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':