This is Part III – you can see Part I HERE, and Part II HERE

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3. Fleet Foxes – Helplessness Blues (Released 3rd May)

As a band riding the crest of a folk wave back in 2008, Fleet Foxes enjoyed a popularity that perhaps wasn’t just down to their music. Along with acts such as Mumford & Sons, Laura Marling, Noah and the Whale et al, they were at the forefront of a new and more accessible style of folk, which culminated with Mercury Prize nominations for both Mumford and Marling.

So a Fleet Foxes second album then was always going come under more pressure than others – as much at risk from apathy as anything else. Thankfully though, they’ve sidestepped that with much room to spare. There are many words that come to mind when recalling the mountainous brilliance of Helplessness Blues and both mountainous and brilliant are up there.

But it’s really the effortlessness, the delicacy and the beauty with which the album is delivered. They’ve made a small enough stride satisfy there current fans but more importantly, they’ve made a big enough one to not only gain scores of new fans but to re-awaken and remind those that may have been drowned out in 2008.

Overall, Helplessness Blues is a masterpiece from start to finish and as engaging and inspiring as anything released this decade, let alone this year. Rightly nominated for a Grammy, it’s a blueprint for the perfect second album and a standout entry against some extremely tough competition. Expect stadiums within years – Mumford be afraid.

Fleet Foxes – Helplessness Blues

Fleet Foxes – Lorelai

Fleet Foxes – The Shrine / An Arguement

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2. PJ Harvey – Let England Shake (Released 11th February)

From the very first words of ­Let England Shake, it’s clear that the old, Rock FM PJ Harvey has gone. In her place is an angered, reflective, ashamed and frightened replacement, unafraid to question the West and her own country. Lyrically based around the First World War, the album draws alarming and non-accidental parallels with current world events and, in a time of the Arab Spring, London Riots and Occupy Wall Street, the album is a masterpiece.

Harvey has stated that this is a reaction to her feelings of recent current events and equally her reaction to the struggle of turning those in art. The answer came not from confessional, emotion-dumping but from research and reading first-hand accounts of the horror of war.

Whether you agree with her opinions or not (and it’s difficult not to), there’s no denying the effect the raw and sharp lyrics have, the imagery placing the listener at the centre. Damning of War, England and the backdrop it’s created, Harvey frequently tells of haunting landscapes and images such as “bitter branches spreading out” on Bitter Branches and of “stinking alleys” and “drunken beats” on The Last Living Rose.

And with a dark irony on The Words That Maketh Murder she sings “What if I take my problems to the United Nations?” or “Take me back to England! The grey, damp filthiness of ages” on The Last Living Rose, all at once marking out the bureaucracy as sad as the reality.

As a subject matter, War is a saturated market, and for PJ Harvey to have produced something that stands out so magnificently is astonishing. To tell stories of soldiers falling on the blood-stained earth without triteness is an accomplishment – to do it so well on a pop album is something else entirely.

PJ Harvey – The Glorious Land

PJ Harvey – All and Everyone

PJ Harvey – Bitter Branches

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1. Bon Iver – Self-titled (Released 17th June)

As a debut album of such beauty, originality and brilliance Bon Iver’s first – entitled For Emma, Forever Ago – was always going to raise questions for the group’s longevity. The back story (girlfriend leaves boy, boy gets sad, boy writes brilliant folk album over three months in a remote cottage in Vermont) and lyrical content was so perfect and strong many wondered if this was a one-off.

But Bon Iver/Justin Vernon has responded in magnificent fashion, weaving a tapestry of folk, ambient and even hints of psychedelica that manages surpass the unsurpassable.

The seeds were sown in 2009’s Blood Bank, the first release after the huge success of the debut album – hinting at a direction less of the singer/songwriter mould and giving freedom to other aspects in the instrumentation that were reduced down, or discarded in 2008.

The self-titled album is a continuation of this trend and sees Vernon put down his guitar and make the (obviously effortless) transition into a much bigger producer role. Introducing duelling drummers, tenor sax and in album closer Beth/Rest, synths that hark back to the 80s heyday of artists such Phil Collins and Bruce Hornsby is a bold step but fits so smoothly with the slightly darker and more haunting sound that Vernon has brought to his vocals and songwriting.

Each track is a place name and whether real, imagined or a combination of both (Hinom, TX) and each presents vivid imagery – from the fields and valleys of Minnesota, WI to the Lakes and forests of standout track Perth.

Overall, the key parts are still there – Holocene has guitars and falsettos to match anything found on For Emma… and should placate those who love the folky side to Bon Iver. But the additions and expansions of the drums, horns keyboards’ and overall production has added an whole other dimension to Vernon’s sound that’s arguably more beautiful and effective than the less is more approach previously employed.

There’s so much to enjoy here and it’s a phenomenal and well deserved success story for Bon Iver. Bon Iver is rich and expansive without being the least bit grandiose or ostentatious and in the end the clear choice for the top spot.

To do it once was brilliant, to better it a second time approaches genius. Long live Bon Iver.

Bon Iver – Perth

Bon Iver – Holocene

Bon Iver – Calgary

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READ PART I OF ‘THE ALBUMS OF 2011′

READ PART II OF ‘THE ALBUMS OF 2011′

Perhaps worth mentioning some albums that didn’t quite make the cut at this juncture – efforts including the rasping and raw El Camino by The Black Keys, Jay-Z & Kanye West’s hip-hop super-album Watch the Throne, the fantastically mature and engaging Skying by The Horrors and So Beautiful or So What from folk demi-god Paul Simon. All excellent efforts but not quite as good as these..

