Album Review: Jim McShee - The Coffin Nail

UK Release: 11/02/12 - Independent

Smooth old Jim McShee is taking the town of Stoke-on-Trent by the scruff of the neck and instilling them with the sounds of modern country blues. The Coffin Nail EP is an easily accessible six-tracker expressing classic early 20^th century American guitar playing and husky lyrics. If blues is your thing or you fancy some feel good listening, the twenty-year-old might just be what you're looking for.

Hand-tapping opener 'Slaughter Hill' sets you in place perfectly to know what to expect. The opening trio of guitar notes sink you into the repetitive riff before the typical lyrics of lonesome journeys commence. Although it fails to provide a climactic moment, the simple pleasantness aimlessly rolls on by successfully uninterrupted.

Empathy is felt from the pain in the sombre words of 'I welcome death so gratefully' and 'hell is a place I would rather be'. The depressing motion of death is welcomed in a habitual manner. McShee again uses a simplistic riff to focus our attention to the agonising lyrics in 'Good Old Days Gone By'. The unchanged tempo implies a contentment and acceptance of his lyrics.

Courtesy of Jim McShee, The Coffin Nail EP

McShee's 'Helping Hand' and 'Oh Faithful' seem to lack the emotional substance and texture the remainder of the EP possesses. The two tracks have proven it difficult to maintain a consistent strength across a piece of work which uses minimal instrumentation to keep the listener from falling away.

The staccato strum downs in 'Bloody Knuckle Blues' help provide a memorable line with 'one punch, two punch, three punch, four' in the catchy chorus. The rough vocals contrast well with the clean-cut, head-nodding strumming.

A gravely American-twinged McShee closes with 'The Coffin Nail Blues'. And how could we have a country inspired EP without some religious references? 'And now the church bells ring / and the choirs sing' opens the final track where the running theme of 'a coffin nail' is put to bed. He tells that 'the closest thing to love that I ever did see / is that coffin nail drive a hole through me'. He speaks of regret and sorrow to sum up a lyrically dark EP. The hidden track has the final say, implementing a positive and hopeful feel about the relationship between a man and a woman. The cycle continues...

Rating: 6/10

Below is the track listing for The Coffin Nail:

1. Slaughter Hill
2. Good Old Days Gone By
3. Helping Hand
4. Oh Faithful
5. Bloody Knuckle Blues
6. The Coffin Nail Blues

You can buy Jim McShee's The Coffin Nail from iTunes now.

Below is the Studio Diary for the EP:

Album Review: Giro Junkie - Taxi For Dave

UK Release – 30/09/11 – Laugh Riot Records

Courtesy of Giro Junkie, Taxi For Dave

Two-piece Stoke-on-Trent folk band, Giro Junkie, open their debut album with a simple and uninspiring guitar riff. The working-class attitude displayed throughout the album is mimicked in the lazy chords of 'Hands for Feet'. The upbeat guitar change ending halfway is the surreal highlight of the average opening track.

'God Loves a Smuggler' is a pleasant follower with the beautiful softness of Rich Bloor's voice alternating well with the crashing snare and strings.

Sufjan Stevens and an acoustic Blink 182 is an unlikely pairing of influences heard in 'Playtime's Over'. The build-up of strumming and harmonies culminate well with an instant layering where the repetitive strings provide the highlight. The sombre ending felt eerie at first, but soon felt difficult to really justify within the song.

The layered vocals were a strong set-up for the climax of 'Oh-Dae-Su'.

'Razz Fadya' has nice moments with fast tempo drumming and interesting trumpet sounds.

There's an all-too-familiar sound to the album which often struggles to break any real boundaries and enter the extraordinary. Although the indie outfit clearly possess strong song-writing talent, they haven't exceeded any expectations with a record that had potential to be so much more.

