Sufjan Stevens, intimacy for the masses

Sufjan Stevens (+ Austra), Auditori Fòrum, Barcelona, September 29th

Sufjan & Dawn Landes, folk of the heart. Photo: Bloodbuzzed

Despite not being the most fervent fan, or even a regular one, although I love 'Seven Swans' (a song about one of the best short stories of Flannery O'Connor, you have me) and I'm pretty sure 'Carrie & Lowell' is among the best releases of the year, I have to admit I was pretty excited with Sufjan Stevens' gig at Auditori, the first time I was going to see the Michigan artist live. Hipsterland, commonly known as Barcelona, seemed to be all gathered at the Fòrum. The date seemed an unmissable one.

Dark waves with Austra. Photo; Bloodbuzzed

The night didn't started in the most promising way, though. Not to say Austra's music is bad or that their performance was disappointing. Katie Stelmanis is an impressive singer and their songs, if you are into that dark-disco/new wave style, even darker live (her most famous songs, the stunning 'Lose you' sounded gloomy and intensely desperate) are going to appeal you for sure. No, the question mark here is what does she have to do with Sufjan's music? It simply didn't fit there...

No shade in the shadows of the band. Photo: Bloodbuzzed

Anyway, on time at 21:00 Sufjan and his troupe took the Auditori's stage and after opening with 'Redford (For Yia-Yia & Pappou)', they performed 'Carrie & Lowell' in its entirety and almost following the record's order. 'Death With Dignity' and the strikingly beautiful 'Should Have Known Better' were the first two gems to arrive, making the miracle of disarming 3.000 souls with an exercise of intimacy and naked vulnerability so rare to find in popular music (we were lucky to be seated on the first row and we could assure Sufjan looked affected with the performance of several songs). 'Drawn to the Blood', 'Eugene', 'John My Beloved', 'The Only Thing', a stunning collection of tunes performed brilliantly by an impeccable band, where Dawn Landes was beyond terrific on backing vocals and all sorts of duties all night. Even the fragile, somewhat broken voice of Sufjan, seemed to add another piece of wonder to the gig. Unique atmosphere, embellished by the stark but touching visuals that backed the band.

A man, his thoughts, his feelings, his songs . Photo: Bloodbuzzed

But then arrived 'Fourth of July', one of the masterpieces of his latest album, and doubts arised. With Sufjan on piano, the arresting, devastating tune, evolved into an epic monster that for sure left the audience dazed, but changed the vibe of the album and the gig completely. 'No Shade in the Shadow of the Cross' and 'Carrie & Lowell' seemed to return to the previous folkier path. A mirage. Then came 'All of Me Wants All of You', with its electronic R&B beats and Stevens dances. It was the beginning of a concert section where electronics leaded the way, with 'The Owl and the Tanager', 'Vesuvius', imo almost laughable, 'I Want to Be Well' and the visually gorgeous but neverending outro 'Blue Bucket of Gold'. Maybe Sufjan wanted to shift from indie-folk for a while, worried such a big audience was going to "disconnect" from the gig with too many slow, moody numbers. Understandable but, being diplomatic, not my cup of tea. Not a fan of 'Age of Adz'.

The return of the folk singer. Photo: Bloodbuzzed

The show couldn't end that way. And luckily, it didn't. As a matter of fact, the encore felt like a completely different gig, with Sufjan returning to stage dressed as the recognisable folk-singer with baseball cap and colourful shirt, and much more talkative with the audience, to offer a short set of "Sufjan classics", with 'Concerning the UFO Sighting Near Highland, Illinois', 'Heirloom', the goosebumps of 'For the Widows in Paradise, For the Fatherless in Ypsilanti' and the final trio of 'John Wayne Gacy, Jr.', the great 'Casimir Pulaski Day' and, of course, 'Chicago', which lacked its joyful fanfare in a somewhat lukewarm acoustic version. One can't argue: the performance was flawless, immaculate, definitely a thing to watch. It's easy to understand why the public was fascinated and stood up to applaud the band during minutes. Also the universal praise of critics on the following days. But for me, I can't say it was an unforgettable, life-changing gig, because some of the choices made by the artist during part of the gig didn't convince me. Just a matter of taste on an otherwise indispensable artist...

