Each and every year I look through the Mercury Prize list and tally it up with the list I have in my head. Sometimes the list is good and includes virtually everything that I too considered to be the best of that period. Other times, and particularly in recent years, the list seems to consist of two groups: the year’s big financial hitters and some seemingly willful curve balls. This year’s list falls between the two stalls. There’s a lot on the list that seems to be dictated by popularity; Adele, Tinie Tempah, Elbow and also a smattering of albums that seem to defy the sales figures; Gwilym Simcock, Ghostpoet and King Creosote & Jon Hopkins. I actually think that this years list is pretty decent, the more mainstream choices are generally far from poor albums – I rate the Anna Calvi album particularly highly – and the descriptions of the lesser-known picks pique my interest enough to check them out.

Fact remains though, that there’s only one choice common to both my selection below and the 12 nominations. And that album is (for me) the obvious winner -  PJ Harvey’s sublime Let England Shake. Installed already as the bookie’s joint favourite to scoop the prize for the second time, the album is one of the albums of the last decade let alone 2011. So, even though my selection is almost completely different to that of the judging panel, I’d call the 2011 nomination list a cautious success. There are choices that recognise success, sales (here and overseas) and innovation – and the downright best album of the year is there. It does highlight the best of all sorts of British music.

Here’s my 12 picks from the judging period of July 2010 – July 2011. I was a bit surprised at how conservative this list appears at first glance, a split of the dubbier side of electronica and the best of the indie brigade, but that’s my taste. And yes, I know, Gorillaz wouldn’t want to be on the list – never mind, they won’t read this. The ones I’m most surprised didn’t make the real list? Start off with Wild Beasts – I think that’s a big miss, and an album of true quality. I think the Jamie Woon album deserved the nod, perhaps it was one or the other between him and James Blake. Personally, I find Blake’s album has a lot less charm and a bit less variety. Without further ado, I give you…

The Stereo Jealousy Alternative Mercury Shortlist

British Sea Power – Valhalla Dancehall

Engineers – In Praise of More

Gorillaz – Plastic Beach

PJ Harvey – Let England Shake

Kode9 & The Spaceape – Black Sun

Mogwai – Hardcore Will Never Die, But You Will

Mount Kimbie – Crooks and Lovers

Sons & Daughters – Mirror Mirror

Tom Vek – Leisure Seizure

Wild Beasts – Smother

Jamie Woon – Mirrorwriting

Yuck – Yuck

The Wireless event (still loathe to call it a festival…!) has attracted some big names over the past few years, even coaxing some back together and out of hiding. Two of their biggest draws have been the reformed Britpop behemoths Blur in 2009 and just this last weekend, Pulp continued their comeback with a blistering show.

Can they continue to pull in these big comebacks every few years? Will the nostalgia for the era of Britpop and beyond continue for much longer? Certainly Wireless has consistently succeeded in pulling the most varied line-up together this side of Glastonbury, stranding their days into broadly pop, dance and rock groupings. The mix of acts and the superb location make the event an attractive proposition to the more casual gig-goer, and the undercard often plays host to acts that’ll entice the more picky. It is the event’s penchant for huge comebacks or exclusives that keeps pulling me back though.

So who is still out there, spitting venomous snippets at each other via the media? What are the chances that money (and of course, the joy of performing together again…) can heal the wounds – and would they be able to draw the kind of crowds that Blur and Pulp have enjoyed?

The Stone Roses

The seemingly obvious next choice, with the red-tops consistently regurgitating the same story at the start of every festival silly season, is The Stone Roses. The animosity of old seemed to soften a little in April this year, with all concerned attending the funeral of bassist Mani’s mother and apparently not tearing chunks out of each other. As quickly as the rumour grew, Mani swiftly put it down – “Please fuck off and leave it alone. It isn’t true and isn’t happening” was what he had to say on the matter. There’s no doubt they’d pull the crowd, but whether it would attract the acclaim that has surrounded the other comebacks is up for debate – Ian Brown’s live voice is notoriously hit and miss.

Likelihood: 7/10

Oasis

Barely in the ground two years and with regular sniping from both Gallaghers, you’d have thought this one dead in the water. However, with no sign of Noel’s solo record and the turgid debut from Beady Eye, the lure of getting back together may gather pace. Again, it would be an almost guaranteed sell-out ticket wise– but you’d imagine that a Manchester date would be first on the cards.  Maybe not next year, but this is an inevitability I reckon.

