It takes precisely three seconds for you to know "Dangerous Days" is a Zola Jesus track, so distinguishable is Nika's vocal. The song is the first track taken from her forthcoming album Taiga and her first for new label Mute.
Fans of old, (and by that I mean post Stridulum, perhaps now regarded as her debut, certainly the first of her pop albums) will be happy, there's much akin to Conatus here, an expansive combination of pulsating beats and propeller like effects in which Nika's incredible vocal soars even higher. The name of the album is apparently a homage to her homelands, she's certainly gone big. I've blogged about her seventeen times now, I think that's indication alone that I'm happy with that.
The track is available to download free via ZolaJesus.com. Taiga follows in October.
Indie-Pop royalty Camera Obscura announced their return earlier this year with their fifth (and first since 2009's My Maudlin Career) Desire Lines, the first that I've discovered in real-time after coming to the band somewhat late. With its combination of truly fantastic lyrical melodies, perfectly restrained instrumentation and Tracy-Anne Campbell's crystal-clear pure vocals sure to provide a winning formula for listeners all over the world.
"This Is Love (Feels Alright)" kicks off the album with a typically swoon-some blend of timeless, natural melody and heartfelt voices, it leaves you feeling all gooey with sentiment and good feelings. It's pretty much the same mood that prevails throughout, "Troublemaker" floats with fizzing guitar and soft percussive grace whilst "New Year's Resolution" is similarly heavenly.
If you were to look up beautiful in a song dictionary you'd probably see "Fifth in Line to the Throne" as the example, a bittersweet ballad that is arguably the most gorgeous track of the year while the albums lead single "Do It Again" is a slice of exhilarating, full blown fun that will have you running for the dancefloor. In simple summation Desire Lines is a complete triumph.
You'd probably have forgiven Zola Jesus for taking the year off after last years Conatus LP, instead Nika Roza Danilova headed straight back into the studio along with composer JG Thirlwell for a collaboration album Versions which sees pared-down versions of tracks from her catalogue reconfigured with the help of a string quartet.
Kicking off with a beautiful, goose-bump inducing version of "Avalanche", slowed down with the original's pummeling synth menace gone, instead comes a bare-boned, heart of the sleeve vocal with Nika's voice crystal clear and pure emotion amongst equally stark, ethereal instrumentation - the sort of thing that can bring tears to grown men.
"Fall Back" grows from similarly beautiful beginnings as gradually the string section grows to a screeching, frenetic climax amongst Nika's repeated Meat Loaf inspired (perhaps?!) cries of "I would do anything to be the one with you". There's a re-working of my favourite ZJ track too, "Night" is stripped of the epic, apocalyptic backing of the original and is transformed by dramatic and breathless violin whilst "Run Me Out" and "Collapse" become more effecting and intimate than ever before drenched in luscious strings and empassioned vocals.
From darkness to the (half) light Versions is a beautiful, natural album that commands repeated listen from one of our generations finest artists.
Canadian singer-songwriter Basia Bulat's third album Tall Tall Shadow served as my introductory point earlier in the year, I'm not quite sure how I managed to miss her for so long and now I'm kicking myself in the face at missing a few intimate London gigs earlier this year. The title-track opens the album and is the perfect introduction, armed with the most natural of voices and a transcendent melody that builds and sparkles with an uplifting spirit and beauty full of strength and charm building to the most triumphant of conclusions.
Fellow single "Wires" similarly bristles with life and a rich, rousing melody, where guitar, organ and an instrument I couldn't possibly name propel the track with a sense of freedom and fun - it's great to see musicians with a smile on their face and I think Basia has one on just about every video of hers I've seen - you can sense that enjoyment throughout.
Elsewhere the release is more melancholic and affecting, as shown on the devastating "It Can't Be You", highlighting Basia's extraordinary tone and voice amongst sparser, delightfully picked arrangements. "Someone" is another favourite, retrained and heart-stirring, it's an album that shows two sides to an artist I really should have discovered sooner.