Rating: 5/10

Below is the track listing for Taxi For Dave:

1. Hands for Feet
2. God Loves a Smuggler
3. A Murder of Logistics
4. A Job Too Far
5. Playtime's Over
6. Oh-Dae-Su
7. Picking up the Peasants
8. Razz Fadya
9. Feeling Not Theory
10. Like the Dog to the Vomit

Album Review: Bon Iver - Bon Iver

UK Release: 21/06/11 - Jagjaguwar, 4AD

Courtesy of starbright31, Bon Iver

The subtle opening of the soothing wind and peacefully clanging chimes prepare us for the most intriguing entrance into an album. The majestic guitar arrangement is soon layered with haunting backing vocals, a procession snare and an overpowering multi-layered vocal.

‘Perth’s’ sudden crashing of ‘still alive who you love’ instantly provides the moment when you feel like you could go whilst listening to something so beautiful. You can hear the passionately paining vocals from Justin Vernon’s whimpers before the fierce staccato slams and brass cries out. A rare ‘Skinny Love’ moment occurs as the strongest album track stamps Bon Iver’s mark on the world.

The natural flow into ‘Minnesota, WI’ brings you back to reality, however alternate is still may seem. The echoed bassy words of Vernon are linked wonderfully with the desolate yet dominating guitar plucks before his unnerving falsetto tells us he is ‘never gonna break’. The short harmonious combination creates a surreal eeriness, balanced perfectly with the busyness of the background.

‘Holocene’ begins with such a simple riff; you would not expect to feel shivers repeatedly upon the entrance of the vocals, shakers and clapping. When Vernon can ‘see for miles, miles, miles’ you can’t seem to help but become encapsulated in a world of cheerful bliss. 

The snare increases in tempo, producing a gradual rush where you feel you have been running an impossible marathon and the more you believe, you know, without a doubt, you will finish. But wait. You hit a wall. You continue to see how far is long to go. You realise you are not ‘magnificent’, but you don’t give up. You never give up. Despite still not being able to see for ‘miles’, you know the journey has been worthwhile, regardless of the outcome.

The pleasant ‘Towers’ is effortlessly brilliant. The breathy vocal after verses releases a chill of ‘everything’s ok’. With a relative consistence in the song, a slow build-up runs through without hitting a climax which is strangely satisfying.

Courtesy of starbright31, Bon Iver

Sufjan Stevens’ ‘Futile Devices’ is heard from the opening guitar of ‘Michicant’ and likewise, something special was about to follow. ‘Hurdle all the waitings up, know it wasn’t wedded love’ provides a dreamy state of contentment. The wait halfway is almost unbearable. The almost empty yet heavily textured closing of strings, trumpet and drum effects fade out to sleepy effect.

Echoed synths swallow Justin’s, now trademark use, of contradicting pitched vocals in ‘Hinnom, TX’. The higher pitched vocals are balanced perfectly and, although so nearly heard within, are never in danger of reaching over into the annoyance of Scissor Sisters (never thought I’d compare to them!)

The repeated two-chord piano provides the stem for ‘Wash.’, as the daunting strings roam free.

The 80s synth opening in ‘Calgary’ felt easy, and, although the latter climax was welcomed, the rest failed to enlighten.

Expectations for a spectacularly mind-blowing finale were wrong to have. Although often heralded as a key part to the album’s completion, there was disappointment when ‘Lisbon, OH’ led into a bleak and mundane ‘Beth/Rest’.

Despite its ending, Bon Iver was by far one of the stand-out albums of its year, and Justin Vernon deserves all the praise he is receiving, whether or not he thinks he appreciates it through Grammys or not. Perhaps more listens are needed to appreciate the true beauty of Bon Iver, however, the perfect album is still yet to come.

Rating: 9/10

Below is Bon Iver's awe-inspiring performance of 'Perth' on Later with Jools Holland:

Proud Proud People - The Sky Suspended

UK Release: 13/02/12 - Butter Bridge Records

Courtesy of Proud Proud People, Album artwork

The eerie keyboard riff layered with the unexpected timing of the backing electric guitar opens for a grand entrance into the world of Proud Proud People. Unlike The Polyphonic Spree's 'Light & Day' similar opening guitar riff, 'The Quiet Area' increases its volume build-up with pace and busy instrumentation. Perfectly timed pauses within the songs allow for an appreciation of each chord and tempo change. After the addictive running riff in my top left I am told to 'keep the noise down / there are kids asleep', at which point, although everything becomes so much more, it's never enough to wake them. The high tempo continues and it naturally ends in a short, repetitive burst of staccato brass.