Discoverer 122: new indie findings

Our today's proposals goes indiepop. Blissful & melancholic gems in our discoveries series!

Rozi Plain. Hailing from Winchester, England, but based in London, Rozi Plain has been making music since her brother gave her a guitar when she was still a teenager. She moved to Bristol to study art and paint boats, and there she met long-term collaborators Kate Stables and Rachael Dadd, creating their first two albums, 'Inside Over Here' in 2008 and 'Joined Sometimes Unjoined' in 2012 touring with Devendra Banhart and KT Tunstall and also being part of This Is the Kit. Now she's back with third LP 'Friend' out since May on Lost Map Records. A singer-songwriter with a unique, otherworldly voice and an unbeatable pop scent that is presented in multiple, genuinely exciting forms, sometimes sparse and pensive, at times quirky and oblique, others mellow and heartwrenching. Sadnes, brightness. Freedom.

Sleuth. Hailing from Vancouver, BC, they formed in 2009, first as a duo, releasing tape 'Brave Knew Nothing' in 2011. Tours began and also features in compilations (Cloudberry Records, CiTR, Mint Records, Shoutback Festival). until they released free single 'Heaven Knows, Love Goes On!' on Christmas 2013. Then the adventure grew, shifting into a full quartet that locked themselves to create their first album, 'Out of the Blue Period', out since August as a joint Jigsaw Records & Kingfisher Bluez release. Delightful, jangly indiepop with a distinct use of keyboards, a sense of urgency & romanticism plus a tone of melodies and hooks to arrest your heart.

Nevski. One of the most beautiful new findings arriving to my email is this Parisian combo who has their recent origins in Normandy, where Rodolphe Binot (piano, guitar, vocals) and Quentin Leclère (guitar, vocals) had already been playing music for several years. Then they recruited Simon Barret on drums, "officially" forming the band. Gigs followed around the world and afterwards, they went to the studio to record their first self-titled EP, that the label Out of Map released this past March. Now the band has expanded into a quartet with the addition of Julien on bass, and they are working on their first full-length record. Can't hardly wait to hear the results, because this four tunes are a pure indiepop joy. Undeniably charming, delicate vocals delivering subtle French lyrics and piano lines melting with "Scottish guitars". Keep an eye, and heart on Nevski.

Sharon Van Etten, the woman that rains

Sharon Van Etten. La [2] de Apolo, Barcelona, September 29th

A lightning voice in full.
Photo: Bloodbuzzed

It was raining all day, something unusual in Barcelona, and a very inviting occasion for introspective and moving, great music. Adjectives that are the perfect definition of Sharon Van Etten's songs. Haunted by "Tramp", among the best records of the year, her mesmerizing voice and the terrific gig she gave at Primavera Sound 2012, there was no option: I had to be there, on the front row.

A change from the biggest stage of the Festival to a small venue was a significant one. Would that affect the sound? Some concerns were also on the place itself: I have had wonderful but also absolutely forgettable experiences at La [2] de Apolo, so when I saw the stage was set for a full-band show my doubts were increasing. How would it sound?

Sharon at La [2] de Apolo.
Photo: Bloodbuzzed

The epic and heart-drenching "All I Can" opened the gig on a heavily-charged way. With "Warsaw" following immediately, gone away were the sound concerns. And after the country-tinged "Save Yourself", the first highlight of the night arrived: "Leonard". Goosebumps. And let's admit it, a couple of tears. Hearing that tune in front of Sharon is devastating, something only the best musicians can achieve with their work. The spark was lighted.

"Ask" was another jaw-dropping ("trying to get the balls/but it hurts too much to ask", what a line), seconded by the marvellous "Magic Chords" where Sharon's voice gets moody, nocturne, ready to kill and be killed. It was raining outside, but nothing compared with the torrent of emotions pouring inside Apolo.

