Sound Influx - Albums of 2011: Part 2 10 - 1

10. SBTRKT - SBTRKT



This debut by masked producer Aaron Jerome was dance music’s adrenaline shot in 2011. On it, is a variety of treats spanning many contrasting yet compelling ways of looking at music. There’s soulful crooning by Sampha on ‘Hold On’ and ‘Never Never’, warped forays into contemporary dubstep and Drum ‘N’ Bass influence on ‘Wildfire’ and ‘Sanctuary’ and even a straight up house banger ‘Pharaohs’. For a record that could easily have been a messy shambles, SBTRKT is lean, focused and incredibly precise in his production, and most importantly is engaging and often danceable from start to finish. By Toby McCarron

9. Friendly Fires - Pala

I don’t know about you but I’d say friendly fires where without a doubt the band that sound-tracked my summer. ‘Hawaiian Air’ in particular – which filled the air with some much needed summer spirit, we usually crave all year round. The album as a whole when released was nothing but refreshing and fun to say the least. Pala features vibrant dance tracks with Friendly Fires’ indie take on neon pop, particularly on songs like ‘Hurting’ and ‘Blue Cassette’. And to top it off lead singer Ed Macfarlane’s dancing over the festival session gave the band some extra gold stars from the crowds. But yes they may love a bit of cow bell; however Pala has been a huge stepping stone for the band as they re-emerged with a new colourful side. By Ailsa Morris

8. Fucked Up! - David Comes To Life



David Comes to Life manages the rare feat of being at once a ridiculously plotted rock opera about industrial sabotage and lost love in a northern mining town in the late 70’s and also one of the most shamelessly fists-aloft, life embracing albums ever made. It’s a testament to Fucked Up’s knowledge of working the hard graft that they could undertake a project so enormous in scale without losing an ounce of credibility. Not only did this result in the creation of a record 78(!) minutes in length but also an album of songs recorded by the band in the guise of numerous bands dwelling in the fictional town that the action is centred around. Throughout it’s 18 tracks, the album loses none of it’s velocity or power. The decision to drop The Other Shoe, a powerhouse that builds from a lone female voice to a crescendo of noise so overpoweringly wondrous that the listener is forced to simple relinquish their grip and embrace the totality of it, only fourth in the tracklisting shows the band had no fear about the unbridled energy that drips from every corner of the album. By Ned Powley

7. Slow Club - Paradise

Paradise is 11 perfectly crafted pop songs with pounding pianos, boy girl harmonies, dance inducing drum beats and the occasional saxophone solo. Sad lyrics about broken families, lovers that are hard to forget and the fact that "no-one really is a mystery" are accompanied by Rebecca’s dreamy voice to create something truly magical. Songs like "Two Cousins" and "Where I’m Waking" have the power to make you get up and dance. That not your thing? Well songs like "Earth, Air and Ash" could make you break down in tears. On paper "Paradise" sounds like there’s too much going on but it works so well and successfully pulls at the heartstrings whilst making you tap your feet. Slow Club proved everyone wrong with Paradise and shed themselves of their "twee" label. Paradise is Slow Club. By Eden Young

6. Yuck - Yuck

Mixing a typically indie sound with both grunge and pop, Yuck are a band like few others. Born out of the demise of Cajun Dance Party and adding a few members in, Yuck have formed a tight ship and created an album that’s slowly proved itself over time as one of the best crafted of the year. From the blissful heartbreak of Georgia to the painfully beautiful Rubber via the statement of intent that is Get Away, it’s an album that goes down well with a drink in the summer and at the same time doesn’t feel too out of place when it’s snowing due to the full sound of that guitar noise. Let’s hope that they stick around a little longer than their previous suggests and we might just have a genuine indie contender on our hands. By Braden Fletcher

5. Wu Lyf - Go Tell Fire To The Mountain



Shrouded in mystery, WU LYF ’s approach to being "more than just a band" has been copied many times. The difference being that WU LYF, and only a couple of others, have managed to back it up with exciting music. ‘Go Tell Fire to the Mountain’ may have been overshadowed by some of the bigger releases of the year, but it should never ever be overlooked, especially considering its brilliance throughout. The incendiary howl of opener "L Y F" and the gang rebellion of "We Bros" flow seamlessly to the adolescent revolution of "Dirt" and the sonic explosion of closer "Heavy Pop". ‘Go Tell Fire to the Mountain’ contains blistering melodies, an abundance of references to fire and crowns, and choruses that should be shouted from rooftops. This is an album that has made music exciting again. By Calum Stephen