Although a short track, the catchy chorus of 'Optimus Prime' throws you straight into the mix with clear Snow Patrol influences. The increased pace in the instrumental brass and drums shows PPP's unique element to their work.

Immediately, 'Pinjo' drops you into a simple, familiar riff which, at first, may seem too easily accessible. However, Michael Clay's trumpet is key in providing something extra. Elbow's Guy Garvey is heard in Andy Cargill's effortless vocals. The gravelly, dominating voice parallels the echoed 'I'm winning', alongside the Indie rock out.

'Ark' brings us back to reality and doesn't create enough impact following three strong tracks. The final result of the overlapping repeated 'ride with me' drone, haunting church-like backing, and the odd trumpet, fail to provide a climactic point to the song making it feel as if it is no more than in the background. The dying brass finale reminds of Kid A's 'The National Anthem', but lacks the passion.

Final track 'Dornfelder' provides a successful end to a pleasant self-proclaimed 'apocalyptic post-folk with a touch of math-brass' EP. The structure of the instrumentation proves vital in the built-up to the climax of the final layering, of the percussion and brass, in particular.

Proud Proud People's latest release is Sandbach's finest and it is clear there is still potential yet to be unleashed. More variety from the lead vocals would contribute greatly as there is little time when they are being stretched or when they become the focus. Nonetheless, highlights 'Optimus Prime' and 'Pinjo' shone through to show an improvement on 2010's Festival For Forest Animals.

Rating: 7/10

Proud Proud People - The Sky Suspended

1. The Quiet Area
2. Optimus Prime
3. Pinjo
4. Ark
5. Dornfelder

Buy the EP on Bandcamp and find out more about Proud Proud People on their offiical website or Facebook.

See Proud Proud People at Manchester's Kraak on Saturday 18th February. Find out more here.

Below is a live recording of Proud Proud People's version of Drake and Rihanna's 'Take Care' on BBC Introducing from Stoke:

My Brightest Diamond - All Things Will Unwind

My Brightest Diamond, "High Low Middle" by asthmatickitty

UK Release: 10/10/11 - Asthmatic Kitty

Courtesy of djenvert, Shara Worden

Shara Worden's majestic My Brightest Diamond is a delightful find for a true folky. All Things WIll Unwind is a beautiful collaboration with yMusic and drummer Brian Wolfe, proving the impact chamber-folk truly can produce. She expresses her Joanna Newsom-esque composing and use of orchestration stunningly in her third album.

Originally based in New York, Worden moved back home to Detroit with her new-born baby to write another much anticipated album. The album 'addresses the juxtaposition of life and death, class and race, pantries and politics—as heard through the mesmerizing lullaby of a new mother.' (Offical Website Bio)

Worden is no stranger to the musical world being daughter to a National Accordian Champion father and organist mother. Bon Iver's Justin Vernon, The Decemberists; whom she has supported on tour, and Sufjan Stevens are all friends and fans. The latter became extremely influential as she supported him on tour and performed as part of Sufjan Stevens and the Illinoise Makers. Signed to his label, Asthmatic Kitty, she was ready to wow the world with her own captivating persona.

Pleasant opener 'We Added It Up' is the perfect introduction to the politically heavy LP with lyric 'Love blinds the world' written during a global economy crisis. A plucky acoustic guitar sets the ambient tone for the disagreeing lyrics. The slow build-up of 'Be Brave' beginning with the muted drum beat escalates into a realisation and attempt at convincing herself to 'be brave dear one'.

The soft whisper of her name; 'Sh-sh-sh-sh-sh-shara / This is going to hurt' haunts and contrasts brilliantly with the loud impact of the heavy instrumentation. 'There's a Rat' may sound cartoony but what underlies are the descriptions of reactions towards bankers and the deprived ecomony; 'I'm gonna treat you like the mouse that you are'. Upbeat follower 'High Low Middle' uses the instruments to emphasise Worden's advise, culminating in a sensationally casual trumpet dance.

