The last time I wrote about Esben and the Witch it was to rave about the behemoth "No Dog", now the trio return with the more subtle (that wouldn't be hard, in truth) "Dig Your Fingers In". The latest track to see the light from their new album A New Nature, due September 9th and available fromRough Trade amongst others.
"Dig Your Fingers In" deals in a delicate, spiritual world and is somewhat sparser than you are perhaps accustomed to from Esben, beginning with little more than soft, gentle ringing guitars patterns and Rachels' shiver-inducing vocal, the atmosphere is kept on edge through before climaxing with a brutal, raw crescendo of pummeling guitar noise.
Exceptional, but you probably didn't expect anything else.
Esben play London's Oslo next Thursday - I'm looking forward to it. Details.
I will finally be catching up with New Zealand duo French For Rabbits. I can't quite remember why I missed them last time they were in London but in the famous words of Mcfadden and Whitehead, there ain't no stopping me (us) now...
The gorgeous, melancholia drenched dream-folk of their most recent track "Goat" gives a perfect example of what to expect from their performance, a beautiful hushed vocal and calming guitars combining to steal your heart. Sounds like the perfect start to the days music to me.
Long time blog favourites September Girls are a must-see next week and are another act I've talked about at length here (and as such I'll keep this post short, you should have the idea by now).
Their cavernous vocals, reverb-heavy guitars and precise drum beats provide a buzzing mix of 60's girl pop and 70's noir, stir in some sweetly harmonies and nods of approval are sure to follow.
Esben & The Witch - Facebook VENUE / DATE & TIME SHIPWRIGHTS YARD 9th May 2014 4:10pm - 4:35pm (an Alternative Escape show)
Local Brighton trio Esben and the Witch will play an Alternative Escape show (they aren't on the main bill for some unknown reason), a short set (boo) but one that promises to be an essential inclusion for your Friday plans...
I hope recent single "No Dog" gets an airing, an uncompromising, frenetic and brilliant track which grabs you by both arms and begs you to listen as pummeling drums and guitars collide with Rachel Davies' haunting vocals, it's a jaw-dropping listen and one that could be even better live.
I've conspired to miss every Lyla Foy gig since her show at Komedia (then on the bill as Wall) at last years Great Escape, I'm promising to make amends and get my first live taster of her beautiful debut album Mirrors The Sky.
"Feather Tongue" highlights Lyla's sound perfectly, both understated and beautiful combining her heart-melting vocals with a perfect melody of gentle percussion and a bubbling synth undercurrent. The results is a gorgeous, dreamy atmosphere that is guaranteed to make your heart skip a beat or two.
I still can't decide where I'll be heading at 9pm on Friday (and I probably won't until just before I need to) so I'm going to cheat and make my five picks for the day become six. A heart-wrenching clash sees Broken Twin and Sophie Jamieson play at exactly the same time (thankfully I'll be seeing both artists in London during next week to take away the pain of the clash for me personally).
Broken Twin's debut album May was released this week is already my most played record of 2014 (recently overtaking the equally magnificent July by Marissa Nadler), as intimate and arresting an experience as music can offer, bring your quiet shoes, turn your phone off and immerse yourself in Majke's beautiful, dark melancholia.
Here's one of my favourite tracks from May, "Sun Has Gone":
As I just alluded to, Sophie Jamieson plays at the same time as Broken Twin and as such I have a decision to make. Sophie is a prolific gig player around London but has never once let me down when I've seen her live, always a rare treat with her ever expanding band (now complete as a quartet?) adding extra depth, ambiance and beauty to her wonderful talents.
Last time I saw her play, she played "Dinah", "Ode to the East", "Stain", "Other", "Waterloo" and one more that I can't quite remember - that's pretty much as knock out half an hour set as you'll likely to hear. If you are thinking about heading to see Sophie, the one thing I can guarantee is that you will not be disappointed.
See Also. Las Kellies at The Tube (8pm), Sea Change at Neighbourhood (11pm)
Right, I'm cutting straight to the chase here. That's as someone who has loved Esben and the Witch since the very beginning (with a hard copy of their debut EP '33 sitting in my collection to back that up). This song is their best ever. Yes, better than "Marching Song" better than "Argyria", "Chorea", "Corridors", "Lucia", the lot.
