When it doesn’t come off, its all rather dull and dispiriting, like music for a spa facility in Bracknell. But when it’s done well it can be quite glorious. Fortunately Tom Honey in the guise of GWFAA falls squarely into the second group.

Underneath the Stars, released via the rather good Hibernate Records, is an altogether more mature piece of work than he has produced before (not that earlier work was at all bad). The music feels more assured, more confident.

Tracks like  the outstanding Another Way Out are especially beautiful, binding together the electronica  with the organic. The use of field recordings of rain, storms, children etc  is carefully judged, adding colour without over playing their hand. For me this track suggests the way forward for GWFAA, reminiscent of some of the excellent artists of Erased Tapes, and suggestive of the emotive potential of A Winged Victory for the Sullen or Dustin O’Halloran.

I appreciate that the initial drive for Tom Honey’s music here is to soothe the effects of his tinitus, the need to reach a calm place, and this is achieved with ease across this album. As someone who has been struggling to get a good nights sleep of late, here indeed is music that can put you  into the right space and frame of mind (that sounded vaguely insulting and wasn’t meant to be!), I don’t mean dull and boring, much more calming and soothing.

Tracks like Aurora pick up the vibe set by Another Way Out,and helps punctuate the more immersive and ambient tracks around it. The long, closing track Theroux is slow building, meditative track that needed skill  and precision to pull off, but creates the ideal, swirling finale to this rather accomplished set.

Tracks from Underneath the Stars and other, previous material can be heard on the Soundcloud site and all the GWFAA material can be streamed (or better still, paid for) on the Bandcamp site. It appears that there may be some live shows in the offing for GWFAA which would be very interesting to see.

Another Way Out – GWFAA

Last weeks all too brief show was one of those rare gigs where everything else disappears for the duration and you find yourself totally and completely absorbed by what is taking place in front of you. I have bleated enough recently about my self absorbed emotional state, but here is music that simultaneously is exultant, deeply private and heart rending, it makes your chest swell with emotion and your eyes grow misty as a result.

Messrs O’Halloran and Wiltzie occupied the left and right  hand portions of the stage. Wiltzie was effectively invisible for much of the time, back turned to the audience, shielded by the wings of the stage, manipulating his guitar, knobs and keyboard to produce the most un-guitar like sounds possible – strings, bells, trumpets and great washes of sound all seemed to emanate from stage right. O’Halloran was more evident and more audience friendly behind his keyboard and occasional forays to the mic to say a few words.

So it was the remarkable three girl string section that occupied the majority of the stage and hence much of our view, during the evening, their sounds either swelling the sound-stage to an almost orchestra-like scale or playing with delicacy and control to layer minute sounds and musical suggestions around the output of the two main collaborators.

In so many ways I think the album deserves to be played straight through, no breaks for applause, nothing the disturb the extraordinary atmosphere created by this music. Although everything here was quite sublime it is Steep Hills of Vicodin Tears that I find the most affecting.

Support was from Sleeping Dog, who I saw once before when they supported Low in Bristol. I enjoyed them then but for this show they seemed to have moved up a notch; greater variety and nuance, the voice of Chantal Acda still that crystal clear instrument of hers, and this time I recognised Adam Bryanbaum Wiltzie for who he was… how foolish did I feel not making the link before?

An evening of rare and extraordinary beauty, an evening that felt like a privilege and an evening that only comes around once in a very long while.

With the Departures album on regular play for many-a-month since MTB first pierced my consciousness a year or so ago, I was one of those many people more than happy to pitch into the Indiegogo project to help the next MTB album see the light of day. So here we are, edging towards 18 January 2012, and the launch of Folding Leaves on Dead Pilot Records which can be bought, amongst other places, through the MTB Bandcamp site, with artwork courtesy of Jake Blanchard.

Jerome Alexander’s solo project under the aegis of Message to Bears has already produced some deeply wonderful, heart-warming music in the form of the first EP and the Departures album – both of which are being re-issued (I think) around the time of this, the latest album.

