Mvula was shortlisted for the BRITs 2013 Critics’ Choice award, as well as being cited as one of those on the BBC Sound of 2013 list. In addition to this, she’s been invited to join Jessie Ware on her tour in March and Paloma Faith on her tour in June. She’s also been booked for a slot at V festival in the summer and is embarking on her own first regional headline tour in April and May – not bad for a girl who started writing songs on her laptop while working as a supply teacher at a secondary school.

All of this bodes well, but lets forget about the hype from the critics for now and concentrate on what really matters – the sound of the album. The album has been produced by Steve Brown, who has also worked with Rumer, and the similarities are easy to see at points in the album. Can’t Live With The World and Is There Anybody Out There are classical and dreamy, but a little nursery rhyme-like – a theme that is quite popular on a number of tracks on Sing to the Moon. The lead single Green Garden picks up the pace and the soul of the album, but is close to being ruined by the computerised, vocoder harmonies which eventually become a little off-putting. That’s Alright and Flying Without You are highlights of the album, providing attitude and a change from what feels like a continual, meandering tempo.

The album will no doubt do well and will fill a gap in the market for some. There is no doubting what a voice she has, but personally I would have liked to hear Mvula’s voice in the different, darker, more dramatic settings of trip-hop/downbeat electronica or similar, which would make the best of her voice in my opinion. It almost feels wasted on a number of tracks, which feel very light, giving the definite feeling that there is something missing from this album, which is a shame given how impressive her voice is.

www.lauramvula.com

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You get the feeling that DJ Yoda is in such a position that he would have his pick of collaborations, and it’s nice to see the varied choices he’s made on this album. There’s old-school hip-hop from Greg Nice and UK talent in it’s finest form from Virus Syndicate and Sway. A blissed out house offering from no intro needed Boy George, the sublime mix of soul-sister Alice Russell and smooth-flowing wordsmith Action Bronson. It also includes an album highlight from Scroobius Pip and a round-up featuring Mr Police Academy himself, Michael Winslow.

Known for the element of comedy he places in his music, this has been stripped back a little. That’s not to say you won’t have the odd chuckle, but this album doesn’t miss it – it’s an altogether more slick, polished affair, without compromising on any of the skills or style that we all know and love Yoda for. There’s electro, acid-house, jungle, hip-hop and many other styles on this album, an eclectic, nostalgic mix that still manages to sound really fresh. Yoda manipulates the beats and breaks the way only he knows how and the ‘anything goes’ style he’s forever adopted still works for him.

www.djyoda.co.uk

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It takes a few listens to adjust to the small changes in the musical landscape that we are used to hearing Banks’ voice in, but once the adjustment is made, it makes for a very interesting listen indeed. The sound is familiar enough to connect with but not so familiar that it is boring: just enough change has been made to be able to appreciate Banks (both the album and the musician) as a separate entity.

Interpol’s music is full of both dark and light, but the most striking difference here is that the light moments in Paul Banks’ solo effort are much lighter than what we are used to with Interpol. In fact there is a much lighter, more dreamy feel throughout, but that is not to say it is any less dramatic.

Over My Shoulder is something of a stand-out in which Banks is addressing his demons in a fresh light with a post-punk mixture of sounds as his backing. The album is an atmospheric offering, particularly in tracks such as I’ll Sue You and Arise, Awake. The Base was the first track released to
the public from the album and is a brilliant listen – a strong opener that leaves the listener hungry for the next track.

Paul Banks sounds fully in control of this album, which makes you feel he was fully in control of the creation of it. The album flows with atmospheric fluidity but is in no way predictable or boring. Banks leaves us wanting more: more from Paul Banks and more from Interpol.

bankspaulbanks.com

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Martha Wainwright so often lives in the shadows of her family – a famous father, mother and brother who have all achieved success and acclaim. Martha Wainwright deserves to be viewed and listened to in her own right as she has her own inimitable style – different from that of her talented family and also of her peers in the musical world.

The title Come Home To Mama comes from a track on the album named Proserpina, the only cover on the album and the last song that her mother, Kate McGarrigle, wrote before her death of cancer in 2010. The track alone is emotive, but when taken in context of the above placing, becomes all the more heartbreaking.

The album is a mixed bag and it takes a few listens to connect and for the lyrics and music to really permeate but once it’s there it stays under your skin. It was mostly recorded at Sean Lennon’s home studio in New York City and features Lennon himself as well as Yuka Honda, Nels Cline (Wilco), Jim White (Dirty Three), Thomas Bartlett and Wainwright’s husband Brad Albetta. Leave Behind almost matches Proserpina in the emotion stakes, Four Black Sheep is a magical, mystical listen and Can You Believe It is both frank and funny.

