Frank YangWould Robin Pecknold have a guitar strap?

That was really the only burning question in my mind going into Tuesday night’s Fleet Foxes show at Massey Hall in Toronto. The initial one when this show was first announced back in April – could this band who didn’t even play to a full house at the El Mocambo last April in support of Blitzen Trapper now fill a venue as large and storied (to say nothing of expensive) as Massey Hall – was answered by the fact that the 2750-seat hall was completely and utterly sold out, their appeal apparently transcending demographic and generation and drawing young and old, hippies and hipsters, businessmen and alt.bros.

So really, whether or not the 23-year old frontman still preferred to perform seated or if he would deign to stand up and give his fans a good look at him was the only unknown. That, and would they be as good as everyone obviously expected they would be. Certainly, based on the adulation their 2008 self-titled debut received, topping numerous year-end lists, expectations were high. For myself, I didn’t love the record as much as many though it was impossible to not be impressed by the talent and craft that went into it – I just found it was a record I respected more than I adored. Still, the opportunity to see them return to town not as buzzy up-and-comers but bona fide stars was not one I wanted to pass up.

Support on this tour seemed a bit unusual to me, coming in the form of Swedish psychedelic merchants Dungen. My only previous encounter with them was their 2005 album Ta Det Lugnt and re-reading my review, I didn’t appear to be too taken with them. I suspect I’d have had a different opinion if I’d seen them live, however, as their set was a pretty impressive musical slap upside the head. It did start out as the sort of pastoral, folkish-psychedelia I’d remembered but as their set went on, it got more intense and jammed-out like a delayed-effect acid trip. By the end of their 40 minutes, I could fully understand why Fleet Foxes would later declare them to be their favourite band in the world. That was some heady stuff.

Playing a venue like Massey Hall is enough to unnerve any artist, but there was no sense of nervousness amongst Fleet Foxes when they finally ambled out to roaring applause that you’d normally expect for local heroes or the like. And it wasn’t due to a lack of appreciation for the history of the stage on which they stood – the Neil Young between-set mix and historical facts about the building rattled off by Pecknold (courtesy Wikipedia) were proof of that. It was simply confidence that not only did they belong on that stage, but that they’d own it.

And from the opening a capella of “Sun Giant”, they did just that. Their performance was nothing short of amazing, with their pristine four-part harmonies filling every nook and cranny of Massey’s beautiful acoustics. Hearing them sing, it wasn’t a question of whether they could play the room but whether they should ever be allowed to play anywhere else. Their set covered almost their entire recorded output as well as three new songs, one of which featured some unexpected but effective synth textures. Between songs, Pecknold – who was indeed performing upright – made casual and entertaining banter with the audience though it was drummer J Tillman who provided the most comic relief. Again, if these guys were at all nervous about the show, they were hiding it well.

Highlights were difficult to pick out – they pretty much dazzled for the full hour forty-five – but when Pecknold started the encore at the edge of the stage, unplugged and unmiked, to sing traditional folk song “Katie Cruel”, that was easily a moment for the ages. He doesn’t have the biggest voice, necessarily, but given the space and the dead silent audience, it sounded stunning. And while they surely intended to finish with “Blue Ridge Mountains”, as good a note as any to go out on, Toronto – who had waited a long time for them to return – refused to let go and a humbled and appreciative Pecknold came out again for a solo reading of “Meadowlark”. I still can’t say as though I love Fleet Foxes – the whys of that I’m not entirely clear on either – but I am awed by them and their abilities. These are some ungodly talented boys.

Chart, eye and NOW also have reviews of the show, and The Montreal Mirror and The Oakland Press have interviews. Daytrotter recently trotted out a session with Dungen.

Photos: Fleet Foxes, Dungen @ Massey Hall – August 4, 2009
MP3: Fleet Foxes – “Mykonos”
MP3: Fleet Foxes – “White Winter Hymnal”
MP3: Dungen – “Satt Att Se”
Video: Fleet Foxes – “Mykonos”
Video: Fleet Foxes – “He Doesn’t Know Why”
Video: Dungen – “Familj”
Video: Dungen – “Festival”
Video: Dungen – “Panda”
Video: Dungen – “Stadsvandringar”
Video: Dungen – “Solen stiger upp”
MySpace: Dungen

Blitzen Trapper have released an MP3 to go with the new video they rolled out from Furr a couple weeks ago. On Milwaukee has an interview.

MP3: Blitzen Trapper – “Black River Killer”
Video: Blitzen Trapper – “Black River Killer”

NPR Wilco is streaming a World Cafe session with Wilco and American Songwriter has finished counting down their top twenty Jeff Tweedy compositions of all-time. Pre-sale for Wilco’s October 14 show at Massey Hall go on sale next Wednesday at 10AM via Front Gate (the show’s not listed yet) and public on-sale is next Friday at 10AM. Oh, and if you’re looking for Wilco and Wilco-related downloads a-plenty, Owl & Bear is your new best friend.

