(Believe Recordings)
Bon Iver comparisons were inevitable for the wintry folk of James Vincent McMorrow's 2011 debut: beard, falsetto and recording sessions in an isolated cottage saw to that. They're valid here too: like Justin Vernon, McMorrow has renounced backwaters minimalism to create a richly textured second album – his remarkable, soulful voice competes for space with electronic pulses and digital brass. But McMorrow's USP lies perhaps in the grand gesture; there's a multitracked theatricality to songs such as Gold and Looking Out, which costs him some of the shiver factor of more understated peers, but delivers moments of magnificence too.
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by Ally Carnwath via Music: Electronic music | theguardian.com
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