In the past few years, Martha has married, lost her mother and become a mother herself, so all of these themes flow through the album. The last track of the album, Everything Wrong, is equally as moving as many others on the album but also features a theme of hope as she addresses her son.

www.marthawainwright.com

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I have to admit I was never a fan of Sigh No More – I found it somewhat bland and got very  quickly bored of hearing it all the time, everywhere. That said, I watched the band headline Fridays’s main stage at Rockness this year and their music made a bit more sense after seeing them live. Maybe that’s why I’ve warmed to this album more than the first, it is almost as if Babel is an updated, more honed-in version of Sigh No More that encompasses their live sound more effectively. Regardless of my opinion, the success of this album is a given – though I do wonder where they will go next.

Mumford & Sons have a sort of trademark in that their music is very delicate for some time but then builds to an all-familiar crescendo. Marcus Mumford’s voice is strong, thick and instantly recognisable and their lyrics are very rustic and regal (whether authentic or not is up to the listener to decide) – often with reference to history, the bible and various literature, and sometimes with no modern references at all. Which makes me think – just where can Mumford & Sons go from here, what can/will album number 3 bring?

This album is definitely a comfortable step to the side for the band. Those who loved the first album will undoubtedly feel the same way about this one. Babel may well pick up a few extra fans for the band along the way now that they have the standing they do given the success of Sign No More – but there isn’t new more to say about Babel.

ww.mumfordandsons.com

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Rebirth, the first new Jimmy Cliff album in seven years, is produced by Rancid’s Tim Armstrong, who also produced Sacred Fire. It sees him return to his roots and deliver an accomplished album which sounds so classic that it could have been made some 20 years ago.

The LP features original tracks from the reggae superstar alongside two impressive cover versions: one of The Clash’s Guns of Brixton and the other Ruby Soho by Armstrong’s Rancid. The single, One More and track World Upside Down show just how aware of the state of our world he still is nearly 40 years after he tackled issues on his milestone You Can Get It If You Really Want.

Jimmy Cliff still sounds as fresh, relevant and exciting as ever as he works his way through a collection of tracks which are both happy and upbeat, but also aware: as all good reggae tracks are. This album will please the most die-hard of reggae fans, whilst hopefully picking up a few new ones along the way.

It’s hard to believe that the man who starred in ‘The Harder They Come’ back in 1972 is still making such high-quality, important and fitting music in 2012 – an impressive feat.

www.jimmycliff.com

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His sound has been defined as “an exploratory look at the ominous side of his home city,” and his tunes really fit within this conceptual mould – his music is deep and dank, with elements of beauty and emotion. It is clear that rkss has taken a lot of direction from such legends as Aphex Twin, Four Tet and Squarepusher. This is all exampled by his very first release, entitled The Basement EP, which itself paves the way for a really exciting future.

The lead track from the EP, also called Basement is a free download, lead by glass-sounding percussion that is pounding and memorable, featuring fitful, varying melodies and rhythms. Other tracks feature slightly lighter sounds with rhythms as enchanting as the tracks before it, even at times borrowing some influence from African rhythms. Percussion is the principle of his music, with all else complimenting it. At times rkss’ penetrating staccato beat is even reminiscent of Burial’s finest work.

Overall, this is a really promising, young producer with fresh tunes. Indeed, rkss is this writer’s new favourite electro artist; a definite one to watch as he grows and develops into a permanent figure of the worldwide electronic scene.

http://rkss.bandcamp.com/

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On the main stage, Scottish band Kassidy receive a warm reception as they play songs from both of their albums Hope St and One Man Army. Surprisingly, their set also featured a cover of Adele’s Rolling In The Deep, which went down a treat on Sunday afternoon. Glasgow-based band Errors were next up in the clash-sub club presents tent, their music – loud, emotional and electronic – only made more affecting in a live setting. The crowd gradually builds as the band play through their set and by the time they are nearing the end, everyone is nodding their head along.

Due to the health and safety fears closing down The View’s set on Saturday, they had been rescheduled to play in the larger golden voice arena on Sunday afternoon. This was well publicised and crowds bustled to get their place in the tent, for fear of missing out. The band give some short warnings throughout their set for everyone to keep safe, but ensure that they remain as energetic as possible.

Death In Vegas were next up in the golden voice arena, taking to the stage later than they should after a large amount of time is spent on trying to get their set-up right. The set was somewhat underwhelming given the powerful nature of the band’s music, but did build slightly throughout. The main stage saw Nile Rodgers’ Chic warm the whole crowd up – young and old alike were dancing together and having a fantastic time. Their music is universal and so many of their songs are very well known, so the set appealed to everyone, creating a lovely Sunday afternoon atmosphere, which climaxed in an impromptu mass can-can, featuring hundereds of festival goers coming together to dance, sing and have a good time – a beautiful sight.