Austin360 talks to M Ward, who will be at Massey Hall on November 2 as part of the Monsters Of Folk. Their self-titled debut album is out September 22.

And fellow Monster Of Folk Jim James this week released his debut solo effort as Yim Yames, the George Harrison tribute EP Tribute To. Paste, The New York Times and The Courier-Journal have interviews with James/Yames and the EP is streaming at Spinner.

Stream: Yim Yames / Tribute To

JamBands talks to Patterson Hood of Drive-By Truckers. Hood is also featured solo in a Daytrotter session.

The Courier-Journal and Metromix talk to Josh Ritter.

NPR is streaming Neko Case’s set at the Newport Folk Festival last weekend. The Edmonton Journal and SEE also have interviews.

Pitchfork reports that Devendra Banhart’s major-label debut What We Will Be is due out in October.

Soundproof has a quick feature on Dog Day.

The Deadbolt has an interview with Tony Dekker of Great Lake Swimmers.

Black Cab Sessions takes Woodpigeon for a ride.

Brittany GrayTo call the Wheat story a long and winding one would be more than a little bit of understatement. I’ve made following the band something of a spectator sport over the years so when word came out that they band – whom you could never take for granted still existed let alone were working – had a new album coming out, a follow-up to 2007’s tentative and uneven but wholly welcome Everyday I Said A Prayer For Kathy And Made A One Inch Square, I reached for the popcorn.

I got a taste of the new material at SxSW in March at a performance that you couldn’t call flawless – the complexities of trying to recreate the new material live with just a trio were evident and the new stuff didn’t immediately file itself in the “win” column – but did nicely showcase the band’s joie de vivre at simply making music. The actual new record, White Ink Black Ink, out next Tuesday, maintains that sense of joy but delivers the material much more confidently – unsurprisingly, this is a band more comfortable in the studio than on the stage. Ink follows the template laid down by Kathy, with the same sort of restless creativity and messy enthusiasm but whereas the ADD left Kathy feeling somewhat distracted, Ink comes across as a more fully realized and crafted record – still meandering but with more purpose and even when it doesn’t know where it’s going, it gets there with more vim and vigor.

So on its own merits, Ink is an enjoyable bit of art-pop but for a long-time fan such as myself, it’s impossible to consider it without wondering how it compares to their early highwater marks, Medeiros and Hope & Adams. And the simple fact is, objectively or subjectively, it doesn’t because it can’t. Wheat have left that the hazy, slow motion aesthetic of their salad days far behind, and even if that period did yield superior songs – I think that’s fair to say – it’s obvious they’re very much occupied and enthused about working in the now, and Ink is evidence that the new direction might yet yield gems as rich as their earlier period. Asking them to go back would be like asking the beautiful wallflower who finally got the courage to step out on the dance floor, as awkward as their moves might be, to return to the shadows. It’s not going to happen, and probably shouldn’t anyways.

Express Night Out gets a track-by-track guide to the album from Scott Levesque and Brendan Harney. There’s also an EPK video to watch, if you are so inclined.

And because I happened to get two copies of the album for review purposes – three if you count an early CD-R, four if you count the digital version – I will happily give one away to a reader. If you’d like it, email me at contests AT chromewaves.net with “I want the Wheat” in the subject line and your full mailing address in the body and get that in to me before midnight, July 24. Contest open to whomever.

MP3: Wheat – “Changes Is”
MP3: Wheat – “H.O.T.T.”
MP3: Wheat – “El Sincero”
MySpace: Wheat

Penguin Books has an interview with Joe Pernice about his forthcoming novel It Feels So Good When I Stop, out August 6, and you can now read an excerpt from it. Pernice will be at the Dakota Tavern on September 24 to play some songs from the soundtrack and read from the book – tickets are $18.50 and go on sale tomorrow.

Daytrotter welcomes Blitzen Trapper back for their third? fourth? millionth? session. They’ve also released a new video from last year’s Furr and have chats with Decider and The Daily Iowan.

Video: Blitzen Trapper – “Black River Killer”

JAM and Pitchfork talk to The National’s Bryan Devendorf and Bryce Dessner, respectively, while Decider looks at how Matt Berninger draws on Charles Bukowski for inspiration. And Pitchfork is streaming the band’s contribution to a forthcoming tribute album to Ciao My Shining Star, a tribute album to Mark Mulcahy coming out September 29. I will freely admit I have no idea who Mark Mucahy or Miracle Legion are/were, but they’ve got some heavyweight fans.

The Line Of Best Fit interviews St Vincent. She is at the Horseshoe on August 8.

Baltimore City Paper spends some time with hometown kids Wye Oak, whose rather lovely second album The Knot is out next Tuesday, July 21. The band also compiled a mix tape for Magnet.

The AV Club talks to Mark Olson of The Jayhawks.