"No Dog" is taken from a forthcoming split release with Thought Forms and is quite simply incredible. The track waste no time letting you know what's in store for you, the aural storm of noise kicks off immediately as pummeling drums and a frenetic swam of bass is unleashed on the perhaps unsuspecting listening, this brutal, powerful intro lasts for some 90 seconds before parting to with clearer, ambient skies in which Rachel Davies' typically haunting vocals enter, lulling you into a false, hypnotic state of security before soon enough those storm return, begging you into submission with wave after wave of increased force and screams. Mesmerising.
The Esben and the Witch / Thought Forms 12" split (both sides run for sixteen minutes yet the number of tracks on the release reads two for Esben and four for TF's). Quantity never beats quality, and certainly not when the taster is this good. The split is available on limited 12" vinyl via Invada Records April 7th with pre-orders available now.
The band are currently in the middle of a Pledge Music campaign to record and release their third LP, with the prospect of a limited, exclusive EP and more for the money rich, it's something you'll probably want to get involved with too. Head here for more on that.
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.
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.
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.
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 Facebook / Order CD/LP
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.
I've definitely not posted about Esben and the Witch here enough recently. One of the major pitfalls of running a new music blog amongst a full time job, family, running regimes and an active social life is spare time can be pretty sparse. By the very nature of this, I spend quite a vast majority of my free time writing/listening to new music so by default actually listening to all the albums from artists I've previously featured can be tough. It's pretty silly when you think about it - you spend all this time building up a band, saying how great they are etc and then promptly forget about them in favour of 'your new favourite thing' shortly after they finally release their album. C'est La Vie.
I return to the Brighton trio with a spine-tingling video to "The Fall of Glorieta Mountain", a gorgeous, softening track taken from January's full length Wash The Sins Not Only The Face, it showcases an intimate side to the band far removed from the imposing, hard-hitting drums and rallying cries that propel the likes of "Iceland Spar" or "Marching Song". Here Rachel Davies beautiful vocals are the centre point, shrouded in languid, glistening guitars whilst the odd bit of subtle sythns creep up on you with devastating impact.
I came across another track recorded for the same Bowlegs session, "Yellow Wood" which starts similarly restrained but is filled with a more typically 'Esben' sound, with ominous, claustrophobic soundscapes created by metronomic electronics, shimmering guitars and haunting, imposing vocals building and building to a climatic veil of darkness as Rachel's vocals turn to despair around a deafening crescendo of noise.
Two incredible live videos which will surely make the following sentence sound even better. Esben and the Witch are due to head out on a week long UK tour next month, including a date at London's The Lexington on October 7th (full dates).
Esben & The Witch have released the latest track to be taken from their soon to be released second LP Wash The Sins Not Only The Face (due 21st Jan via Matador), the perfectly titled "Despair", short and sharp it's sound-tracked by a nightmarish whirlpool of swirling guitars and penetrating drum beats, Esben & The Witch have never been one to hide behinds screens and "Despair" has its heart on its sleeve, dark, stirring, brilliant.
I can't wait to hear this one live, just don't expect me to be doing the video's choreographed dance moves - a chance to do just that will happen soon when Esben & The Witch play an in-store at Rough Trade East on January 22nd with a UK/Euro tour following in February - dates.
It's Halloween so what better than a themed post by a band called Esben and the Witch, who this week have announced their welcome return with the first track from their forthcoming second LP entitled Wash The Sins Not Only The Face (due for released January 21st 2013 via Matador). With their debut Violet Cries being one of my favourite albums of 2011 I'm obviously excited to hear this one in full and "Deathwaltz" has certainly done its job and peaked up my curiosity...
