Palms on Fire #2 - Cars

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Four years ago I came across the Russian band Palms on Fire and since seemingly forgot about them (sorry!). It happens to us all I am sure, there are hundreds and hundreds of acts and only one of me. I cannot remember everyone, nor continually listen to every band I feature here with my limited free time...

Back to Palms of Fire, it seems I have totally missed a 2012 release by the band but return with the recently released EP Cars. A release which sees the trio/quartet adopt a fresh, carefree approach to indie pop and results in four soft-focus tracks full of quirky pop sensibilities and delicate yet moreish tunes.

"Sun Is Over My House" opens with a funk-laden groove and sun-kissed swagger full of the pastel coloured nostalgia of youth, whimsical and romantic throughout with Anna Kislova's sincere, softening vocals melting hearts along the way. The title-track "Cars" follows a more traditional arrangement with cascading guitars and fast-paced bass rhythms over bright synth washes and graceful vocals.

There's more goodies though, "Suitcase"opens with theses game-boy esque synth loops and progresses with the same lovely/pure elements that made the EP stand out, whilst closing track "Two Hearts" is the sweetest, catchiest moment of surf-pop on the release. If you are searching for refreshing yet simple tunes that can do little but make you raise a smile, Cars is for you.

There is a very limited CD run on the EP available now via Dufflecoat Records or digitally from the band themselves.

Meenk - New Music "Introducing"

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Heading to last months inbox now and for an irrestible submission from an artist called Meenk, the project of a girl called May from Texas (now based in Brooklyn) and her debut EP Scamu Scau.

The EP consists of four tracks and comes in at less than ten minutes in length, it makes up for brevity with ample dose of ear candy, full of laid-back, 90's inspired slacker guitar riffs, simple melodies and May's eternally charming vocal. "Up" sum this up nicely, a dry yet sweet delivery and straightforward ringing guitar riffs that carries its weight not through bombast but by how it hooks in your heart with its enigmatic storytelling lyrics.

"Reasons"  is the softest, prettiest track of the four and follows a similar path of lo-fi psychedelic guitar rhythms and floating melody with "19" possibly the strongest track of the lot, a bustling tempo and increase guitar/drum groove will have you nodding along with May's magnetic delivery, her purposeful phrasing and wonderfully evocative lyrics delighting further as layers are discovered on repeated listens.

A wonderful debut that deserves a bigger audience than the couple hundred plays on Soundcloud so far, spread the word. Scamu Scau is available on a pay-what-you-like basis via Bandcamp now.

Tape Waves #7 - Let You Go

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I've been meaning to catch up with Tape Waves here for a good six weeks but I didn't want just to post something half arsed and I've been ridiculously busy and then recently away lots and even more recently ill, so time slipped even further away. The duo of Kim and Jarod Weldin released their debut album Let You Go late last month via the excellent Bleeding Gold Records and it serves as the finest collection of indie-pop gems that we've seen so far this year.

Opener “Slow Days” lets you know what to expect from the album from the outset, a soft, tranquil combination of lulling drum-machine rhythms, sun-kissed melodies and even prettier vocals. It serves more than that however, the circling guitar rhythm is one of the most hypnotising on the album and the breathy sighs that accompany the track to its conclusion can only fill you with a warming glow.

“All I Can See” is one of the highlights, armed with a faster melody than we’ve previously heard from Tape Waves. it sees chiming guitars race around Kim’s drifting vocal with the next track, the title track equally impressive. Here layers of jangle guitars riffs circle around a precise beat and some wonderfully nostalgic lyrics with the repeated final words of “how can I let you go” sure to embed themselves in your head.

Two tracks re-appear from last years wonderful debut EP, "Ready Now" is utterly beautiful, a breezy melody twinkles with soft percussion and calming vocals and "Wherever I Go", where a surf-pop guitar riff echoes around rat-a-tat percussion and the airy, whispered vocals which blissfully calm and soothe.

I’ll stop the track by track run down now, though I must say I also love the last track “I Can Tell”, more spacious instrumentally with some luscious, cooed backing vocals.

I don’t live near the beach, I doubt I ever will live near the beach, but if I did (or if I was just visiting) then Let You Go is the perfect soundtrack for a laid-back cruise around the seafront, wistfully passing your days with the most sweet, charming collection of pop tracks that never once out stay their welcome. Though, fear not fellow landlocked friends, the album is just as perfect to listen to as you gaze into space lost in pleasant/sad thoughts.

Let You Go is out now via Bleeding GoldRecords. 

Jenny Lysander - New Music "Introducing"

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The latest in a long line of Scandinavian discoveries is Swedish singer-songwriter Jenny Lysander who has just released her debut EP Lighthouse via Beating Drum Records, it offers a glimpse into enchanting world delivered by a delicate, poetic voice that beguiles from start to finish.

Opening track "Dancing on the Edge" opens the familiar sound of fragile guitar plucks and soon introduces Jenny's spine-tingling vocals, a natural whisper that transports you to a first-light during a Nordic winter, chilly yet wholly beautiful with closing number "The Thought That I Love" even prettier, fluttering with a soothing, understated tone.

The stand-out for me is "Giving Thanks", where for the first thirty seconds or so I feel like I'm in the Haunted House at Alton Towers, the part where you are walking through and you look into dolls house's of disappearing figures, eerie and other-worldly, Jenny's softly-spoken tones recall Laura Marling and is stark and captivating throughout. Quietly, positively gorgeous.

Lisa Alma - Oh Darling, Let’s Be Adventurers

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This song. Instant love. Honestly it goes straight into my top five tracks of the year. Thanks to Ja Ja Ja Music for the introduction to Lisa Alma, a Danish electro/dream pop artist who released her EP Oh Darling, Let’s Be Adventurers back in February via Ikaros.

The song, "Bittersweet", comes backed with a beautiful, pure black and white video, the imagery the perfect compliment to the track which leaves you longing, desperate for more. Backed by little more than subtle drum pad beats and minimal, spacious synths it's Lisa's vocal that steals the show and has me hooked. It immediately makes me think of Prince's falsetto, not just any old Prince either, the Purple One at his 80's best, seducing with every note, whispered, extended words that make you fall hopelessly under their spell. I love the extended outro too, with a smouldering guitar that captures the feeling of the track, just bloody gorgeous.