Courtesy of michel-dhersin, Shara Worden

The arrangements work around the dominant vocals wonderfully, often focusing on the words and the instrumentation at their own required times. When the two collide it forms a great mutual connection where a call and response-like communication becomes crucial.

Although this strong, well-arranged record, bringing out the political highs and lows and experiences of Worden's past year is forceful, as a passionate Joanna Newsom follower, I feel Worden is unable to overstep the line between sheer talent and pure genius. Nevertheless, All Things Will Unwind is certainly a powerful listen and well worth every minute of your time.

Rating: 7/10

Find out more about My Brightest Diamond at the official website here.

Check out My Brightest Diamond's 'Be Brave' below:

tUnE-yArDs - w h o k i l l s

Tune-Yards - Gangsta by The Recommender

Courtesy of sterno_inferno, Merrill Garbus

UK Release: 19/04/11 - 4AD Records

The experimental solo act tUnE-yArDs is the creation of the surreal, memorable, neon face-paint wearing Merrill Garbus. An intriguing artist who may require some patience for listening, Garbus lets you into her mystical world which isn't necessarily as joyous and carefree as it may first appear.

The New England inspiration released her anticipated follow-up to her entirely dictaphone-recorded debut BiRd-BrAiNs last Spring. Great pressure loomed over Garbus to live up to her heart-warming first full release. Its cosy atmosphere was taken in by many; so she suprised, but still delighted, with her more upbeat and genre-expanding w h o k i l l s. Initially attempting to record again on a dictaphone, Garbus struggled to find the appropriate sound so off to the studio she went.

Her enigmatic lo-fi use of drum loops, vocals and ukelele soon combined with funky guitar riffs, synths, brass, and a new band member. Album-crossover-defining bassist Nate Brenner was pivotal in providing a heavier, more complete sound. With a crowd of instruments often used at any one time, the bass proved to be the backbone of the record.

A quick drum loop entices you into the album with 'My Country' where Garbus expresses her doubts over her future with the US. Her overlapping monkey-like noises, shouted vocals, upbeat percussion and overpowering synths create a powerful jungle-like feel as the various vocal panning gives the impression of numerous animals expressing their views.

The funky guitar and drums play their part to a soulful mix of soft vocals of conversation, with discordant sounds emphasising the laid-backness approach to the song. The siren-into-drum-loop opening for 'Gangsta' seems to relatively simple, however, the distorted synths of sirens scream out the treacherous, stimulating life of the 'Gangsta'. The pause for drum smashing outbreaks releases the aimless gunshots and violence contrasting to the faint, happy voices of the family.

'Powa', a relaxed, reggae inspired track has vocals that seem to resonate those of Sting. Garbus describes her unusual dream of making love to the policeman who had arrested her brother in 'Riotriot'. Her extraordinary use of range continues as the gradual build-up of sounds eventually climax with a 'riot' explosion of noise frenzy. A lyric towards the end defines the no-longer-virgin rioter; 'There is a freedom in violence that I don't understand / And like I've never felt before'.

Courtesy of sterno_inferno, Merrill Garbus

The hypnotic layers beginning 'Bizness' enchant and becomes intensified when Garbus screams her plead; 'Don't take my life away'. The pandemonium of sounds is complete once the brass make their voices heard; it's difficult for your ears not to remain captivated.

'Doorstep' is soft and comforting with light harmonised vocals and easy percussion rhythms. Tempo changes with funky-rhythmed 'You Yes You' and care-free reassuring lyrics; 'Now that everything is gonna' be okay'. Haunting lullaby 'Wooly Wolly Gong' proves shouting is not always needed as she utilises her highly-pitched vocals beautifully. Perhaps the most abstract track is album closer 'Killa' where a carnival of up-tempo sounds and M.I.A.-style vocals rightly end a generally upbeat and optimistic LP.

w h o k i l l s certainly mesmerizes with moments but it needs time and concentration to be truly appreciated. With tUnE-yArDs touring the world this year it may be time to see how the unique compositions are represented on stage.

Rating: 8/10

Visit tUnE-yArDs' official website here.