Esben and the Witch have always dealt in dramatic atmospherics and "Deathwaltz" is no exception, though not quite the grim death-march the name indicates, shimmering guitarscapes offer a kaleidoscopic tapestry not heard from the band before, but it wouldn't be the same Esben if the track didn't creep along with a mysterious intensity, with sonically unsettling swirls and Rachel Davies ethereal vocals at the fore "Deathwaltz" retains the haunting, creatures of the night air for which I, and so many others, have come accustomed to from the Brighton trio - they'll be more to come next year for sure.
The band have announced a UK/Euro tour for early next year (dates) and you can pre-order the LP direct from the band here (it comes with a limited 7" containing two exclusive tracks thrown in too) then make sure you grab the free Mp3 of the track here too.
Esben and the Witch's debut album 'Violet Cries' (which came out way back in January via Matador) delivered ten tracks that combined to create a rich tapestry of dense and mystical fairytales delivered in a dramatic, uncompromising and bold manner. Equal parts stark beauty and deathly misery encompassed in an unsettling, atmospheric gloom and ethereal soundscapes.
Opening track "Argyria" hammers home the dark, intimidating mood, after an unnerving, slow building start it startles you with powerful drums and intense droning guitars wash over subtle glitches while gothic enchantress Rachel Davies' vocal incantations could bring blood to the boil. It's overwhelmingly bewitching, and utterly sublime.
"Marching Song" see Rachel's wailing cries play over hammering kettle drum, harsh guitars and shimmering, rich electronics building to a cacophony of unrivalled noise, the thumping basslines and eeriness reaches new heights on the outstanding "Chorea", where the repeated cries of "dance themselves to death" bring harrowing, plague-like epidemic comparisons to mind.
Though the paranoia of "Eumendies" is arguably even better, dream-like hallucinogenics combine with europhic sonic architecture to weave the biggest spell of all. before the desolation of "Swans" brings the album to a superb and naturally chilly ending, a truly stunning album from Brighton's finest act.
The winner for most aptly titled album of the year is hands down Lykke Li, her second album 'Wounded Rhymes' is exactly that, an almost voyeuristic look into Lykke's personal account of broken relationships. Wrapped around her intimate, vulnerable lyrics are amongst the most beautiful songs I've hard this year combining sumptuous melodies, Lykke's gorgeous voice and pounding, tribal percussion, lots of percussion. Part Spector girl group, part Springfield soul and part Swedish fire.
On the starkly arranged "I Know Places" and "Sadness is a Blessing" we hear a heartbroken Lykke sing with sincere emotional tenderness of a victim of unrequited love, then the polar opposite on "Get Some" where she is at her most provocative and attention-seeking, danceable, rhythmic and with its lyrics "like a shotgun needs an outcome / I’m your prostitute, you’re gonna get some", easily the most aggressive track where the victim becomes a cock-sure tease.
"Silent My Song" drips with gorgeous harmonies and the voyeuristic themed "I Follow Rivers" use of tinpot drumming, hand-clapping and exotic flavours provides a further stand-out amongst an album of them, the pop album of the year? If you call this pop (the darkness of her lyrics and the emotions portrayed throughout lead me to think this has far too much emotional depth and beauty to appeal to your typical pop fan / x factor junkie) then unquestionably.
The prolific Zola Jesus returns after last years incredible 'Stridulum' (II in the UK) with her latest offering 'Conatus', an incredibly polished offering that certainly sees ZJ expand upon her Gothic arsenal of electronic darkness. Powered by her unmistakable voice, Nika Roza Danilova is most definitely a creature of the night.
It's her operatically trained voice, powerful drums and propulsive industrial synths that drive the album forward, album preview track "Vessel" is the early stand-out, harsh metallic beats and Nika's colossal voice create an immediate, menacing atmosphere that's dramatic and chilly. "Seekir" is an upbeat, almost dance orientated track, electronic glitches and a pulsing synthetic beat, equally foreboding is "Avalanche", delightfully bleak, brooding and monstrous.
Though their are also some simply beautiful moments, the eerie "Hikkomori" fizzes away with more drama than in an episode of The Sopranos, yet the best of all is saved for the second side of the album, where Nika lets in more than a touch of lightness, the delightfully named "Lick The Palm Of The Burning Handshake" is melodramatic and wonderful. The intimacy of "Skin", a stark piano led ballad will send shivers down your bones and "Collapse" with its foreboding synth fizz, slow building drums and the quivering vocals close the album with two tracks of transcending, majestic beauty.