The rest of the EP is likewise intoxicating, "Oh Darling" purrs like the softer side of Metric's Synthetica LP, a fragile but sparkling melody full of catchy hooks, rhythmic beats and crystal clean production with "When I Knew" fluttering in equally heavenly plains, an effortless marriage of dream-inducing synths, soul vocals and melancholy, you've possibly got the idea already but I'm spellbound.

Oh Darling, Let’s Be Adventurers is available now via iTunes and with it comes the discovery of an album released last year... Christmas has come six months early.

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 Bright Smoke - Virginia Et Al.

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Despite the odd moan about the blogs mail inbox it's still an important part of music discovery, sure I am overwhelmed by emails on a daily basis, I receive more than I could ever listen to in full and it's a timely basis just deciding which ones I might like but often treasures are found which might otherwise have never been discovered. One such example why the time eventually pays off is The Bright Smoke, the Brooklyn based project of Mia Wilson.

Her latest EP is my discovery point, the six Virginia Et Al. which came out last December and the track "Wild Again" my starting point, instantly you are seduced by the pitter-patter of restrained percussion and creeping guitar circles and then shortly after Mia's voice hits you, her alluring, slow-burn tones recalling the starker moments of PJ Harvey's Is This Desire?, drenched in a web of exotic, hazy beauty and mysterious intrigue, you are pulled in immediately.

"Pure Light" is similarly darkly hued, both weird and wonderful with subtle ringing guitars and twinkling piano chords emphasising the raw, seductive power of Mia's charismatic delivery whilst "Slow Burn" is the EP's most devastating moment, revealing its meaning slowly before hitting home with equal measure heartbreak and reflection. Quite the introduction.

Virginia Et Al. is available now via Bandcamp.




The Bright Smoke - Slow Down from The Bang Bang Theory® on Vimeo.

3RDEYEGIRL & Prince - Live at the Electric Ballroom - My Day

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If you follow my twitter account you'd have noticed a certain theme over the last three days or so, a very Prince related theme. Since the announcement was made that a certain Mr Nelson and his new band 3rdeyegirl were heading to London to play a series of dates in advance of his latest, their debut album Plectrum Electrum I've been checking various news outlets, twitter accounts and Prince fan site constantly. And I mean constantly. Like worrying for my job levels of constantly.

Prince and I go way-back (well it's one way really). He was/is my first true musical discovery after Brit-Pop. I was obsessive in my listening to Prince during sixth-form / university and whilst over the past few years I've let that wain in favour of the acts you see posted here on a daily basis he is still my favourite artist alive (if Freddie and Queen were still here, perhaps he'd be in a fight for that title). Who did I see seven times over the space of a month at one of my least favourite venues in London the O2? Prince. Who was my first gig in London whilst I was still a midlands-based student in 2002? Prince. Who was my first main-land continental gig? Prince. Whose had me sleeping outside train stations, getting cabs across London in the hope of getting into aftershows and parties? yes, you guessed it, Prince. (It worked, I got to 'talk' with Prince in the VIP area of a sleazy Soho nightclub in 2002 and saw an incredible aftershow at Islington Academy (then the New Marquee). I could go on.

The latest bout of hardcore obsession started properly on Monday, the day when the tour was announced to start, yet the day came and went with no news, Tuesday saw the press conference finally happen (I don't think I need to go into the Lianne' La Havas house story) at around 7pm but we didn't actually hear any news from it apart from that Prince likes ping pong. That's awesome of course but it's not news of a tour. Then at around half ten at night bang, twitter explodes with news that Prince is playing the Electric Ballroom for an 'open soundcheck'. My heart races, what the hell is an open soundcheck? Can I get in? Can I be bothered to try and get there from my computer chair? The decision was to stay in my lounge pants and live the moment through twitter, I think I made the right choice, a press only start saw 'fans' enter for a four track set, I'm not sure that would have sufficiently satisfied me and would have perhaps changed the course of what was to come the next day.

Wednesday started as a normal day, I went to work and looked around. Rumours were rife about a repeat show at the Electric Ballroom. My productivity was at an all time low as I constantly refreshed pages to sources in the hope of being first to find something concrete and grab a ticket. The show became official news soon after, we knew Prince would be playing at the venue again but we didn't know how we could make sure we were there... At about half eleven again rumours spread like wildfire via Twitter about tickets going on sale from the venue at 2pm. It kind of made sense, it was too late in the day now for a Ticketmaster sale. I decided to risk it, shortly after midday I downed tools and ran for the station phone in hand and jumped on a train. I walked up to Camden from St Pancras ignoring potential tube problems and arrived at the venue just before 1pm. I headed straight for the queue and landed myself just outside Camden Town Market. I'd estimate at that time I was around 80th in line. Then came the toughest hour of the day.

There was no news at hand or concrete information to go on, the entirety of the queue seemingly checking their phones for the slightest whiff of information. The last thing anyone standing in the February chill wanted was for tickets to go on-sale online and their efforts made all in vein. At this time it was a little quiet and time went slowly, I started chatting with the guy next to me about his take on the story but he too, seemingly knew very little and came to Camden chasing down whispers. To make matters worse the rain was pretty heavy at this time, fine persistent rain that annoys you, the drilling from the nearby road-works did little to aid the mood.

It stayed that way until 2pm, the time when we hoped tickets would be coming on sale. A couple of security guys turned up and one of them slowly walked down the line and answered a few questions. The official, non-official line was this was the queue to enter the venue at 7pm. No advance tickets but if we were willing to wait, a Prince show would be ours for just £10. A couple near me with a buggy left shortly after, a few people who were probably taking extended lunches also departed with a further five hours of queuing not an option. I made the decision quickly, it was a no-brainer really. I could get the train back to work and hope I could get back later or wait, I decided to wait.