Likelihood (2012: 2/10, future: 9/10)

The Smiths

The big one? Can you imagine the hordes of gladioli brandishing fans descending on any live date should the Mancunian legends get it together? Relations cool and warm along with the seasons, the latest shots in one of the longest firefights came from drummer Mike Joyce over Mozza’s performance of Smiths classics at Glastonbury – claiming Morrissey was merely the lyricist and singer, and not ‘in the band’. Marr and Morrissey seem more cordial these days, and both have mooted a reunion in the past. Money doesn’t seem to be the problem, at least not for those two. Whether Joyce and Rourke get anywhere near it… well, that’s another matter. I’m feeling optimistic about this one…

Likelihood: 6/10

If I could choose any Britpop or earlier reunion, I’d have to go for Elastica. I know, they’d be a very odd choice to headline an event like Wireless. But to see them together again, and to finally get to see them live – yes please.

Is there anyone I’ve missed? Are you longing for The Longpigs? Searching for Sleeper? Who would you like to see get back together and hit the comeback trail, whether at Wireless or elsewhere?

Photo by Tim Welbourn

Tonight’s set is, as expected, dominated by material from their fourth (fifth if you count the Man of Aran soundtrack) album, the excellent Valhalla Dancehall. Indulging their taste for a longer form, many of the tracks from both Dancehall and Zeus (an EP of ‘offcuts’ put out last year, if you haven’t heard it – get it) have the slightly pastoral, windswept sound that so perfectly matches the band’s aesthetic. They begin with the opening trio from the new record, a bold salvo of the rousing Who’s In Control leading the night off. As BSP tracks go, it’s as straightforward as they come and it seems to take the crowd a while to warm to their charms.

I’m rapt from the off though, and as the band launch into It Ended On An Oily Stage the pace of the set picks up and they carry everyone with them. As the main set reaches conclusion there are two utter gems from their latest work; one is the motorik monster that is Mongk II - a hypnotising, dense and snarling beat that begs the question why don’t they head in this direction more often? The other is Zeus, the heady title track from the aforementioned EP – a recurring, ringing riff leading into a spaced out breakdown, the meeting point of BSPs two sides. There’s still time for an excellent climax though, finishing with Carrion – a song that never fails to raise the hairs on my neck, before coming back to encore with Apologies To Insect Life and a blistering rendition of Remember Me.

Often when bands reach a comfort zone it implies laziness or a lack of ideas, but not here. The foliage may have largely gone, as have some of the antics onstage that gained them a fierce live reputation, but they remain a truly outstanding watch.

Listen – British Sea Power: Mongk II (mp3)
Watch - British Sea Power: Zeus, live at New Slang
Buy – British Sea Power: Valhalla Dancehall

Photo by: Dan

British Sea Power played:

Who’s In Control
We Are Sound
Georgie Ray
It Ended On An Oily Stage
Waving Flags
The Great Skua
Stunde Null
Thin Black Sail
Baby
Mongk II
No Lucifer
Zeus
Observe The Skies
Carrion

Apologies To Insect Life
Remember Me

(Thanks to Alfie Noakes over at the BSP forum for the list)

I’ve been away for a while. Now I’m back to bring the blogging back to this here blog. I’m going to try and take a different approach to this in 2011, make it a bit more flexible, give it some variation beyond reviews of gigs and albums. Have some fun. Sure, there’ll be shows and records. I’m not buying a t-shirt though, I’m a bit past music t-shirts. We’ll see how it goes. One things for sure, I’m excited about what the year has to bring to my ears, and here’s my Top 5 things that are tickling my fancy.

1. PJ Harvey returns

White Chalk didn’t hit all the spots, A Man A Woman Walked By wasn’t her alone – I’m hoping this year sees Polly Jean Harvey return to the fray in fine solo form. Her new record, Let England Shake, lands on February 14 and already the hype is starting to build. Themes of violence and disillusionment are not exactly new ground for PJ, but this time it seems to be a wider commentary on the state of a nation than the state of a person’s relationships. Can Polly do politicking? I’d wager that she’ll smash it, and already her live performances are the peak of my 2011 anticipation. There’s plenty of chances to catch her; a short tour after the album release and then again at ATP’s I’ll Be Your Mirror event, curated by Portishead.