James Blake - James Blake

James Blake - Limit to Your Love by Mystic Music Garden

UK Release: 07/02/11 - R&S Records

Courtesy of laviddichterman, James Blake

James Blake's magnificent self-titled debut took 2011 by storm as he exceeded expectations after becoming runner-up for BBC's Sound of 2011, only to somehow miss out to Jessie J...

The 23-year-old gradually made his way onto the scene through DJ sets at his former Goldsmith University, where he studied Popular music along with, coincidentally, Jessie J. He started primarily as a dubstep DJ, remixing other musicians' tracks with his own unique take on the ever-growing dubstep scene. Blake's music is so hard to define within a genre that I don't believe it needs to be classified. His intriguing sound leaves people open for their own interpretation, thus attracting an unlikely large following of listeners.

Playing the piano and singing since a very early age, Blake was soon a classically trained pianist in his teens. With the likes of Bonnie 'Prince' Billy and his all-time favourite, Stevie Wonder, (BBC Music) played regularly while growing up, influences were often heavily drawn. His musician father has shown to be a true inspiration to the young man's career. His more recent influences include the likes of Bon Iver and The xx, who have proven you can sound weird and exciting and still prove yourself to millions. 

His three 2010 EPs; The Bells Sketch, CMYK, and Klavierwerke, proved vital in establishing the crossover between using the beats and the music and his own voice. It took until the LP recordings for Blake to seem completely comfortable providing his vocals to a track. All the vocals featured in James Blake are his own; who'd have thought they would be so crucial and feature so prominently in the 'dubstep' artist's debut?

The album's opener 'Unluck' has become increasingly addictive resulting in becoming one of my favourite openings for an album. It consists of a simple piano riff layered with a skitty skatty drum loop and adapted, harmonized vocals, with the perfection complete by the rise of the distorted synths halfway through.

Courtesy of NRK P3, James Blake

The build-up of the effects on 'The Wilhem Scream' eject a sense of freedom and escape, however, as the lyric 'I don't know about my dreams' suggests, the unsureness proves too powerful, resulting in a sudden stop to the music and perhaps to the dreams.

The cold harmonized repetition of 'My brother and my sister don't speak to me / but I don't blame them' is all that needs to be said in 'I Never Learnt To Share'. The slow increase in the tempo of the added beat, drums and distorted synths result in a moment of pure ecstasy rarely encountered. Having the volume at full, through a perfect sound system, from 3:30 in the song, is an unforgettabe musical experience.

We are almost brought back to earth with the two 'Lindisfarne' tracks where the first is a pure vocal preparation for the following which includes a soft drum beat variation. Track six is the Feist cover 'Limit To Your Love' which had much of the music scene in awe of what more was to come on the album. Soulful harmonies, a repetitive piano riff and a sexy percussion beat combine to make a beautiful and accessible breakthrough.

'Give Me My Month' is a comforting Antony & The Johnsons-like ballad; a reminder of Blake's human stature. Don't worry, surrealism is not far away as the vocal shift patterns and jumping vocals in 'To Care (Like You)' work wonderfully alongside the use of his pauses and later, his up-tempo drum loop. 'I Mind''s one-off structure is intriguing and the later dominating background noise becomes unforgettable. The closing gospel-inspired 'Measurements' is a fitting end to the album; heavily focusing on his delightful vocal harmonies and silences.

There is so much more to come from Blake. Whether it be more dubstep remixes of tracks such as Lil Wayne's 'A Milli' or Snoop Dogg's 'Drop It Like It's Hot', or his own eccentric harmonised vocals and twisted melodies, I can't wait.

Rating: 9/10

Be sure to check out more about James Blake here and to give him a further listen on the player above!

Below is the captivating video for James Blake's 'The Wilhem Scream':

Fleet Foxes - Helplessness Blues

UK Release: 03/05/11 - Bella Union

Going platinum in the UK has been a real challenge for artists not sucked in by the Cowell machine, but little-known Seattle folk outfit Fleet Foxes managed it no problem with their outstanding self-titled debut. Following such a success is always going to take time and inspiration which isn't always easy to come by, which is why we are so grateful they didn't rush and delayed their release until the spring of 2011. Helplessness Blues has proven that Fleet are no one-trick-ponies as their momentous reviews of their debut spurred them on to produce a follow-up worthy of savouring for years to come.