Soon after group mentality kicked in and a bunch of strangers brought together by a common goal; to see Prince started talking and then we began to take it in turns looking out for each other whilst one of us needed to go to the toilet (there was a nearby pub whom I'm sure weren't too happy about the number of people walking in and out to use their facilities!). It's possibly the perverse nature of the committed fan-boy I am but I can honestly say I enjoyed the next five hours standing outside in the cold and talking about Prince, it's not often you get chance to do just that without having something else to do. Right now though, we literally had nothing else.

The rain wasn't so bad either and when the heavens did attempt to open at about 4pm we were quickly given a free umbrella. Fair play to the marketing department at Zoopla who quickly put two and two together and hunted out their boxes of purple umbrellas from storage to hand out to the front of the queue - the see of purple looked great.

Beers were in full flow by now and that certainly helped to take the edge off the cold as the fleeting visit of sun was followed by the outset of evening, it wasn't until around six pm that it started getting noticeably busier. A tourist asked the best question of the day to us at around this point. "Is this the queue for the bus?". The queue in front had swelled and all of a sudden we were possibly 150 back. Some of the difference was people returning to the queue or friends joining sole survivours after work, not all bosses take too kindly to you walking out of the office with no notice and some were chancers who jumped in. This got to be a more serious problem just before doors opening time. I was hoping security would hand out raffle tickets or something similar so you knew you were getting in and I actually asked them that question earlier in the day, the response was they would have more security guards in place by the time they would be needed. Unfortunately that didn't quite happen and lots of people took advantage of the lack of barriers to push in just before 7pm.

When seven pm came I was pretty surprised that the shutters on the venue opened not long after, a guest-list line had appeared from nowhere spanning in the other direction and then suddenly security moved the queue from one side of the road to the other now the shops nearby had shut - it caused mayhem and a surge of people rushing forward, on a personal note it didn't cause much problem as I reacted quickly enough but I've read some horrible stories about trampling occurring, it's a shame not everyone is quite the same as the great bunch of people I'd had the pleasure of spending the afternoon with.

Soon we were inside, a quick toilet and bar stop later we were at the front, about four rows back and in a perfect spot for the gig to come. At that time we didn't know there would be in fact two shows that evening and I was anticipated a long wait until the show started. In fact it wasn't long at all, shortly after 8pm 3rdeyegirl's latest single "Pretzelbodylogic" started firing out of the PA soon followed by the three girls, Donna, Ida and Hannah and then Prince himself, it caught the crowd a little unawares at first but soon the expected hysteria started. A level which only increased with the opening of "Let's Go Crazy". A re-worked version I'd previously heard from a teaser video, it sounded incredible and to be standing about ten feet away from Prince and seeing his facial expressions only made the experience the more rewarding.

The set progressed with track after track of rock-heavy beats that satisfied every single inch of me. I'd earlier said I was desperate to see a Prince rock show and now here I was being treated to one, Donna Grantis on electric guitar especially impressive dueling with Prince with her metal-inspired riffs and wide-eyed stares into the audience. "She's Always In My Hair", a track that's long been a favourite of mine and a slowed down version of "I Could Never Take The Place of Your Man" both bringing instant goosebumps. The best was still to come. An album track from 1999 "Something In The Water" starts with Prince on piano before he moves to more tradition place front, centre to bring a stadium-esque rallying call of the chorus, the crowd are quick to react. It almost feels as if you've been transferred into the set of the Purple Rain movie. I'm in heaven.

Prince changed to conductor during the 3rdeyegirl song "FixUrLifeUp", standing at the side of the stage orchestrating this tight, three piece band. An instrumental closed the main set (both sets started almost identical) before the band returned for a beastly version of the underrated "Chaos & Disorder", noisy, rhythmic heaven. The band disappear again and the house lights come on but those with experience of the 21 Nights shows will know that with this being Prince, lights means nothing and sure enough a good five minutes later the band return again and get straight into the phenomenal "Bambi", "it's better with a man" the well known chorus cries go but seeing Prince backed by this incredible band instantly calls that into doubt. 3rdeyegirl have definitely breathed new life into Prince (55 and looking younger than ever) and a creative Prince is an incredible sight, one I'm delighted to have seen in such intimate surroundings. Would I do it all again? You betcha!

Prince and 3rdeyegirl are reported to have begun a UK tour / London residency, I don't know the facts, what I do know is that whatever comes next, I'm going to be there for the ride. Unmissable.

Dum Dum Girls #3 - Too True

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Dum Dum Girls are a band I've talked about before here and as much as I enjoyed their last album Only In Dreams (and adored the incredible "Coming Down") I didn't quite connect with the band when I saw them live a good couple of years ago at ULU, their latest release Too True makes me want to give that another go...

The album came out this week and is streaming in full via label Sub Pop's soundcloud (and is available on super limited vinyl with a bonus 7" here). The overall theme of which sees DDG's leave behind much of their garage-pop roots and complete a transformation to 80's inspired Cure-esque rhythms and echoey guitar shimmers that could have been written at any point in time since. I'll focus on a few of my favourites here.

"Evil Blooms" is the perfect example on the reverb-heavy sheen that propels uplifting melodies with darkly-hued intent. "Lost Boys and Girls Club" adds in a synthetic heart-beat amongst gorgeously dreamy harmonies and "Rimbaud Eyes" is a sweet pop hit in the making, armed with a cinematic melody laced in fuzz and Dee Dee's smoky vocals. The title track "Too True to Be Good" similarly swirls with intoxicating bliss, throughout the forumla rarely changes; short, sharp, simple and immediate, treading a similar path to that of last years PINS album, a dark, brooding combination of jangly goodness that can be traced back to Siouxsie and all, it's one I meet with instant approval.

Adrianne Lenker - New Music "Introducing"

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Adrianne Lenker in a New York based singer-songwriter whom sounds like she could have existed at any point over the last fifty years, armed with an honey-toned voice which sounds as timeless as her organic finger-plucked acoustic guitar and tender, versatile song-craft.