I've long been a devote follower of the electrifying PINS and their debut album Girls Like Us lives up to the hyperbole which has surrounded the Manchester quartet from day one. The album kicks off with a dark, brooding intro before exploding into life with the track track where tribal drums, swarming guitars and a deep bass-line all wrap around Faith's ferocious, tension-filled vocals. The same electrifying energy and heavy noir-pop hooks run throughout the record, thrilling and terrifying in equal measure with little room for rest-bite.
Pins are tighter and slicker than ever, vocals sneer with an addictive yet uncompromising bite backed by propulsive beats and guitar thrills, it makes for a relentless roller-coaster of a ride. The double a side single tracks "Stay True" and "Get With Me" are the perfect example where shimmering guitars collide with Faith's snarling/seducing vocals while the wonderful "I Want It All" (not a Queen over) hypnotises with metronomic rhythms and swarming bass.
Perhaps my favourite moment though is the Pulp-esque "Velvet Morning", a real creature of the night with spoken-word lyrics/poem (I'm not sure who's speaking, I don't think it is vocalist Faith) perfect for those late night walks through dark, desolate streets (you might want to make sure they are lit though). In summation, Girls Like Us is a pretty awesome debut from a progressive band likely to thrill us for years to come.
In my last post I mentioned country-tinged folk that leaves you tingling all over, whilst Zola Jesus isn't quite what I'd call 'country folk', boy can she leave you holding back on your emotions. Never more so than on the new, pared-down versions of tracks from her catalogue on the latest ZJ release Versions - a string quartet collaboration album with JG Thirlwell.
The LP comes out next week and new track "Fall Back" is its latest teaser (following on from the goosebump inducing "Avalanche (Slow)", it grows from similarly beautiful beginnings to become the most uplifting teaser so far as gradually the string section grows to a screeching, frenetic climax amongst Nika's repeated Meat Loaf inspired (perhaps?!) cries of "I would do anything to be the one with you".
This spectacular combination of pure, ethereal starkness and unadulterated emotion that Nika manages to deliver in her breathless vocal delivery promises to be one of the years most unmissable releases - Zola Jesus plays a one-off Versions show in London on October 3rd - tickets.
You can order a special limited edition via Sacred Bones with UK orders possibly best heading to Rough Trade and grabbing the record with a free DVD of the Zola Jesus show at New York's Guggenheim museum.
When Zola Jesus released a live, re-worked version of "Trust Me" a few months back little did I know that it would be an aperitif to news of a new album Versions (due August 20th via Sacred Bones), an album which sees Nika revisit tracks from previous albums Conatus and Stridulum with new arrangements and a string quartet...
The first preview from the release is this utterly beautiful, goosebump inducing version of "Avalanche", slowed down with the original's pummeling synth menace gone, instead comes a bare-boned, heart of the sleeve vocal with Nika's voice crystal clear and pure emotion amongst equally stark, ethereal instrumentation from the string section - the sort of thing that can bring tears to grown men.
I didn't find the time before I went to Brighton to write about this, nor did I find sufficient motivation to plug the laptop in whilst I was there so as I return foggy headed I'll bring a couple of quick update posts before I dive in to my review of The Great Escape weekend, in a nutshell it was great and the weather forecasters clearly have no idea what they are talking about.
Zola Jesus has been pretty quiet for the last six months given her prolific release history so far but that changed last week when Nika shared a 'live band version' of "Trust Me" from Stridulum, a version which switches the droning, impending doom of the studio version for an especially beautiful, haunting and intimate mood, touching deep inside over its brief two minute length.
I'm not sure when the follow up to 2011's Conatus is due but one thing I do know is that, when she returns, I'll be there.
No waffle (I'm pretty short on time!) just straight into part two of my tips to see at Latitude Festival. Part one is here in case you missed it (and are interested).
Laura Marling - Facebook
Saturday 14th July - Obelisk Arena
A second to headline billing on the main stage for Laura Marling, a quite incredible rise for arguably Britain's most successful current singer/songwriter, with her recently announcing that her fourth album is written it's a rise that I can't see ending any time soon either...