'Conatus' certainly sees Zola Jesus move away from her industrial lo-fi beginnings into epic scale dramatic pop territory, it's one that I think is her home. It's equal parts incredible and absurd to think that she's still just 22.
Still Corners released their spellbinding debut 'Creatures of an Hour" via US label Sub Pop back in October, masterminded by Greg Hughes 'Creatures of an Hour' is exceptionally crafted from the outset, where film-noir aesthetics transport you through an expansive journey of kaleidoscope soundscapes that are undeniably alluring and gorgeous.
The singles "Cuckoo" and "Endless Summer" return and are as immaculate as ever, a graceful, melancholic mist wrapped around shimmering guitars flourishes, hollow drums and twinkling keys create beautiful dream-like warmth which is rounded off by the ethereal sweetness that is Tessa's angelic vocal. On the more energetic "Into The Trees" glistening 60's psychedelia, precise drum beats and shining guitars offer the perfect example of the wistful, romantic atmosphere so sumptuously crafted.
"I Wrote in Blood" adds an otherworldly, dark undercurrent (though with its title it's not that much of an undercurrent) amongst its eerie organ swirls and woozy, washes of reverb, haunting guitar and ghostly whispers that are equally noticeable on "Circulars". Mysterious synth perfectly complements slow, chiming guitars and trembling drums on "The Twilight Hour" and closing track "Submarine" are equal highlights in this quite simply, stunning debut.
Veronica Falls were snapped up by Bella Union for the long-awaited release of their debut LP which came out in mid October, the London / Glasgow quartet have been favourites of this blog since early last year and the release of their signature tune 'Found Love in a Graveyard', which now, some eighteen months later hasn't lost any of its immediate charm and finds itself as the lead track on the bands self-titled debut album. Any song that can sing about falling in love with a ghost in a graveyard yet sound as irresistibly catchy as a Cliff Richard Christmas song (joke!) is a winner in my book.
The outstanding and hopeful closure "Come on Over" is certainly one of the highlights of the album and contains just about everything I love about Veronica Falls, urgent pacing where cleverly constructed male/female vocal harmonies deliciously combine whilst infectious, head-nodding melodies which embed themselves around your brain. While eqaully catchy, yet somewhat more dark and brooding is the anti-feel good "Bad Feeling", a song from the same morbid scrapbook as Graveyard as well as another of the early singles, the formidable “Beachy Head” (a song about a suicide hot-spot) and new track “Misery” (a song about being generally miserable).
It’s not all high energy ramshackle guitars and self-wallowing lyrical matter, the slower paced “Veronica Falls” is a genuine highlight where Roxanne’s usual deadpan delivery changes to a soft, beautiful lullaby. In summary, this joyous album offer a melodic pop album with more energy than you can shake a stick at that revels in misery yet somehow manages to capture its essence into a joyous, uplifting affair that is certain to improve your mood.
Before I start with my end of year posts (favourite albums / songs of 2011 / tips for 2012), I thought I'd revisit my tips for 2011... In early December 2010 I gave fifteen acts whom I tipped not for stardom (though perhaps it would have been nice in some cases) but as artists that potentially could offer some of the finest releases of the year, now almost twelve months later I’ll revisit the acts and (perhaps) see if I was right or not by form a brief (or not so in some cases) synopsis of what they've been up to. That sounds equal parts stalkerish and good fun, we’ll see how it works. Part one today and parts two and three to follow over the next 30 hours.
The original posts 'Tips for 2011' posts can be found here: 1 – 5 // 6 – 10 // 11 – 15
Hmm, well it’s fair to say I didn't get off to the best of starts here; before 2010 was even out, two weeks after I tipped them as one of my acts to follow through 2011 Stricken City announced their end, a brief statement announced a last ever show and second, final, album for February.