Her debut album Hours Were The Birds was released digitally last week and is available to buy via Bandcamp now. Focusing on the tracks available on Soundcloud, "Lighthouse" is fabulous and melodic with strong, rambling guitar forming driving the track along with foot-tappingly upbeat mood which at the same time is both deeply emotive and dramatic, it reminds me (and as mentioned as comparisons in the email I received which formed as my introduction to Adrianne) of the style of Dylan and a I Speak Because I Can era Laura Marling, exhibiting worldly experience and intensity rarely heard today.

"Indiana" is perhaps my favourite of the tracks, flowing with a breadth of wistful poetry and a sparkling tapestry of acoustic guitar, Adrianne's beautiful fingerpicking and sweet voice is an absolute joy whilst "Steamboat" combines the passionate, intricate nature of songwriting heard throughout with gorgeous harmonies guaranteed to make you glow just a little bit brighter than before you heard it.

Fresh, intimate and captivating Hours Were The Birds promises to be the best $7 you'll spend this week... Bandcamp.

My Favourite 25 Albums of 2013: Part Seven - Number One

My Favourite 25 Albums of 2013: Part Seven - Number One

Direct Links to Albums (updated as they become live) : 25 - 22 // 21 - 18 // 17 - 14 // 13 - 10 // 9 - 6 // 5 - 2 // 1

1. Anna Von Hausswolff - Singing From The Grave

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Hmmm, yeah, so my album of the year isn't actually from 2013. Sorry about that! It is my blog and it is my rules... Singing From the Grave was released in 2010 but didn't cross my ears until I returned from End of the Road festival at the start of September this year, so by that regard it is an my favourite album of the year and that's what this list is all about...

Anna Von Hausswolff had just performed a blow-away set at the festival, a show that stunned an entire crowd into jaw-dropped silence with an intense and gripping sound and with Ceremony already in my possession (an album I put at number ten in this very same countdown) I looked at her website after returning home and saw the link for another CD that I didn't know existed, a debut album released via Kning Disk which seemingly hasn't found too many ears out of Sweden. It really must.

I can remember when I first listened to it, it wasn't in the most conventional of setting for most people but is quite usual for me, it was on the treadmill in my local gym. I was soon bewitched by the most stunning of records and since then it has been my most listened to record of the year so even after a year which has seen some great, great records from some of my all-time favourite acts putting Singing From The Grave as number one was never out of the question.

The album is not quite as dark or cinematic (though equally challenging perhaps) as Ceremony and relies primarily on Anna's powerful vocals, her piano and some strong instrumental flourishes. The result is as dramatic and bombastic as any record you're likely to hear and evokes deep emotion through a goose-bump inducing voice and rich, heart-felt songcraft.

After the delicate opener "Move On" kicks off the album with an exquisite piano waltz it's "Track of Time" which first send shivers through you. As personal and beautiful a track as I've ever heard, heading straight to the heart, it lives and breathes a wounded soul around plaintive piano chords which speak as many tales as the lyrics, you can almost touch the sadness throughout, "Track of Time" is a compelling and genuinely moving experience.

From a softening opening "Above All" rises against twinkling piano circles to an equally strong and dramatic conclusion, the title track is the darkest of all and "Lost at Sea" is as bombastic and brilliant as they come, a wizardry of piano melody and strong, urgent percussion combine to create another captivating (and somewhat terrifying) aural storm.

If you've still not felt the emotion by now you're probably made of stone but then comes along "Old Beauty/Du Kan Nu Dö" (You Can Die Now according to Google translate) to shatter any remaining feelings you may have, half sung in English and half in her native tongue the track is a devastating, fragile ballad with Anna's most intimate vocal delivery wrapped around piano chords which threaten to explode with emotion.

A truly stunning record that I'm very glad to have discovered (if some three years late). Hopefully perhaps one or two of you may now. That's the whole point of this long, long list after all...

My Favourite 25 Albums of 2013: Part Five - 9-6

My Favourite 25 Albums of 2013: Part Five - 9-6

Direct Links to Albums (updated as they become live) : 25 - 22 // 21 - 18 // 17 - 14 // 13 - 10 // 9 - 6 // 5 - 2 // 1

9. Chelsea Wolfe - Pain Is Beauty

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Chelsea Wolfe has been one of the most prolific artists of the last few years; two studio albums, a live release and an acoustic album (as well as a split 7" and tribute EP) all in a relatively short period of time and with never a sign of dropping quality either (and worldwide tours on top). Not one to rest on her laurels Chelsea released her third album Pain Is Beauty in September this year and it might have come as a little shock at first for fans, sure you can instantly recognise Chelsea Wolfe, it's eerie, haunting and made it the dark but it sounds altogether different to anything heard previously. Instead of dirty, sludgy riffs swathed in distortion and the doom-laden drums there's predominantly a stark, minimalist electronic sound to the album and it works perfectly.

"The Warden" sees a thin, ethereal vocal whisper float over stark, industrial beats and glittering synths, its ominously beautiful yet powerfully hypnotic, similarly both "Reins" and "Sick" are full of eerie, droning soundscapes with a cinematic atmosphere that could soundtrack a nightmarish film while "House of Metal" is staggeringly brilliant built around looping electronics and twinkling glockenspiel-esque sounds, pulling you deeper and deeper into Chelsea's immersive world.

There are moments where the scope and ambition far surpasses anything that has come before it, both "Feral Love" and "Kings" are full of electronic energy with a brooding repetition and insurmountable amounts of tension building, the night is long and full of terror indeed while "The Waves Have Come" surpasses both in terms size and scope, an absolute behemoth of a track. Guitars do make an appearance of course, "We Hit A Wall" is full of echoey guitar patters and doom-laden drums whilst closing track "Lone" is a soft acoustic lament that recalls lasts years Unknown Rooms album, all in all Pain Is Beauty soon becomes the most fully realised Chelsea Wolfe album from a prolific artist at the top of her game.

8. Lanterns on the Lake - Until The Colours Run

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Lanterns on the Lake's 2011 debut Gracious Tide, Take Me Home was a stunning introduction to a beautiful, expansive group. The Newcastle quintet returned (with a slightly different line-up) in early September with Until The Colours Run, an album that takes their cinematic and emotive song-craft to an even higher level with sweeping, progressive atmosphere and pure, majestic beauty.

