hopesandoval.com

Also promised at the time was a tour to support the new record, and Under The Radar has a goodly number of the North American dates, though the gaps in the schedule imply there might be some more to come. Locals will be pleased to see she’s got a Toronto date at the Mod Club on October 7, her first appearance in these parts since an August 2002 date at Lee’s Palace which got some mixed reviews but of which a recording exists.

And speaking of recordings, Entertainment Weekly is streaming a new song from Through The Devil Softly to go along with the MP3 which was previously released. Update: Actually that EW track is also now available to download.

MP3: Hope Sandoval & The Warm Intentions – “Trouble”
MP3: Hope Sandoval & The Warm Intentions – “Blanchard”

Also with a new album out on September 29 are The Avett Brothers, who will be releasing their latest I And Love And You. They’ll be in town at the Horseshoe the next night, September 30, to support – tickets $17.50 – but what has me doing a double-take is their tour routing thereabouts. They’re in Dallas on September 27, Toronto on September 30, and then New Orleans on October 1? Those two cities are 20 hours apart. If this schedule is correct, I have no idea how they’re going to pull that off, nor why you’d even try. Anyways, The Boston Globe has a feature and Rolling Stone declares the trio, who’ve been putting out records since 2000, an “artist to watch”.

MP3: The Avett Brothers – “I And Love And You”

And also in town on October 7 – referencing back to the Hope Sandoval bit here – are Israeli nutjobs Monotonix, famous for their absurd and insane live shows. Their Fall North American tour includes an October 7 date at the Velvet Underground, tickets $10. Their debut full-length Where Were You When It Happened is out August 31 – details at Strange Glue.

MP3: Monotonix – “Ride”
MP3: Monotonix – “Body Language”

Presumably part of a larger North American tour and presumably implying their latest album Klang, out since March in the UK, is getting a release over here, The Rakes will be at the Mod Club on November 9.

Video: The Rakes – “1989″

The Sadies have made a date at the Horseshoe for September 12, tickets $15. It’s not part of any particular tour but the Sadies need as much excuse to play the ‘Shoe as you need to breathe.

MP3: The Sadies – “Anna Leigh”

Both They Shoot Music and aux.tv have posted up video sessions with Malajube, who are this week’s featured Polaris Prize nominee, which basically means you can download an MP3 for free via the Polaris website. And speaking of free, you can also enter this contest to win a trip to Toronto for the September 21 Polaris Prize awards gala – all ten nominees will be performing this year!

Exclaim has details on the new Do Make Say Think record Other Truths, out October 20, while Stereogum is steaming a first preview track from it. Do Make Say Think are at the Polish Combatants Hall tonight for the Bicycle Film Festival launch party – congrats to Evan for winning my contest for passes.

Time Out and The Sydney Morning Herald talk to Aimee Mann.

The first MP3 from Headlights’ new album Wildlife, out October 6, is now available over at RCRDLBL.

Elvis Perkins In Dearland will release a new EP on October 20 entitled Doomsday, featuring five new tracks in addition to the title track taken from their self-titled album.

MP3: Elvis Perkins In Dearland – “Slow Doomsday”

Yet another video from Yo La Tengo’s new album Popular Songs has emerged. The record is out September 8 and they play The Opera House on October 3.

Video: Yo La Tengo – “Nothing To Hide”

Pitchfork has details on the new R.E.M. live album Live At The Olympia, which will feature 39 songs across two CDs recorded in Dublin in 2007. Look for it October 26.

I am willing to bet that most everyone who was packed into the tiny back room of The Rivoli on Saturday night was there to see Ms Laura Marling, she of the fine Mercury Prize-nominated debut Alas, I Cannot Swim if not of the top billing on this night. But, assuming they arrived early and stayed late and took in the entire show, I am also willing to bet that they weren’t just talking about Marling’s set afterwards, but every single act that performed.

It was the final night of the traveling musical caravan dubbed the “Fe Fi Fo Fum Tour” which had been traversing the continent for the past past three weeks, and in addition to Marling featured Johnny Flynn & The Sussex Wit and Mumford & Sons for an excellent sampling of the current crop of young, folk-based artists coming out of the UK right now. Though it was evident from the tour anecdotes and in-jokes that popped up in stage banter through the night that all involved had a terrific time discovering and conquering America, it was also obvious that they were tired but prepared to give their all for this one, last show.