All was not lost though, that last show was bloody excellent and left the audience with a bittersweet taste of what could, probably should have been, in a time when mundane fills the charts here we have a band splitting up because "We never stood a chance". Rebekah is a captivating front-woman, her voice is beautiful and the bands blend of 90's brit-pop and tropical rhythm luscious... Instead we’re left waiting for what Rebekah and Iain come up with next, as yet I’ve heard diddly-squat.
The album, ‘Losing Colour’, while undoubtedly still a work in progress with a couple of tracks that probably wouldn’t have ended up on a final album if the band completed its recording, still has enough to make it a highly satisfying memoire (and for Pitchfork to give it a 7.7 - ), the highs are superb, "Animal Festival" is incredible, anybody who saw the SC live show will know what I mean when I say the infectious, energetic live performance of Raa is highlighted at it's best here, "Corridors" moody demure gradually builds up through skittish rhythms and (once again) impeccable vocals. Early single and live favourite, the revamped "Lost Art (ii)" is the perfect "should have been anthem", a propelling guitar intro and killer hooks, the highlight though is the title track, the shimmering "Losing Colour" a hypnotic, majestic and soothing number which finds the band at their beautiful best.
Stricken City might be gone, but they certainly won't be forgotten by those who were lucky enough to share at least some of the journey with them.
You can order the album for just £6 here, it comes in a delightful vinyl packaging too (as well as the equally superb debut mini-lp for just a fiver) from their shop here.
The first time I saw Still Corners last August the slight nod of head approval between me and the guys I was with at the end of the show spoke volumes, it was that silent indication that "we've found one here", found one we had because in the following eighteen months the London based act have become one of my favourite acts both on record and live (although I'm still sticking to my previous comment that their live dynamic is more suited to a five piece rather than four - perhaps I'll get used to it).
2011 has seen the band play probably a handful of London shows as well as pick up high praise for their SXSW performances, their live show is (besides my minor criticism above) sensational, soaring guitars, hollow drums and twinkling keys create mystical, hazy dreamscapes rounded off by the ethereal beauty that is Tessa's vocal. As well as getting signed up by US indie giants Sub Pop and releasing the spellbinding debut 'Creatures of an Hour" in October. Shimmering single "Cuckoo" and "Endless Summer" return and are as immaculate as ever, the album as a whole, doesn't disappoint one bit.
It works because the material is so good, masterminded by Greg Hughes who wrote everything you hear 'Creatures of an Hour' exceptionally crafted film-noir aesthetic transports you through an expansive journey of kaleidoscope soundscapes that are delicate, beautiful and dreamy yet with an undeniably misty, dark undercurrent (though with titles such as "I Wrote in Blood" and "Demons" it's not that much of an undercurrent!). My favourites are probably "I Wrote in Blood" and "Submarine", though I also love the stunning bonus "Cabot Cave" that came on a free flexi-disc with pre-orders. It's a stunning debut that's been really well received critically (dis 8/10) and although it's perhaps a little too soon to judge commercial success, a sold out album lunch at Cafe Oto and its rapturous applause at the end indicates to me, at least, that this is a band that's going in the right direction.
Esben and the Witch were a surprise addition (at least to me) in the long-list of the BBC sound of 2011, less of a surprise is they didn't make the top five (especially since Jessie "never heard of PJ Harvey" J scooped first place). I doubt they were too bothered. More important than a being tipped by apparent industry know-it-alls is that their debut album 'Violet Cries' (which came out way back in January via Matador) delivered on all counts, ten tracks which combine to offer a dark, mystical fairytale of uncompromising and bold intent. Equal parts beauty and misery encompassed in atmospheric gloom combining stark beauty and intense droning guitar haze washes over electronic glitches and gothic enchantress Rachel Davies' vocal incantations. It's utterly sublime and deserving of every one of the high end of year lists placing it receives - including my own.
If that wasn't enough they followed it up with the best release of Record Store Day 2011, the 'Chorea EP' is worthy of that for "Corridors Installation" alone, an eighteen minute experimental epic that starts twinkling drones before shrouding its soundscape in typically misty ambience with unsettling chants, hollow drum beats and chilling guitars, easily one of the best things you'll hear this year.