Opener "Eloide" sets the tone with a slow-burn build the ideal combination of beautiful quiet and aural storm, its bedazzling instrumentation shimmers and the heart-melting vocals of singer-songwriter Hazel Wilde remain in perfect unison as it aims straights for your guts. "The Buffalo Days" similarly beguiles with its vocals firmly at the fore around restrained acoustic guitar and a creeping mist of haunting instrumentation which only adds to the delicate, natural sounding melody.

The title track sounds as dynamic and fresh as anything the quintet have released so far, sweeping you off your feet with kaleidoscopic instrumentation bustling with life, bright and dramatic it's in direct contrast with the albums next track "Green and Gold", the most heart-stirring of moments where Hazel takes solitary control with here soft, twinkling piano keys, emotive vocals and the most intimate of lyrics ("well this was the part where you picked up and started again, you learn fear is just a fleeting thing"...). It's quite devastating.

The albums centre-piece though is "Another Tale From Another English Town", a track which manages to encompass together everything you think of when you think of Lanterns on the Lake, a  luscious, tinged-in-melancholy track where strings swoon over gentle but gripping landscapes. In summary Until The Colours Run is a complete delight and the perfect accompaniment to a nice long drink of whisky - I don't think there is a highest compliment to be paid than that!

7. Daughter - If You Leave

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I've written a lot about Daughter since my initial introducing post in November 2010, two and a half years later an expanded trio released their debut If You Leave and with it fulfilled all those superlatives and some more with the most potent combination of intimate song-writing, widescreen instrumentals and one of the most emotional and haunting voices in music.

"Youth" is the track which has most come to signal both the bands progression and that of their fan-base, the track has grown since its original place on The Wild Youth EP with textured drums, shimmering guitars and a pulsating heartbeat more prevalent than ever, characteristics of the progressive Daughter sound, yet still Elena's lyrics remains as bare-souled and enchanting as ever, striking hard with a pure-affecting vulnerability and heartbreaking power. When I heard the track met with a huge roar of excited squeals at recent live shows, the sort of squeals you'd normally associate with X Factor type acts, the trio's journey was made real, Elena's little giggle and smile summed up their feelings perfectly too.

The rest of the album is a masterclass in wounded, confessional lyrics which provide goosebumps moments at almost every turn, "Smother" tugs at your heart strings with its vulnerable guitar lines, the fragile "Shallows" is as tender and restrained as it gets and "Tomorrow's" slow-burn ambient electronic washes provide an emotional overload, slowly swelling around incremental progression as glacial guitars and rumbling percussion gradually become the focus of the track.

"Human" provides a fiery rest-bite to the intimacy but it is the stark, wounded lyrics and Elena's gorgeous voice, capable of healing any number of wounds that stays with you longest when this exceptional debut is over.

6. Laura Marling - Once I Was An Eagle

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Laura Marling, it is incredible to think that she is still only 23, already possesses a timeless collection of material and is armed with the ability to bring together people from all warps of life in awe of her talent and masterful song-writing skills. Her fourth album Once I Was An Eagle came out in the Spring and is, for me at least, the sign of an artist taking a mighty step up from already impressive highs and producing her most consistent piece of work to date.

Instrumentally stark the focus is on Laura's guitar and words with the odd bit of carefully-placed drums or orchestral swelling, it's darker and heavier than anything Laura's released before and there's also an excellent use of space and prose throughout. Once I Was An Eagle is an album in every sense of the word, it can be a demanding experience and it commands to be listened to as one, in fact the first five tracks play into one another like an epic story, the triple hit of "I Am An Eagle", "You Know" and "Breathe" mark the highlights for me, rising and falling with rich flourishes of depth, beauty and adventure. Laura's voice is distinctive and powerful enough to hold your attention and the lyrics combine to be a cohesive one. It's near pefection.

Elsewhere there are moments of true beauty like "Once", a simple and beguiling beauty. The solo acoustic tracks are arguably where Laura strikes hardest and here her plucks and devastating tone are pure, heartfelt and beautiful while "Master Hunter" shows the other side of Laura's arrangements, dazzling around bold, organic percussion.

There are more breath-taking moments too such as "Little Love Caster" and the closing track "Saved These Words". In total it's sixteen tracks and over an hour long with a deep, powerful narrative that keeps on giving and still leaves me breathless (even after hearing the tracks a good twenty times or so). In summation, what we have is an extraordinary piece of work from one of this generation's true stars - simply a magnificent achievement.

My Favourite 25 Albums of 2013: Part Four - 13-10

My Favourite 25 Albums of 2013: Part Four - 13-10

Direct Links to Albums (updated as they become live) : 25 - 22 // 21 - 18 // 17 - 14 // 13 - 10 // 9 - 6 // 5 - 2 // 1

13. Veronica Falls - Waiting For Something To Happen

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Veronica Falls kick-started 2013 with their infectious second album Waiting For Something To Happen, a glorious release full of beautifully melodic boy-girl harmonies, precise rhythms and blissed-out guitars that built on the signature sound perfected on their debut with the addition of bright, breezy tunes and more lyrics about the wistful remembrance of youth rather than the darkly themed subjects of suicide hot-spots and graveyards!

"My Heart Beats" was the first track we hard from the record and it gives a fine example of their purposefully paced jangle-pop sound which has soon seen the quartet become one of the flag-bearers of this generation's indie pop brand. An abundance of vocal interplay with sweetly sung verses and infectious choruses liable to hang around in your head for days. Part of the bands magic is that they have perfected the knack of making every one of their tracks sound like something you're already familiar with, it puts you straight and ease and brings immediate joy.

Highlights are everywhere, the charming "Teenage" is a cute and unadulterated pop tune, "Buried Alive" is equally playful swooning about the chance of immediate death and "Broken Toy" rattles with urgent, compulsive beauty. Elsewhere though the album is more contemplative, my favourite of which is "Last Conversation", the gloriously melancholic closing track which is perhaps the most complete track the band have produced to date.

Ordering the album from Rough Trade is advised, not only do get the LP but you also get a bonus EP of cover versions - you can't grumble at that.

