Lost At Sea

"SÆGLÓPUR" - Sigur Rós

It occured to me how little I've written about Sigur Rós on here, which seems so insane, because they're one of my favourite bands of all time. I found out about them when I was fourteen, after hearing lead singer Jónsi's solo work, gorgeous 2010 album "Go". I remember telling a friend about him, one of the first I had who felt like this about music, and he laughed because I'd never heard of Sigur Rós. Then it was "Takk", of course, that was the album that had me enchanted.

It goes like this: I go through periods of not listening to them for weeks and months, then something happens that triggers it. I hear their music in one of the evergrowing hoards of TV shows that chooses to feature it. Or someone mentions them. Or it snows. And then I remember them again, go through long periods when I'll listen to nothing else, and notice new things every time.

There is just nobody like them. Beautiful Icelandic goodness, their music is the perfect companion to an adventure. Twinkling glockenspiel, that piano part and Jónsi's vocals; a caress to your soul, lovely ethereal falsetto - the above song is one of my favourites of theirs. They're so many things simultaneously, orchestral-choral-classical-minimal-cinematic-ambient-rock music.

I haven't written in a while. Except I have, weirdly, more than ever, and listened - I think this month I've heard more music that I've felt like I had to share suddenly than I have in a long time. A notebook full of it, and then I get to the computer to transfer all of this mess and forget how to write. I have no excuse, not even laziness or stress this time, like in the past. And apart from that, in all other areas, I'm happier than ever.

Kick of motivation starts tomorrow, I swear. I have so, so much to tell you.

And I wish you a very happy Easter/Spring time xxxx

Recommendations: February 2013

February, this year, was the month I saw the fantastic Bear's Den for the first time, in a tiny venue in Manchester. I also didn't really buy much new music this month (except for Julia Stone's "By The Horns", which I'm waiting for the right time to discuss because it's so perfect), but a lot of it was spent rediscovering old favourites.

Joe Banfi
I saw him supporting Bear's Den in Manchester this month, he's recently signed to Communion and he has an incredible, instantly distinctive voice. Check out single "Nomads", as well as his gorgeous EP of the same title.

"O" - Damien Rice
You'll have heard of Damien Rice: a master of the love song, someone who played a large part in putting simple, clean, acoustic pop music back in the charts. I've loved this album the year that I've had it but the songs I appreciated most were always the hits, the singles - "Delicate" tugs at my heart strings, and both "The Blower's Daughter" and "Cannonball" are lovely. This second batch of listens, though, has brought me to pay attention to the lesser known tracks on the album, the ones that don't stand out straight away. "Amie" and "Cheers Darlin'" are these, and pay attention especially to "I Remember", a duet in two halves, the most serene and past-dwelling ballad that takes a dramatic turn of the wheel part way through.

"The Flying Club Cup" - Beirut
When I was fourteen, there was a time of several weeks, maybe months, where this record was pretty much all that I listened to. Every word, every note, every beat is dripping nostalgia, the accordian and horns giving it such a sense of place, ages it so very gracefully. It drifts in mood, from the bittersweet, memory-filled "A Sunday Smile" to darker "Cliquot" and songs like "The Penalty", a song that belongs on lonely, peaceful walks in the night.

"Peaches for Monsieur le Curé" - Joanne Harris
Joanne Harris' third sequel to her bestseller "Chocolat" is a tale of magic, and love, and food. Vianne returns to Lansequent, the town that she changed for the better and the town that drove her away, out of spite, with her daughters Rosette and Anouk. They find that again, the people of Lansequent are in need of a little magic, and also a little chocolate. A brilliant novel, exploring culture, kindness and humanity.

"it's a curse of the mind to be sad at night"

On Friday, appropriately enough on International Women's Day, the princess of "nu-folk", Laura Marling, announced the release of her fourth studio album. "Once I Was An Eagle" comes out on the 27th May in the UK, and  the 28th May in the US, produced by Ethan Johns, who worked on Laura's last two LPs. This is "Where Can I Go?", the first release from it.



Marling's website calls the new album a "hugely ambitious record that reflects the dark themes of "A Creature I Don't Know"". The song above confirms this, a melody that seems so gently nostalgic and relaxed, incorporating soft organ that serves as a reminder of Ryan Adams' strong influence in Laura's songwriting. The lyrics contrast this, the use of the same character we hear in "A Creature I Don't Know"'; bitter and worn by love. A chorus that cries out "Late at night he'll come to me and tell me I'm alone - don't you think I don't already know?", it all suggests the point of view of a hardened and broken heart. It breaks into gloriously liberal strumming, that feeling of release that comes with an openly tuned guitar.

"Once I Was An Eagle" is avaliable for preorder here.

Bo Bruce at Neil McCormick's Moxafrica Fundraiser - Wednesday 6th March, 2013 - Islington Assembely Rooms, London

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Bo Bruce is someone I've written about a lot on here, but for those of you who don't know, she came in second place on The Voice UK last year. Since, she's broken away from the path of a typical reality TV show runner-up, signing to Mercury and working with the likes of Snow Patrol, Joel Pott and Danny O'Donoghue on new album "Before I Sleep".

This week, I went to London to see her perform at Moxafrica, a fundraiser gig for tuberculosis cures, held by the Telegraph's music critic Neil McCormick. She played alongside acts such as David Gray, The Magic Numbers, and Gabriella Cilmi.

Bo's performance followed those by country band Buckshot Soup and one from McCormick himself, her drifting onto the stage, adorned with trademark bangles and rings. She opened with "Save Me", and the upcoming first single from her new album. It's a heartbreak song, tonight's acoustic performance giving more focus on her voice, soaring falsetto notes, it glitters with Sinead O'Connor-esque lilts and glottal strokes.

Viewers of The Voice UK will remember Bo for her cover of Coldplay's "Charlie Brown", that iconic moment of her twirling in a white dress, in a television studio lit up with the colours of the rainbow, "Glowing in the dark". The original arrangement is colourful and explosive, echoing the tones of "Mylo Xyloto", all keyboards and bouncing reverb. But tonight's rendition was just a piano and acoustic guitar, softer, whispers of what it was. A song like this, about being high, and feeling liberated, produced with layers of sonic joy and lyrics of heartfelt desperation can spin off into so many different directions, and the hint of sorrow gives it another kind of beauty.

"The Fall" is about losing someone, something huge and life changing that will weave its way through the undertones of meaning and honesty in every song on "Before I Sleep". But it means to you what it will: a song about loss, and ultimately survival. I've been lucky enough to witness two performances of this song now: once in a small venue, intimate and full of fans, once in a hall of unknowing strangers who'd come out to raise money for tuberculosis by buying expensive drinks. The effect of stunned silence has been almost the same each time.

The Coronas Danny O'Reilly, and violinist Gita Langley (who recently played with Muse, opening the BRIT Awards) were welcomed to the stage for the final song, "Speed the Fire", another from the album. It's lyrics are nostalgic and hold the bittersweet imagery of everything going up in flames.

"Before I Sleep" is due out on April 29th, avaliable to preorder here.

* Image belonging to Lisa