The best new albums of the month, July 2014

Traditionally July is a fallow period for new releases, but this year I had no trouble finding ten albums to recommend. In fact, I would be surprised if a few of these didn't appear in this blog's end of year round-up.

King Creosote 'From Scotland With Love'
Even though this is essentially the soundtrack to a lovely film made from archive footage of Scotland's recent past, it is also the follow up to the masterpiece that was 'Diamond Mine'. It certainly differs from the KC of old; lo-fi methods are cast aside in favour of lush production and some beautiful string arrangements. The songs themselves are by turns happy, sad, poetic and reflective. A perfect companion to the visuals it was made for, but also a collection that ranks amongst his very best work.

Shabazz Palaces 'Lese Majesty'
Eighteen songs over seven 'suites' loosely based on sci-fi might sound a bit prog-rock, and it's certainly a challenging listen, taking a sideways step from the excellent 'Black Up' but delivering something no less thrilling.
Exactly as their recent London show suggested, Shabazz Palaces have a certain skill of reeling you in and overwhelming you with their woozy, psychedelic hip-hop without you really even noticing. They just creep up on you and before you know it you are hooked.

Luluc 'Passerby'
Some may know Luluc from the National's ATP line-up or from last year's Nick Drake tribute, but they have kept such a low profile since their debut came out in 2008. This second album is released by Sub Pop, produced by Aaron Dessner from the National and contains a selection of lovely yet mostly melancholic, Nick Drake-influenced songs. It's perhaps ironic that the title is 'Passerby' as I found it took a few listens to really get into. In the end the impressive, seemingly effortless harmonies won me over.

Comet Gain 'Paperback Ghosts'
Surely one of the most under-rated UK bands of the last 20 years, Comet Gain have been plugging away since the heady days of Wiiija records in the mid 90s, releasing fine albums every few years or so. This is their eighth album and it often sees them in more reflective mode, taking the foot off the gas on their Northern Soul/ indie-pop sound to pause and look around them. This could be the most beautiful record they have made.

Honeyblood 'Honeyblood'
I've had this debut from these "noisy Scottish girls" for a while now, and it's starting to sound like one of the debuts of the year. That slightly self-deprecating description of themselves doesn't to do justice to the quality of the songwriting here. They sit well with the new feisty alt country vocalists like Caitlin Rose and Angel Olsen, whilst still coming across as a cracking indie-rock band.

Wolves in the Throne Room 'Celestite'
On this album, WITTR's estrangement from the world of metal becomes almost permanent, as they continue to explore the atmospheric synth-based pieces which have led some people to compare them to the likes of Popul Vuh and even Tangerine Dream. Indeed this could be a soundtrack from some lost, or yet to be made, Werner Herzog film.

Alvvays 'Alvvays'
Whilst there is nothing new on this debut by Alvvays (it is of course pronounced Always) their melodic indie-pop is hugely enjoyable. I bet this collection of songs will form the soundtrack to may people's summers this year. Up there with the aforementioned Honeyblood as one of the best debuts in this genre for ages.

The Soft Walls 'No Time'
As I often say on here, there are simply too many acts like this around - psychy garage-rock acts who are in awe of what has gone on decades before. Happily, 'No Time' has enough quality to stand out and plenty of tricks up its sleeve - noisy interludes, old school drum machines, and some hissing drones that could have been mined from the mid-70s and Suicide. It certainly doesn't sound like a side project, although it is essentially a solo album by Dan Reeves from Cold Pumas

Gulp 'Season Sun'
Nearly two years on from their first single 'Game Love' (it's the opening track here), Gulp's debut album continues in the same psychedelic folk-pop vein. The haunting folk-tinged vocals of Lindsey Leven are central to it all and she has written all the material with her partner Guto Pryce (former Super Furries bassist). A summer album with a twist, as the pretty tunes sit side by side with some woozy psychedelia.

Slow Club 'Complete Surrender'
When I first heard the remarkable title track I thought we were set for a change of direction from this duo, but overall the album is more of a steady progression from 2011's 'Paradise' rather than a huge leap into mainstream pop. That title track is a masterful pop song though, as is 'Tears of Joy', and the inevitable shift from their folk-pop beginnings to something resembling indie-soul is pretty exciting.