12. The Joy Formidable - Wolf's Law

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Following The Big Roar, my album of 2011 was always going to be a difficult task. Did The Joy Formidable achievement the almost impossible with January's Wolf's Law? The simple answer is Yes and no. The album is definitely that of a growing band, literally at times. Full of vast, ambitious soundscapes where punishingly drums combine with giant-sized guitar riffs and intense vocals.

At times it works perfectly, the joyous "Tendons" is pretty close to the formula of the debut album, a real cacophony of devastating guitar riffs, Rhydian's deep bass combine with whirlwind drums and Ritzy's beautiful, ethereal vocal, soaring and searing amongst softer tranquil moments. It's a track pretty close to perfection. The album's preceding singles work well too, "Cholla" (the title of which is clearly inspired by the bands touring and recording trips across America) gives us a real sign of The Joy Formidable's lofty ambitions, a no-nonsense beast with heavy, distorted guitars, punishing beats and ripping vocals. Exactly what some people think the band do best and "This Ladder Is Ours" is similarly rip-roaring combining Ritzy's identifiable vocals with sky-scraping guitars and frenetic drums -  it exemplifies the stratospheric arena-filling noise that the band's live show has developed.

The consequence though, at times is melody, for me, and that's a die hard TJF fan, the album is just too bombastic. Take the epic "Maw Maw Song" for example or the Americanised rock of "Bats" or "Little Blimp", it's just too excessive for me. Still, those blips are made up for by softer moments such as the devastating "Silent Treatment", a much welcome respite from the adrenaline pumping noise before and a stand-alone moment of really beauty and intimacy with lyrics that send shivers through you (especially when you realise the turmoil the band were going through whilst recording the record with Ritzy and Rhydian splitting up from a long-term relationship).

"The Turnaround" is another favourite, drenched in full string arrangements it brings out the true beauty of this exceptional band with the rest of the albums closing tracks working well too. "Forest Serenade" is Wolf's Law's attempt at "Whirring" and the title track "Wolf's Law" (on the album as a hidden track) is an incredible slow-burn piano beauty which plays to the bands exquisite loud/quiet dynamics, slowly building around heart-melting vocals with twinkling keys building in momentum to a devastating crescendo of colliding beauty and noise. Here's more like that on album three...

11. London Grammar - If You Wait

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London Grammar were seemingly talked about more because they failed to get into the Mercury Prize nomination list announced on the same day as their debut album If You Wait, a strange thing for magazines to lead with when the album should be played for all the right reasons, a debut that is the perfect exercise in restraint and highlights the extraordinary voice of Hannah Reid to devastating results.

I'll start with my favourite, the soaring, emotive ballad "Wasting All My Young Years", where glacial keys, atmospheric guitars and one of the years best vocal deliveries combine to dazzling effects. It builds with graceful yet soaring grandeur through piano led twinklings and smooth electro-beats but it is Reid's stunning voice that remains with you longest. The album has similarly spine-tingling moments throughout, the string laden title-track closes the album on perhaps the most poignant moment, the bewitching "Shyer's" spidery guitar patterns, then there's the beautiful slow-burn balled "Hey Now" or "Strong", whose subtle electronic textures maybe downbeat but they also embrace emotion and strength in immeasurable quantity.

A cover of Kavinsky's "Nightcall" is stripped to the bared of bones, carefully considered and immaculately delivered, the Drive soundtrack modern day classic soon becomes a bitter-sweet and elegant ballad that like much of the album, is a real breath of fresh air and I really have to mention the devastating "Interlude" too, as vulnerable and haunting a moment in this, the most wintry and brilliant of listens. MP judges - you were wrong.

10. Anna Von Hausswolff - Ceremony

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Gothenburg's Anna Von Hausswollf released her second, but first with a world-wide release Ceremony in June, a captivating, uncompromising vision of darkness and the morose that combines dramatic, vastly ambitious cinematic soundscapes with intense vocals and lyrical themes that come across as a study of loss and death. Don't turn away though, it's not all quite as bleak as it sounds, quite the opposite in fact, Ceremony is almost joyous at times and amongst the dark and foreboding moments, light is never far away.

After opening with a long, dense instrumental and following with "Deathbed" it is some ten minutes before we actually get to hear any vocals, a testament in itself that perhaps this is not an album for everyone. The track soon comes the closest to matching the intensity of Anna's live show (the clear winner of my live show of the year by the way, more on that another time), starting with a slow, marching crawl that could be the soundtrack to a stalking scene from a horror move before soaring instrumentation swells announce the arrival of Anna's dramatic, transfixing vocals. The next track " Mountains Crave" is the most accessible moment, a hypnotic groove of bright, bubbling organ keys and languid guitars float amongst Anna's haunting vocals to carrying you to off some otherworldly place of beauty.

The record ebbs and flows throughout, from "Red Sun's" stark, brooding power to the melancholy of "Goodbye" to the serene elegance of "Liturgy of Light", a devastatingly beautiful track which flutters around soft guitar textures and the wave after wave of cascading piano which introduces "Ocean". Though Ceremony may peak with "Funeral For My Future Children", the bleakest of titles leads into the albums most celebratory of moments where rattling percussion and looping organ create a the most expressive of gothic soundscapes against Anna's hypnotic vocals, the result is a creative and experimental album that stays with you long into the night.

My Favourite 25 Albums of 2013: Part Three - 17-14

My Favourite 25 Albums of 2013: Part Three - 17-14

Direct Links to Albums (updated as they become live) : 25 - 22 // 21 - 18 // 17 - 14 // 13 - 10 // 9 - 6 // 5 - 2 // 1

17. Editors - The Weight of Your Love

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The past couple of years have seen more changes than any previous in Editors almost ten year long career, founding guitarist Chris Urbanowicz left the band and in have come Justin Lockey (known to me as half of Lights on Moscow alongside Lanterns on the Lake's Hazel Wilde) and Elliott Williams (formerly of Airship). The bands fourth LP The Weight of Your Love is the first with their involvement and sees a return to anthemic rock after their successful (in my opinion) attempt at electrifying synth-led work on In This Light and On This Evening.

