It’s a rare thing that musicians sound better live than they do on Spotify. But Florence Welch sings a note perfect set – even when jumping up and down like a pogo stick, whirling and spinning, or sprinting along the front of the stage to meet fans.

June 2017 witnessed a musical miracle, of sorts – the resurrection to recording and brilliant songwriting of Peter Perrett, The Only Ones’ singer, songwriter, and architect of his own ghoulish entombment in a Gothic south east London pile, fielding serious addictions for decades and emerging only briefly in 1996 for his excellent Woke Up Sticky album, and the publication of Nina Antonia’s biogra

It’s been a couple of years since Peter Perrett, the former frontman and creative force behind the much loved but commercially under-performing Only Ones decided that he’d had enough of being a mere legend and got back into the musical ring. He had made a brief reappearance in the mid-1990s under the guise of The One, but that was all very fleeting, and Perrett’s infamous bad habits soon reasserted themselves until a short Only Ones’ reformation tour 10 years ago.

Mike Scott has never been afraid to call on high-brow literary influences in his songwriting – 2011’s An Appointment With Mr Yeats album being the most obvious example. Now, almost forty years (on and off) into the Waterboys’ career, Scott takes a more all-encompassing view on the influences that have fired up his literate yet soulful rock’n’roll: be they musical, geographical or bookish.

Let’s cut straight to the chase. Here are reviews of 48 records, running riot across genre boundaries and categorizations, from preposterous pop metal to woodland-themed classical piano pieces. It’s the wildest vinyl ride in review-land, an adventure for the ears. Dive in!

VINYL OF THE MONTH

Vula Viel Do Not Be Afraid (Vula Viel)

In recent weeks, you may have noticed signs for the Better Oblivion Community Center, from billboards to park benches, all displaying a mysterious helpline telephone number. This was not some new community support project, but a surprise collaborative album from premier sad songwriters Phoebe Bridgers and Conor Oberst.

In 2016, Sharon Van Etten took a hiatus from music, and threw herself into other projects. She got her first acting role in Netflix drama The OA and, inspired by the intense emotional connection her fans had found with her songs, began studying to become a mental health counsellor. She also found out that she was pregnant.

It’s been a great year for music: trailblazing and unforgettable EPs from Stella Donnelly and boygenius; the triumphant returns of Robyn, and Janelle Monáe; flawless albums from Kurt Vile and Tunng; stunning re-imaginings from St Vincent and Waxahatchee; and confident debuts from Snail Mail and The Orielles.

It’s been a tough few years for Sŵn Festival. Once a genuine rival to fellow urban festivals Great Escape and Sound City, recent events have fluctuated between one-dayers and a string of ticketed gigs. 2018 marked the biggest change yet, but also a return to the multi-day, multi-venue format. Founders Huw Stephens and John Rostron announced they were handing over the reigns to Clwb Ifor Bach, Cardiff’s leading music venue.

There are people who do and say awful things in the name of honesty. It can be used as a cover for rigorous appeasement of our own worst impulses, or as a thin veil to disguise needless personal attacks on those around us. With singer-sonwriter John Grant, however, it’s impossible to see it as anything other than a colossal strength. 

Throughout his career (Love Is Magic is his fourth album) Grant has marked himself out as one of the foremost lyricists of his generation. His literate approach, peppered with laugh-out-loud humour and a predilection for the dark underbelly of human emotion – and its myriad contradictions. 

So, yes, love is magic – but with considerable caveats. On one hand we have the gorgeous, elegantly evocative ode “Is He Strange” with a simple, piano-led form that mirrors the beautiful fragility of the lyrical sentiment: “He was just standing there/He was on an island/In the North Atlantic Ocean/Just minding his own/He was just doing his thing/And in that moment/Everything changed.” The other hand, however, is raised as if to slap a face in “Diet Gum”, an electronically thrumming track in which Grant acts out one side of a lover’s tiff. 

Musically, this is the most coherently electronic offering that Grant has yet given us, and quite possibly the funnest and funniest. “He’s Got His Mother’s Hips” is a case in point, “I think Colonel Mustard did it in the billiard room/They say his salsa workshops/Are a harbinger of doom” may well be the best opening to pretty much anything I’ll hear all year. 

Never afraid of a good, old-fashioned swear to grab the listener’s attention and convey huge emotion in just a few words, Grant’s crowning achievement comes in the song “Smug Cunt”, which addresses the classless, grandiose ambition of arseholes. “And now you’re just a smug cunt/Who doesn’t even do his own stunts.” How’s that for economy of words? 

Only opener “Metamorphosis” sits oddly, but even then, its jarring sense of dislocation could also be taken as the perfect way to introduce a collection of songs so accurately depicting the schizophrenic nature of love – passion’s two sides. Love Is Magic is an album full of questions like this and it takes more than a cursory listen to grasp the answers. Thankfully, it’s research that is hugely rewarding.

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@jahshabby 

Overleaf for the video to "His Mother's Hips"