The last time I saw her at Glastonbury last year a couple got engaged, expect similar declarations of love during her set at Latitude, Laura's three albums to date portray the vulnerability and versatility of her songcraft and beguiling voice, stark and haunting her staggering talent will be one of the stars of the weekend.
Daughter - Facebook
Sunday 15th July - The I Arena
Daughter's rise over the last eighteen months (although on a smaller scale to the above Ms Marling) has been equally impressive, from a self-released demo EP given away free to a small number of followers to a Mute signing and thirty seven thousand fans on facebook alone.
It's hardly surprising, I didn't do a best of 2011 EP's posting but if I had both Elena's releases His Young Heart and The Wild Youth would have featured highly and I'm sure Daughter was close to a spot on the BBC sound of 2012 list, perhaps the lack of exposure and instant success that demands is a good thing for her career...
Expect emotionally affecting heartbreaking moments and spine-tingling intimacy at her show at Latitude's I Arena, another I genuinely cannot wait for.
Tim Ten Yen - Facebook
Friday 13th July - The Lake Stage
Now something a bit different, I used to love Tim Ten Yen, unfortunately I've not seen him perform for a few years now but Latitude has given me the perfect time to correct my oversight.
Back in 2006/7 I was obsessed with a band called Apartment (I still am, if only they'd found the success they deserved...) and Tim was a regular support act (Tim also played with David on one of his few solo shows since), his act basically (I keep using the past tense as I've not actually heard anything from him for over 24 months) comprised of Tim and an iPod along with his Sinister Cat (stuffed).
Tim Ten Yen's show is a guarantee to brighten your mood and get you ready for the festival ahead, come and watch him, I promise you won't be disappointed.
I Break Horses - Facebook
Saturday 14th July - The I Arena
I'm very interested to see how I Break Horses go down at a festival, I've seen both their two London live shows so far and the second at Scala was a world apart from the first. Transforming the album Hearts into a seamless piece of art. Pulsating synths and drums perform the backbone as the tracks are stretched from the original state, somewhere in the mix the reverb-drenched vocals of Maria Lindén shimmer and shine.
Still a band in their infancy, I Break Horses are very much an act to grow up with and saviour in their journey.
Zola Jesus - Facebook
Saturday 14th July - The I Arena
Another act I needn't cover in too much glory again (I've already done it countless times), Nika Roza Danilova's Zola Jesus returns to UK shores a year after the release of Conatus to headline Saturday's I Arena line-up.
Her incredible sound based around her bands harsh, metallic beats and Nika's colossal voice will create a menacing atmosphere that's dramatic, hypnotic and immediate. One of the most prolific, incredible artists of our time Zola Jesus is an obvious pick and one you shouldn't miss.
Perfume Genius - Facebook
Sunday 15th July - The I Arena
My pick to close the festival, Mike Hadreas (Aka Perfume Genius) will close a stage which seems to have taken over this preview, The I Arena on Sunday, those of you wanting an intimate, captivating experience to end their weekend should look no further.
His recent show at St Pancras Old Church an indication of his talents, sublime, it managed to leave the entire crowd in utter awe, bruised, plaintive and compellingly beautiful, just like his two albums so far.
Of course, I could have easily included Toy, SoKo, Lucy Rose, Smoke Fairies, The Staves and of course Bon Iver to name but a few of the other quality acts playing over the weekend - the line-up is that good. Cannot wait!
12. Zola Jesus - Vessel Posted 29th June: "Vessel" is a stunning return for Nika Roza Danilova, harsh metallic beats and Nika's colossal voice create an immediate, menacing atmosphere that's dramatic and chilly."
11. Dum Dum Girls - Coming Down Posted 20th July: "Coming Down" is a real heart on sleeve lament. Dee Dee's smoky vocals recall more Hope Sandoval than the lo-fi fuzzed-out Shangri-La's of the debut. Languid, echoey guitars shimmer with emotion and longing, complementing the woozy and wistful lyrics perfectly, everything about this track is mellow, luscious, amazing. For those late night, alcohol soaked melancholic moments. Undeniably vulnerable and beautiful, if the album hits me like this track then it's going to be something special."