There is something sumptuous, almost indecently gorgeous, about Mr Alexander’s music, and never more so than here on Folding Leaves; music that at one and the same time makes your heart feel lighter, but has riven though it a sense of the melancholic.

The virtually wordless vocals make sure that you ascribe your own chosen meanings and flavours, the predominant use of real instruments - guitar, piano, mandolin, xylophone and especially the violin and viola of Laura Ashby (who has also played on Erased Tapes signed Codes in the Clouds material) – ensures that everything feels organic and rooted, making sure the electronic elements are kept in their place. The use of field recordings of birds and the outside world genuinely only add atmosphere and not the vague hippy-trippy stuff found on some more drone inflected music.

I am far from sure that a track by track account is terribly helpful, but you know from the outset of the wonderful Daylight Goodbye, with its distant but soaring guitar and slowly building structure, that this album is going to be a triumph. The sound is unmistakably MTB of course, but this time around with some welcome extra touches like the scratchy/distorted guitars on Farewell, Stars for example, a little more sung lyrics, and an even greater sense of lushness.

There is a rhythm and common thread that, for me, make this a set one that should be listened to in its entirety - the slow build and fade of tracks, sometimes gently falling apart at the end, the overall feel is like being on a boat drifting on a gently swelling sea.

The turn of the year has found me in an unusually shaky emotional place and Folding Leaves is, at one and the same time, allowing me both to wallow a little in my melancholia but still feel a degree of ‘everything will be alright-ness’.

Folding Leaves is an album that brings back those hard to capture feelings, redolent of the end of summers of your youth, with limpid golden sunshine falling through the gently-turning-to-brown leaves. Here is the sound of hope and optimism with a trace of the loss and sadness that acts as the counterpoint to all our lives.

MTB give a rare performance, and the first in new home town of Bristol, at the Grain Barge, Friday 27 January before heading off a little later for a short spring tour of near Europe – there is a vague promise of more UK dates perhaps to follow later.

After waiting in anticipation for an album, I often worry I might feel let down somehow, but not here. This is transcendent music, and having it in your life can only make your life better.

I am indebted to Sophie at The Sound is not Asleep for the chance to hear Folding Leaves in advance of receiving my official bundle

The five tracks on this EP from Mouse Deer, aka multi-instrumentalist Holly McIntosh, clock in at a tad over 21 minutes and by her own admission cover topics such as ‘dreams about strong breezes and fires, unrequited love, and dull nights out in crappy club’. Well what else would a Bristol lass sing about?

Imbued throughout with  strong melodies, and nicely judged chord changes, as the songs progress there is an unexpected and entirely welcome edge that cuts through what could easily be nicely delivered but perhaps unremarkable, songs.

Instead there is some good bubbly bass lines, some fuzzy and satisfyingly rough-edged, reverby guitar, and sundry other instruments woven around the strong vocal. I know Holly would like to draw comparisons with Joni Mitchell to a degree but I can’t stop thinking of Curved Air’s Sonja Kristina (put it down to my age!) when I hear her voice.

I have played this set a good deal now and it gets stronger listen by listen, the initial slightly fey charm is soon beaten into submission as the less comfortable traces of disappointment and frustration make themselves felt.

I am horrendously late with this post and have no decent excuses, Holly sent me her eponymous EP  in good time for a few words prior to its release in mid-December. Missed too was her show at the Left Bank in Bristol just before Christmas, but the EP can be obtained through iTunes or her own Bandcamp site (though the download option seems to be missing) or get in touch via Facebook and I am sure she would be happy to sort you out a copy.

You can’t help but like the five songs here, and why would you not want to? Catchy and upbeat but never trite or formulaic, always with just enough of the unexpected to keep you on your toes; good job Ms McIntosh!

You Said (Message to a Friend) – Mouse Deer

I can scarcely believe that I first stumbled across Wise Children back in November 2008 with the initial eponymous EP, and I penned a few hurried words on these pages at the time (the dear fellow can’t have been long out of primary school. Don’t you hate the unholy combination of youth and talent?) . In April 2010 followed the Absence and Reunion EP. Both EP’s can be downloaded for free via the Bandcamp site (tho’ you would have to have a mean spirit not to cough up a few quid IMHO) and of course all can be streamed via Soundcloud.