Listen – PJ Harvey: “Written On The Forehead”

2. The Pulp reunion

Oh yes. Oh yes indeed. Pulp graced my first ever Reading Festival with a stunning set, and it proved to be one of their last ever shows. Never did I think I’d see them reform – even though the band never really officially split, so you can imagine my joy when up popped that strange little email and the simple but effective website – Do You Remember The First Time? Just to make it all a bit more thrilling there’s a promise to plunder their glorious back catalogue during the sets, so casual fans and Pulp geeks should all rejoice. I’m down for the Hyde Park show, they’re making the festival rounds and so I’m also expecting them to pop up here…

Watch – Pulp performing “I Spy” on Jools Holland back in the mid 90s

3. Glastonbury

2011 will see my first visit to Worthy Farm. Unbelievable, I know. After a festival-less 2010 I felt I needed a change from a decade of Reading, and having looked on enviously at the BBC coverage for years thought I’d dip my toe in that hallowed Somerset water. Headliners? Well, supposedly that’s a little secondary to the event itself but I’d love to think that I might get to see Prince, or Kylie, or The Chemical Brothers. A killer line-up all round is virtually guaranteed however, if only the same could be said for the weather…

Watch – Pet Shop Boys owning last year’s Glastonbury, performing “It’s A Sin” and “West End Girls”

4. More Vivian Girls related projects

2010 couldn’t bring enough of that glorious girl racket. I loved the albums by Best Coast, Frankie Rose & The Outs and Dum Dum Girls, and yet still I don’t find myself sated for that lovely lo-fi, surf punk, noise pop. 2011 shouldn’t disappoint – the original NYC Vivian Girls trio are still spawning side projects. La Sera, headed up by Katy Goodman is perhaps the most promising, with the two 7″ singles bobbing around the blogosphere hitting the spot sweetly and a full length isn’t too far away. Catch her on a short tour in mid February. Also due is the album by the Cassie Ramone featuring The Babies, also hitting London stages in February. Musically a bit more rattling than her bandmate, it still tweaks the ears in a oh-so-good way.

Listen – La Sera: “Devils Hearts Grow Gold”

5. WILD FLAG

Coming hot on the tails of this new wave of girl bands comes a revival of some of the originals. 2010 saw a largely triumphant return from ex-Sleater-Kinney voice Corin Tucker, as her solo debut 1,000 Years beat a restrained path back into my mind. 2011 will see the return of her former bandmates Carrie Brownstein and Janet Weiss in their new guise WILD FLAG, and they could, just could, reach the heights of Sleater-Kinney’s glorious goodbye, The Woods. If it does, then undoubtedly 2011 will be theirs, in my eyes and ears at least.

Listen - WILD FLAG: “Dirty Water”

So those are mine – what are yours?

“Bubblegum” is a non-committed reinvention, the band deliberately trying to make a non-‘Clinic’ album. The sound is certainly softer, featuring many acoustic guitar driven tracks, but in making this change they’ve sacrificed the intensity and unique feeling of frenetic gloom that made them interesting in the first place. Soft guitar ballads, slow atmospheric rock, these things can be found from ten-a-penny bands, musicians who don’t have half the ingenuity or wit of this Liverpool four piece.

It’s the unfocused effort of a band determined to do things differently but without any direction: there’s a touch of hippy mandarin playing on Another Way of Giving and even a spoken word Belle & Sebastian-esque track, Radiostory,  but it just sounds like a group trying to be something they’re not.

Worse still, despite their attempts not to sound like themselves, they often still do. Many tracks, Lion Tamer, Forever and Evelyn, are still archetypal Clinic songs, reminding you of past successes. But even these numbers feel watered down. Like something the band might have knocked off as a b-side (except that the band’s b-side collection “Funf” was actually really good). These tracks make you yearn for the Clinic of old, although the fact that Evelyn and Lion Tamer sound rather too familiar emphasises that a change was needed. But couldn’t something more directed and energetic have been settled on?

“Bubblegum” sounds like a band not knowing where to go next. A band trying not to sound like themselves, whilst losing what made them special in the first place. At least one review online suggests that the album takes a few listens to really reveal itself. And maybe it does, maybe this is Clinic’s great play for subtlety. But somehow, I doubt people will be intrigued enough to put this one in their CD player more than twice.

Rating: 3 out of 6 stars

MP3: Clinic – I’m Aware

Buy “Bubblegum” from Amazon

There’s so much love in the Queen Elizabeth Hall; Collins is determinedly walking with the aid of a stick to his spot at the front of the stage, his band pumping out Chic’s Good Times. Sometimes, the applause of a performer onto the stage can be a little perfunctory, but there’s no hint of that here. Every single person in the crowd is ecstatic and thankful that the Scotsman is with us, the fact that he’s making music a bonus scarcely believable five years ago. He settles into position and leads his band, and make no mistake lead he does, into the title track from his new album, Losing Sleep.