10. Echo Lake - Sunday Evening
Posted 3rd January and June 15th: "...Their sound highlighted perfectly on the shimmering beauty that is "Sunday Evening", with its hypnotising intensity, chiming guitars and foot-stomping progressive beat..."
9. Daughter - Love Posted 10th November: "Elena's voice remains pure and beautiful throughout, it's probably one of the most emotionally affecting, gorgeous voices I've heard recently, listening to the opening verse of the heartbreaking "Love" with its wounded, confessional lyrics is a provides a genuine goosebumps moment. If you aren't amongst those 6000 followers perhaps now is the time to stand up and pay attention, I'm sure dozens of A&R guys already have."
8. The Great Wilderness - Dark Horse
Posted 22nd September: "Their most recent (and best) release is the spellbinding "Dark Horse", a sprawling nine minute epic, seamlessly flowing from luscious, dreamy melodies, shimmering guitar rhythms sewn together by vocalist Paola's haunting voice to a shattering cataclysm of pummelling drums and frenetic guitar riffs played with such searing intensity you'll be left gob smacked, then you'll want to press repeat, again and again."
7. The Joy Formidable - Spectrum Posted 6th February: "Their sound is individual and unique, but recognisable and accessible. Whilst managing to simultaneously sound like and unlike every guitar band you ever heard, The Joy Formidable are a truly astonishing and daunting prospect but fortunately they are blessed with enough style and charisma to create the perfect package".
6. Braids - Lemonade Posted 6th January: "Lemonade" is the stand-out, a seven minute masterpiece which pushes the boundaries of mainstream psych-pop, swirling, tropical soundscapes and bubbling ambient electronics give the perfect platform for Raphaelle's delicately soft vocals (which hide somewhat of a dirty mouth)."
5. I Break Horses - Hearts Posted 10th May: "Hearts", for me at least, is the signature I Break Horses track, perhaps because it's what hooked me first, it's simply heavenly. Frozen beats sparkle while pulsating rhythms add a slightly sinister tone (my initial reaction was The Terminator theme) all softly woven amongst echoey drums and the hushed yet, ethereal coos of Maria Lindén. Her voice, as beautiful as it is, acts as another layer of the instrumentation where the lyrical content matters little."
4. Austra - The Beat and The Pulse Posted 24th January: Austra are Domino's latest signing, the work of Katie Stelmanis whose debut release "Beat & The Pulse" is dominated by a powerful, pounding dance-floor filling dark electro beat"
3. Lanterns on The Lake - I Love You, Sleepyhead Posted 29th November : "...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..."
2. EMA - California Posted 1st April: "California" is beautifully stark, through grinding, droning walls of feedback, the opening line of "Fuck California, you made me boring" sums up Erika's defiance in one line and it's repeated refrain "I’m just 22 / I don’t mind dying" is almost triumphant."
1. Josh T. Pearson - Honeymoon's Great! Wish You Were Her Posted 29th November : "The most stunning most though is on the devastating centrepiece "Honeymoon's Great! Wish You Were Her", the longest track in an album of lengthy numbers, at thirteen minutes it's raw, emotional and regretful "I’m in love with another woman, please don’t tell the wife / I cannot seem to stop it and it’s fuckin’ up my fucked up life" (in fact just read the whole lyrics here), a poetic lament to unrequited love and being stuck between two women. I'll repeat myself, an album of such heartbreaking fragility and beauty that I can't say any more than just listen to it."
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.
With this post I'm in danger of turning into a hipster blog that only posts videos and neglects words though I've mentioned Zola Jesus so much recently that if you hadn't realised I'm completely in love with Nika you've been on another dimension, this stunning accompanying video for "Vessel" has been released, give it five minutes of your time now, it's jaw-dropping, just like the song:
You can now buy the wonderful 'Conatus' on stunning marble vinyl in Europe or coloured vinyl in the US.
As the release of the new Zola Jesus album 'Conatus' draws closer (26th September in the UK and 4th Oct in the US) we've been treated to another track from, following the incredible "Vessel" is "Seekir" and as you could probably guess I absolutely fucking love it.