Here we are another two years on and, given successfully completing his Masters and moving around a bit, perhaps we can look forward to a little more frequent output from Mr WA? Lets hope so, for here is something that deserves greater exposure and wider acclaim.

What draws me into all his songs is the clarity and simplicity, the lack of unnecessary over-dubs and general fiddling around, the honesty and directness. In a time when there seems to be a demand that everyone comes from Brooklyn, have some exotic connections or, in other ways, is from ‘somewhere else’, how refreshing it is to have something so unmistakably English. Mr WA’s vocals are as clear and crisp as glass, the instrumentation careful and supportive, everything with the same attention and deftness of touch.

The Woods has its moments of occasional electronic ‘colour’ but remains true to the spirit of high quality song-smithing and atmospheric delivery. Perhaps not as musically upbeat as some tracks on Absence and Reunion, The Woods feels introspective and personal, both qualities that I, for one, value.

Winter’s Wall is a gorgeous opening track and a great example of how adding a few extra layers has only enriched, not obscured. Both Sins and Compost manage to deal with a sense of wistfulness and regret but are delivered without any sense of mawkishness. Ironically, given its topic, Bed on A Ward is the most optimistic and rhythmic of the tracks here, followed immediately by Gold, a characteristic, almost signature sounding track.

Throughout there are deft harmonies, delicately wrought, and the proximity of the voice in the soundstage is central, demonstrating the attention to detail in the recording (even if it might have been done in bedrooms and spare rooms). Thanks is given via his Tumblr blog to all those involved in making The Woods,including Steve Bega who played bass throughout.

I am totally charmed and seduced by the fragility and musical purity across these (too) few tracks. There is sometimes a careful path to walk to achieve authenticity and honesty but  you know, listening to Wise Children, that this is the real thing; it is personal, direct and deeply ‘felt’. That’s why it connects and resonates, that’s why it matters and stands apart from the bland and formulaic – I have no idea how you sustain that, but lets hope that Mr WA manages that trick of alchemy – taking the simple, elemental parts and turning them into gold.

Pic of Mr WA among the trees courtesy of Alex Board Photography

Winter’s Wall – Wise Children

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Operation Rolling Thunder was the name of a long and sustained aerial bombardment against North Vietnam between 1965 and 1968 and is the chosen name of this New Zealand two piece, and with good reason.

Brothers Adam and Rob Falconer, now of Dunedin, recorded this album in three days alongside Dale Cotton (producer of HDU stuff) back in 2007 and it has sat languishing (maturing?) for a few years until it was finally released at the end of 2010 via Monkey Killer Records, a vinyl only label in NZ ( they will sell you a copy, together with a download code, for a mere 35 NZ dollars).

The ever reliable Peeblemeister brought this to my attention, ardent fan as he is of HDU and especially hero worshipper of Tristan Dingemans, who truly has produced some of the most astonishing guitars sounds. Not to say that ORT  are an HDU look-a-like, but the guitar sound is so redolent of that Dingemans wall of noise, it is obvious that guitarist Falconer shares a passion with the Peeblemeister.

That only two people can produce such a monumental sound is amazing, that it doesn’t end up as some cacophonous mess is all the more so. Drummer Falconer provides some really rather amazing, pinpoint sharp, dynamic drumming that propels the tracks along.

Thanks are due to the Off the Cuff sessions from NZ Radio 1 for the rather fine live video of Behaviour in the Presence of Strangers. Alas, alack I  fear, like HDU,  we will never see them this side of the globe, so we will have to make do with this…energising and exciting stuff indeed.

