The Staves

It's a pleasant surprise to hear new material from The Staves just fourteen months after their second full-length effort If I Was. That astonishing album informs the new three song EP Sleeping In A Car, but these songs certainly don't feel like cast off's from that project. In a little over ten minutes the Staveley-Taylor sisters push their sound forward ever so slightly giving a tantalising clue as to what their next album may shape up to be.

Most noticeably, although Justin Vernon is again involved here with some of the recording taking place at his April Base studio in Wisconsin, these songs sound far less indebted to his work with Bon Iver. Perhaps that's because some of the material was recorded at Urchin Studios in London whilst touring, and perhaps it's because The Staves sound has evolved again whilst on the road. You can tell Vernon was in the studio when you hear the reverb on the drums during 'Roses', but his contribution feels more subtle than during the If I Was sessions. Thankfully those signature three part harmonies, which have the power to raise the hairs on the back of your neck, are also present and correct during these new songs. The sisters have also continued to play with studio techniques to augment their vocal performances, the loop that's been created as the backbone of 'Outlaw' is mesmerising.

The band describes this EP as a reflection of the adventure and isolation of travelling, and in a nutshell that's the most accurate description. Despite the brief running time there's space for moments of triumphant choruses balanced with real contemplation. The title track, which curiously closes the EP, encompasses both gloriously with the piano driven melody perfectly conveying the feeling of perpetual motion that sleeping in a car brings.

Continue reading: The Staves - Sleeping In A Car EP Review

There was a distinctly religious feeling to proceedings when Watford based trio, The Staves, played at Bournemouth's Old Fire Station last weekend. It wasn't just that the Staveley-Taylor sisters were performing on a Sunday night ahead of a sold-out Roundhouse show in London. It was the hushed and reverent nature of the audience and the occasionally angelic voices enveloping them from the stage that gave the evening a heavenly feeling.

Those in attendance wondering whether The Staves could re-create the magic of their recent Justin Vernon produced album were not left disappointed. An impressive array of musicians accompanied The Staves throughout, and in a live setting the brass and synth flourishes packed a real punch. Showcasing their trademark harmonies early on, the band launched into a satisfyingly anthemic rendition of 'Black & White' during their opening salvo. The historic room was bathed in colour and the audience of around 500 people was illuminated for the guitar heavy track, which perfectly illustrates how far The Staves have progressed since their debut album in 2012.

Throwing in the odd quip and observation, there is a certain irony to the use of smoke machines in an old Fire Station, the trio swiftly rattled through a comprehensive selection from their recorded output. More obscure choices like 'America' were accompanied by a good chunk of recent album If I Was. Along the way there was also room for a hypnotic cover of Bombay Bicycle Club's 'Feel'. In truth the most impressive moment was during 'Let Me Down' in the middle of the set. The song builds to an aural avalanche of looped harmonies under the lead vocal. I was unsure that in a live setting their studio experimentation would have quite the same impact, but with the help of loop pedals the band demonstrated that they could rise to the challenge.

Continue reading: The Staves - The Old Fire Station, Bournemouth, November 8, 2015 Live Review

In the five years since the release of their debut EP, The Staveley-Taylor sisters, better known to the world as The Staves, have undergone a dramatic transformation. Their song writing, initially rooted solely in the tradition of English Folk, has now morphed effortlessly to place the sisters at the forefront of that movement, rather than just students of it. Let's be clear here, their second full-length album, 'If I Was', is not easily defined as just a Folk album. It has one foot firmly planted in Blues and Rock. It's like a more subtle and less confrontational version of Dylan plugging in.

Much has been made of producer Justin Vernon's involvement, and while it's true his fingerprints are all over this material, it doesn't feel as if he has guided the sisters to their ambitious new sound. Rather he has just facilitated that transformation. The key to The Staves success is their startling three-part harmonies. While they remain the focus of the songs, there are many instrumental embellishments of note (especially the distinct and accomplished percussion) as the sisters' musical palette has dramatically expanded. That again is very much to do with Vernon's contribution, as he has teamed the Staveley-Taylors with many of his Bon Iver collaborators at his April Base studio in Wisconsin.

The album opens with 'Blood I Bled', the title track of last Autumn's EP; it slowly unfolds into a brass and string soaked military march. It's a bold song that demonstrates just what 'If I Was' has to offer, but the most notable early moment is to be found on 'No Me, No You, No More'. The track opens on a processed vocal hum, which is soon joined by a second note. It's a re-invention of The Staves' trademark harmonies through the prism of Justin Vernon's imagination. The familiar three-part vocals soon soar in above the stark backing, which is only punctuated with brass. Within three minutes, the mesmerising song segues seamlessly into an acoustic guitar and an entirely different track. It's moments like this that make you realise this album really is something special.