I'm still obsessed with 'Stridulum' now but the new material I've heard so far shows such a leap forward in terms of production, song-writing and Nika's ability to use her incredible voice, probably one of the best in music today. "Seekir" is a gothic dance orientated track, electronic glitches and a pulsing synthetic beat, Nika's signatures all there, dark, brooding and monstrous. I can't wait for the full album, surely album of the year potential.
A simply incredible show has been announced today, two artists signed to souterrain transmissions (in Europe), Zola Jesus and EMA play London's Heaven on November 23rd (also in Manchester the next day). ZJ plays a few other UK dates around the same time too. Tickets for the London show won't last too long so get one here.
There are five or six albums due in September that I'm excited to hear, right at the top of that list is the return of Zola Jesus. Her 'Conatus' LP is due on the same day she plays London (26th September at Toynbee Studios). It promises to be a very special day indeed.
We've already had the first preview, the stunning "Vessel", that followed last week with a daytrotter session, you can download the brief two song set for free here. You can stream their exclusive take of a new track, "Avalanche" below, it sounds great on this live cut. Vast, dark depth and driven atmosphere and of course Nika's voice which. as ever is incredible, powerful and compelling. The version of "Trust Me" is great too, military drums add real menace to one of the more calm tracks from 'Stridulum'.
Stereogum have a nice interview with Nika here, I robbed the picture from their spread. Lovely it is too.
This will be my first Field Day, I was tempted to go last year but it was the day after my birthday and the lure of curry and beers in my home-town proved more than sufficient to keep me out of East London. Taking place at Victoria Park the line-up is pretty spectacular, if the weather cools down a little (yes I'm now moaning it is too hot after weeks of asking where our summer was) it promises to be a spectacular day.
Here's my suggested day plan, there are so many great bands that clashes are inevitable so I've adopted a policy of seeing bands I've not seen / seen less / won't be seeing again in the near future (sorry Echo Lake / 2:54 and more):
Since I last mentioned THoAP back in early June they've been Guardian New Band of the Day and released their debut single "You're So Cool", they'll open up proceedings at midday, so make sure you head down to Victoria Park early enough to catch their beautifully melodic, hazy summers day slabs of indie pop.
Finally, and I do mean finally, I'll be catching Anika live, I couldn't make her last two London shows and I'm extremely excited about the chance of seeing her perform tracks from her stunning self-titled debut. Her detached, dubby take of some classic tracks delivered with her nonchalant vocals and pulsating electronic throb gives an eerie, paranoid feeling, I love it. Yes I'm looking forward to Anika
Anika has recently announced a whole host of American dates, go and see her.
Connan Mockasin // Laneway Festival Stage // 13.50
I can't remember why but I missed Connan Mockasin at Primavera and will certainly try to correct that on Saturday. He has a distinctive, unique and undoubtedly strange style. I'm interested to see how his psychedelic / spaced-out / weirdo tracks translate on-stage, if nothing else it's going to be a little bit out there.
Ariel Pink's Haunted Graffiti // Village Mentality Stage // 14.45
From one leftfield and creative artist to another, with Ariel Pink's Haunted Graffiti whose combination of 70's funk, hippy psychedelia and pop melodies provided one of last years most critically acclaimed albums and it should be an intriguing listen.
When Field Day was originally announced with the return of Electrelane at it's forefront a thousand indie-boy's had good dreams that night, I missed their sold-out Scala show, so this will be my first time catching them since their re-form.
Encompassing weaving guitar riffs, breezy vocals and swirling organ, Electrelane will be on stage showing why everyone got quite so excited when they announced the comeback. I cannot wait to here "The Valley" and "To The East" live.
Zola Jesus // Bloggers Delight/Lanzarote Stage // 16:50
One of the most annoying clashes mean I could well end up missing half ofthe Zola Jesus set (thankfully I'm due to see Nika at both End of the Road and her headlining London show in September), the introduction to her forthcoming album "Vessel" was simply incredible and I can't wait to hear the rest of 'Conatus'. One of the most striking voices in the industry and such a prolific and exceptional songstress. If this is your only chance to see ZJ, don't miss out.
