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The Joy Formidable and The Lonely Forest at The Horseshoe in Toronto

Frank Yang — Tue, 05 Apr 2011 12:22:53 +0000

Frank YangI wasn’t even intending to be at this show. The plan had been to catch The Joy Formidable at one of their many SxSW shows and thus free up this evening for something else or nothing else. A good plan, on paper, but one scuppered by the fact that the Welsh trio, who released their debut album The Big Roar Stateside on the eve of the festival, would turn out to be one of the buzz bands of the fest and any of the showcases I tried to get into were jammed to the point that getting a decent line of sight, let alone a good vantage point to shoot from, was nigh impossible. I guess what with the band having come through Toronto twice already in the past year and a third visit on the horizon, I was taking them a bit for granted. Lesson learned.

And so it was a third go-around for The Joy Formidable at The Horseshoe on Saturday night, though at least this time The Dig, who’d opened up the last two shows, had been swapped for labelmates The Lonely Forest. Clearly this quartet from the Pacific northwest, who just released their debut Arrows, is getting some attention from the powers that be, what with their being attached both to this tour and the upcoming Death Cab For Cutie jaunt later in the Spring. And that latter pairing makes a lot of sense, considering The Lonely Forest’s facility with energetic if slightly generic post-emo punk-pop. Still, what they lacked in originality they made up for in energy and on-stage pogoing and as one fellow in the audience called out, “I came for The Joy Formidable but you guys rock!”. That’s pretty much all they could ask for.

The Joy Formidable’s independently-released A Balloon Called Moaning was a nearly perfect introduction to the band’s fiery arena rock-meets-shoegaze sound, long enough to confirm that they were for real and short enough to leave you hungry for more. So when it came out that the band was re-recording half the EP for inclusion on their major label debut, there were some concerns that they might polish out some of its more delightful roughness in favour of a more radio-friendly sound. Concerns that proved to be unfounded as if anything, the new versions were even bigger, louder and spikier than before – almost the point of excess. And really, that applies to The Big Roar as a whole – it’s an utterly massive-sounding record and almost exhausting to get through, but the key word is almost. Unless you’re simply not in the mood for rock action on this scale, it’s an invigorating listen.

The principle of “more is better” also applied to their live show, though in this case it meant bigger, not longer. Despite having a pretty good wealth of material to draw on at this point, The Joy Formidable kept their set lean and mean, and still very very similar to the ones they brought through previously. It really only differed in a couple of song selections and the fact that they’d somehow gotten even more explosive as a live act. Frontwoman Ritzy Bryan has further perfected her psycho guitar-pixie persona and added in a dose of crazy eye, bassist Rhydian Dafydd now takes on more vocal duties and has added a Hulk Hogan ear-cup to his stage moves and drummer Matt Thomas, well he kept up which basically means he beat the shit out of his kit. The Joy Formidable ethos seems to be to make each song its own standalone epic and so while the show only ran ten songs with two-song encore and maybe an hour in length, it had more musical detonations than other bands pack into shows twice the length. All that said, I do hope that the next time they come through town which may well be sooner rather than later based on past history, they’ve mixed the set up a bit. Just a little.

Inland SoCal and Wall Street Journal have interviews with The Joy Formidable while Chart also has a review of the show.

PJ Harvey has released another couple videos from Let England Shake. She said one for each song on the record, and she meant it. The Sydney Morning Herald has an interview with Harvey.

Video: PJ Harvey – “Written On The Forehead”
Video: PJ Harvey – “Hanging In The Wire”

The Independent interviews Anna Calvi, who will be at The El Mocambo on May 27. I shan’t be there.

Clientele/Pipas side-project Amor de Días will team up with Damon & Naomi for a Spring tour that hits The Horseshoe on May 25. Yup, missing that one too. Both bands have new albums – Amore de Días’ debut Street Of The Love Of Days and Damon & Naomi’s False Beats and True Hearts – out on May 17.

MP3: Damon & Naomi – “Cruel Queen”
MP3: Amor de Días – “Bunhill Fields”

Pulp – who are the reason I’m missing the aforementioned shows – has relaunched their website, loading it with videos of people – both famous and not – covering their songs. Many of them terribly.

Paste catches up with the boys of Noah & The Whale.

With their best-of compilation out and out of the way, Ladytron have announced their next studio album will be entitled Gravity The Seducer and out September 13. Details at Pitchfork.

6 Day Riot have crafted a video for their cover of Fleetwood Mac’s “Tusk”.

Video: 6 Day Riot – “Tusk”

DIY talks to Roddy Woomble about his new solo record Impossible Song & Other Songs and the fate of Idlewild.

The Daily Record talks to James Allan of Glasvegas, who are streaming their new album Euphoric Heartbreak for those who opt to “Like” it on their Facebook. Everyone else gets the first three songs. The album is out now.

Stream: Glasvegas / Euphoric Heartbreak

Clash talks to Mica Levi of Micachu.

Daytrotter has served up a session with Junip, who will be at Lee’s Palace on April 20.

A bunch of people cover a bunch of Christmas tunes

Frank Yang — Sun, 19 Dec 2010 15:09:17 +0000

ICHCI’m not really a Christmas person. I’m certainly not against it or a conscientious abstainer, at least not from its secular aspects, I just do my best to ignore it for the first couple weeks of December until denial gives way to blind panic when I realize I still have too much to do to the degree in which I do participate. Things end up so hectic that actually enjoying the season, whatever that means, is mostly out of the question.

One thing the holidays are good for, though, are covers as everyone and their mother seems inspired to track a seasonal standard or two. The potential downside of this is that the same tunes crop up, year after year, but I think I’ve collected a bunch of more recent/less ubiquitous tunes that will hopefully come across as a little fresher to your ears. Happy statutory holidays, everyone!

Billy Bragg and Florence Welch of Florence & The Machine teamed up for the BBC last year in taking on the Pogues holiday classic. I’ve mixed feelings about Welch’s parts, and not just because Kirsty MacColl can’t be touched – while it’s nice to hear her not overpower things with her voice for a change, the restrained Flo sounds kind of bored. Billy, however, is wonderful as always.

MP3: Billy Bragg and Florence & The Machine – “Fairytale Of New York”
Video: Billy Bragg and Florence & The Machine – “Fairytale Of New York”
Video: The Pogues with Kirsty MacColl – “Fairytale Of New York”

British duo Slow Club gave their debut album Yeah, So? a North American release this year and followed it up with the holiday-themed Christmas, Thanks For Nothing EP last week, which included this terrific cover this Phil Spector tune (performed by Darlene Love) which allows Rebecca Taylor to show off her pipes in a way she doesn’t get to nearly enough.

MP3: Slow Club – “Christmas (Baby Please Come Home)”
Stream: Darlene Love – “Christmas (Baby Please Come Home)”

Another British duo making noise this year was Summer Camp, first thanks to the mysteriousness of their identities and then the retro-pop excellence of their debut EP Young. They got into the Christmas spirit with a cover of the beloved Waitresses tune.

MP3: Summer Camp – “Christmas Wrapping”
Stream: Summer Camp – “Christmas Wrapping”

London’s 6 Day Riot, who released their third record On This Island earlier in the year, wished their fans a merry Christmas with this cover of this Pretenders song which, for my money, is always overlooked/underappreciated when it comes to seasonal songs. It’s one of my very favourites.

MP3: 6 Day Riot – “2000 Miles”
Video: The Pretenders – “2000 Miles” (live)

Bostoninans Wheat are working on their next album, the follow-up to last year’s White Ink, Black Ink, but still found the time to record a couple of Christmas tunes to give away – the b-side is an original composition and the a-side is the song made famous by Judy Garland in Meet Me In St. Louis.