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This is Part II – you can see Part I HERE, and Part III HERE

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7. British Sea Power – Valhalla Dancehall (Released 10th January, full review here)

Those following the trajectory of British Sea Power’s now lengthy career will have noticed a steady upward trend. Starting in 2003 and making a real breakthrough with career highlight Do You Like Rock Music in 2008, they’ve continued to be one of the few indie bands that have sustained and improved upon themselves album after album. Whilst many indie bands enjoy a peak before a sharp fall into nothingness (Klaxons anyone?), BSP have become favourites of many in the music press known for their loveable eccentricity that never ventures into anything alienating.

The album is an superb representation of this and whilst it’s not got the breakthough catchiness or pop of Do You Like Rock Music, this one feels almost like the band have grown up and is easily the most cohesive album to date. From the roaring power of Who’s in Control and We Are Sound, to the more measured but no less engaging Georgie Ray.

Although a ten minute epic was perhaps a little much for an album closer, Valhalla Dancehall contains much of the bands best work to date, combining the oblique lyrics and themes the band are loved for, with enough gusto and energy to bring new fans on board. Arguably the best BSP have produced to date, it comes as an excellent reminder that they’re still one of best in their class and although they may be nearly 10 years in, there’s plenty more to come yet.

British Sea Power – Who’s In Control?

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6. The Weeknd – House of Balloons (Released 21st March)

There’s something so satisfying when a hidden gem is uncovered. A diamond in a vast sea of rough music. 21-year-old Abel Tesfaye – better known by his stage name The Weeknd – falls firmly into this category, and with his debut album House of Balloons by far the winner of free album of the year, is destined for a spectactular future based on this offering.

The album is the first of a trilogy released in 2011 (the other two being Thursday and Echoes of Silence) and a joy to behold. Effortless and skilful are words that immediately spring to mind as the combination of soul, electro and Hip-Hop come together in spectacular fashion, with opener High for This a particular highlight – and a favourite of Hip-Hop superpower Drake no less.

Based on his first year, The Weeknd is assured of a successful future – House of Balloons sits easily alongside some of the best in the business, most of which have experience and and fanbases that should put them well out of reach. The fact that it’s all free makes it all the more unbelievable and fantastic for it – and now there’s no excuse not to download it.

The Weeknd – High For This

The Weeknd – The Party & The After Party

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5. Coldplay – Mylo Xyloto (Release 24th October)

As a band Coldplay have recently entered their 2^nd decade together and, unsurprisingly, are looking to make a U2-like grand statement to give them that one that counts.  And, unsurprisingly, ­Mylo Xyloto is a huge, stadium-sized musical statement for X Factor generation.

For all it’s successes, 2008’s Viva La Vida was perhaps too experimental, for a pop band at least; the result of the band trying move away from easy-listening (read: boring) 3^rd album X&Y. Mylo Xyloto then is the coming together of the two. Invoking that Coldplay knack of changing their sound and yet remaining the same is heard all over this. Including short bursts of synths in-between storming pop numbers culminating in ­Princess of China a duet with Rihanna that moves that moves the goalposts and places them in direct competition with the R&B and Pop that resides at the top of the charts.

It’s hard to deny that the doubters will be out with a renewed vigour as songs such Paradise, Charlie Brown and lead single Every Teardrop is a Waterfall will feature in idents and trailers for months to come. But there’s no denying the quality and what’s clear is this is a band that has, yet again, raised their own bar even higher. From the driving bass of Paradise, to the earthy almost analog sounds of Major Minus, to the biggest throwback to their early career in the soulful Up in Flames.

Although it won’t be seminal album they’d hoped for, there’s plenty to enjoy here and although we’re unlikely to see a shift in the greater musical landscape, what Mylo Xyloto does do is bridge a gap between the stadium bands of old and the R&B acts that dominate in the 21^st century. Capturing the essence of both and diluting neither is a impressive achievement – if there is one band to save the music industry, you’ll hate me for saying Coldplay. But I’m afraid the answer is Coldplay.

Coldplay – Princess of China (feat. Rhianna)

Coldplay – Major Minus

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4. Manchester Orchestra – Simple Math (Released 9th May)

It’s difficult to place why Manchester Orchestra are still limited to such a relatively small following. At a push, it would be possible to put them in a box – annoyingly labelled ‘heavy rock’ or similar – but their particular scene was long gone by the time debut I’m Like a Virgin Losing a Child hit the shelves in 2006. But since then they’ve been steadily building up a loyal following, especially with the music press – Andy Hull’s whiny yet powerful voice instantly recognisable as it bursts with emotion and anger.

As an album, Simple Math has made waves, and many more than any of it’s predecessors and the praise is rightly deserved. It moves from the measured calmness of opener Deer, to the crashing drums and brutal guitars of April Fool to the album’s title track and highlight Simple Math.

Bringing together to calmness before the orchestrated strings and guitars roar over the chorus – Hull sings of a young man trying to find guidance and love and has an uncanny ability to draw the listener in as everything seemingly crashes and collapses around him.

The album reeks of maturity and a band finally finding their own voice and playing to their strengths – storming guitars will placate those who like to have their ears punished, whilst those who appreciate the more measured and introspective moments will equally find much to enjoy. Dripping with emotion, darkness and brilliance at every turn – Simple Math deserves more credit than it’ll ever get, but that’s what makes it all the better, and I hope it stays that way.