Clearly not a band to rest on their laurels (they probably don't own any either), the six part 'Hexagons' was released as a digital EP in November. A concept EP which saw the band take over their local cinema in Brighton for a number of screenings, it's overall more sparse then the album, for example where "Argyria" used military drums and building force to sweep you away where on the whole "Hexagons" is shivering ambience of swirling keys and celestial vocals. This is a band who've created a vision and then (I'm guessing) spend endless hours meticulously planning to deliver it with stunning results.
I only managed to catch Esben live twice this year, they are to be seen to be believed, enacting a hypnotic séance of foreboding drums, guitar swirls and ethereal vocals, thrashing guitars and electronic soundscapes make it hard to believe that there are just three people making this racket. Have Esben delivered? Oh yes.
Order the album now on gorgeous gatefold vinyl (and mp3s) or bonus CD version from Rough Trade.
Another band I discovered mid way through 2010 and who've spent 18 months firmly in the category of 'favourite bands' are Lanterns on the Lake, signed up by the impeccable Bella Union at the turn of the year the sextet spend the first six months playing a few shows (included the spine-tingling shows I caught at The Great Escape and finalising their album 'Gracious Tide, Take Me Home' which was released in September.
The album fulfilled every ounce of my incredible expectation, awash with natural beauty and elegance, the purposely restrained melancholia that shrouds the eleven tracks are the very definition of sensual, dreamy bliss. The soft, delicate whisper of Hazel's voice is enough to make you fall in love alone.
It's difficult to pick highlights, the album flows so beautifully it's best to sit and listen on one luscious sitting, windswept instrumentation sweeps and swoons while heartbroken melodies tug at your heart strings, the updated version of "I Love You, Sleepyhead" the perfection summation, genuinely gorgeous. Another track revisited from the early EP's "A Kingdom" is fantastic, sweeping strings and galloping beat, Hazel's voice combines perfectly with Adam's while the graceful elegance of "Keep on Trying" provides more emotional joy.
Critical acclaim has been forthcoming and a sold out show at The Lexington in November showed the band have certainly hit the right note in the capital where a show at Cargo has been announced for January - get your ticket to that here and buy the album from Rough Trade as it comes with a bonus EP that contains much superior version to album closure "Not Going Back to the Harbour" as well as two exclusive tracks.
Just part one in this review of my tips and I feel like I've been revisiting all of this years blog favourite acts, the feeling certainly isn't leaving as I come to Veronica Falls, another band snapped up by Bella Union. The London / Glasgow quartet have been favourites since early last year and the release of their signature tune 'Found Love in a Graveyard' which some eighteen months later hasn't lost any of its immediate charm and now finds itself as the lead track on the bands self-titled debut album, any song that can sing about falling in love with a ghost in a graveyard yet sound as irresistibly catchy as a Cliff Richard Christmas song (joke!) is a winner in my book.
After spending the first six months of the year quietly beavering away behind the scenes the band exploded back onto the scene with the outstanding "Come on Over" in July, it's one of the highlights of the album and contains just about everything I love about Veronica Falls, urgent pacing where cleverly constructed male/female vocal harmonies deliciously combine whilst infectious, head-nodding melodies which embed themselves around your brain.
They followed it up with another belter, the anti-feel good "Bad Feeling" a song from the same morbid scrap book as Graveyard, as well as another of the early singles “Beachy Head” and new track “Misery”. It’s not all high energy ramshackle guitars, the slower paced “Veronica Falls” is a genuine highlight where Roxanne’s usual nonchalant delivery changes to a soft, beautiful lullaby.
New shows have hinted at a quick follow-up with the band including two exceptional new tracks in their live sets, they’ve played quite a few shows around the capital recently including a few support slots where they got as good a reaction as the headliners. Rough Trade voted the album number six in their top albums of the year, hopefully another catalyst towards worldwide domination for the band.
Order the album from Rough Trade (I’m not on commission I promise) and received a five track covers EP which includes a simply wonderful rendition of the Eurythmics' "Thorn In My Side", definitely amongst the best cover versions of the year and deserving a release of its own, don't let it hide away here unheard buy it and tell your friends to do the same!