MP3: Wheat – “Have Yourself A Merry Little Christmas”
MP3: Wheat – “It’s Snowing – I Love You”
Video: Judy Garland – “Have Yourself A Merry Little Christmas”

Toronto’s Ohbijou covered Wham!‘s “Last Christmas” as a special treat last year about this time, and yet in the interim it hasn’t been added to the not-quite-definitive index of covers of that song over at www.last-christmas.com. Someone get on that! The band would, but they’re busy making album number three.

MP3: Ohbijou – “Last Christmas”
Video: Wham! – “Last Christmas”

The Rural Alberta Advantage only played this song – which I thought was traditional but actually only dates back to 1941 and was written by Katherine Davis (thanks Wikipedia – this past Thursday night at their hometown show at Lee’s Palace, but it was captured for posterity thanks to Joe at Mechanical Forest Sound. The RAA are set to release album number two in Departing come March 1 and have just been announced as playing the New Year’s Eve show at The Tranzac on, um, New Year’s Eve. Tickets were going fast and will now be going faster.

MP3: The Rural Alberta Advantage – “Little Drummer Boy” (live)

Review of 6 Day Riot’s On This Island

Frank Yang — Wed, 08 Dec 2010 13:36:17 +0000

FacebookI took to watching the British TV show Skins a little while back and in keeping with popular opinion, found the first two seasons to be compellingly done and only mildly ridiculous overall whereas the next generation was rather astoundingly charisma-free and so over the top that even the most outrageous soap opera writers would have gone, “really? You did that?”.

If there was some solace to be taken as I endured the later episodes (once I start watching something it’s very difficult to stop, no matter how bad), it was that the show’s reputation for excellent music direction didn’t waver over the show’s run. A fact which helped remind me that I hadn’t yet written up On This Island, the latest effort from London’s 6 Day Riot, when I heard soundtracking various scenes of English adolescent angst during season four.

Not that there’s anything particularly angsty about On This Island. Like its predecessors Folie a Deux and 6 Day Riot Have A Plan, it’s a frequently jubilant collection of songs that fully exploit the uptempo potential of their ukulele/violin/horn-led folk-klezmer musical recipe book. It’s a sound that’s become more in fashion in recent years, but 6 Day Riot have been at it since their inception and topping it all off with Tamara Schlesinger’s sweet vocals, they’ve crafted their own distinct personality from it. There are moments on the record when they stray from their strengths – some of the slower numbers don’t have the necessary momentum to get them where they need to be – but when on top of their game, as they are on cracking album opener “Take Me” and the sweeping “I Am You, You Are Me”, the results are terrific.

Video: 6 Day Riot – “Take Me”
Myspace: 6 Day Riot

Noah & The Whale are giving away the lead track from their third record Last Night On Earth, due out in March of next year, and a another new song is streaming over at Soundcloud. If these are a good indicator of what the album has to offer, then that nu-folk tag is going to be a thing of the past and that’s fine with me. These tunes are good. They play the Mod Club on March 24.

MP3: Noah & The Whale – “Wild Thing”

Spin presents an acoustic video session with The Joy Formidable, whose full-length debut The Big Roar is out January 24 in the UK and March 15 in North America.

The Futureheads have released a video for their new holiday single. The Surrey Comet chats with guitarist Ross Millard.

Video: The Futureheads – “Christmas Was Better In The ’80s”

The Pipettes are also feeling festive, giving away an MP3 of “Santa’s On His Way” in exchange for your email.

Sky Larkin are giving away another track from their latest Kaleide. The trio also check in with The Daily Growl for their Seven Songs feature.

MP3: Sky Larkin – “Year Dot”

Patrick Wolf gives Clash a glimpse into his state of mind going into the recording of his next record, due out in the early part of next year.

Twin Shadow, whose presence very nearly overshadowed Glasser when he opened for her here last month, will have his own show at The Horseshoe on January 12, tickets $10.

MP3: Twin Shadow – “Castles In The Snow”

Seattle’s Moondoggies – who will do nothing to undermine Seattle’s reputation as a factory for plaid-clad harmony-loving beard-folk – will make an appearance at The Horseshoe on February 2 in support of their debut Tidelands, tickets $10. The Standard-Examiner interviews Kevin Murphy from the band.

MP3: The Moondoggies – “It’s A Shame, It’s a Pity”

The Love Language will be opening for Telekinesis at The Horseshoe on March 6, making the bill doubly pop-tacular. Tickets for that one are $11.

MP3: The Love Language – “Heart To Tell”

The short list for the BBC Sound Of 2011 is up and if nothing else, should offer a bluffers guide to the acts you might be getting sick of hearing about next year. NME has done you the service of assembling download links for each act.

Chapterhouse, Ulrich Schnauss and Fjord Rowboat at Lee’s Palace in Toronto

Frank Yang — Tue, 12 Oct 2010 12:33:01 +0000

Frank YangOne might think that after last weekend’s three-day salute to the ’90s I’d be ready to get back to the 21st century, musically-speaking, but instead last Wednesday night turned the dial on the wayback-machine even further – Chapterhouse was in town. The North American leg of their reunion tour, which began in late 2009, was delayed from May until this Fall due to volcanic ash though the Toronto show was cancelled earlier for reasons unknown. Hogtown was back on for the new dates, however, and at a larger venue no less that was respectably filled. Clearly whatever reason nixed the original date wasn’t lack of interest.

For anyone with even a passing affection for the British shoegazing movement of the early ’90s, it was hard not to be interested – My Bloody Valentine aside, this was the only first-wave shoegaze band in recent memory to reunite, let alone play shows in North America, in well over a decade (if anyone wants to fact-check that statement, feel free). And while Chapterhouse weren’t as seminal – in my eyes/ears, anyways – as the likes of Ride, Slowdive or Lush, their credentials are indisputable and their debut Whirlpool an essential listen for the genre. Which is basically another way of saying, “if you are a shoegaze fan and Chapterhouse come to your town, you go”.

Locals Fjord Rowboat know how that goes, but for them it was “if Chapterhouse comes to your town, you lend them your gear and open for them”. Which they did, and in return got to play an impressive show for probably a more receptive audience than they’ve ever had. I used Chapterhouse as a reference point their 2007 debut Saved The Compliments For Morning and that still holds for the just-released follow-up Under Cover Of Brightness, the band remaining faithful to the spirit of shoegazing while remembering, unlike many modern-day purveyors of the style, that what made the greats great was that underneath the layers of sound, there were solid songs. And in the interests of disclosure, I should mention that Fjord has two former bandmates in their number. High five!

I’d lived the Ulrich Schnauss experience twice before and thought I’d figured out the secret to appreciating his electro-ambient stuff – close your eyes. Then you don’t notice that the entire “live” set consists of Schnauss playing preprogrammed tracks off his laptop while adding keyboards overtop or mixing things in real-time, or at least I assume that’s what he was doing – I couldn’t actually hear anything changing in the mix as he clicked and fiddled. This time his set came with its own visual component – projections of European urban scenes, mostly looking as though they’d been filmed from a moving car, which held ones interest for a while but after they began to loop, one’s attention began to wander. By the end, I had a new way to enjoy Schnauss’ set – as a particularly cosmic soundtrack to a game of iPhone Civilization.