Next up were Friendly Fires, whose lead singer Ed Macfarlane definitley wins top funky dancer of Rockness 2012. The band are great musicians, enjoy themselves and their mix of dance and indie goes down brilliantly with the Rockness crowd, who bounce up and down together, singing all the words. Zane Lowe was next on the main stage, his decks set up on a giant ghetto blaster. From the word go, Zane was determined to get the crowd hyped up for the imminent arrival of headliners Biffy Clyro. He ordered everyone sitting down to get up and played a set full of songs which he seamlessly sliced together with skill. Playing remixes of popular chart tracks alongside fully-fledged dance and hip-hop, Zane was the perfect person to play the penultimate set of Rockness 2012. Over in the golden voice arena, DJ-ing duo Knife Party mean business as they begin a set which to a crowd which is fully up for it from the second they take to the stage. They work their way through a set which has the whole crowd dancing, jumping and generally having a great time.

10.30pm saw Biffy Clyro headline the main stage for the final set of Rockness 2012. The perfect choice to headline the last night of the festival; a talented, popular band who are Scottish and always manage to engage a full crowd with ease. It is clear to see that the band are professionals who love what they do – they work their way through hit after hit, the whole crowd singing along at the top of their lungs. I couldn’t think of a more fitting end to Rockness 2012, and when the fireworks emerge from behind the stage to signal the end of the festival, it is clear to see, and hear, that all who have participated in Rockness have had the most amazing time.

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Photos © Nuala Swan and must not be reproduced without prior consent

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Following Discopolis, one of the highlights of Rockness 2012, The Rapture. Their sound is influenced by post punk, disco, indie and dance and lead singer Luke Jenner’s voice is so unique, sounding just like he does on record. The smallest of the two tents, the clash/sub club presents, hosted The Guillemots on Saturday afternoon. It took the band a while to get their set-up right, but when they began their set it was loud and perfectly levelled. Given the often gentle nature of their music, it was great to see their songs transferred to a live setting with a much louder, more raw sound and the track Made-Up Love Song is a set highlight.

While The Guillemots were playing, Rockness played host to a surprise visit from the Olympic Torch. The torch was brought by boat over Loch Ness, then taken to the main stage for all to see. After the excitement of this, Beardyman had a lot to live up to on the main stage and he didn’t disappoint. All of his instruments are home-made and he makes his music single-handedly live in front of his audience. His set is an audio/visual treat that has to be seen to be believed.

The clash/sub club presents tent was the venue for The Pigeon Detectives, who pulled a massive crowd. The set was energetic, with lead singer Matt Bowman particularly in party mode, constantly jumping around, spitting water over everyone and swinging his mic as hard and fast as he can. DJ Fresh was next on the main stage, bringing his live show to Rockness. The crowd lapped it up and the sun came out for most of the performance, adding to the already fun party vibe on site.

Back in the clash/sub club presents tent, there was a big crowd gathering for the arrival of The View on stage. The tent got fuller and fuller and was at its 2500 capacity long before the boys hit the stage. When they did the place erupted, chants of “The View, The View, The View are on fire” echoing around the tent.  The band only make it 4 songs into a scheduled hour and a half set before the show had to be stopped due to health and safety fears.

Annie Mac was then next on the main stage, Annie is a Rockness regular and this later time slot was perfect for her fun, bouncy set. Acting as the perfect warm-up for Deadmau5, she got the crowd up, excited and moving. Just as Annie was finishing her set, French dance legends Justice were starting their set in the golden voice arena. They were another highly-anticipated act, which resulted in the tent reaching capacity. Their music is perfect for a Saturday night at Rockness and the whole tent danced in unison as they played songs from Cross and Audio, Video, Disco.

Main stage headliner Deadmau5 clearly had a large number of fans in the Rockness contingent, as person after person was sporting a Deadmau5 t-shirt on Saturday. By the time it is time for his set to start, the crowd have reached fever pitch. Deadmau5 is brought on stage in a box before leaving it, putting his mau5 head on and taking his place on his built up stage. In addition, a few impressive home-made mau5 heads are in the audience. Deadmau5′ set is over 2 hours long, the lights that compliment his show are extraordinary, and his set is a highlight of Rockness 2012.

