The Best of 2011

Posted on December 8, 2011 by haymoncollins

I still know its a bit naff but I am still going to do it – here, in strictly alphabetical order, are my albums of 2011 (followed by my favourite gigs his year) I will instantly regret not including a shed load of others, but you have to draw a line somewhere, and the line this year is drawn at the old fashioned imperial ‘dozen’, not your new fangled european ‘ten’.

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:

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

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Okkervil River – Bristol Trinity

Posted on November 22, 2011 by haymoncollins

Towards the end of slog around Europe the six members of  Okkervil River must be feeling like going home and having a break. They admitted to having been a while without a shower and their clothes had a distinct air of being ‘well loved’, but you don’t go to see a band for outfits, you go for the music.

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).

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Earth Feet, Lifted – Umber

Posted on November 20, 2011 by haymoncollins

Clocking in at just a smidge over ten minutes the latest offering from Umber, aka Alex Steward, cannot be accused of outstaying it’s welcome. But they are ten minutes well worth investing in.

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

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Purple EP Launch – Bravo Brave Bats

Posted on November 20, 2011 by haymoncollins

All of life is here in Stokes Croft on a Saturday night, and a goodly number of them were at The Croft for the launch gig for Bravo Brave Bats Purple EP. Their third EP in twelve months.

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.

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Turin Brakes, Bristol Thekla

Posted on November 13, 2011 by haymoncollins

Turin Brakes are now a long held passion, ever since the days of The Optimist (first time around). They were the first band I took the Lad to see and we have seen them every year since. They have never let us down, always knocking out an excellent gig, producing music I always return to, what more can you ask for?

This is the tenth anniversary of that first album, when they were riding the new-wave folk thing. OK they may no longer be the darlings of whatever the current fad name is, but they have a strong and loyal following amongst those who always knew that what they made was good music, no matter what the tag attached to it. So here they are rolling around the UK playing The Optimist in full, in order and as close to the original sound as possible, and judging by the Bristol crowd and the reports from other shows, the love is still there.

Tonight’s show, at the quirky but loveable Thekla, moored for ever in the Mud Dock in Bristol, was opened by one Jersey Budd. Accompanied by two mates, one of keys and one on guitar, he tried, and succeeded, in getting the mood going with a set of his own songs. Looking and sounding uncannily like a later day Paul Weller (not that that is a crime in any way) he certainly got the tick of approval from Mrs HC. As the set moved on he really seemed to find his feet and by the end even the shy early crowd had gathered around like a proper audience. His first album Wonderlands was on sale for a mere fiver and was purchased, his second is due next year it seems.

TB rolled on stage to a frankly ecstatic reception, it seems echoing the receptions at other shows so far. Ollie ‘fessed quickly to being terrified of being on boats which explained his less than happy demeanour at first. They reminisced that the only other time they played the Thekla some eleven years ago, only 3 people showed, no such problem tonight at the sell out show.

The set list for the first half is easy – The Optimist from start to finish. The band, comprising those who played on the original album and who perennially make up the touring band, know each other so well, have played together so often, that you get a rapport that can only be built over years.

The Optimist sounded as fresh and beguiling as it did back when it was released, songs that have stood the test of time, a quality and song-smithing that is the hallmark of this band. I hope they don’t mind but I grabbed some little vids of three of the set, now stuck on YouTube – The Door, Future Boy and  By TV Light as well as the final, off-PA encore of Mirror from their last album Outbursts, that is embedded below. (Apologies that Ed’s head seems to have turned into an ageing data projector….)

After a little break they all came back to play another forty minute set, again mostly from the earlier albums. After eleven years TB have such a repertoire they could play all night, quality song after quality song.

A crowd at the Thekla can be an intimate thing but tonight it genuinely felt like we were all one big happy family, we knew why we were there, we knew TB would be great, and  there was a warmth and empathy that is rare.

They seemed touched and pleased with the reception and thanked everyone for the last eleven years, well here’s to the next eleven, bless their little hearts, long may they continue.

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Bon Iver – Bristol Colston Hall, 11 November 2011

Posted on November 12, 2011 by haymoncollins

It has been a good long while since I first saw Justin Vernon aka Bon Iver play, then as a three piece with Mike Noyce and Sean Carey, in the more intimate surroundings of the Trinity Centre in Bristol back in September 2008.