One of the first thing you notice about Chapterhouse is how young they all still look – all five are barely 40 (if even) and frontmen Andrew Sherriff and Stephen Patman still look remarkably boyish. This is less a comment on their skin care regimen than the fact that they were barely into their twenties (if even) when Whirlpool was released and so, returning to Toronto for the first time in nearly 20 years, they still seemed younger than many acts making their debuts. Also setting them apart from many other acts on the road today was the fact that they weren’t out trying to win over new fans or make a name for themselves – if you were there, you knew why and what you were going to get and were just happy to be there. This isn’t to suggest that the bar for performance was lowered at all, but any mistakes or less-than-perfection – and there was some, in the way of feedback (the bad kind, not the good kind), some awkward re-learning of songs onstage and a “Crystal” that wasn’t as tight or together as you’d want – were quickly and easily forgiven.

Instead, it was much easier to focus on the good. There was the seemingly endless rotation of my favourite guitars and the massive sounds the three guitarists coaxed out of them, including Simon Rowe whose status in Mojave 3 is as unclear as the band’s itself and who missed their last tour. There was their cover of The Beatles’ “Rain”, which got a pass on my usual “no Beatles covers please” rule, their pretty much perfect rendering of “Pearl” – more than making up for “Crystal” – and a set list that, while curiously light on their second album Blood Music, delivered almost all of Whirlpool and a selection of b-sides and rarities that they must have known would be appreciated by an audience of the faithful.

While they were hardly monsters of rock onstage, it was hard to imagine that their performances inspired the originally-derisive “shoegaze” label – sure, Rowe stood pretty much stock-still through the set but Sherriff and Patman moved around and hardly glanced at their feet. Of course, unlike many of their peers Chapterhouse have always been as much about the groove as the wall of sound, sometimes referred to as “baggy-gaze” and moving further towards dance and electronic sounds with Blood Music. None of which makes them sound any more contemporary, but no one was here for contemporary. We were here for 1990 and Chapterhouse brought it.

Prefix and The Faster Times have Chapterhouse interviews and Jess Barnett a conversation with Ulrich Schnauss. Exclaim and Panic Manual have reviews of the Toronto show.

Photos: Chapterhouse, Ulrich Schnauss, Fjord Rowboat @ Lee’s Palace – October 6, 2010
MP3: Chapterhouse – “Pearl”
MP3: Ulrich Schnauss – “Passing By”
MP3: Fjord Rowboat – “Carried Away”
MP3: Fjord Rowboat – “Paragon”
Video: Chapterhouse – “Breather”
Video: Chapterhouse – “April”
Video: Ulrich Schnauss – “Medusa”
Video: Fjord Rowboat – “Carried Away”
MySpace: Chapterhouse
MySpace: Fjord Rowboat

Beatroute and The Boston Globe talk to The Vaselines; they’re in town on October 30 for a show at The Horseshoe.

The New York Times, Chicago Tribune, L.A. Record and DCist have feature pieces on Teenage Fanclub.

NPR talks to Stuart Murdoch of Belle & Sebastian. He and his band are at Massey Hall tonight and their new album Write About Love is also out today – the promo TV talk show put together for the record is streaming at PitchforkTV and the performance of “I Want The World To Stop” from said programme has been excerpted as the first official video from the record.

Video: Belle & Sebastian – “I Want The World To Stop”
Video: Belle & Sebastian Write About Love

A track from Idlewild’s latest (and final?) album Post-Electric Blues has been made available to download to mark the album’s North American release today.

MP3: Idlewild – “Younger Than America”

Drowned In Sound has gone a little British Sea Power-crazy, what with the release of the new Zeus EP in advance of next year’s new full-length – they’ve commissioned a number of features from the band, including their top five UK castles, ten things they wish they hadn’t done, the joy of knitting and a guide to keeping amused on the road.

Charlatans drummer Jon Brookes takes to the band’s blog to thank fans for their support as he convalesces from surgery for a brain tumour while Clash talks to frontman Tim Burgess. A track from their new record Who We Touch has been made available to download.

MP3: The Charlatans – “Love Is Ending”

Barry Hyde of The Futureheads tells Spinner they’re planning on releasing an a capella record early next year.

The Fly has a first listen to the new White Lies record Ritual, due out January 17 in the UK.

A whole slew of new videos in the past few days from the other side of the Atlantic – let’s start with Kele, who has a new clip from his solo record The Boxer.

Video: Kele – “On The Lam”

Foals have rolled out a new video from their second record Total Life Forever.

Video: Foals – “Blue Blood”

Mystery Jets have a new short from this year’s Serotonin. eFestivals and MusicOmh also have interviews.

Video: Mystery Jets – “Show Me The Light”

6 Day Riot have a video for the first single from their forthcoming record On This Island, available in the UK on November 1.

Video: 6 Day Riot – “Take Me Out”

Oxford University’s Cherwell talks to Kate Nash, who has a new single to coincide with her North American tour. It kicks off later this month and includes a date at The Phoenix on November 13.

Video: Kate Nash – “Later On”

For whatever reason, the powers that be have decided that the UK video for La Roux’s “In For The Kill”, out for over a year, just won’t cut it for American audiences and have commissioned a new one. I guess their focus groups demanded more snakes, less cars.

Video: La Roux – “In For The Kill” (US)
Video: La Roux – “In For The Kill” (UK)

The Telegraph talks to Duffy, who releases her second album Endlessly on November 30.

Word is Johnny Flynn’s October 18 show at Lee’s Palace has been postponed until mid-November; all other shows on the North American jaunt, including the 19th in Montreal, appear to still be on, so no idea what the problem with T.O. is. Anyone else hear “Kentucky Pill” on last week’s Weeds? Of course not, because no one with any dignity should admit to watching Weeds anymore. Me, I just heard about it. On the Twitter. Yeah.

Spinner talks to Elvis Costello about his new album National Ransom, out November 2. You can download a track from the record at his website.

Norway’s Serena-Maneesh have rolled out a new video from S-M 2: Abyss In B Minor.

Video: Serena-Maneesh – “D.I.W.S.W.T.T.D.”

NPR is streaming a complete show from The Tallest Man On Earth.

Review of Little Boots' Hands

Frank Yang — Wed, 09 Sep 2009 12:19:09 +0000

MySpaceSo Speech Debelle’s Speech Therapy won the Mercury Prize. Guess that shows all the predictors, pundits and bookies who were all Florence this and Bat For that what’s what. After all, before the nominations were even announced back in July, one of the odds-on favourites to win was Little Boots, and she wasn’t even nominated. That’s sort of how 2009 has seemed to go for Blackpool’s Victoria Hesketh – filled with immense expectations that were probably impossible to meet, and thus she was destined to be considered a disappointment no matter what she actually delivered.

And that’s really not fair. Taken entirely on its own merits, without any of the attendant buzz, her debut album Hands is a deliciously catchy collection of slick synth-pop that’s not especially deep, but is also never as vacuous as it could probably get away with considering its primary purpose is encouraging butt moving, not chin scratching. And perhaps that’s where the disappointment comes into it. I suspect that at the start, when Hesketh was making her name with cute and quirky bedroom performances of covers and originals on her YouTube channel, there were some expectations that she could be the thinking indie kid’s diva, crafting soundtracks for the skinny jean set to move awkwardly to.

Even though the initial singles that went onto her Arecibo EP were hardly lo-fi, they had a certain quality – like the slightly lurching, off-balanced throb to the beat in “Stuck On Repeat” – that seemed to imply that was a promise that she could deliver on. So for Hands to be as big and bold as it is could well have been something of a shock. I was certainly surprised at how unabashedly glammy and glossy it is – even after seeing her in full-on dance diva mode at SxSW – but it certainly hits my sugar tooth just right and has been in heavy rotation through most of the Summer. It may be a rather conventional dance-pop record but the hooks are still huge. Occasionally I wonder if I should be feeling guilty about enjoying it so much but if loving “Symmetry”, the duet with The Human League’s Philip Oakey, or the gorgeous shimmer of “Tune Into My Heart” is wrong then I don’t want to be right.