It kicks off with “The Weight” which soon introduces a starkly produced album full of ominous soundscapes with the emphasis on Tom's baritone vocals. The track is all dark, brooding atmosphere built around strong song-writing and some luscious string arrangements, full of emotion and fragility rarely seen from the band before it highlights a maturing band unafraid of what people may have to say.

There are two obvious single moments here, "A Ton of Love" instantly grabs you with both barrels and blasts you into submission with a mix of pop-hooks, swirling synths and heavy drum beats, easily the most upbeat song we've heard from the band to date it harks more to Simple Minds than Joy Division, big, bright rock which swaggers with a stadium sized conviction and "Formaldehyde" is up there with any of the bands best hits, a non-stop adrenaline filled rush of typically Editors-esque pace and pomp.

Perhaps ironically another of my favourite tracks is an older track I heard first live when Chris was still in the band "Two Hearted Spider" combining a creeping guitar line with Tom's brooding lead, building in emotion and power amongst skittish drums and shimmering guitars."Sugar" is as sweet as the name suggests while the restrained "The Phone Book" is a very nice moment too.

I'm pretty biased when it comes to Editors but The Weight of Your Love is a fine fourth record from a band continuing to try new things and improve themselves, though in the live arena is perhaps where this album is best, the live version of "Nothing" is nothing short of stunning.

16. Agnes Obel - Aventine

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Aventine, the second LP from Berlin based Danish singer-songwriter Agnes Obel confirms an intoxicating talent with a stunning album of refreshingly pure and sparse piano led melodies backed with the odd bit of luxurious strings and a soft, expressive vocal.

Lead track "The Curse" instantly mesmerizes and is possibly the boldest moment throughout, a stark yet seductive melody with little more than twinkling piano and haunting string arrangements combining with Agnes' fragile vocal. The result is devastatingly beautiful and poignant and the good news is there's plenty more for fans of such beautiful, affecting melancholy too.

"Dorian" is impeccably constructed, weaving a similarly delicate and majestic spell under restrained, wintry instrumentation whilst the contemplative and slightly creepy "Run Cried The Crawling" hints more at the darkness. Aventine remains an ethereal, immaculate experience throughout and is best summed up by the poignant, calming tapestry of "Fuel To Fire", a beautiful piano led melody armed with an emotive narrative that, like much of the album, is guaranteed to make hearts go a flutter.

15. Lady Lamb The Beekeeper - Ripley Pine

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Lady Lamb The Beekeeper (the recording name of Ally Spaltro) released her debut studio album Ripley Pine early in the year (a release that contains a few tracks that had been previously released on her earlier bedroom recorded releases but I can ignore that as I'm late to the party. Ripley Pine devastates with an incredible range of songs that hit right at your soul, one minute stripped back electric guitar solo and then the next complex full-band arrangements with a running length that equally varies, from three minutes to seven yet the dozen tracks here are always rich and sophisticated, it is simply an incredible record from a lady with a versatile voice and a raw, expressive talent..

At her most vulnerable on the exquisite "Florence Berlin", a stark, intimate heart-breaker and on "Little Brother", a soft delicate beauty that transports you to a world of soulful dreams with her lone electric guitars twangs sending shivers down your spine. "Bird Balloons" feels like it should be Ally's breakthrough track, as dynamic and powerful as a St Vincent and as epic and emotive as Patti Smith, it bursts with venom and anguish in equal measures and is as affecting as any song you'll hear this year.

My Jim Steinman roots mean I'm a sucker for long tracks and the two on Ripley Pine are possibly my favourites on the record, "You Are The Apple" is one of those rare tracks that brings you to a stand-still on first listen, progressing from a bluesy opening to a full band stomper with an eruption of raw emotion. Ally made a comment during a live show I saw about alienating her early fans with the 'polish' of the recorded album and thus also releasing a demo album via her Bandcamp yet, for me at least, it's the rough aggression that I find so powerful and astonishing, when the orchestra comes in; goosebumps all over.

"Crane Your Neck" closed the same live set and is likewise the sort of track to bring an audience to a stand-still, even those at the back who come to gigs to chat to their mates stop to pay attention as Ally howls and shrieks with her typically unpredictable voice, resonating with a fiery intensity that perfectly sums up Ripley Pine, hot, rich and passionate throughout - do yourself a favour and order Ripley Pine via Ba Da Bing here.

14. Savages - Silence Yourself

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Savages soon found themselves at the centre of the music industry's attention, the London based quartet ended a fine debut year with a place in the BBC's Sound of 2013 long-list after taking people by storm with their ferocious post-punk soundscapes and a live show full of the most blistering intensity and entrancement, their debut full-length Silence Yourself did not disappoint.

Taking the sound perfected in the live setting into the studio to make a faultless record driven by uncompromising bass-lines and pounding drums, with brutal guitar lines adding distortion and noise while Jehn's shrieking vocals command and possess, it makes you want to play it louder and louder, again and again.

Much of the album is the same tracks I heard in the Shacklewell Arms or The Old Blue Last in early 2012 from the searing, terrifyingly beautiful "City's Full" to the propulsive energy of "Shut Up" or the shimmering textures that open "She Will". Silence Yourself remains hypnotic and contagious throughout, brimming with repressed energy which explodes with a juddering climax on "Husbands", Savages calling card with strong-venomous vocals, prominent bass, fierce guitar and clear tight drums - each of the bands individual members come together and the result is a potent, brutal and brilliant combination.

A special note must go for the albums wonderful closing track "Marshal Dear", the most beautiful moment on the record with twinkling piano leading Jehn's restrained vocals with occasional guitar soars the only indication Savages true form. A gentler beast that indicates Savages will be around for many, many records to come.

My Favourite 25 Albums of 2013: Part One - 25-22

The last week was spent looking forward to 2014 with my own series of ten 'Tips For 2014'. I'm pretty happy with the list and look forward to seeing how they get on next year (and the same goes for those who I listed as ones to watch in 2013 that never released anything like Alice Jemima or Bird). This week sees the focus switch to my favourite releases of 2013, I wrote a short-list (well I guess a long-list) of albums I've been listening to the most this year and it came to about 34, I whittled down slowly to what you'll find posted over the next seven days. The order changes depending on what time of the day so don't take much of it all that seriously. There are obviously hundreds more albums released this year that I've not even heard, that's one of the reasons I prefer to say 'my favourite' rather than the best, everything here is my subjective opinion.

