Albums of 2011 : Numbers 25 - 21

Alright? Let's go!

25 - Okkervil River : I Am Very Far
Will Sheff's band couldn't quite match the majesty of their last two records, but I Am Very Far still contained some wonderful tunes, rousing moments ('The Valley'), beautiful interludes ('We Need a Myth') and some of the most personal songwriting Sheff's committed to record . If you want your indie rock well-read and wearing a crumpled suit, Okkervil River are still the premier band, and the go-to guys.

24 - EMA : Past Life Martyred Saints
Erika M Anderson produced one of the most intense and visceral experiences of 2011 with this album, laying bare her personal demons on top of abrasive Sonic Youth style guitar abuse, and sparse folk interludes. Thankfully, Anderson seems to have avoided the problems that led to the implosion of previous band, Gowns, and found a fitting outlet for her immense talent.

23 - My Morning Jacket : Circuital
After the distinctly dodgy Evil Urges, Jim James and co returned to something approaching their best form with this record. It's the usual mix of country beauty, Disney soundtracks and heads-down rocking, but done with a passion that's been missing for a few years. Live, they're still something special, and a must-see. With Circuital, MMJ edge a little closer to capturing that spirit on record.

22 - I Break Horses : Hearts
Scandinavia is where it's at this year, with many fine records coming from Norway, Sweden and Denmark. This album, a Swedish entry, contained some of the finest shoegazing married to solid pop tunes that I've heard in a while, with Maria Linden's honeyed voice soaring over the MBV-esque guitars and programmed beats. It was released on 4AD, the perfect home for the band's icy cool.

21 - TV On the Radio : Nine Types of Light
Recovering from the death of Gerard Smith, TVOTR surprised everyone with the low-key release of what turned out to be testament to the power of the band. Switching from soaring balladry to confrontational rants, the key to the joy of the record was, as usual, the wonderful vocals of Tunde Adebimpe and Kyp Malone, married to the genius production of David Andrew Sitek.

To hear a selection of tracks from these albums, there's a handy Spotify playlist via the link below:

http://open.spotify.com/user/andrewahannah/playlist/1JSSXOvJVU8yIbiGw6fNGA

The month (or so) in gigs

Greetings all, it's been a while eh?

In an attempt to actually make this blog a worthwhile experience I thought I'd round up some recent gig-going experiences in one handy post, even if just to show I've been sooo busy and not able to post.

So, we begin back at the end of October and my first time experiencing one of my favourite bands, Wilco, live. It was at Glasgow's Royal Concert Hall, and pretty much worth the wait. Beginning with a stunning trio of songs - barely without a break - the band couldn't have made a better start. Opening up with the epic closer from new album The Whole Love, it's a brave band who'd begin with a meandering, low-key 12minute acoustic meditation on religion, but that's what Wilco did with 'One Sunday Morning (Song for Jane Smiley's Boyfriend)'. Beautiful stuff, and followed closely by album opener 'Art Of Almost'. A brutal version compared to the album version, it was Wilco at its heaviest, the beats a mix of Krautrock and hip-hop, and building to a dizzying climax courtesy of Nels Cline's virtuoso guitar work. Cline spent the best part of two hours windmilling and changing guitars - sometimes mid-song - utterly lost in his own world while the rest of the band played on around him.

Many other highlights followed: 'Jesus, Etc', 'Handshake Drugs', 'I'm the Man Who Loves You', the songs from The Whole Love becoming beefier, and the classics like 'Misunderstood' sounding as good as I'd hope they always would have this close-up. Wonderful stuff.

Next came My Morning Jacket, a band I had the pleasure to see in the early days at King Tuts, but not since. A band who know how to have a good time live, they were a blast from start to finish, making me pine for that unrealised Muppets soundtrack that Jim James has long promised. Many fine moments, from 'The Way That He Sings', 'It Beats 4 U' and 'Magheeta', to classic closer 'One Big Holiday'. One word: aces.

The Antlers at King Tuts is the third time I've seen the band, and they just keep getting better and better. Aided by a new guitarist, Silberman and co played a mix of tracks from Burst Apart and Hospice, brilliantly capturing a mix of beautiful quiet codas showing off Silberman's incredible voice and blistering sonic excursions that probed the edges of post-rock.

Okkervil River were rollicking, blistering and emotional at Classic Grand. I reviewed new album I Am Very Far on this blog earlier in the year and didn't think it was brilliant. Not bad by any stretch of the imagination, but I must apologise to Will Sheff and the band. After hearing the songs live I realise I was wrong in limiting my praise - Okkervil River are a great, great band.

Finally, the second time this year I've had the pleasure of seeing Josh T Pearson. Still a mix of stand-up comedy and beautiful, bruised country songs, he's an absolute must-see. Pearson claimed he was unwell and apologised for his voice on a number of occasions, but to be honest I couldn't tell. Pearson is a stunning guitarist and vocalist, an unbelievable talent who I really hope continues to release music on - at least - a semi-regular basis. If you've not heard Last of the Country Gentlemen, what's wrong with you? It's one of the albums of the year without a doubt.

And that's it. Still to see Iceage, Korallreven and Malcolm Middleton before the year is out, so I may return with more posts before the year is out. Not promising, mind.

Okkervil River - I Am Very Far

I have to confess that I have a lot of love for Okkervil River, so any review I do has to be taken with a pinch of salt. However, about a month since I first heard I Am Very Far, I remain undecided about just how good it really is.

I can confirm it's not as good as Down the River of Golden Dreams, Black Sheep Boy and The Stage Names, but I reckon it's still a damn fine record with some stone-cold killer tunes on it. It's the first non-concept record from Will Sheff in about 8 years, but all the familiar Okkervil tropes remain unchanged. Sheff remains a romantic with a slightly depressive worldview, his lyrics also remain reassuringly oblique and literate, and the rousing folk-rock remains....although as producer Sheff has doubled the sound with two drummers, two piano players, just about two of everything.

Opener 'The Valley' is an energetic start, with Sheff singing once more about rock and roll (as he often does), before 'Piratess' goes a bit Steely Dan. And that, should you need reminding, is a good thing.

'We Need A Myth' is a gorgeous waltz of a song, before 'Hanging From A Hit' delivers what might be Okkervil River's (or Sheff's) most nakedly personal song in a long time, if not ever. It's a tale of reluctant adultery brought to life by Sheff's impassioned retelling, and restrained brass, and it's an emotional punch to the gut - unexpected in the context of the record as a whole, and all the more powerful as a result.

'Show Yourself' is another highlight, slowly building until a chorus of voices sing the title together, taking the melody and lifting it off into the ether. 'Wake and Be Fine' is a rousing single, singalong and triumphant, and closer 'The Rise' is an emotional swell of a song, rising and falling before fading away beautifully.

I Am Very Far isn't perfect; there's a three song lull as you approach the halfway point, but even a very good Okkervil River record is better than the majority of releases you're likely to hear this year. Not quite up there with their finest moments, but a fine old listen nonetheless.

New! Okkervil River: Wake and Be Fine

Okkervil River + AC Newman + The Roots = much goodness.