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Photos © Nuala Swan and must not be reproduced without prior consent

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Most of the weekend remained grey and overcast, but the sun made a brief appearance on Saturday afternoon. Judging by the faces of those watching bands and djs, the weather didn’t matter to anyone. We are used to these conditions in Scotland, and if we’re honest, nothing was going to ruin the spirits of the thousands who had travelled to the banks of Loch Ness to participate in 3 days worth of music and good times.

On Friday Admiral Fallow took to the stage. The Scottish band received a warm welcome as they played through songs from Boots Met My Face and Tree Bursts In Snow. Mystery Jets were next on stage, lead singer Blaine Harrison took to his seat centre stage. The band made their way through songs such as Two Doors Down and Flakes. Meanwhile, The Drums put on an impressive, high-energy set on the main stage next. Lead singer Jonathan Pierce is animated and the crowd lap up song after song, and Pierce announces that this is their last show for quite a while. The NYC band have definitely been inspired by countless garage rock bands, the biggest influence evident is that of their home town’s The Strokes.

Over in the golden voice arena, the largest of 2 tents at Rockness, Wretch 32 took to the stage in front of a full tent. His live band are tight and his tracks are given a new, more impressive feel in this live setting. Wretch 32 himself is has a ball – the crowd bouncing along to his hits such as Unorthodox, which is sung back at him from the enthusiastic crown. The band break out into House of Pain’s Jump Around, and of course the crowd comply, and then Ed Sheeran joins him on stage, sealing the deal on a confident, enjoyable performance from Wretch 32.

Meanwhile, over on the main stage, Noah & The Whale worked their way through their hits such as L.I.F.E.G.O.E.S.O.N. Their set is somewhat calm, but creates a nice atmosphere in the crowd as it has them all singing along. Elsewhere, Ed Sheeran played his own set in the golden voice arena, which is again packed out. Sheeran is confident and genuinely happy; working the crowd to perfection. His use of loop pedals is impressive and, of course, the crowd know all the words to all of his songs, so predictably a sing-a-long ensues.

Towards the end of his set, it’s time for headlines Mumford & Sons to take their place on the main stage. Given their soft, folky sound it’s surprising how loud and energetic their set was. In typical festival fashion, the whole crowd belt out each and every word, Little Lion Man being a particular set highlight. And finally, to round off a perfect first day at Rockness, techno legend Dave Clarke of Soma played a blinding 2 hour set at the Soma Afterburner.

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Photos © Nuala Swan and must not be reproduced without prior consent

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The most recent band Sharon fronted was Grammy-winning producer Stephen Lironi’s electro/disco outfit FLESH. Before FLESH, she was in The Kingfishers, (a band containing members of The Bluebells, Del Amitri, Deacon Blue and Love and Money) and before even that she was front woman for pop-punk outfit Handsome Dan.

Sharon has spent the past few years writing, recording and gigging as a focused solo artist. Her personal audience has grown and grown, with this EP being something of a thank you to the fans that have supported her as a solo artist. The EP has taken a few years to write and record, though the sound is the result of a developed artist who has full confidence in her music.

The subject matter of her songs varies, but one common factor in Sharon Martin’s music is her beautiful voice, which handles a range of styles perfectly. Her songs all tell a story – whether it be from her own perspective or that of another. They are full of raw, fresh emotion, meaning the listener can easily relate to them. One thing is for sure, Sharon Martin is among the very best in unsigned music in Scotland and perhaps in the UK also.

http://sharonmartinmusic.com/

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Tree Bursts In Snow was recorded in the famed Chem 19 studios in Glasgow with former Delgados drummer Paul Savage (Mogwai, King Creosote) at the helm as on their debut, then mastered in New York by Greg Calbi who lists Bon Iver, The National and Battles to his many credits. One can only assume that the musical relationships with Paul Savage and Greg Calbi were strong as the result is an album which sounds as if it has been perfectly placed together at every stage of it’s development.

The band continue in their diverse use of instruments, something that has ensured that they stand out from an ever-busy indie crowd. Clarinet, flute, piano, brass and strings are all an integral part of the signature sound of Admiral Fallow and heavy folk influence flows throughout their music. Highlights of Tree Bursts In Snow are Brother, The Paper Trench, Isn’t This World Enough? and Old Fools. Louis’ songwriting is intelligent, honest, stark and soul-bearing. The harmonies – both between voices and instrumentation – are seamless on an album that becomes more enchanting with each listen.

Admiral Fallow haven’t rehashed their first album, instead making a marked improvement producing a confidently textured album that stays true to their sound while taking a good leap forward as a unit. Progression is always important, for both a band and their fans, and Admiral Fallow have stretched and improved their sound further. Trees Bursts In Snow is an album with conscience, full of great lyrics, musicianship and sentiment.

www.admiralfallow.com

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