Just a couple of days after I mention Esben & The Witch teasing us with a trailer for a forthcoming EP the Brighton trio have released a track from it as a free download...
You can stream / download "Hexagons II (The Flight)" below. After their long awaited debut 'Violet Cries' February release you could have forgiven the band for taking the rest of year to promote and tour it, though I for one am happy to see them return quickly and can't wait to hear this standalone EP in full, given the six part hexagon title (including a revamped Hexagon IV from the album), I'm hopeful for a seamless listening experience.
I think it's safe to assume that fans of the album will be immediately at home with "Hexagons II", it continues with the eerie, atmospheric soundscapes heard on the full-length, the otherworldly vocals of Rachel Davies combine with creeping guitar line echoes and electronic rhythms to create an icy cold, misty fairy tale that's equal part celestial and nightmare. Esben & The Witch's hauntingly dark sounds definitely aren't for the mainstream (I'm still unsure as to how they got a BBC Sound of 2011 birth - not that I'm saying it's undeserved, I just don't see any mainstream crossover potential) yet for those willing to enter their bewitching (sorry) universe, the Brighton three piece are proving to be one of the essential acts of this decade.
The six part Hexagons EP is due for release November 7th (I've not seen any mention of physical/digital release method yet), the full track listing and a small handful of live shows can be found at their label Matador's site.
Make sure you buy the 'Chorea' 12" to, exclusive to Record Store Day but you can get a copy for a fiver from the band direct here.
A Saturday round-up follows, I've fallen way behind again thanks to month-end overload and a hectic schedule of gigs, I'll catch up as and when I can. Here are some quite wonderful things I've discovered this week;
I've mentioned Erika M. Anderson, better known as EMA quite a bit recently, I'm doing so again because another breathtaking session has turned up, a new version of "Butterfly Knife". I mentioned just how much I love EMA's normal live version of the track here, this one sees the dissonance of frenetic, grungey guitar shredding and crashing percussion shift for an equally intense version of droning guitars and moody grand piano. EMA, you are truly amazing.
I Break Horses released the second (of three) 'Bedroom Sessions' videos yesterday, this one is for "Hearts" and just like "Winter Beats" it's stunning. Staying quite faithful to the studio version, a beautiful contrast of light and dark through glistening soundscapes, soft keys, pulsating rhythms and echoing guitars. Maria stands almost trance like, gently swaying with both hands on her microphone as she sings her beautiful, ethereal vocals. Incredible.
Zola Jesus performed one of my favourite gigs of the year on Monday at Toynbee hall, she was phenomenal, her stunning voice and entracing stage presence combined perfectly with the foreboding synths (all three of them) and military drumming, it was quite wonderful. I cannot wait to see Nika again at Heaven in November (especially as she's backed by EMA!). The encore version of "Run Me Out" was stunning, her voice would give Simon Cowell sleepless nights, thankfully this star is already shining much brighter than anything that has come from him 'show'. Her frenetic cymbal bashing at the end of "Collapse" and the majestic "Night" other highlights. Zola Jesus released her second album 'Conatus' last week, it's quite wonderful, I've listened to it about a dozen times already, expect it to feature high in my year end lists. Get it here.
Brighton's finest (well up there anyway) Esben & The Witch have annouced something to be released on November 7th via the teaser trailer below, I've seen speculation that it's an EP called 'Hexagons' and will contain six exclusive tracks, if that is the case consider me excited. The band are set to play London's Corsica Studios on Wednesday 16th November - tickets. If you haven't got their debut full-length Violet Cries and the Record Store Day 12" get them asap because they are quite simply exquisite.
Fanfarlo produced one of (in my opinion) 2009's most consistent and impressive albums with 'Reservoir', they've taken some time to record the follow-up but recently shared a video for the first single "Replicate, it's safe to say that it's excellent. Wonderfully produced throughout with sporadic noises, luscious orchestral arrangements and harmonious vocals. Incredibly addictive after a couple of listen, I for one can't wait to hear more. Fanfarlo were really great when I saw them live at Dalston's Servants Jazz Quarters before the set out to record the second album so I'll be excited to catch them again at Cargo on November 21st - tickets.