Manchester Orchestra – April Fool

Manchester Orchestra – Simple Math

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READ PART I OF ‘THE ALBUMS OF 2011′

READ PART III OF ‘THE ALBUMS OF 2011′

The judging criteria were very simple and each entry had to satisfy two statements in order to be considered. They were –

1)     I have listened to it

2)     It was released in 2011

After these were rigorously applied and a very large number of entries discounted (mostly those released before 2011…), they were ordered based on a simple yet effective final statement, that being ‘how good is it?’. On a separate note, I’ve no idea why there are 11 entries…

This is Part I – you can see Part II HERE, and Part III HERE

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11. Noel Gallagher’s High Flying Birds – Self-Titled (Released 17th October)

To say that there was intrigue surrounding Gallagher senior’s next move post-Oasis is an understatement. Fans and non-fans alike were keen to see how he would escape the shadow of one of the most successful bands of the Britpop revolution, or even whether he would at all. After immediately dismissing Liam Gallagher’s first effort as a ludicrous pastiche of himself, it became even clearer where the songwriting talent lay in Oasis and the release of Noel Gallagher’s High Flying Birds probably surprised us all, because it was actually very good.

Although it’s no game-changer, Gallagher’s solo debut is an enjoyable and assured effort from the king of Britpop and strays enough away form the arrogance of Oasis whilst keeping that lovable Manc confidence in full flow. Although the lyrics still lack that certain something, it was never really a deal breaker and the eye for a melody that proved so successful in the past has been re-awakened with what seems much fresher orchestration and maturity than that of the past. AKA…What a Life is a measured and catchy tune that unlike, Oasis last album (2008’s Dig Out the Truth) or anything to date by Beady Eye, was written of the course of weeks rather than hours.

Overall, you know what to expect with a Noel Gallagher album, and although …High Flying Birds ticks all those boxes, it also reaches out and ticks a few more. It’s got some moments of genuine excellence and as a whole, shows a man not out for revenge but with a renewed hunger. He’ll never admit it, but Noel Gallagher had something to prove to us in 2011 and with his debut album he’s gone a long way to doing that. The best since 1996 and well worth a listen.

Noel Gallagher’s High Flying Birds – AKA…What a Life!

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10. Alex Cornish – No Shore (Released 13th June, full review here)

The third effort from the prolific and steadily rising singer-songwriter sees him stick with the same formula that has worked so well in the past and executes with such aplomb that you forget that perhaps it’s one you could’ve heard before.

As an album written, recorded and released in less than a year it sounds excellent and is as polished as many artists with far deeper pockets. Passion and commitment propel the album along and it’s arguably Cornish’s most personal work to date. The ballads are the real strong point and tracks such as Breathe Slow and This is the Point are genuine highlights.

It’s has a significant Mercury Prize feel about it and Cornish’s vocals get stronger with every release. Get the album and say you were there at the beginning – you won’t be disappointed.

Alex Cornish – Breathe Slow

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9. The Boxer Rebellion – The Cold Still (Released 7th February, full review here)

A triumphant return for the darlings of the Mainly Genius blog saw The Boxer Rebellion release their 3^rd album in February. Easily taking the award for Grower of the Year, The Cold Still is slow burner that plays on some of the softer elements of their sound, whilst there no mistaking the tumbling drums, falling crescendos and soaring vocals, everything seems softer somehow – as if cased in bubble wrap.

Of course many songs delight including their very credible Pendulum impression on Step Out of the Car and the world-weary and excellently orchestrated ­Locked in the Basement for starters.

But they’ve sold out – there’s no denying it and I wouldn’t like to anyway. Whilst they have taken a step away from the anger of Exits and Union and perhaps lost a handful early fans in the process, the strides they’ve taken in a positive direction are clear and done with such aplomb that The Cold Still shows a good step forward displays that excellent knack for a catchy tune.

I’ve said it before and will say it again – watch out for them at a stadium near you.

The Boxer Rebellion – Memo

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8. Adele – 21 (Released 24th January)

As far as successful years go, 2011 was up there for Adele. After her debut album 19 passed in 2008 with praise but little incident, her follow-up 21 released almost exactly 2 years later caused a few more waves. As well as being the most downloaded album of the year, 21 was no. 1 in 26 countries, certified 12 times platinum in the UK, 5 times platinum in the US, Mercury and Grammy nominated and has sold more than 17 million copies worldwide. It’s fair to say a few people enjoyed it.

And although perhaps I’m a little flippant dear reader, there really is a lot to shout about on 21. The vocal performance is one of the defining features and is so effortless and surprisingly genuine for such a successful album. And that’s a theme that continues from start to finish. Written after the break-up of an 18-month relationship, the lyrics often make you empathise and feel their pain and away from the singles the swagger and revenge on tracks such as Rumour Has It are as enjoyable as that of Rolling in the Deep.

On the surface it came across as a surprise hit, but when you look inside it becomes obvious why 21 sold so well .By combining her huge voice, everyman image and an excellent combination of retro soul and emotion, Adele has produced an excellent pop album apparently loved the world over.

Adele – Set Fire to the Rain

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READ PART II OF ‘THE ALBUMS OF 2011′

READ PART III OF ‘THE ALBUMS OF 2011′

Of course, the music is always good (a statement which is always subjective) and that’s the key foundation to the cherishing, but there’s also the way they go about themselves and, more often than not, a personal tie or memory attached to them.