Kneeling at the end of "I'm Wrong".
Photo: Bloodbuzzed

Next came the almost solo moment (just helped on backing vocals and a second acoustic guitar), that being honest was the most forgettable number of the night, quickly eclipsed by more stand-outs from her still short but already impressive career. "Don't Do It" from "Epic", with its never-ending (thankfully) chorus and "Give Out", another stand-out from "Tramp", as desperate as mind-blowing. In between, Sharon and Co, played "Kevin's", with a previous attempt of chatting with the audience while she tried to explain what was the origin of the tune. Needless to say, she couldn't. But we all understood.

The setlist.
Photo: Bloodbuzzed

The intensity, machine-gun calibre of "Serpents" was a bursting and bitter counterpoint to the previous song, serving also as a perfect propeller to the ethereal "I'm Wrong" with a near psychedelic end that seemed to close the show. By that time Sharon had also achieved a sort of communion with the audience, she looked bright and cheerful (which is remarkable considering her lyrics) so we didn't wait much for an encore. "One Day" and "Love More", both from "Epic" showed her folkiest side. Compared with the level of intensity showed before, it wasn't the best of the endings possible... but that's not a complaint. Just a reminder of how spectacular and touching Sharon's music can be. As Ryan Adams' song says "damn Sam I love a woman that rains".

"Tramp", the triumph of Sharon Van Etten

Tramp

I relentlessly encouraged people to check out the music of Sharon Van Etten, even more after watching her live. Following the recommendation, I really wanted to review "Tramp", because is one of these rare albums that endures, sticks with you in a very special way. It gets inside, on a very intimate level. It is hard to define in words, but almost all of this tracks are the vehicle of expression of an artist reaching the audience with her talent, tunes and a brutal honesty, perhaps also exorcising her demons in the process too (you can search for her personal story around). As an obsessed music lover, few records are capable of reaching through your ears, your stomach, you mind and your soul. "Tramp" does.

It all begins when the drums arrive on "Warsaw", inoculating an unexpected vigour to the tune, wrapping Sharon's gorgeous voice, announcing "I want to show you". Indeed she will. Immediately, as a matter of fact, as "Give Out" quickly shows this is going to be an intense  ride. By the time the disarming couplet "You're the reason why I'll move to the city/you're why I'll need to leave" arrives for the second time, anyone listening to "Tramp" should experiment goosebumps (if you are human, that is). I assure you it won't be the last time.

Because then comes "Serpents", all tension, urgency, fire. Unresolved anger and a mesmerizing work where lyrics and sounds (I clearly hear the echoes of The National here, Aaron Dessner has been a major factor producing the record) bite at the same time. With such a powerful opener trio, its understandable the melancholic "Kevin's" might not as remarkable, although being a strung-out number where Sharon allows her voice to shine, works in a probably needed lighter affair within a heavily-charged record. Anyway, it serves well its purpose of anticipating "Leonard", the next and astonishing song. The combination of, I dare to say, a happy melody, with such a poignant lyric is breathtaking. How can someone put such tenderness and emotion into a song? The chorus is among the most beautiful things I have heard in my entire life.

"In Line", despite the compelling of its slow-burning crescendo with Sharon repeating those two words like a desperate mantra, might be the less memorable song of the lot. But like "Kevin's" before, it provides a shelter before the storm of "All I Can". Van Etten’s voice again rising while the music grows and grows, building an epic number (hear that brass section), in which the singer-songwriter delivers some of the most striking lines of her career. What an mind-blowing, compelling tune.

With the help of Beirut's Zach Condon "We Are Fine", follows on an apparently brighter way, at least musically speaking. It gives a refreshing sense of relief to the album, as well as shows another side of Van Etten's way of approaching the songs. "Magic Chords" also succeeds in providing "Tramp" some diversity in its style and tone. With its jazzy/waltsy vibe, it looks, smells and feels like a nocturnal affair full of emotional turmoil and possibility. Impossible no to fall in love with Sharon's voice right with this one.