Visions of Trees // Do You Come Here Often? Stage // 17:40
Visions of Trees released "Sometimes It Kills" back in February, a track I really like and probably should have blogged in its own right, after the initial hype in all honesty I forgot about the duo until I was looking through the Field Day schedule and saw their name.
I'll definitely go and check them out, the atmospheric, ethereal dreaminess of "Sometimes it Kills" should translate perfectly, some of their other tracks like "Sorrow" have a darker, late-night club feel - should be interesting in an East London park then!
Still Corners // Do You Come Here Often? Stage // 18:30
Still Corners aren't to be missed, the days until their debut pass by slowly but surely, it's going to be one of my favourite albums of the year without doubt. Everything the London based group have done so far has been to die for, from the kaleidoscope soundscapes of "History of Love" to the fleeting beauty of "Wish" and ambient, shimmering wash of "Cuckoo". To die for I tell you.
Warpaint appear to be at every festival I've been to this year, I think that says a lot for their intensive touring schedule since probably early last year. I've seen them eight times now I think and I'm anything but bored, I'll probably have to miss the first ten minutes walking from SC's but once I'm there I won't be moving for anybody. I don't need to explain who and what Warpaint are again but if you've been living in the mountains this past year, get ready for your jaw to hit the floor.
Veronica Falls // Do You Come Here Often? Stage // 21:00
One of my initial tips for 2011 spent the first half of the year in relative silence before announcing that they'd signed to Bella Union and were releasing their debut LP in September, it's going to be a cracker too.
This is what I said about them in December 2010 and it's stand's almost true today "Found Love in a Graveyard" is one of my songs of the year, it's a lovely little ramshackle of infectious and basically bloody brilliant indie pop and one song which sums up the mood of Veronica Falls very well. Fast paced, lyrically dark and to coin one of my most used lines on this blog; gorgeous ethereal vocals. "Starry Eyed" a jangly sugary-sweet pop song shows them in a slightly lighter frame of mind, but one equally good (impressive)."
Last but by no means least ending my day (unless I go to an after-show but after ten hours on my feet who knows how likely that is) will be Factory Floor, whose industrial sounds built around metronomic, hypnotic pulses are repetitive and utterly compelling.
Exciting news today with the return (not that she was away for that long!) of Zola Jesus. The prolific electro-synth superstar previews a new track in the form of "Vessel" to be taken from her forthcoming LP 'Conatus' which is out 26th September in the UK (via soutterrain transmissions) and 4th October in the US (via Sacred Bones).
"Vessel" is a stunning return for Nika Roza Danilova, atmospheric industrial synth effects simmer throughout with a propulsive beat and warbling vocals driving the song forward, it's perhaps more understated than anything on 'Stridulum'.
I wasn't expecting anything from ZJ this year, now it's been announced it goes straight up to the top of my anticipated releases. Can't wait to see her at End of the Road and Field Day and here's hoping a London show is added soon too.
NME have posted the album track-listing, so head there for that. Listen and download "Vessel" below:
It's been pretty quiet on the Zola Jesus front this year, besides a short North American tour there's been some well-earned rest after two years worth of almost continual releases and touring.
That changed (a little) when ZJ's label Sacred Bones put out a release for Record Store Day, the closing track is an acoustic version of "Run Me Out" from Stridulum which features nothing more than a brooding Nika Roza Danilova playing an achingly beautiful piano solo ballad with a heavy thunderous beat.
Nika is back in the UK playing Field Day in August, can't wait for that - the line-up is stupidly good and features ZJ, Warpaint, Anika, Glasser, Still Corners, Echo Lake and so much more. See here.
So I've finally made it, hope someone is still here! These are my personal top five albums of 2010 (and probably not yours!). What albums have I missed out?...