In my case, I was given two Turin Brakes CDs when I was a smaller boy by a  family friend, and inexplicably proceeded to listen to just one track out of twenty six on offer. But since rediscovering the band 18 months ago (especially latest album Outbusts) I’ve come to realise what I’ve been missing out on.

But getting to the point, Turin Brakes have released a between-albums EP in time for Christmas, which features one new track and three covers. Although I’ve not heard it, I’d happily stick my blogging neck on the line and say it’ll be worth a listen, especially since the one track I have heard is excellent.

Specifically, it’s a cover of the Mary Poppins classic Chim Chim Cher-ee – perhaps not a sentence I’d ever expected write – but one I feel is justified as it really is a clever and haunting cover. Who knew the wholesome Mary Poppins could be given such a dark and mournful twist? Turin Brakes have managed it with grace, all the while maintaining the integrity of the original, and donating homeless charity Shelter all the profits to boot.

Well worth a listen (you’ll be singing it for days…) and even more so downloading and benefiting a deserving charity in what is this most Charitable of seasons.

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Download Chim Chim Cher-ee on iTunes

Visit Turin Brakes or pre-order their new EP

Visit Shelter

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Turin Brakes – Chim Chim Cher-ee

Luckily, there’s nothing to say that nice guys aren’t destined to produce great albums and in No Shore, Alex Cornish has produced something special. With every album there has been palpable growth and this album continues to build on the success of the past and treads a path towards wider recognition.

Whilst I will say there’s no great shift in genre (this is not Cornish’s Kid A just yet) and that any notions of a rock opera have yet to materialise, this album has the feeling of something about it – a deplorable way to communicate my feelings yes, but Alex Cornish has been ready for a breakthrough for the last 18 months and perhaps this is the album to propel him forward.

Much like it’s predecessor Call Back (full review here), the majority of the recording of this album took place in Cornish’s living room in the far reaches(ish) of Scotland and, in the greatest sense of the word, No Shore sounds like it. Passion and commitment are here in spades and in the short time it takes to reach Rely, that’s already evident. In tone it’s almost resigned and in musicality it’s excellent – combining confidently brushed drums with surprisingly catchy melody and delicate guitars sets the album well.

Skyline of Paris is a refreshing and uplifting ode to love whilst Open Your Eyes is something of curveball – not only does it feature electric guitar (folk blasphemy?), there’s a slightly twisted hook that sits surprisingly well with the rest of what is actually an extremely accomplished track. It’s little flourishes like these and the attention to detail that is characteristic of the whole record, that help make this so exceedingly enjoyable.

However, No Shore is most comfortable when pulling at heartstrings and ballads are undoubtedly where Cornish’ is really at his best.

Not coincidentally, the two ­standout tracks both happen to be ballads of the highest order. No matter whether it’s the carefully orchestrated, delicate guitars of Breathe Slow or the gradual building of violins in This is the Point, both have first-rate vocal melodies and, when coupled with the emotion and tone behind Cornish’ voice, really make the songs believable and genuine.

Overall, this is another firm step in the right direction. If he wasn’t already, we can safely classify Alex Cornish as a hidden gem amongst what is at the moment a very healthy mine of new music. No Shore has a definite Mercury Prize feel to it and although that particular award seems to be increasingly based on record sales and trendiness, it’s still a highly prized asset for any musician and should represent an artist at the top of his or her game.

I can’t recommend No Shore enough and if you get the opportunity to see Alex Cornish live, I’d strongly urge you to take it. Get this album and say you were there in the beginning – as a once-successful-singer-turned-Christian once sang, The Only Way is Up.

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Buy the album from iTunes, Amazon or HMV

Check tour dates on his Official site

Follow him Twitter, Facebook or YouTube

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Below are my picks from No Shore, from the plucked violins of This is the Point, the folk-jazz like hook in Open Your Eyes or the sheer delicacy of Breathe Slow, they undoubtedly show all that’s best of the album.

Alex Cornish – Breathe Slow

Alex Cornish – Open Your Eyes

Alex Cornish – This is the Point

It’s difficult not to be drawn into Dark Mean. There’s something captivating about their brand of acoustic indie that exudes sympathy and consequently, causes the listener to relate to every word that frontman Mark Dean sings. Up until now they’ve released two fairly successful EPs (Music Box is reviewed here) – both of which caused if not sizeable ripples, at least measureable ones – and despite me having some vague notion of a third, this is their full size debut release.

To give some context and direction – 7 of the album’s 10 tracks featured in some form or another on one of the aforementioned EPs and although they’ve been given refreshment and reworking in some cases, it suggests that we shouldn’t expect a vastly different experience that which Dark Mean have historically provided. But if we flip that particular coin, it’s plain why they’ve done it and actually makes a lot of sense to bring together the on and off ramblings from the course of the last three years, in one neat and digestible package.

So how about the music?

Well in short, it’s great. Lo-fi, DIY type sounds are becoming increasingly popular with the likes of Maxwell Panther and Dirty Projectors both strong, creative advocates of this sound – often to a fault – but Dark Mean have got just the right measure of passion against professionalism. There’s enough rawness in there to bring out the real love for the music, and to give a sense of a cohesive unit rather than the sum of it’s parts.