Olafur Arnalds – Living Rooms Songs

Sneaking in right at the end of the year as a proper release, but a project from earlier on the autumn, the sublime Living Room Songs, the first of three Erased Tapes artists on the list. The project was written about here in October

A A Bondy – Believers

So how come I never wrote a review for this album? Absolutely wonderful, moody and languorous with a great guitar sound and excellent supporting instruments. The Twist definitely one of the best individual tracks of the year… didn’t get to see him with Felice Bros either…

Bon Iver, Bon Iver

One of the years really exception albums, surpassing even the wonder that was For Emma, For Ever Ago, the eponymous album was also the heart of a brilliant show at Bristol Colston Hall

The Boxer Rebellion – Cold Still

An album back from the start of the year but still there being regularly played. Great songs, well played with a big spacious sound, how come it took me so long to find The Boxer Rebellion?

Bill Callahan – Apocalypse

Bill Callahan’s remarkable voice lays over all these tunes like a layer of caramel across some excellent playing, most especially the guitar work, on this fine, fine album. Both profoundly introspective and reflective but with an unerring uplifting quality

Nils Frahm – Felt 

I am completely seduced by this album, its sparse beauty, the fact that all the sounds are essential components of the whole, the fleeting and haunting qualities of the melodies, quite brilliant. The album and other Nils Frahm material made up one of the best, almost spiritual, gigs of the year in Reading.

King Creosote & Jon Hopkins – Diamond Mine

One of the most emotionally affecting albums in a long time. Long a fan of KC, but combined here with Jon Hopkins you get a slice of someones life, a peek into their world, delivered in an aching beautiful set. It should have won the Mercury -’they was robbed!’

Low – C’mon

A bit of a johnny-come-lately to Low, but totally won over by this album of deceptively simple songs played with guts and precision. Their show at the Trinity was a revelation, especially Alan Sparhawks’ ripping guitar work

Scott Matthews – What the Night Delivers…

A return to sublime form from Mr Matthews, What the Night Delivers is a thing of beauty and consummate skill. Live too he combines Black Country blokishness with outstanding musicianship,  two wonderful shows in Wolverhampton and Bristol

Okkervil River – I am Very Far

I am Very Far took a while for me but once it worked, it worked. The sense of a runaway train, songs that hold together, just, something on the edge of falling apart, a wonderful ragged-ness. All sentiments echoed by seeing them at the Trinity, a great sprawling, intense show.

 A Winged Victory for the Sullen 

Another magnificent offering from Erased Tapes, a spellbinding album of intensity and beauty, joyous and energising, quite wonderful; what more can you say?

White Denim – D

Last on the list but a great swooping album that recalls the heady days of psychedelia together with up to date americana rock, D has given some remarkably consistent pleasure this year, but I never wrote a review, how did that happen?

Gigs of the Year

A year of great gigs too, personal favourites being:

• Villagers at The Trinity on Bristol
• Mono (with the wonderful Tortoise) at Koko in London
• Scott Matthews both at Newhampton Arts in Wolverhampton and the Thekla in Bristol
• Nils Frahm at Reading Minster
• Bon Iver  at Bristol Colston Hall
• Turin Bakes at the Thekla in Bristol
• Bravo Brave Bats at the Louisiana and the Croft in Bristol

Label of the Year

Without a shadow of doubt the best label for me of 2011 was Erased Tapes who have released some remarkable music – Nils Frahm, Olafur Arnalds, A Winged Victory… to name but three of their excellent roster or artists – go visit, go buy

A bit of a johnny-come-lately to OR, their latest album is however right up there in my best of the year list. It’s considerable charms have wormed their way well and truly under my skin. Part of the allure is that style they have; its not slapdash or un-together, but neither is it pinpoint sharp all the time. There is this sense that they are somehow in charge of a beast they haven’t quite tamed, a force slightly beyond their control, this feels clear in the recorded material but proves even more so in a live situation.

The variety of assembled instruments around the stage necessary for six people doesn’t leave an awful lot of room, but Will Sheff careened around the stage, perhaps encouraged by a couple shandies, in a mixture of musical elation and the determined effort to create the moment, capture the spirit.

The band of course is top notch, including the beguiling Lauren Gurgiolo in her laced up boots and cotton dress straight out of a spaghetti western, wielding her guitar, the arboreally statuesque Patrick Pestorius on bass and the revelatory Cully Symington, like a thing possessed on drums.