Back then I worried about how they would be able to perform the fragile beauty of For Emma, Forever Ago and now with the eponymous album I wondered again. But as in 2008 I shouldn’t have worried, last night they delivered what was clearly one of the best gigs I have ever been too.

Canadian Kathleen Edwards has been on tour with Bon Iver for a while, and along with hertwo band mates delivered a great set of her alt  folk songs (the chap on the big whammy bar guitar was greeeeaat!). The songs were wrapped up with a few sassy quips and stories (including female waxing and the challenges of being on the road for a month, and getting too close to female polar bears in Manitoba), she seemed at ease and relaxed and the songs had a real resonance and depth, Ms Edwards voice rich and distinctive. The closing Neil Young track, From Hank to Hendrix, was a tour de force, a long-time favourite song delivered with sensitivity and style.

The packed Colston Hall crowd seemed fit to burst waiting for Bon Iver to appear, and when the nine piece band sauntered on stage they went off like a bottle of pop. Two drums kits, a percussionist, sax and horn players, bassist/keyboards, guitars violinists – it was more like a small orchestra than a band. Such a large ensemble might threaten to be unwieldy and a blunt instrument to deliver such nuanced music, but they played as tight as a proverbial drum, and after such a long time playing together, each knew exactly when to sit back and when to come forward. It’s invidious to single out individuals but the saxophonist was quite remarkable, including his circular breathing solo linking the magnificent Holocene and brilliant Blood Bank.

Playing for more than an hour and a half, they went through the majority of both albums plus the Blood Bank EP. All blended seamlessly together, the newer material feeling just as established as the older songs. Mr Vernon took to the stage on his own for an intimate versoin of Re:Stacks for which the entire audience remained reverentially silent in good Bristol fashion. The main part of the set ending with a stripped back version of Skinny Love, everyone on hand-clapping and vocal duties. Back for two encores, For Emma and Wolves, concluding with the now traditional sing-a-long and shouting session and then it was over; the end date on this European tour, back across the pond.

After the Trinity show I pondered on never seeing them in such a small venue again. I do hope that next time they come (perhaps not after another three year gap) they don’t end up on the even larger venue circuit.

I seem to run out of superlatives when thinking about this show. It’s music that I alreadyhold dear at any rate but, if anything, this live experience made it even better; an almost perfect show with musicians absolutely in tune with each other. It really is quite rare that you are held rapt for an entire show, totally absorbed by what is taking place in front of you. A quite exceptional evening.

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Nils Frahm – Reading Minster

Posted on November 10, 2011 by haymoncollins

It was as cold as charity inside the admittedly rather lovely interior of Reading Minster and the pews are scarcely made for a long sit. So well done me for being super early and nabbing not only a seat up front only a few feet from the musicians, but also one of the only pews with a little padding.

A couple of support slots afore the main man. First off The Pawnbroker, a pair of local chaps, one mustachioed on the piano and vocals and the other in some natty patchwork jeans who delivered the main vocals. They have a bit more information and stuff on their Myspace pages (really, Myspace, how quaint, c’mon chaps, get with it!)

Second up someone who it transpires stood in for the planned support who managed a five hour drive but not enough time to set up and sound check. Instead Martyn Heyne, young and demure and on the tour with Nils Frahm, treated us so some really rather fine solo acoustic guitar work – a little Vinny Reilly, a little Pat Metheny and a little Manuel de Falla. His icy fingers cannot have been easy to get going but his numbers were enjoyable stuff. Apparently nothing recorded as yet in this incarnation, but there is of course a FB page, where you can see his involvement with Trygghet  and the Leven Muster Collective (now there’s a couple of things to find out about)

Without much ado Mr Frahm took his place behind the baby grand and his Yamaha and Roland (could it have been a Juno?) keyboards and gave us an hour and a quarter of some of the most mesmerising music.

As a musician he becomes so absorbed, so connected to his instruments, he almost disappears at times, seems to forget where he is and what he is sitting on; oblivious to all else around. Of course as a pianist he is exceptional, his soft and fluid hands barely touching the keys at times and at others used as percussive tools to pull the sounds from the instruments.

As for the set list, I have no idea, much was familiar, some was not, and it was truly wonderful to have someone of this calibre given the space to develop pieces, merge them with others in a way not possible in a recording.