But there always needs to be some quality in the work that’s produced (in both senses of the word) and rightly or wrongly, sweeping judgments are often made within seconds rather than minutes of hearing a new track. I’ll admit I’ve been guilty of this in the past and it’s very often sound and production quality that keeps indifferent ears interested.

Tracks such as Happy Banjo emphasis this point perfectly and, having featured on the frankencottage EP, also show subtle but welcome improvements on it’s original form. Beginning with now-improved, rock solid drums, the track slowly builds, beginning with a banjo (song titles aren’t Dark Mean’s particular forte, but it’s not something I’m much bothered by) and slowly adding layer by layer in and around what becomes a simple yet memorable vocal melody.

Lullaby is another song that follows this suit and one that culminates in what’s undoubtedly a memorable audience sing-along given the chance – and Smoke Lake (known as frankencottage in a former life) is another well-constructed tune with a distinctly poppier edge, but one that still leaves a melodic taste in the mouth.

But for me, it’s when Dark Mean come over all introspective that they’re at their best. Combining all the best elements of ­­Happy Banjo, Smoke Lake and all of the above, with a reflective twist that brings out a passion that only complements the musicality already in place.

­Old Man is a great example of this – slowly building into a dramatic crescendo before dissipating back into the darkness from where it began. It’s Finland though that captures Dark Mean – painless and pristine drums provide the backing for a laid back yet subtle beginning, before the harmonies and fragility give way to a interweaving of brass and guitars that are brilliantly simple. It sounds easy and yet you can really hear the passion and hard work.

Overall, it’s really an excellent record – flitting from melodic pop to edgy indie to reflective crescendos shouldn’t be as smooth as this, but it is. Song names aside, it’s an addictive and uplifting record that never loses sight (or sound) of what’s good, or perhaps more importantly, what’s good for Dark Mean.

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Buy the album from their Official Store or Bandcamp.

Visit Dark Mean’s Official Website

Visit them on Facebook, Twitter or MySpace.

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Below is the excellent Finland and the releatively contrasting Smoke Lake. You can also grab Happy Banjo for free via their Bandcamp.

Dark Mean  – Finland

Dark Mean – Smoke Lake

Dark Mean – Happy Banjo (available free via Bandcamp)

On the whole, I try to avoid posting negative reviews – it’s fairly exhausting and in the end doesn’t benefit anybody – but on this occasion I decided to offer my thoughts whatever they may eventually become.

So here we go – the unfortunate recipients are Sheffield based band Firesuite and their debut album You’re and Ocean Deep, My Brother. Released on the 14^th March, they describe themselves as “a battle between Buddy Rich and Animal, a mid 30’s chanteuse and Django [Reinhardt] orchestrating complex lead melodies on bass.” Let’s see…

First impressions are good – as is often the case in recent times, the production and sound quality of the record are excellent. Presenting your music in the best possible light should be a no-brainer and whilst it is the songs that have the deciding vote, it’s very difficult to enjoy them if you’re unable to listen to more than 30 seconds at a time. As the old saying goes – ‘you can’t polish a turd’.

You can, however, sprinkle it with glitter and musically speaking, You’re an Ocean… feels a little sparkly. There are some great moments, no doubt – Stay is a highly-recommended heart wrencher and Amity is a post-rock powerhouse that weaves between UNKLE, Jeff Buckley and This Will Destroy You in storming fashion.

However, it’s interesting to note that these said highlights remain unblemished (or unaffected) by the over zealous distorted guitars that bruise the rest of the album. The intentions are good – and I’m all for heavy guitars – but there’s just something about their sound and their feel that sticks out and doesn’t really sit with the free (free-er?) and brighter style that surrounds them. Objectively and on paper, it should work. But as with this troublesome game, things don’t often come out as planned.

And coming in at ten songs long seems ambitious and by the time If Only Time Were Distance comes around, the album begins to drag and seems to lose focus. Left Hand Never Moves and the instrumental ­Sci-Fi Lullaby feel too much like padding and mid-album anomaly Sammy Davis Jr Jr would be more at home as an old Nirvana B-side than in the midst of a atmospheric rock/pop album.

As a result of this, there’s a strong case to be put forward for a slimmed down – and consequently much stronger and more engaging – EP here, and that old adage ‘less is more’ has a bit too much resonance for comfort. An EP would’ve given more space for growth and would’ve also put less pressure on the record to deliver.

If I was judging You’re an Ocean Deep, My Brother  as  an six or seven track record I’ve no doubt that this review would’ve been a whole lot more positive. There are some really great moments in pockets across the record – Amity is a particular highlight, Forever December another – and in actual fact, that’s what makes it ever so slightly worse. There’s clear talent in the songwriting and the production values add a whole other dimension of professionalism to the band, but these aren’t consistent enough across ten songs and forty minutes.

They remind me of another band I reviewed a long while ago and I’d love for these guys to come back in 6 months time with two fingers stuck up and a more engaging album that strips away the uncertainty and unnecessary album tracks and focuses on the eye for detail and emotion that make Stay and Amity such outstanding highlights.

Overall, it’s not all bad, I’ve been picky and highlighted the shortcomings. There’s definite potential but I do think there is room for that to be exploited on You’re an Ocean Deep, My Brother. As it is though, it’s worth grabbing for the songs below (Forever December­ and Of Little Faith too) – approach with caution not expectation, and you’ll probably enjoy yourself.

Visit Firesuite on MySpace or Facebook

Get the album via Bandcamp

Below are album standouts Stay and Amity. Both are top tracks with post-rock cracker Amity showing off what Firesuite are really capable of.