4. Bon Iver - Bon Iver

Back in 2006, Justin Vernon secluded himself in a cabin in Wisconsin, in an attempt to "hibernate". Three months in solitude had created ‘For Emma, Forever Ago’, beauty and anguish shown in every song. Five years later, ‘Bon Iver’ was released, and Justin Vernon seemed like a new man. From the opening 30 seconds of "Perth", it’s as if ‘Bon Iver’ would pick up where ‘For Emma…’ left off. But a military drum beat foreshadows what sounds like war, a frantic closing to the album’s opening track, one of many highlights. Vernon’s ability to write gorgeous vocal melodies is shown best in "Holocene" and "Michicant", both are breathtaking from start to finish. On the album’s closer "Beth/Rest" Vernon cites Bruce Hornsby as a major influence, the track containing ‘80s synthesizers and saxophones. ‘Bon Iver’ is a magnificent album, one that can be listened to countless times until Justin Vernon’s next release, which is an incredibly promising thought. By Calum Stephen

3. Battles - Gloss Drop

 After the departure of Tyondai Braxton from Battles, the first version of their second album had been scrapped as the newly trio went back to the drawing board and produced Gloss Drop, one of the most outside-of-the-box records this year. Featuring Kazu Makino, Gary Numan, Yamantaka Eye and Matias Aguayo, they’ve taken a similar approach to bands like Gorillaz who featured several prolific artists on Plastic Beach. Although without these collaborations, Konopka, Stanier and Williams each portray their musical idiosyncrasies with ease and that’s what makes Gloss Drop, as well as Battles, so loveable. Peppered with glitch, electronica and the obvious experimental instrumental elements, Gloss Drop manages to captivate throughout. Especially on ‘Futura’, showcasing an looping synth and Stanier’s beastly drumming skills that tide you over for just over 6 minutes without any sign of vocals and instead of the usual constant anxious waiting that often accompanies listening to an instrumental track, for the first time; you stop waiting and just enjoy the song. The experimental trio have proved that they’re so much more than ‘Atlas’, and for many people who were looking for the same of old, the album no doubt disappointed. By Aurora Mitchell

2. Wild Beasts - Smother

As Wild Beasts’ career has progressed, they’ve become even more grandiose and overly confusing to some. Although, to others, myself included, their crazily genius concepts and excessive naturalistic metaphors are endearing and make their music close to an art form. Smother embodies the concept of the word ‘smother’ and the two interpretations of which they decided to form the album around, the literal smothering, like that of a pillow and the kind of smothering you get from a feeling. The former inspired the artwork, designed by Matthew Cooper and Jason Evans, as it depicts different coloured feathers merging together and this theme has continued onto all of the singles taken from Smother. Thorpe’s crooning falsetto resonates throughout the album and surrounds itself like a warm bath around the smoothly flowing instrumental. Thorpe’s vocals are delivered precariously as if he’s over thinking the meaning, which reflects the lamented nature of the lyrics that feature on the album. Full of off-beat percussion, woozy synth loops and repeated guitar riffs, Smother is the perfect start point to get into Wild Beasts and a natural continuation from Two Dancers for already adoring fans. By Aurora Mitchell

1. Metronomy - The English Riviera

And so, our album of the year is the third album that shocked and delighted so many in 2011 from Devon resident/electronic visionary Joe Mount’s band Metronomy. Where second album Nights Out dealt in melodies in abundance and youthful energy, The English Riviera is sophisticated and grown up and a truly stunning listening experience created by Mount’s love of his upbringing on the Devon Coast. The best thing about the album is that there isn’t a single weak moment. There’s the trademark bouncy indie-pop Metronomy became known for on secret hit of the summer "The Look" and the exceptionally ludicrous yaucht-rock romp "The Bay". Yet there’s also the tender quirky love songs such the sultry "Loving Arm" and the boy/girl heart-warming tale of young love "Everything Goes My Way". Metronomy matured without losing their spirit, something many young bands right now can hope to aspire to, but good luck reaching this standard. By Toby Mccarron

Wireless Festival Sunday - Review

Wireless festival returned in 2011 with a bang, Friday saw the Black Eyed Peas headlining in a day dominated by current chart conquerors and pop hopefulls such as the painfully polished Bruno Mars and the acceptable face of mainstream British rap music Tinie Tempah. While Saturday marked the token dance day with a wide range of acts from the ever-energetic Janelle Monae, recently critically acclaimed Battles playing material from new album 'Gloss Drop', and masters of middle-aged rave The Chemical Brothers fresh off of a triumphant visual extravaganza at Glastonbury.