As with the last time I heard him it was an emotional and totally absorbing experience. Normally one for an eye for a picture for the blog and for the memory, it wasn’t until the last piece that I realised I had sat, rapt for over an hour and not even thought of a snap.

There are times when words are not enough, unable to do justice to the event. My neighbour and I agreed that this was such an evening, much like the Mono with the Holy Ground orchestra show at Koko that we had both, separately, enjoyed.

Nils Frahm is an exceptional and rare musician, already with a great catalogue of material (including the recent and wonderful Felt, clearly one of the albums of the year) tonight also gave us present the opportunity to get our hands on a copy of Juno as a 7″, written for Peter Broderick and recorded in one take on a Roland Juno keyboard, this is also obtainable through the good offices of the excellent Erased Tapes label.

Extraordinary music from an extraordinary musician.

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The Purple EP – Bravo Brave Bats

Posted on November 8, 2011 by haymoncollins

One band, three EP’s, six videos, twelve months, eighteen recorded tracks and 38 live shows. An impressive achievement by anyone’s standard. More impressive yet is the progress and development that Bravo Brave Bats have made during that journey, a journey laid out for all to see in their weekly vlog (which to be honest I never thought they could maintain) but a journey most eloquently described by listening to the three EP’s.

The third, the Purple EP, will be released on 14th November (pre-sale etc on their website here) and launched formally at the gig at the Croft on 19th September when they will be supported by Glis Glis and Big Joan.

The new six tracks mark another stage in the bands development, another big step forward and the emerging maturity and confidence of a band that is settling into a space all their own.

Foremost among the many good things to say about this set is the revelation that is Dans bass, the unsung hero of the Bats. Not only is he the rock solid foundation of all the material but he brings a terrific lyrical quality where it’s needed and the big, rounded, fat sound is thankfully raised much higher in the mix this time. On tracks like 1000 Things Before You Die and the last minute of Robots, the bass drives the music on like a locomotive – all Heil Dan the Bass.

Used more regularly across the tracks than before, the layered vocals provide added depth and substance. More use has been made of the three vocal contributions, the harmonies are tighter without becoming affected and altogether the vocals feel less frantic than they might sometimes have done, certainly on the very earliest material.  This is in no small part to the drumming, singing dynamo that is Ieuan; his vocals sound altogether more relaxed, and in not sounding like he is trying so hard, succeeds all the more, and his drum work is its usual crisp and tight stuff. There is even a hint of the big stage sing-along chorus around the end of Highwire/Tightrope and the closer Last Song – those festival stages beckon…

Hectors guitar show an even greater range than usual,  from the more poppy end on the most poptastic of the songs, Red Giant, to a new looser style as on 1000 Ways for instance and that satisfyingly meaty and  dirty reverb-laden guitar on Pilgrims Progress. The (famous) pedal board is employed to great effect and whilst I must admit to missing some of the great, crashing washes of guitar noise from the Green EP, the playing has more sense of differentiation and variety. Here on Purple you get an extraordinary range of guitar sounds and noises, some (to an ignorant like me) are so far from what you expect from a guitar you think a little Roland must be tucked away in the corners somewhere. There are some frankly delicious sounds here worth close attention and discovery.

Overall this EP is another leap forward – a sense of a gathering purpose; a greater sense of light and shade, each song developing it’s own character but within a sound that is clearly consistent and identifiably the Bats. Played with more assurance, they are able to let a myriad of little things shining through (a favourite being the great little guitar octave shift on Highwire/Tightrope at about 3’55”). There is a feeling that the band is happy for the songs hooks to rise more clearly to the surface and not be overtaken by the energy and enthusiasm that still is never the less, their hallmark.

Purple is their most consistent collection so far, the quality of the songs is more even, the playing more assured, confident and mature. Here is a band breaking into it’s stride, finding it’s place, it’s character yet clearer than before. On the previous EP’s I have had favourite tracks, but on Purple I have favourite bits throughout, here is an EP that can be listened to from start to finish over and over again.

Listening back to Red, its almost impossible to imagine how so much progress can have been made in just twelve months. Last year who would have thought that a track as delicate and nuanced as Last Song could have come from a band that produced Tent City with its raw enthusiasm; who would have anticipated a set of songs with such a rich diversity and accomplishment as Purple. Without doubt their best yet, and there will be more where that came from…

Vespertiliones Fortis, Eugepae!