Firesuite – Amity

Firesuite – Stay

So, a few days ago, after approximately 2 or 3 listens to The Cold Still, I was just about ready to fire up the typewriter and pen a fairly derogatory and negative few paragraphs about ‘how the album is a backward step and they’ve sold out blah blah blah.’ But sitting here a few days later (and quite a few more listens later) I’m in a much better and more informed position. And that my friends, can make all the difference.

To say this album is a grower is an understatement. Coming across The Boxer Rebellion via Union (and backing that up with equally as good debut Exits), gave me an expectation of what to expect and initially, some disappointment when it never materialised. But this is a band that has grown up somewhat in the last two years and the difference can be heard from start to finish.

Opener No Harm is ‘classic’ Boxer Rebellion, beginning with a slow, thoughtful piano and building to a hook of epic proportions - it’s a great way to kick off the album and a bit of nerve settler for geeky fans like me. Then comes first single Step out of the Car and thats where things start to go a bit off-piste.

Beginning with chunky bass chords and pounding drums that have hints of the ‘heavy-pop’ ‘band’ Pendulum, and feature very little of the atmosphere we’ve come to expect, it develops into an angry, face-paced and ultimately brilliant song. A Combination of subtle synths and fuzzy guitars form a razor sharp backdrop for vocalist Nathan Nicholson’s rage-filled melody.

And there’s plenty more of the good stuff. Organ Song is a driving and unexpectedly upbeat Mumford and Sons folky number. Locked In The Basement is a world-weary and beautifully orchestrated return to their real strengths and Memo is perhaps the tune that sums up the album best. Whilst it’s most definitely still the Boxer Rebellion, things aren’t so predictable this time. Rather than the slow build to a crashing crescendo, the powerful ‘finish’ is never allowed to overcome the melancholy in the song and Nicholson’s vocal is always the overriding and defining feature.

It seems that this time round, The Boxer Rebellion have re-assessed their priorites. Once their focus was on big choruses and crashing crescendos; tumbling drums and soaring vocals. All that still remains in some form or another, but they seem softened. The blow lessened somehow.

They have sold out, in a ‘lets climb the charts a little more’ kind of way, but the trouble is they’ve done it so brilliantly and with such understated quality that it’s difficult not to be taken in, and not to appreciate the growth.

Overall, I’m still not totally sold. In my eyes Union will forever remain The Boxer Rebellion’s OK Computer, unsurpassable, inimitable and really fucking catchy. But The Cold Still is still a worthy addition to the catalogue and, whilst it may take you a while to fully embrace, once you get to know it, take it out for a few drinks and generally give it some love, you’ll find the rewards are significant. It may not have the sudden impact of it’s predecessors, it’s still a top record and has more than the occasional flash of brilliance.

If you’ve not heard the Boxer Rebellion, start with Union. But if you have then you can do far worse than to indulge in The Cold Still.

And as a bonus this week, you can grab a copy of a free 2 song EP featuring a live version of Step Out of the Car. – Sadly no longer available, howevr you can watch them perform the song on Letterman over here.

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Visit The Boxer Rebellion 

Buy The Cold Still from HMV or iTunes

Add them on Twitbook, Facespace or Mybo

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Below is the aforementioned Memo – a slow burner but a song full of emotion – and the stand-out nerve settler, No Harm. Also, recently added because it still continues to grow on me, is Step Out of the Car.

The Boxer Rebellion – No Harm

The Boxer Rebellion – Memo

The Boxer Rebellion – Step Out of the Car

Released on 10^th January and charting at number 22 the following week, the build-up was somewhat subdued and thanks to the aforementioned EPs, was perhaps being approached with a slight air of caution.

Third album Do You Like Rock Music? was until now the Brighton-based group’s best release and following advert-ready singles Waving Flags and No Lucifer was also their most successful. However, what we didn’t know was that it was all a lie  – a clever ruse to make us think they could never better themselves. And they fooled us.

The album picks up almost exactly where Do You Like Rock Music? left off, the first two tracks are over in a guitar driven flash and it’s not until Georgie Ray that things begin to settle down. Fusing a now signature sound of spaced out choirs and building drums with frontman Yan’s most commanding performance yet is a joy – and feeding on the power of the whirlwind of the previous two tracks actually increases the song’s presence rather than diminishing it. The measured breaks and slow-building, Sigur Ros hinting arrangement grip the listener and fills what was crashing guitars with a bigger, solid wash of melody.

Luna follows a similar pattern and Observe the Skies is this album’s No Lucifer but the real winner is first single Living is So Easy. Despite the odds, Yan’s half-baritone voice is always the focus of attention and despite the excitement that surrounds it, he makes the most of what’s really a very simple refrain. It’s also a tribute to the band (and frustrating to many a songwriter) that such simple chord patterns and melodies can be stripped of their blandness, have their basic nature disguised and ultimately transformed into a perfect example of all that’s positive about guitar music – and British Sea Power.

Without wishing it to sound negative, this album is very much like it’s predecessor. The thing about that though is the quality of said predecessor is one of the best of it’s genre and as the old saying goes – don’t repair, what hasn’t been damaged (or something…).

Valhalla Dancehall builds on an excellent base and actually, more importantly, improves on it. The vocals are more defined and confident, the guitars are louder, thrashier and yet fully under control and the real quality and consistency of their craft runs a thread from start to finish.

Some might argue (neé insist) that I’ve gone a bit gushy on you lot and whether that’s true or not will be decided and the days plough on – but for now, I would recommend that you donate some time to listen to the tracks featured below – before I start gushing more superlatives all over them…

Visit British Sea Power.

Buy the album from Amazon or iTunes.

Socialise them on Twitter, Facebook or Myspace.

Two great tracks from Valhalla Dancehall for your listening pleasure – vintage BSP (as us in the biz call them) in first single Living is So Easy and the closest they’ll ever come to a ballad in Georgie Ray.

British Sea Power – Living is So Easy

British Sea Power – Georgie Ray

Honourable mentions that couldn’t quite squeeze onto the page include The Rebs’ unrelentingly catchy and well-produced debut In a Heartbeat (full review here), both End Times and Tomorrow Morning from Eels that see prolific frontman Mark “E” Everett at his most singular and introspective for many years, and (perhaps a touch controversially) retro-rock giants Arcade Fire’s 3^rd album The Suburbs, which despite lacking the overt brilliance of Funeral or the dark-pop of Neon Bible, maintains a level of creativity which falls somewhere between the two and completes the trilogy with their most accessible record yet.

Others to have missed out include Happiness – the debut album from electro-rockers Hurts – and the first solo effort from Sigur Ros frontman Jonsi – entitled Go.

Just a quick word for those who are technologically endowed – don’t forget to download the spotify playlist of all the musical delights featured below right here.

Albums of 2010

10. Turin Brakes – Outbursts (Released 1^st March)

As far as stereotyped bands go, Turin Brakes are victims more than most and can rest assured that they’ll be associated with such terms as ‘folk, ‘singer-songwriter’ and ‘acoustic’ for as long they continue to exist. On the evidence of their fifth album – entitled Outbursts – they’ve done nothing to dispel the rumours (that attempt came in 2007 with Dark on Fire) and in fact, they’ve produced one of the best acoustic/singer-songwriter/folk albums in a long while, and that includes efforts from Laura Marling et al. Far more than doing the simple things well, this albums demonstrates an extremely accomplished level of songwriting and is a enjoyable and stripped back return to form. After their 8-year association with EMI, this is the duo’s first release on independent folk label Cooking Vinyl and it appears to have given them a new freedom and for the first time since Ether Song in 2003, they seem comfortable to do exactly what they do best. Outbursts is the best acoustic session you’ve never heard and coupled with clever string arrangements and a reinvigorated band, makes Turin Brakes one of the most exciting folk artists around (Mumford and who?).

9. Cherry Ghost – Beneath This Burning Shoreline (Released 5^th July)

Cherry Ghost are more of an underground movement than a band. Their debut album Thirst For Romance, caused some ripples (most notably supporting the Manic Street Preachers on their 2007 tour) and garnered mostly positive reviews but delayed follow-up album Beneath this Burning Shoreline has lead to a fairly low-key release that escaped the radar of most. However, it’s a step up and a real step forward that has lead to a darker, folksier and ultimately improved sound. It seemingly does away with dreams of stardom and stadia and instead evokes images of bar fights and urban greyness that bind the album together. Unlike Thirst for Romance, you won’t find many singles on Beneath the Burning Shoreline but what you will find is a cohesive album that is lyrically excellent and musically not too far behind.

8. Delphic – Acolyte (Released 11^th Jan, Read the Full Review here)

Not wanting to break with tradition, 2010 began in January and has continued through 12 months to December. Way back when, on January 11^th, Delphic released debut album Acolyte and that same week I confidently predicted that come Christmas time it would feature in this very list. Accusations of vote-rigging aside, this is an album that deserves to be here. By combining pulsing synths and pounding drums with old-fashioned well-crafted songwriting, Delphic have produced an album of immense quality that breaks most of the rules that many Indie bands seemly abide by. Only time will tell whether Delphic will feature this time next year but for now, they’re deservingly riding the crest of a wave.

7. Exit Calm – Exit Calm (Released 17^th May, Read the Full Review here)

It’s never an easy thing this music lark, but Exit Calm have worked harder than most. The end result must be vindication for a band on the brink of defeat just 4 years ago and is a real gem for the rest of us. Bringing together elements of Editors, Echo & the Bunnymen and The Verve, this their self-titled debut album is a refreshing change of focus for a new band and proves there’s still much life out there beyond those tight jeans and checked shirts. Guitars drift in and out as the words of frontman Nicky Smith reverberate and float across the drums that underpin the whole operation, and form a solid base on which everything else stands. A confident and refreshing band, Exit Calm have already formed a sizeable and loyal fanbase (slightly worryingly called the ‘Exit Calm Ultras’) and but like few before them, they deserve every success they get and have raised the bar for those that will come after.

6. Johnny Cash – American VI: Ain’t No Grave (Released 23^rd February)

Posthumous albums are always a dangerous endeavour to undertake. There’s an obvious risk of spoiling or exploiting someone who’s not able to defend themselves but Johnny Cash seems a different prospect. Rather than a selection of greatest hits or b-sides, ­American VI: Ain’t No Grave is a continuation of what was a started during the same sessions of Cash’s initial posthumous release American V: A Hundred Highways. If that album was a lament to his passing, then this one is a brilliant and almost spiritual acceptance of it. To be frank, Ain’t no Grave doesn’t possess a track list that matches up to either of its predecessors but the fact that it’s even come close should be enough. Perhaps this is for the whole American Recordings canon rather that the individual album, but either way the rejuvenation of Johnny Cash and the legions of new fans that have come on board since his 1994 rebirth is something to marvel at and wholeheartedly embrace. If ­­Ain’t no Grave is the last (and it absolutely should be) then it’s a fitting and life-affirming tribute to an American hero and well worthy of a place amongst anyone else in this list.

5. Ray LaMontagne & The Pariah Dogs – God Willin’ & The Creek Don’t Rise (Released 17^th August)

Traditionally, Ray LaMontagne has been a fairly singular individual. Previous albums Be Here Now and Trouble are almost one-man-band affairs and as a result, were introspective and emotional arguably beyond normal realms. However, this is a man whose roots lie in country music and it’s on this his 4^th album that LaMontagne (la-mon-tain) really finds a balance between the former and latter. At times upbeat-country and at other times heart-wrenchingly brilliant, God Willin’ & The Creek Don’t Rise is his first collaborative release and it’s no coincidence that’s it’s his best. Perhaps performing with others has forced a change or maybe it was a natural progression, but either way new touring band The Pariah Dogs have injected a new life into LaMontagne’s songwriting and whilst for some the new sound may be at odds with his previous (and loyally guarded) acoustic style, for many more it’s a welcome refreshment that strikes the perfect balance between old and new – or good and great.

4. Alex Cornish – Call Back (Released 27^th September, Read the Full Review here)

As a pupil from the DIY school of music, Alex Cornish has worked harder than most for his modest success. The majority of his debut album Until the Traffic Stops was recorded in a bedroom studio of sorts with most of the music played and performed by Cornish himself. However, it’s his second album that brings everything together and has resulted in a steady increase in popularity over the course of the year. The imporoved balance of studio and home has resulted in a level of freedom but without sacrificing any of the professional production or clever arrangements that occasionally stood out on Cornish’s debut. It’s not groundbreaking but that’s not what Call Back has set out to do. It’s an emotional voice that stands out from the already overcrowded market and combined with smart and interesting songwriting, should pave the way for more success to follow in 2011.

3. The National – High Violet (Released 10^th May)

After the success of fourth album Boxer in 2007, the expectations were high for The National in 2010. Needless to say, they lived up to them with grace and all their usual helpings of brilliance. The baritone voice of lead singer Matt Berninger puts many like him to shame and the often-ignored importance of lyrics are given their full quota here. Written and arranged as another instrument in themselves, they form many of the most emotional and evocative moments on the record, and it’s only the competition it’s up against that has kept High Violet off the top spot this year. It’s a record full of sentiment, resignation and consistency that will melt all but the most wooden of hearts – The National have managed reach the heights they set for themselves and will no doubt have picked up many new fans along the way. A worthy number three.

2. Frightened Rabbit – The Winter of Mixed Drinks (Released 1^st March)

As with The National above, Frightened Rabbit shot themselves in the foot somewhat with their critically lauded 2^nd album The Midnight Organ Fight - by making it so good. Although perhaps not so widely spread as High Violet, the anticipation for this year’s follow-up was still teetering on the side of extreme. Unlike Hight Violet however, The Winter of Mixed Drinks more than lives up to expectations and far exceeds them. Throwing off the shackles of ‘miserable indie band’, they’ve opened up and become masters in their field – singing songs of hope (Swim Until You Can’t See Land), salvation (Foot Shooter) and sorrow (Yes, I Would and Fun Stuff) that can mix with the best of them, Frightened Rabbit are on the brink of the mainstream and deserve to be one the underground success stories of 2011. No longer alt-folk or indie-pop, they’ve moved the sound forward and have found a place where they’re most comfortable and, on this evidence, at their best.

1. Manic Street Preachers – Postcards From a Young Man (Released 20^th September)

Prior to release, Manics protagonist Nicky Wire called Postcards From a Young Man ‘one last shot at mass communication’, carefully preparing the ground for the giant of a record that lay ahead. When it finally came, what we got was exactly that. Unashamedly combining sweeping strings, gospel choirs and trademark guitars, this is a record that is the culmination of 4 releases since their last great album This is My Truth Tell Me Yours. Across it’s 43 minutes, this records constantly delivers moments of brilliance and after the re-energising and exorcising experience of Journal For Plague Lovers they’ve rediscovered a radio-friendly, melody-heavy new life that sounds refreshed and clean once again. It’s not to say that the discography of the last ten years have been poor, far from it. It just feels as though they’ve rediscovered the balance between pop, rock and punk and formed them into one complete, coherent album. Some may disagree, but many more won’t – Postcards From a Young Man is impossible to forget and as a sucker for a great melody, there’s so much here to enjoy. Yes, a surprising choice and yes, they’re signed to a major label but most importantly, it’s absolutely brilliant.

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So there you have it. No doubt there are many amongst who disagree with some, most or all of these choices but before you disappear to consume yet more lists, why not listen below to a sampling of some of the scribblings above (or better yet, listen to the spotify playlist)

Taken from the Manic Street Preachers Postcards From a Young Man is 2^nd single Some Kind of Nothingness featuring Ian McCulloch of Echo & the Bunnymen no less. Also on offer is the excellent Swim Until You Can’t See Land taken from Frightened Rabbit’s The Winter of Mixed Drinks and finally, why not wrap your ears around The National’s heart-wrenching England.

Manic Street Preachers - Some Kind Of Nothingness

Frightened Rabbit – Swim Until You Can’t See Land

The National – England