With an intention to make the record "less poppy" (Pitchfork), frontman Robin Pecknold warned it may bore people. He never needed to doubt himself; although slightly less upbeat, we were gifted with the genius of the 8-minute 'The Shrine / An Argument' and album closer 'Grown Ocean'. Fleet Foxes express more than just their beautiful vocal harmonies and drowsy, optimistic guitars; Pecknold's unique ways of composition to control our emotions are put to perfection in the former of these tracks.

Courtesy of scannerfm_flickr, Fleet Foxes lead, Robin Pecknold

Troubles in the build-up of an album always occur and the stress was too much for Pecknold's girlfriend of five years. He became obsessed. However, upon hearing the final outcome she understood it was all worth it and gave them another chance (Contact Music). I agree; it seems ridiculous to let talent like his leave your life after he delivers such magnificent results!

Although still waiting to see the band in action, I had the pleasure of a solo set by Pecknold supporting the glorious Joanna Newsom at Portland's Aladdin Theatre. We were treated to Helplessness Blues tasters 'Tripolee' (which later become 'The Shrine / An Argument'), and 'Blue Spotted Tail' amongst others as a fitting preview. Fairly unaware of his talents at the time, I was sure to keep his work on my radar.

Fleet have inspired with their elegant and educated stunning second album, and it will only become more challenging as the expectations rise again.

Rating: 8/10

Visit Fleet Foxes' official site here.

Please use the music player at the top of the screen for more Fleet Foxes tracks!

Below is the intriguing animated music video made by Sean Pecknold (Robin Pecknold's brother) for the song 'The Shrine / An Argument':

Cults - Cults

Cults - Abducted by cultscultscults
 

UK Release: 07/06/11 - Columbia Records / In The Name Of

Courtesy of Man Alive!, Cults

Madeline Follin and Brian Oblivion form the intriguing indie pop duo Cults. The couple dropped out of New York School in 2010 to create their unique but ever familiar sound of 1960s girl group with a 21st century chilling buzz.

The Manhattan band released their debut album last summer to much acclaim after a few unreleased songs posted online for friends caught the ears of others. They weren't oblivious to the music scene, however, as Brian had previously tour-managed Madeline's brother's band Willowz, and she herself had received a recording contract at the tender age of nine thanks to links through her art dealer mother and local musician step-dad.

Information on Cults was hard to come by as they did very little to promote themselves, doing well to stay out of the public eye. Nevertheless, tracks like 'Go Outside' propelled their popularity to stretch across the waters. The teenage naiveties of their lyrics complement the simple yet intricately thought and adult compositions. However, they will know there is only so much they can do with their style so it will be interesting to see how they can make themselves truly blossom.

Rating: 7/10

Find out more here at their official website!

Please use the music player at the top of the screen for more Cults tracks!

Below is the powerfully historical referencing music video for 'Go Outside' by Cults: 

Youth Lagoon - The Year of Hibernation

Cannons by Youth Lagoon

UK release: 24/10/11 - Lefse Records

Courtesy of mikekatzif, Youth Lagoon

The rightfully optimistic debut album released by 22-year-old Trevor Powers last autumn will send a warm, comforting chill all over your body. It may take a while for its genius to sink in but when it does it truly is worth the wait. The combination of the 80s synths, the strong (often natural) reverb on the vocals and the powerfully uplifting and saddening crescendos create a beautiful world in which you become automatically drawn. 

The Boise State University drop-out risked it all and underwent a US tour covering 29 dates across the country. He's signed a two-year-deal with American independent company Fat Possum Records and I can guarantee his fun won't end there. Trying to put a longtime struggle with anxiety behind him, Powers has managed to undertake a huge step in his life to re-define this sub-genre of indie pop.

Rating: 7/10

Check out his blog here!

Please use the music player at the top of the screen for more Youth Lagoon tracks!

Below is an awe-inspiring music video for 'Montana' by Youth Lagoon, directed by Tyler T Williams: