Wednesday, March 3rd, 2010
An introduction to The Invisible
Mads PerchI kind of hate for the most apt reference point for a band to be the most obvious one, but if you have to offer an elevator pitch on London trio The Invisible, it’s hard not to want to use the letters T, V, O, T and R. The comparison goes beyond the superficial multi-racial composition of the band, though.
It also applies to their collective musical ability and creativity, both clearly on display but not ostentatiously so, and their aesthetic, which filters rock, rhythm and blues and soul influences through a thoroughly contemporary and frequently electronically-enhanced filter. Where they differ from the Brooklyn outfit is in their approach, which dials down – but doesn’t eliminate – the post-millennial tension and angst that informs much of TV On The Radio’s work in favour of a more chilled-out vibe. There’s still fire beneath the surface, but The Invisible opt to deliver it in a smoother, more soulful and dance-friendly sound.
Their 2009 self-titled debut, still only available in Europe, was a heady enough brew to garner the band a place on last year’s Mercury Prize shortlist, and after a short visit to New York for CMJ last Fall, they’re returning to North America this Spring; first for SxSW and then a proper tour that will allow music writers on this side of the Atlantic to make all kinds of bad puns about the seeing (or not seeing) the band and includes an April 2 date at the Opera House in Toronto. So if you, like me, were having trouble deciding between Serena-Maneesh at the Great Hall and A Sunny Day In Glasgow at The Garrison… your life just got a little more complicated.
The Vinyl District gets The Joy Formidable frontwoman Ritzy Bryan to reminisce about her favourite records. They’ve released a new video as a preview of their debut full-length, due out sometime this Summer.
Music Snobbery and Spinner have interviews with Kate Nash, whose new record arrives on April 20 and now has a name – Crayon Full Of Color. Pitchfork likes the first giveaway track “I Just Love You More” more than I do. Spin has a stream of the more agreeable first official single, “Do Wah Do”, complete with obnoxious marketing voiceover. Update: The Music Slut says the new record is actually called My Best Friend Is You. I don’t know who to believe anymore.
What better way to celebrate the North American release of Little Boots’ debut Hands than by canceling one of the dates on her North American tour? The April 30 Toronto date at the Phoenix is no longer showing up at either Ticketmaster or Ticketweb and there’s no trace of it on the promoter’s website. Still looking for an official word or reason, but none of the above are good signs. But on the bright side, it does make the question of whether to go see Jonsi at the Sound Academy that much easier to answer. Artist Direct has an interview with Victoria Hesketh.
Spinner talks to Rose Elinor Dougall about making her post-Pipette North American debut at SxSW. Her solo debut Without Why is due out this year. The Pipettes’ new one Earth Vs Pipettes is also due out in 2010.
Doves have announced they’ll release a best-of collection entitled The Places Between: The Best of Doves on April 6, consisting of a CD of their singles, a second disc of rarities and a DVD of their videos. Specifics on the set available at Pitchfork, and if you were wondering only about half the material on Lost Sides is repeated here and there are three all-new songs scattered amongst the two discs.
The Clientele’s Alasdair MacLean submits five recommended hallucinatory children’s books to Owl & Bear, while Baeble Music gets a Guest Apartment video session and video interview. The AV Club also has a chat. The Clientele are at The Horseshoe on March 19.