Christopher Owens - Lysandre

Well affiliated with the world of music through his time as frontman of indie outfit Girls, Christopher Owens begins his solo career with Lysandre which warrants comparisons to some of greats. A swirl of genres through the record has given him much to build on in future releases, while this is an accomplished first effort that may eventually stand as one of 2013’s finest.

Fantasy pervades a slab of Lysandre, with traces of Tolkien Middle earth to some of the tracks. Piccolos are introduced in Here We Go across a wistful folk landscape, displaying Owens’ vivid imagination. He mixes it up with uptempo road runners like New York City, and the way styles are transcended throughout brings the universal influence of Beck into view. There is much 70s popular soft rock and some jazz in the sound, making this a good album for highway marathons, but there is intelligence in the structure and he seems like an experienced hand on the indie circuit.

Owens uses a range of vocals to convey the emotion of his songs, his cracked falsetto on A Broken Heart matching the wistful background that goes smooth with the listener. His nomadic childhood, spent travelling across Asia and Europe year-to-year-, is reflected in the always-moving feel of the tracks. Everyday sounds like airplanes and waves, as well as airport PA systems, blend into this journeyman theme but it is the sophisticated use of apparently random objects that draw favourable comparisons to Beck. Imagery is key such as the sound of a late night jazz bar on Riviera Rock; Love is in the Ear of the listener is lilting in a dreamy Hawaiian-esque habitat. This is the kind of record that should be heard on a hot summer’s day in an open-top convertible, with palm trees and perhaps a boulevard to canter down. Even with his international exposure California is projected from many orifices and it is this warmth that makes Lysandre a pleasure to listen to.

Hopefully this album will see Owens be a hit across the Atlantic, and there is enough successful originality plus shades of Neil Young and James Taylor to endear himself worldwide.  

Villagers - Awayland

Awayland by Villagers is an 11-track story recited by a group of fine musicians, laced with top production and wistful vocals that immerse the listener and ensures a decent festival circuit starting this year.

It will not set the charts alight but for what it – a traditional-sounding Irish folk album – it is accomplished, catchy and atmospheric. The lazy, sun-drenched nature of most of its tracks makes it ideal for lazy summer afternoons. The record has that distinct ‘time and place’ feel which will give the band a unique flavour on tours, and there has evidently been much care and attention invested in every second of each song. Each track is a landscape, often of the Irish countryside and evoking traditional scenes with a brush of Tolkien, so a full listen is akin to reading a storybook with accompanying panoramas.

Opener My Lighthouse displays a rich Paul Simon influence, lead singer Conor O’Brien delivering a narrative against a simple folk backdrop. It could easily have slotted into one of Simon & Garfunkel’s early records. Earthly Pleasure showcases the thick production that envelops Awaylands, giving a countryside image adorned by strings and a star-studded sky. The Waves, played on BBC Radio 6Music in the tail end of last year, starts delicate as petals but grows into a spiky release of adrenaline. By the end O’Brien’s vocals resemble a siren in a raging storm, these compelling pictures brought to life by the masterful production.

Throughout Awaylands makes a serious case for Mercury Prize consideration, whether there is a sing along chorus or a stark wash of suspense (wonderfully exercised in a James Bond-esque stream of strings in The Bell). This is probably the first seriously good record of 2013 and should appeal to all tastes. It is an excellent introduction to traditional folk, meriting Paul Simon comparisons and showing canny in its rhythmic arrangements. The Grateful Song is a rolling waltz and closer Rhythm Composer delivers an up-tempo stomp through a curtain of bells and classical guitars. It is the small touches that light up the album however, as demonstrated by the soft blares of saxophones in the closer. Lovers of finely crafted melodies should keep an eye out for this band, who begin a tour of the UK starting in February, though they should target summertime as the greatest stage for their meadow folk. 

Everything Everything - Arc

The second album from the Mercury Prize-nominated Manchester act, Arc shows promise for the third album but may not last long in the memory due to inconsistency and evident chart seeking. After an artistic debut in 2010 (Man Alive), Everything Everything (EE) have siphoned the creative freedom for Radio One friendly structure and risk losing a sizeable fan chunk in the pursuit of mainstream recognition.

Fittingly, the record begins with its two singles, Cough Cough and Kemosabe. These fit the airwaves but offer little in originality and are overshadowed by more accomplished pop releases. Torso of the Week through to Armourland do not inspire, there is obvious imagination straining to reach the surface in flickers but it is constrained by conventional indie stylings and so lies dormant until later.

By the time The House is Dust comes around the album has slowly come to life, the obvious shackles of making hit songs slipping aside and showing the real EE. The opening drips with atmosphere as Jonathan Higgs’ lone falsetto is shrouded by solemn production interspersed with a bone rattle percussion, and suddenly the parts merge as they have on EE’s best work in their short career. It is irresistible and you wonder how good Arc could have been with this level of engagement from the start. The track ends with Coldplay-like starkness and the band do not sound a million miles away from the top league in this moment.

Radiant is a slick effort which maintains the freshness of the previous track, while closer Don’t Try should have been the first single. Possibly the best track on Arc, it has an infectious chorus and will be a staple at concerts with its sing along hooks. This should be a platform for the next phase of EE and hopefully the soaring highs of Arc will form a stepping stone. Now the band cannot look back and must realise its best sound to keep climbing the charts towards the number one spot they covet. 

Sounds of 2013

BBC 6Music recently covered a collection of acts tipped for success in 2013, a suitable bookend to follow its Top 15 of 2012 compiled in December. As usual the list explores the depths of contemporary craft, coming up with a selection of developing names which may take the step to stardom this year.

Angel Haze entered at number 3, the Detroit-born rapper tipped to rival last year’s breakthrough Azealia Banks for Queen of east coast hip hop. Coming across as cool and witty in interviews, Angel Haze brings a unique blend of rap to the table. Her slick delivery keeps tracks ticking as showcased in the song New York, while a cluster of rhythms and subtle production complete the backdrop. Twangs of reggae affect the beat and vocals, all styles blend together seamlessly and increase her appeal to those of an eclectic persuasion.

AlunaGeorge, at number 2, have received airplay in the last few months particularly for Your Drums, Your Love. The London-based double act - made up of Aluna Francis (vocals) and George Reid (production) – fuse ambience and retro synths with RnB. Aluna’s vocals are excellent; at once sultry and distant, they seem ghostly against the cold production – an icy landscape that is immersive and stark in equal measure. These guys will be around a lot in 2013, with debut album Body Music set for a June release.

Coming out top is Los Angeles act Haim, formed in 2006 by three sisters (Este, Danielle and Alana Haim) but who only started releasing music in 2012. Labelled as contemporary RnB, it is impossible to pigeonhole this group any way, although it is easy to enjoy. Whether you hear any of Haim’s tracks on the radio, in a cafe or in a club, it sounds good and fits any stage. They will be a festival mainstay in no time and tunes like Falling and Don’t Save Me are original but radio-friendly offerings. This music will be on every mainstream radio station and will please purists. There is no hint of derivation and the trio is charismatic, charming on television and airwaves alike. Watch out for an album that may follow Florence + the Machine step-by-step to stardom but, dare say it, offers more to a wider audience.

As they say for previews, watch this space.

Alt-J – An Awesome Wave

Voted by BBC 6 Music as the best album of 2012, Alt-J’s debut release has garnered high praise and numerous accolades, the most notable of which was the 2012 Mercury Prize Award. Having formed in 2007, the band has had time to craft a record to remember, and for the most part have ticked all the boxes here.

An Awesome Wave – a title that suggests high confidence within the band – takes a while to warm up. The interludes are unnecessary filler, and having an interlude combined with the intro smacks of premature pretentiousness. However, by the time the hit single Something Good comes into play Alt-J’s self-assuredness appears well founded.

There is a wistful air to much of the album, and with the masterful production and well crafted melody these guys seem well travelled and experienced. Dissolve Me showcases the band’s use of strong harmony, led by layers of vocals, which emanate through the record. Matilda seems simple and folksy but is given edge by the harsh vocals of lead singer Joe Newman. It is this simplicity that forms the platform for the technical mastery of An Awesome Wave, such as in Ms as a lone glockenspiel rings through the silence followed by a chorus of plucked guitars.

The production is crystal clear, perfect for the fine sounds prevalent through the album. Fitzpleasure is an irresistible blend of hard buzz rock and delicate vocals, bittersweet mix that lulls and thrills in equal measure. Bloodflood is a distant siren on a bleak horizon, while Taro and Hand-Made are beautifully understated and form a thoughtful, and in the former’s case slightly oriental conclusion. Overall this is a very fine and admirably ambitious beginning, traits that have not been missed in the media.  

Sharon Van Etten – Tramp

Coming out of the gloom like a 6am train, Sharon Van Etten’s Tramp is an often bleak, cold shining star. Although many of the songs exude a sadness that is both pure and stark, hope and happiness emerge like sunlight after a storm.

The third record by the New York singer, Tramp lives up to the title as its opening salvo projects a lone figure in a stark landscape. Van Etten’s vocals are fragile and beautiful, a hollow cry which is dwarfed by the dark, suffocating production accompanied by raw guitars. Serpents in particular is a scratchy, barren number that summons the nightmarish features of serpents amid Foo Fighters-style strumming.

Leonard is a straight-up love song carried by delicate, heartfelt vocals, while In Line shuffles to a waltzing beat amid a drenched vocal harmony. We Are Fine has a pretty eukelele melody, accompanied by a walking piano line and strolling percussion. Many emotions are conjured in the album’s duration: anguish, sorrow, hope, relaxation, serenity. Everything is covered here, but these feelings are covered chronologically. Negativity pervades the first few tracks but by the closer Joke or a Lie things are brighter. The final track is an ethereal gem, a kaleidoscope of colour with a rich string accompaniment.

Although this stark outing will not be to everyone’s taste, it is an accomplished work with rich vocals and deep songwriting. Good for peaceful early morning listening over a cup of coffee.

Django Django

Washed up on the Nile, sand in the eyes and dazed. Confronted by Arabian knights on horseback and taken to a sheltered oasis taking in the alien surroundings. If this is a scene that may appear in the future, Django Django’s eponymously labelled debut album would be the soundtrack to complement it.

Such is the abstract nature of the record, tagged as ‘indie’ but probably the last genre to pop into the head of the listener, vivid images and surroundings will manifest themselves in the listener’s mind thanks to an impeccable production and tight musicianship.

Formed in Edinburgh and currently based in East London, Django Django have crafted a real gem that stands as a highlight of the year. Drummer-producer David McLean has created a world of mystique through the album, all elements of the songs contributing to the adventurous, gypsy scene which conjures an arid desert feel.

You can almost feel the heat through the sandpaper production, scrappy beats and languid shuffles pervade songs like Hail Bop and Zumm Zumm. The band sounds experience, not the patchy debut delivered by most fledgling acts. The masterstroke of the record, however, is the way a fusion of space rock is planted in the desert soundscape. Default, one of the early singles, is driven by a 1960s rock thump, but is interspersed with synths that combines mystique with raw rock ‘n’ roll.

Folk rock and blue collar are covered, which with a splash of country make up the unmistakeable Firewater. The highlight of the record is WOR; a tour de force of stomp, dance and a gladiatorial call to arms. Turn it up to eleven – there is no other way to hear it! Skies over Cairo sums up the opening description in this review – intricate rhythms and grandiose synths flood the Egyptian scenery, rolling imagination into a stunningly absorbing world of marvel.

Named as the No.2 album of 2012 by BBC 6 Music, Django Django is a must buy and a treat for lovers of expansive and original music. Indie has been reinvented...