5. Zola Jesus – Stridulum II
Order // The most striking difference from the Zola Jesus we saw in The Spoils (and the bulk of Nika's earlier work) is the change from lo-fi, industrial noise and deeply distorted vocal. No longer does the Zola Jesus sound characterise the "home recording" essence. Instead, now we see some polished production and a welcome clarity to Nika's voice. The accessibility this brings, set against undoubtedly "pop" songs will makes this the best work to be released by the prolific Nika Rosa Danilova. The nine tracks that make up ‘Stridulum II’ combine big echoing back-beats and dense washes of atmospheric synth chords as Danilova's opera-trained primal voice bellows out performances that belie her slant figure.
"Night", one of the strongest openers I can recall sets the theme perfectly. It’s atmospherically a haunting beauty of a song. Exquisite use of synth beats and drumming that will become a highlight of the album, the ominous drama of the song (and throughout the album) sends the song to an epic conclusion. A truly wonderful anthem.
"I Can't Stand" is another highlight, industrial rhythms and soaring heartfelt vocals with a chorus that could turn up on the next Marina hit-single. “It’s not easy to fall in love / but if you’re lucky you just might find someone /so don’t let it get you down.”... It's Dark and brooding, its rhythmic drums only amplify the mood. "I can't stand to see you this way / It's going to be alright". "Manifest Destiny" carries a sense of foreboding melodrama throughout, "How can we survive..."another towering synth-pop anthem. Sea Talk" (a re-worked song as I've previously discussed) is perfect - it builds up, with (more) crushing synths looped over its wonderful chorus.
Whilst lacking any great variation, ‘Stridulum II’ is a true work of art. Gothic, dark and atmospheric. The exciting part for me, is that Nika's best work might still be on the horizon. ‘Stridulum II’ missed out the fantastic single “Poor Animal”, make sure you track that down too.
Previously: A Rough Trade in-store show to download and a recording are in the archive.
Order // The sombre lyrics on ‘High Violet’ tell sincere tales of broken hearts and bruised souls. The National’s trademark sound remains on this their fifth full length release, yet the one which has propelled them to the mainstream audience.
With Matt Berninger's baritone vocal at the helm their big and brooding songs shudder with drums and piano at their peaks and create a beautiful, melodic sound picturing vivid landscapes such as ‘England in the Rain’ on the exemplary “England”. Then make the sinister chill of “Conversation 16” into a sing-along anthem whilst “Bloodbuzz Ohio” recalls the frenetic tempo of old cult-classics “Mr November” and “Abel”.
The highlight belongs to the alternative version of “Terrible Love”, re-issued to recreate the feeling of it’s live counterpart, its a wall of sound moment as it reaches it’s climax half way through whilst Berninger bellows “It’s a terrible love and I’m walking with spiders // It’s a terrible love that I’m walking here // It takes an ocean not to break…”.
The rich and deeply layered ‘High Violet’ is probably the most complete album The National have produced in their immaculate career.
Listen:
3. The Strange Death of Liberal England – Drown Your Heart Again
www.tsdole.co.uk/ Order // As a long time follower of The Strange Death of Liberal England this their full-length debut album seemed to take an awfully long time to arrive, the mini album “Modern Folk Songs” gave us a taster of TSDOLE back in 2007, the stand-out being live favourite A Day (Another Day). The overriding maritime theme in ‘Drown Your Heart Again’ maybe a but hard for some to stomach but from the opening waves of “Flickering Lights” this is an infectious album, it’s energy and catchy choruses will soon drag you into the sea alongside the band.
"Like a Curtain Falling" will have you toe-tapping and head-nodding with it's up-tempo frantic pace. Single “Rising Sea” is an anthemic, intense indie-pop as the band prove themselves capable of delivering track after track of material deserving of much more mainstream radio airplay and critical praise.
Highlights might even be saved for the later half of the album, the beautiful “Autumn” offers the first calm in the tide, it flows into the wonderful "Shadows" which sees Kelly Jones take co-vocal duties in its rousing course. The masterpiece “Dog Barking at the Moon” closes the album with a brilliant and beautifully tranquil opening before capturing you with swirling orchestral moments and it's crashing waves crescendo to end.
TSDOLE have created a real beauty of an album with this incredible layered sound heard throughout; there is seldom an instrument out of place, the band all pulling together in perfect harmony.