On that record he is joined by a cast of collaborators; many of which claim Collins’ band Orange Juice as a key influence. Tonight we get guest spots from The Cribs’ Ryan Jarman who sings the see-saw lines from the playful What Is My Role?, and from a seemingly moved Alex Kapranos of Franz Ferdinand fame. It isn’t hard to imagine a line of musicians queuing to guest with Collins, his solo and Orange Juice stuff that gets an airing tonight seems to resonate across so much of today’s guitar-led music. Rip It Up, one of the great singles, is an expected highlight – some of the earlier songs like Falling and Laughing and Don’t Shilly Shally are more unexpected, yet shine no less brightly.

He does, inevitably, save his greatest trick for the climax of the main set – and A Girl Like You is bliss. It is here that it becomes obvious that the praise Collins has been receiving on his come back is not shallow or polite. The shimmer of that bassline gets the crowd to its feet, but it is Collins’ voice that brings tears to their eyes – still as rich, unique and soulful as ever, and for a moment it is impossible to tell anything has happened to the man. As he hands over vocal duties to Kapranos the band give an extended outro, and the reality comes back – he slowly makes his way off stage, heavily leaning on his cane.

Amazingly, he returns to give two encores, the first track he is accompanied by a lone acoustic guitar – Home Again is particularly affecting, his voice still clear but with the subtlety the song demands. He finishes with the Orange Juice standard Blue Boy, leaving the stage to massive waves of applause. Collins remains a great performer to watch – his one able hand gives more expression in five minutes than most acts manage in a set, his banter is truly engaging, and his band is excellent. On this form his next round of reviews won’t need to mention his arduous journey back to health – his music tell its own story perfectly well.

Rating: 5 out of 6 stars

MP3: A Girl Like You

Video: Rip It Up, Live on Top of the Pops

Photo: Michael Gallacher @ ABC, Glasgow, 12-09

Compared to his back catalogue, this is Neil Hannon stripped back to the basics. The complicated arrangements are largely absent, light strings and a touch of brass create the back drop for only a few songs. Each tune has been built up from the basics, mostly from piano, leading to much more straightforward melodies that are simple and uncluttered.

It’s a clear step forward from the mixed bag of brilliant to drippy tracks on Divine Comedy’s last album, 2006’s Victory For The Comic Muse; the songs are better and the sound is more consistent. But what Bang… does share with its predecessor, and not to good effect, is its lack of structure. The first four tracks are very much discussing issues of class and privilege. The Complete Banker is a smart commentary on the economic disaster, and sees Hannon at his most Cowardesque, while the title track considers why gentlemen of the upper-classes keep getting caught up in seedy sex scandals.

But this theme is largely dropped before the album is halfway through; with jolly love note to eccentrics, Assume The Perpendicular, making only a brief return to it. The remaining songs are a mixture of classic romanticism (Have You Ever Been In Love, Island Life) witty ditties (The Lost Art of Conversation, Can You Stand Upon One Leg), straight pop (At The Indie Disco, I Like) and the bizarre (When A Man Cries – a melodrama that’s hard to take seriously). It’s a conflicting mix which doesn’t entirely sit well together.

The songs are strong; Have You Ever Been In Love and Can You Stand Upon One Leg are two of his finest melodies to date.  But Hannon’s skipping of musical personas from one track to the next makes for a less satisfying whole. But Bang Goes The Knighthood still has plenty to admire, and after the relative disappointment of Victory…, it will be reassuring for fans to know that while entering his 20th year in music, Neil Hannon still has plenty to say. And that his wits, charm and instincts remain compelling and fully intact.

MP3: The Divine Comedy – Assume The Perpendicular

Buy Bang Goes The Knighthood

Rating: 4.5 out of 6 stars

There’s something mechanical about the way the Fever Ray show starts, that wonderful rumble that opens last year’s magnificent debut album from Karin Dreijer Andersson. As the band lurches into If I Had A Heart the bass is deadening, it’s the kind of noise you feel as much as hear – for me it reverberates around the top of my stomach. Then you get to hear the voice, disconcerting and inhuman – pitch-shifted and bent out of recognisable form. Visually you get no clues either, you can barely see the band for the smoke and darkness that envelopes the stage. Instead you rely on glimpses – a sword jutting out of one band member’s back – the alien shape of Dreijer Andersson underneath her triangular headpiece. The sounds could be coming from anywhere, and anyone – it’s quite a bewildering experience.

From the darkness lasers dart, fanning out over the top of the audience, the dense smoke playing like clouds across the beams. The stage is barely lit by intermittent lamps, yet everyone is craning their necks to try and place what is going on. The music is at times simply superb, particular standouts being her masterful cover of Peter Gabriel’s Mercy Street and the epic closing sweep of Coconut. Sometimes the sheer volume stamps out some of the subtlety, particularly affecting Keep The Streets Empty For Me - some of the quieter runs are simply inaudible amongst the cacophony. For the most part though, the aural onslaught befits the dark and somewhat claustrophobic subject matter and it fills the cavernous Brixton Academy with ease.