Latitude Festival, July 2013: a tale of Kraftwerk, Karen O and Kitson (and much more)

It's Saturday afternoon and I'm dodging a large balloon bearing a company logo which is being bounced around the crowd at the BBC 6music stage at Latitude. Saturday's crowd reached the site capacity of 35,000 and a small shower has meant that a few extra are taking cover in this tent, thereby witnessing DAUGHTER play one of the most momentous gigs of their career so far. This trio may have been a small blip on my radar earlier this year, but today they hold me mesmerised, so much so that even some close encounters with that balloon cannot shake me out of this.

The beauty of Latitude is that so much is unexpected. Whether it is simply the surprise of seeing a band you thought run-of-the-mill do something this special, or of approaching a large set of illumnated teeth in the woods to find Phil Hartnoll of Orbital DJing inside, or of peeking into a performance tent late at night and chancing upon Kevin Eldon off the telly playing a set of comedy songs with his acoustic guitar, Latitude offers lots of variety across its 700 acts.

My visit concentrated mostly on the music, and began on Friday with a lovely, if brief, set by one of the performers of the year, JOHN GRANT. Backed by his mostly Icelandic band, he touches on his Queen of Denmark album with ''Marz', but the highlights are from the album which won me over to him, 'Pale Green Ghosts' itself and a poignant, closing 'Glacier', dedicated to people fighting the anti-gay legislation in Russia at the moment.

It is a genuine thrill to see YO LA TENGO on the main stage, and they pull off a neat balancing act between showcasing their great recent album Fade and playing some crowdpleasers from their three-decade long back catalogue. 'Stockholm Syndrome', 'Autumn Sweater', 'Ohm' and an always welcome 'Tom Courtenay' are just some of the highlights. Overall it's fairly gentle set, although they finish with Ira Kaplan wigging out on the epic 'Pass the Hatchet...'

I was hoping to discover some new music this weekend, but the first act that I hadn't seen before that really impressed me was the legendary English guitarist RICHARD THOMPSON and his electric trio. Quite how I never appreciated this guy's incredible guitar skills until now is a mystery to me. He also makes me miss a bit of CAT POWER, whom I saw many times in the late '90s and early '00s play edgy unpredictable sets laced with stage fright. She has now re-invented herself in the way someone like Bowie or Beck or Prince might, and her current act sees her strutting around the main stage like she owns it, backed with a slick band that at one point has two drummers and three guitarists.

VILLAGERS are another act that I'm seeing for the first time, and this performance takes the material from the impressive new album [Awayland] and adds more intensity to it. On 'The Waves' for example, they come across as a more experimental act than many give them credit for, with layers of noise adding an extra dimension to the song-writing.

A quick dash across the lake into the woods in the hope that I might shake some of the discomfort that dust and pollen was causing meant that I missed the always great Calexico, as I opted for relatively new arrivals DIIV. The smaller tent - confusingly labelled the I-Arena - gives their show an intimacy that had been lacking from most things I had seen today, and their fresh take on indie-rock goes down well and sets the scene for JAPANDROIDS to close the evening in fine style. They played a truncated 45 minute set, concentrating mostly on the Celebration Rock material, which Brian said "was their last UK show for a very long time", presumably so they can focus on some new material. Their cracking version of the Gun Club's 'For the Love of Ivy' was a fine way to finish off the live music for the day.

On Saturday the crowd seemed to double and the site was alive with anticipation for KRAFTWERK's headlining 3-D performance. Before that though, there was a wealth of entertainment on offer. I watched KING CREOSOTE play a lovely set in the woods with an understated backing band, his corny jokes unable to deflect from beautiful songs like 'John Taylor's Month Away'. The aforementioned DAUGHTER were a revelation for me and I was struck by the balance between their understated, almost minimal approach to the songs and the fantastic wall of sound that the guitarist created.
A quick wander over to the less crowded theatre area in search of a Melt Yourself Down jam session (I never found it!) ended up with a peek in at Praxis Makes Perfect, an ambitious collaboration between NEON NEON and the National Theatre of Wales, which gave a dramatic context to the current album, complete with crowd interaction. I wish I had seen it from the start because it looked very interesting.
Back to the main stage where Karen O from the YEAH YEAH YEAHS is making the place her own, opening with a raucous version of 'Zero' complete with Slint's David Pajo on synth. Their whole set is exactly what the main stage needs as they rattle through great versions of 'Gold Lion', 'Sacrilege' and 'Heads Will Roll', as well as reminding us what a great tune 'Maps' is, and teasing us with an extended 'Date With the Night' at the end.

A slight cooling off session with MARK LANEGAN and his band was called for, his powerful voice impressive as always, and it was interesting to hear the varied stylings of his 'Blues Funeral' album in a live setting. I wasn't going to watch HOT CHIP and only really opted to in order to get a good vantage point for Kraftwerk, but 'Boy From School' was the second song in the set and it reminded me what a very great song it is. The same goes for the much played 'Over and Over', which they stepped it up a gear for that one tonight. Not easy for them to be "filling in a Yeah Yeah Yeahs/ Kraftwerk sandwich" as they said, but they played a blinder.

On to the main event, KRAFTWERK in 3-D, which I can say was every bit as good as I hoped it would be. A perfectly sequenced 'best of' set, including tracks from all of their albums post-1974, they opened with a re-arranged version of 'The Robots' which drew the first gasp when the images of the robots changed perspective and waved their giant hands into the crowd. In fact, gasps of admiration was the general reaction throughout, as the audience remained in reverential mode and didn't really dance, despite the loud, crystal clear beats. The highlights for me were an excellent version of 'Autobahn' where the visuals and music worked so perfectly together and musical notes floated over our heads, and a spine-tingling 'Radioactivity' with updated lyrics replacing Hiroshima with Fukushima. They employed their familiar "stage-leaving" trick during 'Music Non Stop' when the four members become more human, by playing a little solo on their workstation and taking a spotlit bow.

Given the variety on offer at Latitude, five minutes after Kraftwerk have ended, I am sitting cross-legged in the poetry arena for DANIEL KITSON and GAVIN OSBOURNE, who perform 'Lucinda Ding and the Monstrous Thing', a forty minute poem with music which goes by in a flash and, like all of Kitson's work, has enough in it to stay with you and make you think about it long after it has gone.

On Sunday morning I watched Daniel Kitson again, for his sixth performance of the weekend, this time a work-in-progress ramble for two upcoming shows, one of which he admits is pretty much written. This is the second such show which I have seen him do this year, and it does strike me that this seemingly effortless, often thrown away material, is as good as most other stand-ups at their best. Unfortunately for me, after emerging into daylight after this set, I found that I was struggling hard to see properly, even after my second anti-histamine of the day, so I had no option but to leave it all behind me, thereby missing Hookworms, James Yorkston, James Blake and Grizzly Bear to name but a few, and no doubt lots of surprises along the way. Despite my allergies - and I hasten to point out that this was something that has only ever happened once before in my whole life - I had a hugely positive experience at Latitude. I found the whole festival very well organised, and the variety and quality of the acts across the bill was very hard to beat.

LISTEN: King Creosote 'Ankle Shackles'

Right then, where have I been? Well, if you have been paying attention to the tabs at the top, you will see that I've been writing about people like Meursault, Laetitia Sadier, and interviewing Piano Magic, all for the 405. I've also been having laptop hassles so updates to this blog haven't been as regular as I'd like.
Actually, writing this post makes me nostalgic for the fanzine era, as I used to have to start every issue like this! ah, those were the days.
So what's coming up over the next few weeks? Well, expect a couple of new interviews and possibly three new mixes before the end of the summer.
Meanwhile, here is a new song by the ever prolific King Creosote. It's called 'Ankle Shackles' and it is from his next EP which is due at the end of August, called To Deal With Things. It's also eleven minutes long. Eleven minutes! King Creosote! Who would have thought it? Enjoy.