Previously: There is a wonderful acoustic session, some videos and the bands first EP in the archive.
Order // This release changed my musical tastes somewhat. I’ve never been “hip” (never will be either), and never been into “hip” music, yet whilst the whole internet was going into complete hyperbole over Sleigh Bells early in 2010 I found myself agreeing with them. Sleigh Bells really do justify the hype. Their sound is a complete mash-up of numerous styles from hip-hop / heavy metal / electro / pop, you’ll never be able to pigeonhole them because you’ve not heard anything like this before.
Your neighbours are going to hate this record; your Grandma is going to hate it too. Me, I love it. ‘Treats’ is not the soundtrack to your quiet dinner party with Mum, it’s the album you’ll go to when you need something to knock the socks off the day you’ve had, to get ready for Saturday night and when you want to test the decibel levels of your stereo. ‘Treats’ is to be played loud.
From the get-go the noise is immediate; it’s in your face, hard hitting, uncompromising and utterly fucking brilliant. “Tell Em” has this enormous riff and drum machine beat intro and the tempo rarely drops. Highlights are numerous along the way “Infinity Guitars” sounds just like that. “Rill Rill” provides an unexpected rest-bite proving itself as a bona fide pop sing-along. The real jewel in the crown is “Crown on the Ground” distorted synths. A/B Machines screeches and screams it’s way and then it’s over. Barely half an hour after it began, although it’s no bad thing, it means Treats doesn’t overstay its welcome.
In five years time this might just seem like noise, but for now, ‘Treats’ is just a unique sounding record to saviour and one to blow up your amp whilst enjoying, time and time again.
Previously: A couple of live recordings can be found here.
Listen:
1. Caitlin Rose – Own Side Now
Order // At the start of November I checked my last.fm “scrobbles”. That showed I’d played Caitlin Rose some 770 times in the past three months alone, second had less than half that number. That pretty much confirmed ‘Own Side Now’ as my album of the year. It’s pretty safe to say I’ve fallen well and truly for Caitlin since I first heard her around Easter time, if you’ve looked at this site in the past six months you’ll already know that...
Her shows throughout August and September were amazing, showing her not only as an amazing songwriter but also a wonderful performer with a genuine, honest and unique ability to turn any audience into putty in her hands. I’ve seen her do it in a working men’s club in Brixton, a basement in Brighton, Rough Trade record shop, and more. Basically when she steps on stage the audience falls in love with her. Yeah, I’m very happy to say ‘Own Side Now’ is my favourite album of 2010.
The title tracks wonderful lyrics still get me now, some six months later: “Who's gonna want me when // I'm just somewhere you've been // Who's gonna want me now // and who’s gonna take me home"
From the country barroom stomps of “Spare Me” to the luscious aching acoustic beauty that is “Sinful Wishing Well” Caitlin has produced an album which effortless combines traditional country music with a modern and appealing style. I'll not re-do my original review, if you want more of my ramblings see the links at the end.
It's worth noting that the only place you should be buying 'Own Side Now' from is Rough Trade because (after an initial mix CD) you will receive another CD which contains a wonderful five track EP entitled 'Columbia Hotel', which is worth the £9.99 fee itself...
It contains five songs. Two Christmas songs, the first a new composition (a duet with Keegan DeWitt) which is probably the best original Christmas song I've heard this year, it's called "You Never Come Home For Christmas" and it's beautiful, as well as a cover of Willie Nelson's "Pretty Paper". There are two more covers here too, you might be familiar with them if you've seen Caitlin this year or checked out my previous posts. Randy Newman's "Marie" and a wonderful, tender version of "Faithless Love" by J D Souther.
If you are late to the game fear not. Caitlin is back in the UK in February. One gig confirmed (with more to come) is at Camden Barfly on Friday 11th Feb. Tickets. See you there!
Previously: Read my original album review here, an interview with Caitlin here, review of the first time I saw Caitlin (of eight in 2010) and the full archive for some live material and general swoon fest.
Listen: The number one played track in my iTunes library this year:
