about the perfect length to showcase a band and for them to grab your attention but when you are seeing an artist you really like who doesn't often play in the UK, you can't help but want more.

Beer update 5: £4.00 for a bottle of Carslberg

I only intended to call in on Wilsen next (after all I'd seen her perform on the previous two days) but Unitarian Church is running behind schedule and I arrive in time to see the whole set. The acoustics of the church suit the restrained, shimmering atmospheric of their music perfectly and Tasmin's luxurious tones have rarely sounded so crystal clear, the audience are deadly silent and it's a joy to watch, especially when it comes to "Anahita", their perfect set closer.

I leg it up the road and get into Green Door Store just as Tennis begin, it's not often that you see a band with a couple of albums under their belt and you say this; the set highlight was a new track. I'm not sure what it was called but it was fantastic, a real edge to it, one that sounded bigger, brighter and catchier than anything the band have done before. Again, it's a band that have too much material you want to hear over a half hour set and there's naturally disappointment that we don't get to hear "Marathon" and more tracks from their debut but I leave happy I made the trip.

I quickly scoot across the road to the Prince Albert to see Arthur Beatrice and after some time queuing on the stairs whilst the previous band play I enter and find myself perfectly positioned at the front.

What follows is the highlight of the day (and probably the weekend too). A 45 minute set drawn from their wonderful record Working Out that is refined, restrained, elegant and brilliant. A mic stand failure aside everything is delivered with perfectly honed skill and I am left wondering why the band are playing a tiny, roasting pub room when there is a venue like the Corn Exchange down the road (not that I mind seeing them in a small venue of course). This is a band who should be playing to bigger crowds, hopefully they'll find the success they deserve soon. Go and listen to them.

Beer Update 6: £4.10 for a pint of Red Stripe.

It's now past midnight and I head to Sticky Mike's Frog Bar to see Claire, however, the band before are really not my thing and I can hear bed calling. I think the decision to retire early was the right one. Overall day one was a great start to the weekend where I managed to see almost every act I wanted to.

Abbey Bowden #3 - Wicked Game

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Hello again Internet, I've missed sitting down for more than ten minutes without worrying about getting to a new venue in time. The Great Escape was superb. I'll review it in full some time over the next week (I'm moving house tomorrow so it may take me a few days) but first I'm going to post the track that was sitting at the top of my soundcloud feed when I looked at it a couple of hours ago.

The track needs no introduction and is one I've covered no less than four times before (Scary Mansion, Exlovers, Widowspeak and London Grammar), Chris Isaak's "Wicked Game", here taken on by Abbey Bowden.

Abbey's voice is one I instantly fell for when I heard her track "Still" at the turn of the year and the same thing happens all over again here, a shiver down you spine moment awaits as tender acoustic plucks provide the platform for Abbey's raw, soulful tones to wound hearts. Stunning.

First Aid Kit #7 - Cedar Lane

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I'm in Brighton now; there's a very small chance that I'll update the blog whilst I have breakfast in the morning before heading out but this is likely the last post until I return from The Great Escape next week.

I'll be on a come-down then no doubt after three days of exceptional music (of that there is no doubt). I'll review my three days itinerary on my return but thankfully I have something else to keep me excited next week... A live date with First Aid Kit at Islington's Assembly Halls.

To make the idea sound just that little more sweet the Söderberg sisters have shared another new track from their forthcoming third album Stay Gold (due June 10th - available to pre-order on gold vinyl now). "Cedar Lane" is a rich, sumptuous beauty with slide guitar melody and heart melting vocals, just the sort of thing we've become accustomed to from the duo.

Abi Reimold - Forget

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I have a load of links and artists saved within my draft folder and ever expanding pocket account (some to see the light of day sometime soon?). Here's one that I originally saved back in March but only listened to this last weekend by pure chance, it's something I've come back a number of times since as I find my initial expectations completely dumbfounded...

"Morning" is the opening track on Abi Reimold's (a Philly based songwriter with a long catalogue of releases on bandcamp) latest EP Forget. For the first minute or so you are introduced to a raw, folky sound that could easily be compared to something by Angel Olsen where stark instrumentation and an intense, stop-you-in-your tracks vocals firmly grab hold of your emotions but then suddenly, all hell breaks loose as reverb-heavy riffs fill the air amongst Abi's soaring vocals and rumbling beats. It's quite simply brilliant. The rest of the EP similarly combines tender, haunting moments which collide with stomping, fuzzed up PJ Harvey esque screams. Short, intense and heartfelt, it keeps you guessing and listening with intrigue from first to last.

I'm also including an older track below, "nuthing" is a gentler more intimate experience where a soft lulling guitar rings around spectral vocals and a echoey drum beat, the result is nothing short of spine-tingling.

Space Daze - Follow My Light Back Home

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I'll start this post with an advance disclaimer, the following track is coming out via my little label Beautiful Strange. I'm posting it here not only to help publicise the release but to let you all know about it, after all the purpose of this blog is partly a journal of my music discovery and tastes and there can be no greater commitment to your love of something than helping to release it.

Space Daze is the solo / side project of Danny Rowlands whom maybe familiar to some of you as the guitarist / songwriter in the wonderful Seapony. Follow My Light Back Home is Danny's debut album and it will be released on June 2nd 2014 via Beautiful Strange on limited edition pea green cassette tapes (and digitally too of course). The lead single "Line Up on the Solstice" is available as a free download now via Bandcamp (the same link finds the pre-order link for the cassette too).

I don't like writing superlatives about things coming out via my own label, that's someone else's job (if you want to share the track, please, please do!) but suffice to say if you like the summery, nostalgic soft-pop vibe of Seapony, you're going to love this...

Eliza Shaddad #5 - Waters

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Hold onto you hats, here's something you might not be expecting. "Waters" is the title track to Eliza Shaddad's forthcoming EP and marks something of a new direction for the London based singer-songwriter. Usually when I think of Eliza I think of her beautiful, pure voice, her bare-boned storytelling lyrics and some deceptively simple guitar patterns... She's gone and changed that all in one fell swoop.

"Waters" is the first time Eliza has used a 'full band' sound and it's absolutely bloody stunning, transcending her 'folky' roots with an adventurous, darker turn. As a listener you immediately get swept up amongst the stirring melody and as soon as Eliza's world-weary tones join the ever present drum march and ringing guitar patterns, you cant help but skip a beat. One of those whoa, where did that come from moments. I like those.

Waters is released on June 12th via Beatnik Creative.