While both of these days have their certain charms, the Sunday of wireless this year is undoubtedly the main focus for fans of all things vaguely alternative. Not forgetting to mention the much anticipated headline set from recently reformed Pulp, but more on that later. The day kicks off in style as the Pepsi Max tent fills up to watch London dream pop duo Summer Camp. Singer Elizabeth Sankey bellows out songs with infectious charm from their debut EP 'Young' and new material from their forthcoming fan-funded album. Set highlight and fan favourite 'Ghost Train' goes down particularly sweetly, Sankey's soft chants of "you you you you you" accompanied by a backdrop of slide show pictures of the duos youth give a warm fuzzy feeling of nostalgia. Set closer 'I Want You' is also executed brilliantly, as a repeating synth plays under Sankey crying out in true 80s style about bordering on obsessive love "If i could I'd kiss your lips so tight your entire face would bruise, write your name in blood on every wall it would make the evening news" instantly disproves any labels of the duo being cutesy.



Following on the Pepsi Max stage are Yuck, who today firmly establish themselves as one of the best new bands around. Yuck today have a new found confidence (as opposed to earlier more awkward gigs) and waste no time blaring out their scuzzy pop to the masses. Opener 'Get Away' is now all too familiar, but gains a new string to it's bow live as their younger fan base lose the plot over the infectious chorus. Similarly crowd pleasing are 'Holing Out' and 'The Wall' as they blast out of the speakers and have the words chanted back almost religiously, not bad for such a new band. Although the grungy energetic songs get the biggest crowd reactions, there's no question that Yuck are at their most poignant when singer Daniel Blumberg really bares his soul, 'Suicide Policeman' is excellent and still just as deep as it was when it first surfaced on their blog in 2010. While Yuck are unlikely to ever gain widespread chart success, their popularity is growing significantly if subtly, and this is surely no bad thing.

Making the transitions from tents to big outdoor stages this year are Metronomy who perform a mix of old and new favourites. It's encouraging to see new songs such as the 'The Look' and 'Corinne' going down as well old hits 'A Thing For Me' and 'Heatbreaker' although it's hard not to be on board when a band play with as much fun as Metronomy. Next on are The Horrors, who release their much anticipated third album 'Skying' in July. Unlike Metronomy, the transition from tent to main stage is not quite so seamless and a lot of the sheer noise that encapsulates The Horrors' sound is completely lost into the air. 'Sea within a sea' one of the best songs of the last decade, falls completely flat and sounds too blurred and hazy. New material 'Moving further away' and 'Still life' are more synth based dance affairs and are standouts amongst an otherwise disappointing set, although it is unclear whether this is due to The Horrors or simply the sound system.

Heading into the evening, and another one of the big tips for 2011's best new band take the stage, The Naked & Famous. Opener 'All Of This' is fast, abrasive and full of quirks and immediately grabs attention, which followed by the anthemic 'Punching In a Dream' quickly wins over the crowd. The Naked & Famous are a lot more powerful live than on record where they are more withdrawn and timid, singer Alisa Xayalith  belts out songs  like 'Spank' and Frayed' with the fury of a thousand suns alongside heavy strangling guitars and pounding drums. The already euphoric crowd, then explode as the band power into signature hit 'Young Blood', a former number one single in their native New Zealand and for good reason. Alisa shrieking "YEAH YEAH YEAH YEAH" at the crowd who reciprocate all too gladly, is surely one of the best moments of the festival.
After The Naked & Famous, The Pretty Reckless feature on the Pepsi max stage, peddling their middle of the road, trying to be rebellious idea of rock music rather unsuccessfully. Not that it matters, as teenage girls and boys alike go completely ape shit for lead singer and American tween icon Taylor Momsen. Oh well at least they're better than the woeful Neon Trees and their one song.

As evening draws in, and as Grace Jones ends her set, The buzz for Pulp is evergrowing. Fans young and old flock to the main stage to await one of the most anticipated UK headline slots of the year. The set began with Pulp lyrics being projected onto the back of the stage, before the band come onto stage and are met by a flurry of cheers and whooping. Jarvis Cocker sporting his usual geography teacher influenced attire begins the nostalgic trip back to the 90s with the rather appropriate 'Remember The First Time' to which the crowd go absolutely nuts, women jump up and down frantically while their husbands dance like dads at a wedding. Pulp's core fanbase may have aged, but their dedication remains ever-present. Pulp then proceed to play somewhat of a greatest hits set, very much pleasing their adoring fans with timeless anthems including singalong favourite 'Disco 2000', ode to the grotty 'Mile End' and the playful 'Underwear'. It's an absolute joy to see Jarvis bounding about the stage, and even reacting with the crowd during the brilliantly sexy ' I Spy' plus his class on stage banter, with quips ranging from the celebration of Tom Cruise's birthday to how important it is to get behind the student protests over Tuition fees. The set finishes with 'Common People' as you'd expect, uniting the whole crowd in a singalong, followed by a rather peculiar remark from Jarvis about returning in 15 years time. Although judging by the crowd's reaction today, the memories of this performance will stick around at least 15 years if not for a lifetime.

By Toby McCarron