Sunday starts with a bout of hay-fever affecting me, we decide to take our camping gear back to the car to leave on Sunday night (a friend lives 20 minutes away and the allure of a hot shower on Sunday night is too great after three long days) so my day starts at 1pm with Esben & The Witch at the Oxlyers in west tent.
I've not seen Esben since last May when I saw them supporting Warpaint in London, they've released a stunning debut since then and their progression has translated well to the live stage, the dark, ominous soundscapes are intense and huge. A captivating spectacle as the songs blend together as transfixed audience looks on. Pedals, percussion and droning guitar haze washes over the dance tent, temporarily turning it into a blood curdling witches cove. A band to see live.
Next to the John Peel tent, Foster The People are the second terrible band I watch primarily to get a decent view of the next band. FTP attract a large, large crowd (mainly consisted of youthful girls) and I know I'm in trouble as soon as it starts, a combination of boy band, Cold Play and MGMT follows, I'm glad when it ends, if John Peel would have liked this drivel then I'm the next in line to the throne. It was perhaps worth putting up with to guarantee front positioning for The Joy Formidable who arrive on stage some twenty minutes late (there was a problem with the sound) meaning a song is cut from the planned set.
What we do get from TJF is simply fantastic, for fourty minutes they blow the roof of the John Peel stage. It's relentless, as ever, the energy the three piece create is second to none. Noisy, beautiful noise fills the air as the crowd lap up the six tracks played. "Cradle" goes down well but the biggest cheer is saved for the last track "Whirring" sounds like a monster as it cumulates with Ritz chucking her guitar into a gong - the only shame is length. TJF need longer.
The set finishes too late to head to the Pyramid to catch Laura Marling so I decide to go for a wander and food, a mid afternoon lull means I have a few spare hours. I head to The Crow's Nest and catch Sweet Baboo. I wait for a while out of the sun and as evening arrives Sea of Bees take to the same stage. The raw and sparse acoustic set is a perfect compliment to the days glorious sunshine.
Next it's down the hill to the main stage to see Lykke Li, I was looking forward to catching her, I'd only seen her do a small in-store gig at Rough Trade before and her show doesn't disappoint. She takes to the stage dressed in a black and with a veil covering her head. Heavy dominance on percussion, at times every band member and Lykke herself are bashing away at drums and
cymbals. It's brutal and her moody demeanour suits the theme of the tracks from 'Wounded Rhymes', the theme of the show is certainly dark, everything is black.
Through clouds of smoke machine fog Lykke asks the crowd to dance on more than three occasions, it's a bit hard to do after four days in a field with little sleep and with your feet stuck in mud but some oblige, probably not enough to please. My highlights were the more tender beautiful moments of "I Know Places" and "Sadness is a Blessing" though the more danceable "Get Some" reserved for the finale perhaps is the best received.
The heat, hay-fever and tiredness take their toll and combined with a lack of a real headliner that I want to catch we decide to call it a day and head on the long walk back to the car and then a short journey back to where I'm staying. I'm home even in time to see a bit of Beyonce. It lasts about two minutes before the red button is pressed and I watch Hurts' set, a band I would have seen if it wasn't for a clash. I feel I made the right decision coming home early as I'm lying on the comfortable sofa as midnight approaches.
So ends Glastonbury 2011, my review one week late hs given me time to contemplate the festival more. Overall it was pretty good, not as good as 2010 in my opinion but good. I'm not sure if I'll return in all honesty, the festival is now huge, too big for me and with the increasing BBC coverage it seems the organisers are more interested in putting on mainstream acts on the main stages to please TV execs. I don't really agree with that, thankfully The Park area more than makes up for it. Though I do think it's time to end the 'Special Guests', they'll never beat Radiohead and Pulp and it makes The Park area too busy and lot's of unhappy punters who get turned away. Still in summation, it was an enjoyable, tiring experience.