2013 was a good year for albums of me. The artists responsible for my favourite album of 2009 (Editors), 2010 (Caitlin Rose) and 2011 (The Joy Formidable) all releasing an album alongside some of my all-time favourites, I'll leave the introduction there to avoid further spoilers and get started. They'll be posted here at a rate of four albums a day for the next six days followed my number one on Sunday. That's if I get all the words written on time - It was my Daughter's first birthday last week so I've been a little bit preoccupied with real life.

My Favourite 25 Albums of 2013: Part One - 25-22

Direct Links to Albums (updated as they become live) : 25 - 22 // 21 - 18 // 17 - 14 // 13 - 10 // 9 - 6 // 5 - 2 // 1

25. Big Deal - June Goom

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I'm kicking off this years album run down with a band that I belatedly fell for in 2013, Big Deal. June Gloom is their second album and leaves behind the whimsical folk of debut Lights Out for a big, soaring guitar pop album full of addictive hooks, relentless energy and songs that recall the youthful memories of falling in and out of love.

The best starting point is "Dream Machines", it instantly radiates like the carefree summer anthem it should become with glistening guitars and robotic beats complimenting the dual toned vocals of Alice Costelloe and Kacey Underwood. "In Your Car" and "Swapping Spit" both adopt a similar formula built around familiar power-pop foundations with distorted fuzz and echoey drums whilst "Teradactol" is a completely different monster formed around a cacophony of noise and aggression.

There are softer acoustic moments that reward equally, opening track "Golden Light" starts as a languid beauty full of saccharine-sweet vocals and perfect harmonies before punchy beats breathe new life into it while the dreamy bliss of "Pristine" is perhaps the most intimate and personal track on the album.

June Bloom sees Big Deal become a fully realised band clearly having fun and making some pretty sweet noise too - long may that continue.




24 Torres - Torres

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The self titled debut by Mackenzie Scott's Torres was one of my early year highlights, an affecting but beautiful listen throughout (perhaps too difficult a listen for some) introducing a versatile voice that will knock you for six with a stirring group of songs that provide a white knuckle ride of powerful and devastating emotion.

The track which propelled Torres to the attention of many blogs was the six minute tour-de-force "Honey", a fractured, raw anthem to rival the likes of EMA, full of breathtaking intimacy ("Everything hurts but it’s fine, happens all the time") and intensity with progressive shades of darkness contrasting between Mackenzie's velvet-toned vocal and her accompanying fuzzed-up guitar strums.

The brutally honest "Jealousy and I" possesses one the most personal lines I've heard all year, "I'm suffocating you I know, it's just the way I know to love" amongst bare-boned guitar shimmers is someone pouring out their heart and the result is as spine-tingling a moment as music will give you. The stark and un-rushed "Come to Terms" is equally spellbinding, an acoustic ballad with a heartfelt melody that is beautifully simple and complex at the same time - melancholia has rarely sounded so good.

I can't really do a Torres review without mentioning the gorgeous "November Baby" either, a moment to saviour, bruised, personal and oh so damn beautiful.

23. Oh Land - Wish Bone

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Something a little different than my list pick now. The only pure pop album on my list (I decided against including Haim because half their debut was released last year and covered by me at length then). Oh Land's third LP (I keep reading second but that's ignoring Fauna) Wish Bone is nothing short of mood-enhancing brilliance which flutters around multiple genres within 13 dance-floor friendly Scandi-pop anthems.

Nanna Oland Fabricius doesn't just have an effortless knack of producing music full of dynamic energy and propulsive rhythms, she's also got a truly stunning voice and writes brilliant pop hits. "Renaissance Girls" could almost be a sister track to earlier songs "Sun of a Gun" and "White Nights", full of clattering beats and ultra-infectious rhythms topped by Nanna's soaring vocals - it's about the best power pop song I've heard all year.

Wish Bone is an album that doesn't stay on any beaten track, there's the pure Robyn-esque pop of the quirky and brilliant "My Boxer" or the funk-laden groove of the infectious "Pyromaniac" and "3 Chances" (possible the first song to mention both kittens and zombies), a beautiful, saccharine sweet ballad amongst softer, heart-felt moments like "Love You Better" but "Bird in an Aeroplane" is perhaps the best indication of Oh Land's glittery charm.

22. Esben and the Witch - Wash the Sins not Only the Face

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Esben and the Witch return with 'the difficult second album' Wash the Sins not Only the Face and produce something that's just as impressive as their debut. Of course the prevalent mood here is stark, chilly beats built around swirling, creeping guitars but Rachel Davies ethereal vocals are more prominent this time and the beautiful scary mood reaches more towards the half light realms of haunting dreamscapes.

Of course there are terrifying moments, "Iceland Spar" though opens the album with typically Esben-esque noise, instantly scorching out your heart with uncontainable energy where pummeling drums and heavy guitars collide before parting for Rachel's chilly vocal chorus, the contrast between the two continues throughout and imposes itself with wondrous levels of claustrophobia. "Deathwaltz" similarly deals in dramatic atmospherics, though not quite the grim death-march the name indicates, shimmering guitarscapes offer a kaleidoscopic tapestry not heard from the band before, creeping with a mysterious intensity amongst unsettling swirls and Rachel Davies haunting, creatures of the night air chanting.

"Despair" is a short and sharp blast of a nightmarish whirlpool whilst the pulsating "Yellow Wood" builds and builds to a truly stunning climax  yet my highlight is the soft, haunting intimacy of the icy ballad "The Fall of Glorieta Mountain", a delicate thing of true beauty it sends shivers right through me. Of course, being and Esben and the Witch album we're not allowed to end in blissful melancholy and the track is followed by "Smashed to Pieces in the Still of the Night", a foreboding finale of epic drums and searing guitars.