A ninety minute set peppered with the new material (Huzzah for the likes of We Need a Myth, Wake and Be Fine etc) it also contained much previous stuff as well, along with  a Beach Boys cover and a solo moment from Mr Sheff delivering A Stone. To be honest I didn’t expect them to be so, well, straight ahead rock, the later numbers really went for it.

My frankly rather dismal attempt at capturing A Stone is embedded below (usual apologies for rubbish sound and dark setting), a much better quality video of another song from the recent Cafe de la Danse gig in Paris is also shown below – many thanks to the fine Virgins and Philistines blog which you should pop off and read and see the extra photos on rotation there.

Finally worth reading is the interview by Gold Flake Paint with Will Sheff prior to the Bristol gig which is interesting and well worth reading (along with the rest of the zine).

Of late as everything around me has gotten a bit more stressful and unsettling I have found myself returning to music of a slower pace, with a greater apparent simplicity, as an almost conscious antidote. These two Umber tracks have been among that music.

Parts 1 and 2 retain that vaguely drone-y, ambient flavour but this time the sound is more organic (even if much is electronic), the picked acoustic guitar on Part 1 makes it feel almost folky. Not that you need it, but you wouldn’t be surprised if a Jim Moray vocal appeared over the top. Gently developing, mesmerising and rather comforting. Part 2 continues the organic flavour but the main refrain has progressively more layers added to it whilst the underlying drone becomes more apparent.

There is a carefully judged simplicity here, an understated delight, peaceful and calming, two qualities on much demand from me right now. To be launched on 28th Nov, via net label Hawk Moon Records, I understand the curiously titled EP will be a free download (although I am sure a small donation would be welcome).

Earth Feet, Lifted, Part 1

I have already spoken in praise of this collection of six songs, clearly their most consistent and run throughout with a confidence and maturity that doesn’t diminishing their innate sense of energy and vitality. So how would these numbers play out live?

The Croft is either a bit odd or full of charm and character, depending on you point if view. With conflicting gigs in the two rooms, the girl band didn’t stand a hope confronted with the visceral onslaught that is the established Bristol underground band, Big Joan, whose stone faced (well more or less) pile driving set clearly went down very well with much of the packed room.

On a personal note I was more seduced by the charms of Glis Glis who opened proceedings for the night. Their drummer is a hidden gem and the amazing octave jumping bass produced sounds as far from a bass that you could wish to imagine. With some material online it would be great to see what they can produce in a studio setting.

Squeezing three bands into the evening made for a nice full schedule but it did mean that BBB didn’t come on ’til 10.30 and with the curfew set for 11 it didn’t leave the main talent with quite enough time IMHO. In the event they played a nice full forty minutes with a nine number set. The six numbers from the EP were sandwiched between the opening, Pedalling, and closing, Wagons, with A Hymn tucked in along the way.

I freely admit to be biased but, even after quite a time without gigging, they sounded great, possibly the best I have heard them. Seems to me that the considerably assured and sure-footed performance goes hand in hand with the quality and maturity of the new material. I recall the first time of seeing them at The Louisiana where the guts, energy  and excitement shone above the musical performance. But here we are a bare twelve months later with a very different proposition, of course the drive and energy are still there but now wedded to a confidence and sense of direction that allows them to do a song like Last Song as well as Wagons.

Alerted early on by the Fair Nicola that there would be ‘surprises and interactivity’, Robots saw the handing out of maracas and general shaky things to join in with, and a flock of balloons some with fee EP tokens inside, launched over the crowd. It did the trick, a lot of getting involved and Glis Glis members mounted the stage to add to the percussion.

Closing song Wagons finally saw Hector indulge in his throwing-himself-around-on-the-beer-strewn-floor antics, Ieuan and Dan pounded away and then, all too soon it was over. Forty minutes without hardly drawing breath, I guess they are never going to do a two hour set with medical support.

They seemed to have a good time, the crowd clearly did, and frankly who wouldn’t. Let’s hope that the new EP gains them yet more admirers and who knows, if this is the progress you can make in one year, what will they be like at the end of 2012?

A few more pix from the evening can be found here if you are interested.