Continue reading: The Staves - If I Was Album Review

After two years on the road, the Staveley-Taylor sisters return in October with their first studio offering since their well received debut, 'Dead & Born & Grown'. The 'Blood I Bled' EP is a tantalising sample of their second album, primarily as it's the first material they've unveiled that features Bon Iver's Justin Vernon on production duties. The resulting three songs are well worth the price of admission and point to a significant step forward for The Staves.

No longer just channelling their beloved English Folk roots, the Watford trio have embraced a more complicated sound that suits their mesmerising three-part harmonies. Vernon's fingerprints are unsurprisingly evident from the outset and, by carefully balancing his instrumental guidance with the vocals, The Staves have produced something rather special. The purpose of an EP release such as this is to build anticipation for a subsequent album, and in that regard it's job done.

'Open' slowly introduces the familiar harmonies with a melancholy mood ("You say we don't do much talking"), backed with a solitary acoustic guitar. However, before long a drum machine, strings and piano have joined the mix to great effect. It's a memorable combination that maintains its fundamental folk sensibility, but expands it into something rather unique. While it could be argued that perhaps The Staves are relying too heavily on Vernon's production (it's unmistakably reminiscent of Bon Iver), I'd actually argue that's a positive thing; it elevates the song beyond the rather niche sound that presided on much of the sisters' debut album.

Continue reading: The Staves - Blood I Bled EP Review

Having quickly established itself as the best metropolitan music festival in the UK, Live At Leeds returned over the warm bank holiday weekend to send a spark of excitement and energy fizzing through the city's streets. As ever with LAL - and most other festivals - line-up clashes were inevitable though it did little to dampen the atmosphere of what proved to be one of the best Live at Leeds offerings yet.

The thing to remember when wandering the streets with a crumpled programme trying to figure out if you can sprint from Brudenell Social Club to The Wardrobe in under 8 minutes is that you really don't need to. The whole point of Live at Leeds is that there's always someone playing, somewhere, and it makes for a far richer experience to circle a couple of your must-sees though pretty much go with the flow of the festival.

Incidentally - after a visit to the Holy Trinity Church to catch the end of the impressive Harry George Johns - the first real port of call was the horrendously busy Cockpit venue in the city centre, where queues snaked up and down the street with hundreds of fans desperate to gain access. Luckily, organisers had put together a pretty tasty schedule for the venue so waiting wristband holders were eventually treated to something worth queuing for.

Continue reading: Live at Leeds 2013 - Live Review

The Staves are a band you may or may not be familiar with. They seem to have been 'around' for a while, gradually working their way into our subconscious, yet you may be surprised to hear that Dead & Born & Grown is their debut album. Yes, they've featured on albums by Tom Jones and Fionn Regan, released 4 EPs, played SXSW and are (and have been) supporting Bon Iver on tour but this is their first independent album release.

The Stavely-Taylor sisters, Emily, Jessica and Camilla don't sound as though they are likely to be found playing Hard-Core or Death Metal which is fortuitous as they play rather nice folk music which has a particularly delightful Englishness about it. As fans of Joni Mitchell, you might expect a 70s shadow across their songs but they share a closer affinity to their kindred spirit Laura Marling. Ethan Johns (Co-producer with his father Glyn) may even have been drawn to the band after enjoying his time with Marling on her last two albums. The similarly impressive results would certainly suggest a strong musical chemistry exists between the band and their producers. 

Dead & Born & Grown starts with an a cappella arrangement of flawless purity. 'Wisely & Slowly' showcases the 3 part vocal harmonies of the sisters perfectly. The angelic and choral tones are warm and comforting but tell a harrowing tale (Tell me all you need to tell. Why is it you whisper when you really need to yell?) only accented towards the end by the addition of instrumentation. The stirring and striking opener turns into a more gentle and laid back calm with the mellow vocals and jangly guitars of 'Gone Tomorrow'. 'The Motherlode', a Marling like composition, introduces an accordion and a beat that fair skips along to the beautifully balanced harmonies. A Country lilt pervades 'Pay Us No Mind' before the ukulele is brought out on 'Facing West'. As the initial individual higher pitched vocal sings out "Your voice is like silver" you can't help but agree. The simplest of accompaniments and lightest of arrangements are used to great effect here.

Continue reading: The Staves - Dead & Born & Grown Album Review