(and apologies for any Latin scholars who may be reading…)

Robots – Bravo Brave Bats

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Soundscape de Nostalgia – Arboretus

Posted on October 23, 2011 by haymoncollins

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This three track EP by Alex Fawcett, nom de plume Arboretus (something vaguely ‘tree’ going on there I assume), is released via Hawk Moon Records tomorrow, 24th October.

Being a Hampshire based sort of chap there are a number of links to other projects in that area – he is ex-Oceanus, Rob Honey also ex of Oceanus is now in Inachus, Robs bother Tom has put out some very fine stuff as Good Weather for an Airstrike (mentioned in dispatches here) and the same Tom Honey is at the heart of Hawk Moon Records it seems (also strikes me there’s a lot of band names there ending in ‘-us’ … just thought I’d say…).

Soundscape de Nostalgia (should that not be ‘de Nostalgie’?) is but three tracks long and clocks in around fifteen minutes and plays to the guitar-based ambience, shoegaze, post-rock and drone tags suggested in the information (although a bit lighter on the post-rock, shoegaze imho).

Parts one and two of Hymn for Eurasian Misery Movement  wrap around the slightly less portentously titled Cloudy Sunday. The two part Hymn… contain more obvious drone influence and suggest a more European  and slightly darker cousin to some of the Stag Hare stuff written about here on occasion (more to come on him, I am very late with another post in that vein) but conjure up a damper, more autumnal and wistful sentiment, quite in keeping with the artwork for the EP.

Cloudy Sunday is perhaps my preferred part of this EP, the reverb , picked guitar sitting atop the echoey loopy guitar work, brings to mind early Durutti Column work, and that can be no bad thing at all.

Cloudy Sunday – Arboretus

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Töf – Náttfari

Posted on October 21, 2011 by haymoncollins

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I don’t know how long it takes for an average band to get its debut album out, my guessing is it isn’t around ten years. Well thats about how long it has taken Náttfari to get their first album, Töf, out onto the virtual streets. But released it is, at least in download form, and can be bought from their Gogokoko site for a mere (if oddly priced) 7.65 euros.

I have burbled about this rather fine Icelandic band before, around the time that the track Dynjandi Leðja was made available, and have been led to them by the equally fine Stafrænn Hákon with whom they share band members in the shape of Ólafur Josephsson and Haraldur Þorsteinsson as well as Nói Steinn Einarsson and Andri Ásgrímsson (on a quite different note I am totally seduced by letters such as Þ, ð and the whole Icelandic language which means nothing to me but looks and sounds so enticing)

They tag themselves as Post-Rock, Ambient Rock, Indie, Salsa, which to be honest might be seen as trying to cover a few too many bases, but what it does mean is this no run of the mill post-rock outfit. I am very partial to a bit of post-rock myself, but have to admit to it all getting a bit wearing sometimes, a bit too formulaic. No such worries here.

Yes of course this is largely instrumental music, with its grandiose and sumptuous sound-scapes (in my glorious ignorance I rather hope the sound maps to my visions of the Icelandic countryside) but there is  lightness of touch here, a more carefully constructed and considered suite of music.

Yes it’s grand but not graniloquent, bold and emotional but not full of bombast. The use of glockenspiel in the opening track Sumardagurinn fyrsti is reminiscent of the great Tortoise, the guitar work in Dynjandi Leðja evokes nothing less than David Gilmour’s guitar during Echoes. There is a wide pallet of light and shade here when so often, in a post-rock sort of way, you get just the black and white.

It may have taken them a mighty long time to get here but for me it was well worth the wait, an album that delights and rewards both immediately and after repeated listens.

Now if only I understood the track titles… the great Google translator claims (although I have serious reservations) that they might mean something along the following lines (all accurate corrections welcome):Sumardagurinn fyrsti – First Days of School, Dynjandi Leðja – Dynjandi Muds (really?), Töf – Delay, Kafarinn – Divers, Við erum Náttfarar -We are Nightwear (I rather hope this one is true), Rúni – Runes, Lævís köttur – Cunning Cat, Bál -Ball and Stian – Stian….

postscript – see Andri’s comments below for an accurate version of the titles… colour me (inevitably)  embarrassed …

Sumardagurinn fyrsti – Náttfari

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