Earlier in the night Zola Jesus performed to a healthy-sized crowd, the diminutive singer was a must-see for me after enjoying her recent EP Stridulum so much. In the flesh though, it seems a little rushed – she paces the front of the stage like a caged animal, lyrics seemingly gushing out of her. Her backing band are grinding out some serious noise, yet her voice is more than strong enough to rise above it – but it doesn’t really go anywhere, and the songs seem to meld into each other. One to catch again, maybe on her own terms.

Dreijer Andersson has said that this is likely to be the last we hear from her side-project for some time, instead heading back to an involved recording process with The Knife. If that is the case she has left an indelible mark on many who’ve attended these shows; demonstrating a rare talent for realising her dark imagination. A unique, engaging and enduring performance.

Rating: 4.5 out of 6 stars

MP3: Fever Ray – Mercy Street (via I Am The Crime)
Photo: Rob Green @ Brixton Academy, 08.09.10

Setlist:
If I Had A Heart
Triangle Walks
Concrete Walls
Seven
I’m Not Done
Mercy Street (Peter Gabriel cover)
Now’s The Only Time I Know
Keep The Streets Empty For Me
Dry And Dusty
Stranger Than Kindness (Nick Cave cover)
When I Grow Up
Here Before (Vashti Bunyan cover)
Coconut

Breton – 15X (mp3)

Breton Myspace

When I first came across Villagers, supporting Tindersticks at a recent show in London, I wasn’t entirely sold on them. Sure, they could hold the stage but the audience started to drift after a couple of numbers, myself included. They did have one belter of a track – unfortunately I can’t recall the title… All is not lost though, as included in this first Mailbox Monday missive is Becoming A Jackal, title track off their recent LP out on Domino. They’ve a much more polished sound on record, more propulsive with the same neat vocals. They’ve also a new video out for new single Ship Of Promises, which reminds so much of the Washed Out tape release cover…I digress. Check it out.

Villagers – Becoming A Jackal (mp3)

Villagers Myspace

Kele’s solo debut effort continues to gather pace following a splendid set at Glastonbury, and nestling in my inbox this week is a stonking mid-90s flecked, horn-laden stomper of a remix of hot single Tenderoni courtesy of Brooklyn duo PUNCHES. They have remixes aplenty over at their Myspace, go check out the disco madness – also, in keeping with the Euro-feel of their mixes, check out the video below of them DJing at the Eiffel Tower…

Kele – Tenderoni (PUNCHES Brings The Horns Remix) (mp3)

Kele Myspace

PUNCHES Myspace

Beautiful remix of Pete Lawrie’s upcoming single All That We Keep released on August 16th – a Beloved-esque sashay, perfect for these long summer evenings. Catch Pete at a variety of venues this summer, from Hop Farm on July 2 to London’s The Social on July 25.

Pete Lawrie – All That We Keep (Jocks Remix) (mp3)

Pete Lawrie Website

A new Chemical Brothers album. Not news to stir the emotions is it? Five years since their last decent track (Galvanize, if you were wondering) and much further back since their last full length really hit the spot; you could be forgiven for immediately writing Further off without a second thought. Stick with it though and Tom and Ed’s seventh studio album reveals a partial return to form. Gone are the odd guest vocalists that plagued the last few records, and back is the expansive and ever-so-slightly psychedelic twisting electronica that we all fell in love with, ooh fifteen years ago. This is no mere big beat revival though, Further contains some of the most experimental tracks the duo have produced outside their Electronic Battle Weapons series.To continue the experimental theme, the album comes with an accompanying disc of visuals too – a dose of the famed Chemicals live experience in your living room.

Why only a partial return to form? Some of the tracks lack the propulsion to get them over the finishing line. Escape Velocity struggles to live up to its name, and its nigh-on 12 minute length; accelerating but ultimately remaining Earthbound. When they do re-tread old ground it’s pretty decent, Horse Power feels as if lifted straight from Surrender, piling on snatches of sound that recall previous singles in abundance. It’s with Horse Power that Further really starts to come alive, leading into a great run of tracks to close the record out. Recent single Swoon is the album standout, shifting and stretching layers of synths set to a bouncing bassline – reminiscent of Orbital’s halcyon days. Although you’d struggle to pin another single out of the remaining tracks there’s no filler here. So, shake off your apathy and giver Further a whirl – there’s life in the old dog yet.

Rating: 4 out of 6 stars

The Chemical Brothers – Swoon (mp3)