And in addition to the three acts listed, there was a surprise opener in the form of Pete Roe, a member of Marling’s band who stepped up to play a quick and impressive two-song set of graceful, finger-picked folkistry that gave a taste of what was to come. And if that was the appetizer, Mumford & Sons was the first course. The four-piece, who would also comprise a large portion of Marling’s band, delivered a raucous yet mournful bluegrass-based sound that was steeped heavily in traditional forms but not at all restricted by them. There’s no overt genre envelope-pushing like introducing heavy electronic elements – banjos, mandolins and fiddles are very much the tools of the trade to say nothing of immaculate four-part harmonies – but there’s also no sense that they’re seeking to recreate the past, simply that they’ve chosen this particular style in which to write their songs. And in any style, their songs would have been strong and affecting.

My expectation for Laura Marling’s set was that it’d be a quiet, almost solemn affair in keeping with the downbeat tone of the album. And while it was far from a dance party, by playing with a full band and focusing on the more fully-arranged pieces from Alas, she far exceeded what you might expect from a conventional singer-songwriter performance. Initially, she evidenced some of the stage fright that she’s been contending with since being thrust into the spotlight, stony-faced and staring off into space whilst singing her songs, as though having an out of body experience. But the sheer love emanating from the audience – the constant singalongs were as endearing as they were annoying – and the joviality of her bandmates eventually pulled her out of her shell and by the end, she was smiling and joking along with them. For me, her performance was less a revelation as a reinforcement of the fact that Alas really is a strong record and Marling is a rare talent worthy of all the accolades she’s gathered in her short career. And though it’s usually the strength of her songwriting that’s praised, she also has a much stronger and versatile voice than you might expect – though she tends to favour the lower register that keeps with the confessional mood of her writing, there were a few points at the show when she went high or falsetto and sounded remarkable.

So with Marling having delivered what most in attendance were there to get, there was probably a bit of pressure on the final act – Johnny Flynn & The Sussex Wit – to prove they were worthy of the top billing and could close things out on just as high a note. And while they didn’t necessarily manage to exceed the bar set by the first acts, they were able to meet it handily and avoid any sort of let down. Drawing on their debut album A Larum, Flynn and company made the Rivoli feel like an olde English pub to which they were the house band. Like the other acts, they demonstrated really remarkable musicianship with Flynn trading off from guitar to trumpet to fiddle while singing his richly detailed folk songs overtop a musical backdrop that was simultaneously delicate and muscular.

Though I’ve used the term ad nauseum out of convenience, I’m not a fan of the “anti-folk” label that’s been attached to a lot of the young, roots-oriented bands coming out of the UK at the moment – all the artists on this night included. It sounds small and reactionary and doesn’t do the undeniable talent of those caught under the label justice. So instead, let’s try a different descriptor – how about “simply wonderful”? Okay, maybe not. But still.

Photos: Johnny Flynn, Laura Marling, Mumford & Sons, Pete Roe @ The Rivoli – October 4, 2008
MP3: Laura Marling – “Ghosts”
MP3: Pete Roe – “Let It Go”
MP3: Pete Roe – “I’ll Only Be Dreaming Of You”
Video: Johnny Flynn – “Tickle Me Pink”
Video: Johnny Flynn – “Leftovers”
Video: Johnny Flynn – “Brown Trout Blues”
Video: Laura Marling – “Night Terror”
Video: Laura Marling – “New Romantic”
Video: Laura Marling – “Ghosts”
Video: Laura Marling – “My Manic & I”
Video: Laura Marling – “Cross Your Fingers”
MySpace: Johnny Flynn
MySpace: Laura Marling
MySpace: Pete Roe

Stay Thirsty interviews Los Campesinos!, whose We Are Beautiful, We Are Doomed is out November 11. Pitchfork has details on the bonus goodies that’ll come with the CD.

Thanks to Thierry for pointing out this odd but enjoyable video of Lightspeed Champion and SNL‘s Fred Armisen someone named Fred covering The Strokes. I have no context for this clip, and honestly, I don’t want any.

Video: Lightpeed Champion and Fred – “Someday”

NPR talks to Basia Bulat about the appeal of the autoharp.

PopMatters interviews Nellie McKay.

Daytrotter welcomes Aimee Mann to their studios for a session.

The Boston Herald features Fleet Foxes.

Broken Social Scene have added a second date at the Sound Academy for the end of November, playing on the 28th as well as the 27th. Support for the second date – and perhaps the first? – will be Land Of Talk, which does raise the question of whether or not their cancelled headlining date at Lee’s from the end of September will be made up anytime soon.