That said, it’s with the final, hidden track of Hands – the title track, no less – that you get a taste of what Hesketh sounds like away from the dance floor, and maybe what the album could have been. It’s a simple track, just voice and piano that contains more genuine personality than much of the rest of the album. It seems like a trifle, a little bit of Kate Nash flair, but somehow sticks long after the album is done. Don’t get me wrong – I have no complaints about Hands at all, but if the next record finds Hesketh stepping out of the disco and going for a contemplative wander through the quiet streets of the city, that might not be a bad thing at all.

In addition to Arecibo, Little Boots’ North American discography contains the Illuminations EP but not the full-length – it’s been given a vague “Fall 2009″ target release date but the fact that it hasn’t hit the streets on the even of her first North American tour may be more evidence that some aren’t finding her to be the massive success they were expecting. Savages. Regardless, the jaunt begins this coming Monday night here in Toronto at Wrongbar and I am pretty certain that show will not disappoint in any way.

I Like Music and Portsmouth Today have interviews with Hesketh.

MP3: Little Boots – “Love Kills” (Buffetlibre vs Sidechains remix)
MP3: Little Boots – “Meddle” (remix)
Video: Little Boots – “Remedy”
Video: Little Boots – “New In Town”
MySpace: Little Boots

The Guardian talks to Natasha Khan of Bat For Lashes, who I still maintain has the best of all the Mercury-nominated albums this year.

La Roux, who also didn’t win the Mercury, has a new video from the nominated self-titled album. Elly Jackson talks to The Daily Star and BBC and have a date at the Guvernment on October 23.

Video: La Roux – “I’m Not Your Toy”

Spinner talks to Manic Street Preachers’ James Dean Bradfield about the problems that beset their last North American tour in 1999. Here’s hoping things go much better this time around, when they bring the ought-to-have-been-Mercury-nominated Journal For Plague Lovers, getting a domestic release come September 15, across the pond. They’re at the Phoenix on October 4.

Former Mercury nominee Richard Hawley will release his newest Truelove’s Gutter on September 22. There’s a video for the first single and the whole record is like a long, sustained swoon. Which is to say it’s lovely. Hawley chats with The Huddersfield Daily Examiner about the new record.

Video: Richard Hawley – “For Your Lover, Give Some Time”

Micachu & The Shapes have a new video. Look for them at the El Mocambo on September 29.

Video: Micachu & The Shapes – “Turn Me Well”

The Twilight Sad goes through Forget The Night Ahead track by track for The Skinny. The record is out September 22 and they play The El Mocambo on October 10.

The Sunday Mail has a quick chat with We Were Promised Jetpacks, also on that Twilight Sad tour and at the ElMo that night.

Noah & The Whale, whose new one First Days Of Spring is getting some solid praise, will be returning to North America including a Hallowe’en date at the Horseshoe in Toronto on October 31, tickets $15. Come dressed as your favourite Wes Anderson character! Actually, don’t – I am envisioning attending this gig surrounded by Richie and Margot Tenenbaum wannabes and it terrifies me. The album is out domestically on October 6.

Video: Noah & The Whale – “Blue Skies”

6 Day Riot have rolled out a new video from 6 Day Riot Have A Plan. I have an interview conducted with the band back in March I still have to finish transcribing. I so suck.

Video: 6 Day Riot – “O, Those Kids”

Los Campesinos are giving away a free track. Just because.

MP3: Los Campesinos! – “The Sea Is A Good Place To Think Of The Future”
Video: Los Campesinos! – “The Sea Is A Good Place To Think Of The Future”

Massive Attack prepare for the release of a new EP entitled Splitting The Atom, out October 6, by talking to Spin, Under The Radar and Spinner, the last of whom also have a stream of a new song. There’s also streams of new stuff at Stereogum and The Guardian.

Clash interviews Milo Cordell of The Big Pink. A Brief History Of Love is out September 22, they’re at Lee’s Palace on November 29.

The Quietus and Drowned In Sound chat with Bob Stanley of Saint Etienne about the deluxe reissues of Foxbase Alpha and Continental and the Britpop days of yore.

Chuck Klosterman examines the Beatles reissues – out today, in case you hadn’t noticed the media saturation – for the AV Club.

Patrick Wolf, Living Things, Plastiscines and Jaguar Love at The Mod Club in Toronto

Frank Yang — Fri, 19 Jun 2009 14:07:54 +0000

Frank YangSure, it was billed as the Nylon Summer Music Tour, implying a traveling roadshow with all performers on some sort of equal footing, but everyone knew that this was the Patrick Wolf tour and the other three acts were just the openers. Or at least that’s what I’d thought going into Wednesday night’s stop at the Mod Club in Toronto – and even if the audience was on board with that train of thought, it was obvious from the get-go that the bands didn’t necessarily agree and were set to make the most of their time on stage to win over the Wolf disciples.

Lead-off hitters Jaguar Love seemed to me the most curious additions to the bill, at least considering their pedigree. Formed from former members of The Blood Brothers and Pretty Girls Make Graves, I thought they might be too loud or aggro for the crowd, not that I really had a notion of what the very much all-ages crowd were expecting. But my preconceived notions went right out the window when the duo, backed by beats off a laptop, tore into their set of super-energized, adrenaline-infused party rock. Singer Johnny Whitney and guitarist Cody Votolato were in constant motion, the former belting it out with his remarkable classic rock wail while the latter never stopped riffing the hell out of his Rickenbacker, whipping the crowd into a frenzy that you never see at a show at 8PM. Not once but twice did the duo leap into the audience, never missing a beat, and quite literally got this party started right. Absurdly fun, it was evident that anyone hoping to be able to stand back and have a nice, passive night out was at completely the wrong show.

Any momentum built up from the opening set, however, ground to a halt before France’s Plastiscines took the stage. Though you think that the tour would have had the routine for switching between sets down to an art by this point, it seemed that each band member was having some sort of mic or equipment problem that turned into a 30-plus minute wait to get sorted out. By the time they were ready to go, the natives were a bit restless and the quartet probably had more than their share of work cut out for the to win the house over. The Plastiscine recipe is pretty straightforward – four attractive French girls playing what would be considered garage rock if it weren’t so immaculate-sounding. Think The Donnas with less rock attitude and slightly more poppy gleefulness. Perhaps the snarliness will develop as they become more seasoned – though not awkward, per se, they were still a bit reticent in performance. Perhaps counting on our alleged bilingualism, they addressed the crowd in French and whether they were actually understood or not, it got a positive response, as did their charming if predictable cover of Nancy Sinatra’s “These Boots Were Made For Walking”. Despite the rough start, they were able to shake off the delay and turn in a good set that steadily improved and finished on a high note.

If the Plastiscines were lacking in genuine rock grit, the quota was more than made up for by St Louis’ Living Things. With a singer that looked like some genetic crossing of Ian Astbury, Iggy Pop and Richard Ashcroft, they served up good, old-fashioned rock laden with attitude and a healthy dose of photo-friendly posing. Musically it wasn’t the most distinctive stuff you’d hear, but the delivery was just right and the performance engaging – literally. The band pulled audience members onstage to dance and gyrate with them and also leapt into the crowd, not the first act of the night to do so nor would they be the last, but they definitely ratcheted the already-high energy level up another notch, and set the table nicely for the headliner.

Oh, Patrick Wolf. Seen him twice before, and even when you think you know what to expect, you never know what to expect. Given the darker tone of his latest excellent album The Bachelor, a heavier approach was likely – and this was borne out when he stepped out in an giant black… I don’t even know what the hell he was wearing, but rather than pick up his viola or ukulele, he strapped on a decidedly rock-correct Flying V electric guitar before tearing into “Oblivion”. He didn’t do much with it besides play one-finger barred power chords – no shredding solos, thanks – but symbolically, it set the tone for the show.

As dramatic as his recordings are, they pale compared to Wolf the live performer. Every move, every sound, is rich with theatricality and imbued with his intense and mercurial personality – it might come across as ridiculous if he wasn’t so utterly committed to it, and his fans are no less devoted to him. They hung on every syllable, every note and shrieked with every piece of clothing shed. Personal highlights were an intense “Count Of Casualty” (disrupted a bit by some idiot screaming, “Afghanistan!” behind be through the extended outro) and the string-laden “Damaris” – I realize that the the sound was far too lush for just the violin and viola being played live, implying some pre-recorded enhancement, but who cares – it sounded amazing. As the show progressed, he got progressively more undressed until around 50 minutes into the show, when down to just suspenders and his lederhosen, he started into “Tristan” from Wind In The Wires and just a minute or so in, abruptly declared the stage monitors to be the worst he’s had all tour and stormed off stage. After a few awkward bars, his band stopped and followed him off.

It was unclear whether this was it, a most disappointing end to what had been a terrific night, or if he might return to at least give one last song and say goodbye. Hopes were raised when the crew came out and began re-soundchecking the stage setup and after about 10 minutes, the tour manager apologized and said that Wolf would be back in a moment. And it seemed that Wolf had taken the unscheduled intermission to raid the costume closet, because when he did return to the roar of the house, it was clad in an undone shirt and a leather thong. Appropriately, the band kicked off the unusual encore with “Hard Times”, Wolf taking full advantage of the Flying V’s phallic imagery, and then he went to the keyboard for the crowd-pleasing “Magic Position”. Considering that that had been the show-closer for the rest of the tour, most were probably expecting that it was the finale, the show salvaged with a proper finish, but Wolf wasn’t done – not by a long shot. He then tore into a gloriously aggressive “Accident & Emergency”, then shed the shirt – just the thong now – and put on a bizarre knit headdress and collar for a stirring, “Who Will”. Any one of these could have been a fitting finale, but Wolf was apparently dead set on making up for his earlier outburst – say what you will about his diva-ish tendencies, but the man will not let his fans down and for that he deserves respect.

After a lengthy monologue to the crowd about how much Toronto means to him – not just lip service, the city and its residents were a great influence around the era of The Magic Position – and also announcing he was going to get married soon and Patrick “Wolf” would be no more as he would take his husband’s surname, he nearly stripped off the thong while mocking his body and demanded that the pictures go on the internet (happy to oblige). And then donning a giant feathered vest, he tore into a ferocious reading of “Vulture” which saw him leap off the stage and onto the bar running down the length of the room, singing all the while, and then into the audience basically inciting a riot. Though breathless at the end of it, he had enough left for one more mosh – the even more chaotic “Battle” – before climbing back on stage to serenade a bit of “My Heart Will Go On” as a farewell.

And then that was the end of the show. After looking like he was going to cut the show short, Wolf extended it to a near-marathon. Bizarre and unforgettable, it was easily one of the most manically wonderful and bewildering performances I’d ever seen. Overheard as we staggered out of the club was, “what the hell was THAT?” That, anonymous concert compatriot, was Patrick Wolf.

Wolf gave Black Book a listing of his favourite spots in London. NYLON blogged the Toronto show and Chart was there, but left when Wolf did (the first time around). Panic Manual wisely stuck around.

Wolf promised to return later this year, and it’s a shame that he probably won’t choose to play the Mod Club again, given his disdain for their sound system because Wolf’s stage show plus the gorgeous lighting at the club makes for some great photos. Slightly NSFW depending on your work’s tolerance for sweaty, pasty white British asses.

The Daily Growl solicits a seven songs list from Fanfarlo.

6 Day Riot have completed the first video from their forthcoming album 6 Day Riot Have A Plan, due out July 6.

Video: 6 Day Riot – “Run For Your Life”

Decider talks to Adam Franklin, who is playing the El Mocambo on July 6.

The Quietus has an interview with Elly Jackson of La Roux. Her self-titled album is out June 29 and she has a gig at the El Mocambo on July 31.

Spinner’s Interface welcomes Sigur Ros to their studios.

Jeff Tweedy of Wilco chats with The Las Vegas Sun. Wilco (The Album) is out on June 30.

The Star-Tribune talks to Colin Meloy of The Decemberists. They’re at the Kool Haus on August 3.

NxNE announces 2009 lineup

Frank Yang — Tue, 12 May 2009 12:26:48 +0000

Aubrey EdwardsI believe it’s traditional that on one’s birthday, one should be fed and watered profusely on someone else’s dime. So that’s exactly what I did last night, for my 34th, and it was all courtesy of NxNE. It wasn’t a party just for me, of course. The festival was having their kick-off press conference wherein they promised to announce “all” the bands playing this year’s to-do, taking place June 17 to 21 around Toronto, a feat which would have been impressive to see since the reading off of hundreds of band names could have been one of the more stultifyingly dull things I’d ever be able to witness.

But as it happens that wasn’t the game plan. Instead, they announced the bigger names who’d be performing the festival, which would have been great… if they weren’t the same names they’d already announced on the website last month. Don’t get me wrong, having the likes of Black Lips, Matt & Kim and No Age and Woodpigeon playing is nothing to shake a stick at, and one name that hadn’t been previously announced and raised an eyebrow was Seattle garage rock legends The Sonics, who will close out the outdoor stage at Yonge-Dundas Square on the Saturday night, June 20. But it’s just that I thought with a big media event they’d have held onto a few surprises to get people excited.

And while it was a bit of an anticlimax in that regard, it doesn’t change the fact that there’s a pretty solid lineup descending on the city come mid-June including a lot of great domestic acts – many of them the usual suspects, sure, but that doesn’t make them less great. And I suppose I got my big pleasant surprise of the festival a couple days ago when I got an email from Austin trio Ume informing me they’d be coming to town for NxNE. Ume, you may or may not recall, were one of the best things I saw at SxSW back in March – a trio led by the guitar heroics of Lauren Larson who balanced pop hooks and sweet female vocals with crazy heavy riffing. I had thought I was going to have to wait until next Spring to see them again, the odds of them touring all the way up here seemed beyond remote but hey, here they come. They’ll be playing Neutral on Thursday the 18th at 10PM – not sure what else is going on that night at that time, the festival schedule is still forthcoming, but I can tell you right now that this will be one of the best bets for that night, if not the whole weekend. They’ve got a couple releases – a 2005 album in Urgent Sea which is decidedly rougher and heavier than their new most excellent Sunshower EP – also check out their SxSW WOXY session. And it’s pronounced “ooo-may”, which you’ll need to know for when people ask you what was the best new thing you saw at NxNE was.

MP3: Ume – “The Conductor”
MP3: Ume – “Wake”
Video: Ume – “The Conductor”
MySpace: Ume

Harbourfront Centre has also released their World Routes 2009 schedule, and the highlights (some previously announced) would appear to be the Constantines show on Canada Day (though Chad Vangaalen isn’t listed, all indications are he’s still playing as well), Holy Fuck with Winter Gloves for Beats, Breaks & Culture on July 10, and Jenn Grant, Gentleman Reg and Amy Millan as part of Canadian Voices the weekend of July 24 and 25. And as always, these shows are free free free.

Amos The Transparent will be at the Horseshoe on May 22 in addition to their June 18 NxNE show at the Drake Underground. They have a new EP out called My, What Big Teeth You Have… and are encouraging the existence of Amos The Transparent cover bands by putting lyrics and chord sheets for their songs on their website.

And if NxNE proper wasn’t going to keep me busy enough that week, there’s also the big-deal shows on the preceding days. Music Snobbery has an interview with Phoenix, whose Wolfgang Amadeus Phoenix is out May 29 and who play the Phoenix on the Monday, June 15.

And then you’ve got Patrick Wolf at the Mod Club a couple days later on Wednesday, June 17. The Sunday Mail talks to Wolf, whose The Bachelor is out June 1 in the UK and August 11 over here. I do believe I’ll be taking some time off from work that week. Yes I do.

As mentioned in last month’s writeup of Neko Case’s sublime Trinity-St Paul’s show, she’s coming back this Summer and details of said performance have been announced. Case will play Massey Hall on July 14 with tickets going for $29.50, $35.50 and $40.50. Presale goes tomorrow morning at 10AM with the password available at www.atgconcerts.com while the public on-sale begins May 15 at noon.

MP3: Neko Case – “Middle Cyclone”
MP3: Neko Case – “People Got A Lotta Nerve”

And if you’re looking for something damn near the opposite of Neko Case that night, you may want to consider seeing Micachu & The Shapes at the El Mocambo the eve of July 14. I (and the MBV posse) reviewed their debut album Jewellery back in March and as confounding as I found it, I can’t say that I won’t be at this show rather than see Case again. Can’t say that I will, but it’s not a no-brainer. Tickets $12.

MP3: Micachu & The Shapes – “Lips”

At long last, Frightened Rabbit are no longer frightened of Toronto and will play their own headlining show on July 22 at the Horseshoe, tickets $13.50 – book it.

MP3: Frightened Rabbit – “The Modern Leper”
MP3: Frightened Rabbit – “Head Rolls Off”
MP3: Frightened Rabbit – “Old Old Fashioned” (live)

Jack White’s new band – the Alison Mosshart-fronted Dead Weather – will be taking their debut album Horehound, out June 16, on the road and stop in at the Kool Haus on July 22.

Video: The Dead Weather – “Hang You From The Heavens”

The Walkmen have a date at Lee’s Palace on July 24, Cass McCombs supports.

Video: The Walkmen – “In The New Year”

NPR is streaming the whole of John Vanderslice’s new record Romanian Names, which is due out next week. He plays the Horseshoe on July 10.

Stream: John Vanderslice / Romanian Names

Good Radio Dept news for me – they’re playing a second show, albeit a short one, this weekend at NYC Popfest on Friday night at Don Hill’s in Greenwich to go along with their main gig on Saturday night at Bell House. Double the Radio Dept! Good Radio Dept news for everyone – they’re releasing a new EP on June 23 entitled David, hopefully a sign that Clinging To A Scheme will be out soon thereafter. Of course, I thought the same thing for last year’s Freddie & The Trojan Horse EP… but think positive!

Stuart Murdoch talks to Pitchfork about his God Help The Girl project, the album for which will be released on June 23. They are also soliciting subscriptions to the project, which will get you a steady stream of physical and digital goodies sent to your mailbox and inbox over the next few months.

Hooves On Turf recorded a video session with Fanfarlo back during SxSW, which is now online. The band are going to be giving their brilliant Reservoir album a more-proper retail release in the UK soon, but for everyone else, ordering it direct from the band is still the best way to get it, which you really really should.

MP3: Fanfarlo – “Pilot”

Avenue 61 interviews 6 Day Riot, last year’s top find of NxNE. Their new album 6 Day Riot Have A Plan will be out on July 6 in the UK.

The Los Angeles Times and Reuters talk to James Mercer of The Shins.

6 Day Riot, An Horse and more at Canadian Musicfest

Frank Yang — Mon, 16 Mar 2009 12:12:27 +0000

Frank YangYou know what they say about the best laid plans, right? Well I should have known after assembling my complete itinerary for Canadian Musicfest last week (I’ve opted to not be difficult and just accept the new branding), it would get – if not thrown out the window then at least shaken up significantly.

Thursday night started as intended, at the Silver Dollar to see Ketch Harbour Wolves, but I’m sad to report that their live show failed to impress the way their recorded output has. Whereas on tape they manage to channel their dramatic impulses in a way that made for compelling songs, on stage it manifests itself in rather dubious stage moves and general melodramatic hamminess. I’m sorry but there’s no place for dramatic arm motions, air grabs or pointing at the audience. There’s just not. Their actual musical performance was quite good, but I couldn’t get past the presentation.

Photos: Ketch Harbour Wolves @ The Silver Dollar – March 12, 2009
MP3: Ketch Harbour Wolves – “Words”
MP3: Ketch Harbour Wolves – “Leaves”
MySpace: Ketch Harbour Wolves

There was no disappointment, thankfully, for the return to these shores of London’s 6 Day Riot, who did dazzle at NxNE last year. With a new album in the can and set for a June release, the band mixed in a batch of new songs with the familiar. For the unfamiliar, imagine a heady brew of folk and pop made with tom-heavy rhythms, klezmer horn lines and Tamara Schlesinger’s strong and sweet vocals. It was heartening to see that a healthy audience had gathered to see them and though they stayed a typically Torontonian distance back from the stage, they seemed to be won over. And to me, even without the thrill of discovery that came with their show last year, it was still just loveliness.

Photos: 6 Day Riot @ Rancho Relaxo – March 12, 2009
Video: 6 Day Riot – “Go Canada” (live on Muzu.tv)

It was at this point I was supposed to dash out and hop in a cab to the Gladstone to catch The Week That Was, but the fact that they’d had a 1AM Saturday show added to the sched and I was just feeling lazy kept me at Rancho a bit longer. And it was also an opportunity to see Megan Hamilton & The Volunteer Canola, whom I’d been meaning to see since first catching her open for My Morning Jacket way back in 2005. What can I say, I’m slow about stuff sometimes. And in the interim, her sound has evolved from a plaintive, high lonesome country-folkiness to a more electrified sound that almost borders on bar-rock boogie at points but manages to stay distinctive thanks to Hamilton’s just slightly off-kilter vocals. Her new album See Your Midnight Breath in the Shipyard is out April 7 and has a slew of shows in the city and surrounding regions in the next few months – check out her MySpace for specifics.

Photos: Megan Hamilton & The Volunteer Canola @ Rancho Relaxo – March 12, 2009
MP3: Megan Hamilton – “Cat Tail Legs”
MP3: Megan Hamilton – “Detroit”
MySpace: Megan Hamilton & The Volunteer Canola

And that was it for day one. Anything else that had my interest was simply too out of the way for someone who had to work the next morning so I called it at three and headed home. And that brevity is why I’m also diving right into Friday night with this post. A night which, once again, began at the Silver Dollar.

The draw was Montreal’s Little Scream, whom I saw in January supporting Land Of Talk. And while she still has no internet presence to speak of – Google led me back to my own review – she hasn’t been idle in the intervening months, having traded in her acoustic guitar for an electric. And though she had already been amplifying and distorting the acoustic, the shift to a solidbody instrument did seem to give her a more visceral sonic presence – maybe it was the knowledge that she could beat on it and not worry about damage. And still, I can’t figure out what I find so compelling about this performer – she seems simultaneously distracted and focused, folkish and pure rock. Maybe once she gets some samples online someone can tell me what I’m hearing. Until then, I guess I’ll just keep seeing her live and trying to figure it out for myself.

Photos: Little Scream @ The Silver Dollar – March 13, 2009

From there, it was time for what would be my only foray from the Spadina-College corridor the entire weekend, to see An Horse at the Tranzac. The Australian duo had just appeared on Letterman a few nights earlier and it was tough to say if that had translated into extra interest in their showcase – I think it’s safe to say that the wide-eyed front row, decked out in An Horse t-shirts and clutching items for autographs, had had this date circled on their calendars for a while regardless. Playing songs from their debut Rearrange Beds, getting a North American release tomorrow, the duo were nothing short of impressive. Though their formula is as simple as it gets – guitar and drums and not even any soloing – and executed just as simply with dry, barre chord guitar work and straight-ahead, driving beats. But the songs are terrific – compact and hook-laden, occupying that space at the edge of anxiety yet not becoming angst and delivered in Cooper’s charmingly thick accent, a winning combination. And full props to the pair for not losing momentum when Cooper’s mic attempted to electrocute her early on in the show. An Horse will be back in town April 21 for a show at the Horseshoe with The Appleseed Cast. Attendance recommended.

Photos: An Horse @ The Tranzac – March 13, 2009
MP3: An Horse – “Postcards”
Video: An Horse – “Camp Out” (live on Letterman)
MySpace: An Horse

And here, again, is where I went off-schedule. I had intended to hop on the streetcar back to the Silver Dollar for The Darling DeMaes but Mike from For The Records convinced me to accompany him down the street to Central for French act Angil & Hiddentracks, about whom I knew nothing but hey – isn’t that part of the point of festivals like this? And if nothing else, they take the prize for most confounding act of the festival (from my limited sampling). Their ethos seems to be as willfully eclectic and lyrically absurd as possible, mashing together rock, jazz, classical, hip-hop, whatever, with a distinct Mark E Smith-ish style into something that, if nothing else, was certainly distinct. A few of their songs appealed but unsurprisingly, they were the more conventional compositions and made me suspect I was missing the point.

Photos: Angil & Hiddentracks @ Central – March 13, 2009
MP3: Angil & Hiddentracks – “Trying To Fit”
MP3: Angil & Hiddentracks – “Narrow Minds”
MySpace: Angil & Hiddentracks

At that point, I called it a night. That’s right, two days, six acts. Hardly a marathon, I know. I did better on Saturday by a fair margin, but I’ll get into that tomorrow.

A look ahead to Canadian Music Week/Fest

Frank Yang — Tue, 10 Mar 2009 12:18:37 +0000

Ian WestCanadian Music Week – sorry, Canadian Musicfest, as the showcase component has now been renamed – is a tricky time for me, because as much as I’d like to take in as much of the shows on offer as possible, I need to be mindful of saving energy for the big show – SxSW – the following week. To this end, I tend to be very particular about what I choose to see during CMW/F, avoiding if I can bands I’ve seen or can easily see again. Ironically, this usually means I don’t see all that much Canadian music during Canadian Music Week.

One of the acts definitely circled on the schedule is Sunderland, UK outfit The Week That Was, whose main claim to fame is being the spinoff project from Field Music drummer Peter Brewis. My interest in this band surprises me a bit because though I tried, I was never able to get into Field Music. Their attempts to meld prog rock and folk just sounded too studied and wasn’t able to connect, but after seeing their self-titled debut show up on more than a few 2008 year-end lists, I decided to give the new band a shot and it was a wise choice. The Week That Was sheds those more rustic touches and more fully embrace the rock – the drums are thunderous – without abandoning Field Music’s quirky musical sensibilities. TWTW feels more like a band than a project, so it just figures that this North American jaunt is their swan song, at least for the foreseeable future – the Brewis brothers are getting Field Music out of mothballs. Here’s hoping they bring some of the looseness of The Week That Was back to the mothership.

The Week That Was have two shows in Toronto this week – one at 11PM on Thursday, March 12 at the Gladstone Hotel and another at 6:30PM at the Mod Club opening up for The Ting Tings. The former is part of eye‘s three-night throwdown at the Gladstone and as such, they’ve got an interview with the band. Update: And apparently The Ting Tings have taken offense with the non-reverential tone of Brewis’ interview and have booted The Week That Was off the bill for the Mod Club show. But they will still be kicking it Saturday night, now at the El Mocambo at 1AM.

MP3: The Week That Was – “Scratch The Surface”
MP3: The Week That Was – “Learn To Learn”
Video: The Week That Was – “Scratch The Surface”
Video: The Week That Was – “Learn To Learn”

For the curious, the rest of my CMF schedule looks a little like this:

Ketch Harbour Wolves (Thursday, March 12, 9PM @ The Silver Dollar) – Toronto combo whose debut EP impressed last year and whose follow-up (available for free download on their site) was I Heart Music’s co-album of the year for 2008. That’s no faint praise.

MP3: Ketch Harbour Wolves – “Words”
MP3: Ketch Harbour Wolves – “Leaves”

6 Day Riot (Thursday, March 12, 10PM @ Rancho Relaxo) – The highlight of NxNE 2008, this London outfit is returning to Canada to win over Toronto once again and preview material from their forthcoming second album Have A Plan, targeted for a June release. They’re also playing at 1AM on Saturday, March 14, at Bread & Circus.

The Week That Was (Thursday, March 12, 11PM @ The Gladstone) – see above

Little Scream (Friday, March 13, 8PM @ The Silver Dollar) – One-woman Montreal act who made an impression opening up for Land Of Talk back in January. And still no website of any kind.

An Horse (Friday, March 13, 9PM @ The Tranzac) – Australian guitar-and-drums duo whose debut Rearrange Beds is set for release on March 17. Scrappy and catchy, they could be good. Actually, make that “should”. Hell, I’ll even commit to “will”. The Badger Herald has an interview and Filter has more North American tour dates, they they got a little “!”-happy, only the March 24-27 dates are with Wintersleep. An Horse are also appearing on Letterman the evening of the 11th.

MP3: An Horse – “Postcards”

The Darling DeMaes (Friday, March 13, 10PM @ The Silver Dollar) – Alternately folky and noirish, this Montreal band were initially a random selection so that I didn’t end up going home at 10PM on a Friday evening (not that I would have minded that) but I’m now actually quite interested to see/hear them and find out which side of them shows up. Their EP is up for grabs for free on their website.

MP3: The Darling DeMaes – “With A Magnifying Glass”
MP3: The Darling DeMaes – “A Day In Her Life”

We See Lights (Saturday, March 14, 8PM @ Bread & Circus) – They’re Scottish, and let’s be honest – all things being equal that’s probably enough to get me out to see you. There’s also a lot of them and have that sort of earnest folky cacophonous thing going on. They’re also playing on Thursday night at 9PM at Rancho Relaxo.

MySpace: We See Lights

Sofia Talvik (Saturday, March 14, 9PM @ Bread & Circus) – Swedish artist who recorded a duet with Bernard Butler before he became producer to the stars. Her fourth album Jonestown has its share of standard singer-songwriter fare, but also enough standout material to merit attention.

MP3: Sofia Talvik – “My James Dean”
Video: Sofia Talvik – “It’s Just Love” (with Bernard Butler)

The Morning After Girls (Saturday, March 14, 10PM @ The Tranzac) – Australian drone-rockers who didn’t impress too much with their first record compiling early EPs, but the new stuff from their forthcoming album Alone, due in May, sounds a lot more dynamic and interesting. Grab a download at RCRDLBL.

Video: The Morning After Girls – “Shadows Evolve”

The Assistants (Saturday, March 14, 11PM @ Neutral) – It’s jangly, homegrown power-pop. Can you go wrong? I certainly hope not.

MP3: The Assistants – “Fiction”

Obviously what I plan to see is not all that I endorse. Here’s some randomness with other bands playing the festival and worth your time:

eye talks to Angela Desveaux, who’s playing the Gladstone on Thursday at 10PM.

I Heart Music has uploaded a session from late last year with Jenn Grant. She’s at the Reverb at midnight on Saturday night.

Handsome Furs, who are the reason you won’t get into the Horseshoe anytime past 9PM let alone just before their midnight set Friday evening, have a new video from Face Control, which is out this week. Chart talks to Dan Boeckner about the new record (and again), which is currently streamable.

Video: Handsome Furs – “I’m Confused”
Stream: Handsome Furs / Face Control

Radio Free Canuckistan, Xtra and Chart have interviews with Gentleman Reg, who helps anchor the Thursday night lineup at the Horseshoe with an 11PM set.

The Toronto Star talks to Malajube, closing out the Sirius Satellite Radio showcase at the El Mocambo on Thursday night at midnight.

And while it’s not technically a CMW/F show, it’s certainly in the spirit of and features bands participating in – I speak of a matinee show on the Saturday, March 14 at the Trash Palace (converted theatre near Bathurst and King W) featuring The Rural Alberta Advantage, Dinosaur Bones, Great Bloomers and Peachcake. It’s an all-ages gig, starts at 2, over by 5 and admission is $6. And your fancy-pants CMF wristband won’t count for jack.

Review and giveaway of A.C. Newman's Get Guilty

Frank Yang — Tue, 20 Jan 2009 13:15:49 +0000

Caleb BuyersLet’s be honest, there’s not a lot of reason for there to be a Carl Newman solo record. The man is the chief songwriter in The New Pornographers, an outfit that turns out material at a pretty decent rate all things considered, and it’s not as though he has a metal jones to itch that wouldn’t work in the context of the Pornographers – when he puts on the AC Newman hat, he’s still the consummate popsmith.

But the whys and wherefores are his business – for the rest of us, there’s no sense in looking a gift horse in the mouth. And in this case, that gift is entitled Get Guilty. Like 2004′s The Slow Wonder, any of the songs on Guilty could have easily appeared on a Pornographers record but unlike that record, which seemed to deliberately apply a more traditional rock band ethos to the proceedings, Guilty seems more willing to incorporate the more ornate flourishes that you’d associate with a proper Pornographers release.

That said, without having to balance out the large cast of players in the Pornographers, the AC Newman experience is leaner and punchier – more of a raiding party than the mothership of the New Pornographers. And for those wondering where all the fast songs that weren’t on Challengers went, well, at least some of them are here – “Like A Hitman, Like A Dancer” and “The Palace At 4AM” have a rhythmic drive and energy that hasn’t really been there on the last couple Pornographer records. Of course, whether they’d have fit is another discussion altogether – the important things is that they’re here now and they’re excellent, as is pretty much all of Guilty.

Get Guilty is out today, and courtesy of Last Gang Records, I’ve got copies on CD to give away to five lucky Canadians (sorry Americans, you’ll have to console yourselves today with a new president). To enter, leave me a comment below telling me something you’re guilty of and make sure your email is there, spam-proofed as need be, so I can contact you. Contest closes at midnight, January 26. Also remember that AC Newman are heading out on tour in February, including a March 11 date at Lee’s Palace in Toronto.

NPR has a short interview with Newman, Magnet a longer one, and Allmusic has traced out his musical history from the early days with Superconductor through to the present. Update: Stereogum has another live session video from Newman to follow up the one premiered at Pitchfork last week. Update 2: The whole album is streaming at Spinner.

MP3: AC Newman – “There Are Maybe Ten Or Twelve”
MP3: AC Newman – “Submarines Of Stockholm”
Stream: AC Newman / Get Guilty
MySpace: AC Newman

Co-Pornographer Neko Case will release Middle Cyclones on March 3 and blow into town for two dates at Trinity-St Paul’s on April 17 and 18. Tickets for each of those shows are $35.50.

MP3: Neko Case – “People Got A Lotta Nerve”

And Neko’s ex-Boyfriends The Sadies will be Jon Langford’s band when he plays the Horseshoe on February 27 – tickets are $12.50 and that gets you not one but TWO sets of country rocking goodness.

Not your speed but still seeking something to do that night? The Music Tapes, featuring ex-Neutral Milk Hotelier Julian Koster, will be at Lee’s Palace that same night in support of last year’s Get Guilty. Like 2004′s Music Tapes for Clouds and Tornadoes. Tickets also $12.50.

MP3: The Music Tapes – “Majesty”
Video: The Music Tapes – “Majesty”
Video: The Music Tapes – “Ministry Of Longitude”

There’ll be a lovely little show taking place at The Central in Mirvish Village next Thursday night, January 29, featuring the songwriters from a few of Toronto’s finest bands in a solo and acoustic setting – Casey Mecija of Ohbijou, Kat Burns of Forest City Lovers, Jonas Bonnetta of Evening Hymns and Gavin Gardiner of The Wooden Sky. Admission is pay-what-you-can.

The Coast are heading over to the UK for some dates next month and Clash has not only conducted a feature interview with the the Toronto boys, but set up a fancy little microsite about the band. And they’re making available to download a Born Ruffians remix of “All The Boys” from Expatriate.

MP3: The Coast – “All The Boys” (Born Ruffians remix)

The schedule for Canadian Musicfest (why do I think I’m going to be the only one not calling it Canadian Music Week?) is partially up, and by partially I mean barely. But there’s still some good information on lineups now available, foremost those of the Chart-sponsored shows at the Horseshoe. And they’re kinda stacked. Just a little. Thursday, March 12 you’ve got Chad Van Gaalen, Gentleman Reg, Women, $100, The Lovely Feathers, The Delinquints and Quest For Fire. The Friday night bill will be led by Handsome Furs and also feature Human Highway, The Bicycles, Daniel Wesley, Dinosaur Bones, Hot Panda and The Schomberg Fair. And finally, Saturday will wrap things up with The Golden Dogs, Two Hours Traffic, Young Galaxy, Rebekah Higgs, The Hundreds And Thousands, Vancougar and Hexes & Ohs. Admission to these shows is via CMF wristbands and needless to say, get there early. Of course, once in you probably won’t be able to leave but really, why would you want to?

But if you do, there’s a few other dates and venues to note. Malajube, who will release Labyrinthes on February 10, are at the El Mocambo on March 12. That same night both Angela Desveaux and The Rural Alberta Advantage are at the Gladstone and 6 Day Riot are at Rancho Relaxo. On the Saturday, Basia Bulat and Herman Dune are at Lee’s Palace while The Ting Tings are at the Mod Club. Still more to come, obviously, but things look to be shaping up alright.

Joel Plaskett will play Massey Hall – yes, Massey Hall – on May 23. Tickets from $29.50 to $39.50.

BlogTO talks to the members of Bruce Peninsula, who have a string of local dates surrounding the February 3 release of A Mountain Is A Mouth. There’s a January 31 date at the Horseshoe, a February 4 in-store at Soundscapes and the February 22 album release party at the Polish Combatants Hall.