"Ask" repeats the formula of "All I Can" with equally moving results, hitting the listener hard with the mixture of moving lyrics and bursting sounds. And its followed by "I'm Wrong", another epic number, that hides all its eloquence on a powerful and shocking droning sound. After the final track "Joke Or A Lie" concludes, sparse, breathy and unexpectedly (in my opinion) hopeful despite the final sentence "Believe me, I tried", you might as well try to dry your eyes, sigh and treasure "Tramp" among the most precious "properties" of your record collection. Here's a total triumph of an album, an incredibly powerful one, rich, disarming, fragile and intense as very few. The perfect demonstration of the immense talent and personality of Sharon Van Etten.

SCORE: 8,75/10

"Roots and Bells", Town Hall keeps their promise

Roots and Bells- Town Hall

Bloodbuzzed friends' Town Hall are presenting their first album, "Roots and Bells" tomorrow, and this blog has been lucky to hear the full LP well in advance, courtesy of the band. I can guarantee you the NYC trio has met all the expectations. "Roots and Bells" is a very strong debut, with several moments of genuine beauty and with an ambitious scope, pointing the band towards several directions, very far from the traditional, and somewhat limited, indie-folk range.  

"Roots and Bells" opens with "Mary A. Longden" and "Swim Team". For the ones that have followed Town Hall's career, the start might be unsurprising, as first tune was already included on the extremely recommendable "Sticky Notes & Paper Scraps" EP, and the second was the first song premiered of the forthcoming album. But what a couple of fantastic songs they are, announcing all the wonders of Town Hall's sound: warm harmonies, intricate melodies with delicate and gentle additional instrumentation (flutes, violins, violas, cellos) and a precious sense of closeness with the listener (I bet seeing their live has to be a great experience).

"Fix this House" and single "Good Boy", that this blog already premiered, shows the different sides of the band. The mellow indie-folk of the first tune has little to do with the crispier, tense sound, more in the vein of a 90s alternative-pop of the second. It might be among the ones that prefer their more melodic side, but "Good Boy" announces a band with a more diverse musical aspirations, and its a refreshing counterpoint within the record.

"Small" is a gorgeous gem with Phoebe Ryan's voice breaking hearts, that right now might be among my favourites (love its constrained crescendo and beating tempo) while "Rockefeller" serves as the second example of the aforementioned ambition of the band, with their many changes of direction/music background.

Also included on the previous EP "Alright" and "Charlie" open the second half of the record, aligning themselves with the warm closeness of "Small". On the contrary, "The Strongest of Hands" upbeats the tempo  of the album, and should be considered as potential single, in my opinion. The cheerful vibe suits the childish voice of Phoebe Ryan creating a superb, joyful dose of folk-pop.

The trio of final tunes of the album has already known "Just Watching My Breath" as the standout track, with their vibrant, emotional peak at the end being one of the highlights of their music. "Food" benefits from its beautiful arrangements, while closer "Dahill Road" ends the album with an intimate note, just a delicate piano piece mixed with occasional "urban sounds" and Phoebe's singalong that made me remember The Innocence Mission.

Overall, "Roots and Bells" has plenty to offer. Full of enchanting sweet tunes, slow numbers prevail, but thanks to the wise sequence of the album, including the faster number strategically, it flows as a surprising solid whole. Town Hall are not just a new group to discover. After this album, they are a band to follow. You should run to their bandcamp immediately!

SCORE: 7/10

Premiere: Town Hall's first official video!

A Bloodbuzzed premiere today, from our 2012 kindest discovery, beloved friends and superb folk-pop trio Town Hall. Here's their first official video, "Good Boy", a week in advance of the arrival of  "Roots and Bells", long-awaited debut album, due out on April 15th, and hours before it "hits the blogosphere". After the release of the video (this afternoon) they will be also posting a free download of the tune on their Bandcamp. Quite an adventurous sonic drive for the band, letting aside their folk intimacy for a while, with a very fitting video. Have your say and enjoy Town Hall!


Want more? I bet you do. Here's "Swim Team" the first song we heard from the upcoming "Roots & Bell". Gorgeous indie-folk.

Side note: After watching the video and downloading the tune, DON'T FORGET to listen/grab their wonderful "Sticky Notes & Paper Scraps EP". Satisfaction guaranteed!