The Riverfront Times talks to Son Volt’s Jay Farrar and gets the scoop on a forthcoming Jack Kerouac-themed collaboration between he and Death Cab For Cutie’s Ben Gibbard.

FFWD has an interview with Bruce Peninsula, who’ve just scheduled a date at the Horseshoe for October 1.

Neko Case discusses her songwriting process with The Kansas City Star.

The Dodos aren’t waiting for their new album Time To Die to leak well before its September 15 release date – they’re streaming the whole thing right now on timetodie.net and Pitchfork has an MP3 available to download. They will be at Lee’s Palace on October 17.

MP3: The Dodos – “Fables”
Stream: The Dodos / Time To Die

Daniel Johnston is hitting the road this Fall, including an October 17 date at the Mod Club – tickets $27.

Our Noise is the forthcoming book documenting the first 20 years of Merge Records, and in advance of its September 15 publication date, it has received a swanky website. Tangentially, Pitchfork is streaming the a-side to Superchunk’s recent limited edition 7″ single.

MySpaceSay what you will about Taunton, Massachusetts’ Wheat, but you can’t deny that they refuse to stay down. Once upon a time one of my favourite bands (circa Medeiros and Hope & Adams), they became a cautionary tale against the major label machine with 2003’s ill-fated Per Second Per Second Per Second Every Second (which I chronicled back in 2004 and 2005) and essentially disbanded in the aftermath.

They unexpectedly returned in 2007 with Everyday I Said A Prayer For Kathy And Made A One Inch Square, again independent and down a member, but even then they were beset with label problems and delays. And the record itself was free of the excessive gloss of Per Second, it was decent at best – unfocused and only evidencing glimpses of the rough magic that defined their earliest releases. It pretty much came and went and I figured that that was the end of the band, again. They’d returned in order to finish on their own terms.

Or not. There were rumblings of a new record late last year and though there’s no release date as of yet, it has a title – White Ink, Black Ink – and a sample of it has surfaced on the band’s profile for SxSW, where I fully intend to see them play. Obviously not enough to form an opinion on, though it sounds like they’re sticking to the sonic cut-and-paste aesthetic of Kathy. I find I remain curious and still a little excited about the prospect of new music from Wheat – this news prompted me to revisit those magical first two records and they still give me tingles.

And those first two records – Medeiros and Wheat – are being reissued together along with a bonus disc of rarities and whatnots from the era entitled 30 Minute Theatrik (thanks to Mark for the tip). It’s set for a March 10 release but you can pre-order it now and get all three records digitally immediately. If you’ve never heard either one, well, you should. And here’s your chance.

More Wheat info and downloads available at thiswheat.com.

MP3: Wheat – “El Sincero”
MP3: Wheat – “Move = Move”
Mp3: Wheat – “What Everyone Keeps Telling Me”
MP3: Wheat – “World United Already”
Video: Wheat – “Don’t I Hold You”
Video: Wheat – “I Met A Girl”
MySpace: Wheat

Drowned In Sound declared this week just ending “slowcore week” and followed that up with extensive features on personal favourites like Low, Galaxie 500, The New Year and Early Day Miners. They’ll have a new album out sometime this year entitled The Treatment.

The Democrat & Chronicle interviews Blitzen Trapper, playing a sold-out show at the Horseshoe tomorrow night.

CBC Radio 3 talks to Casey Mecija of Ohbijou, who will release their second album Beacons on April 14 and follow that up with a CD release show at the Opera House on April 18.

The Thermals are hitting the road in support of their new album Now We Can See, out April 7. Pitchfork has the full North American itinerary, which includes a May 3 date at the Horseshoe.

MP3: The Thermals – “Now We Can See”

Mogwai have announced a North American tour for this Spring which will make up their cancelled The Hawk Is Howling dates from last Fall when drummer Martin Bulloch’s pacemaker threatened to escape from his chest. The Toronto date will be May 4 at the Phoenix – those who won passes to the cancelled show, I’ll be in touch about the make-up date.

MP3: Mogwai – “The Sun Smells Too Loud”

With their new album What Is?! coming out domestically on April 12, King Khan & The Shrines will be at the Phoenix on May 12 to promote.

Vetiver have a date at the Horseshoe on May 15 in support of last year’s Tight Knit.

MP3: Vetiver – “Everyday”

Leonard Cohen has announced a North American tour – closest local date is May 19 at Copps Coliseum in Hamilton. Second closest is May 24 at John Labbat Centre in London. Tickets on sale March 2.

Neil Young’s Fork In The Road has a confirmed release date of March 31. Archives? Don’t ask.

Annie Clark, aka St Vincent, will release her sophomore album in Actor on May 5. Full details on the release at Pitchfork.

Also out May 5 is Outer South, the second solo record from Conor Oberst and The Mystic Valley Band.

Viva Voce will release Rose City on May 26.

The Broken West have turned out a new video from last year’s Now Or Heaven.

Video: The Broken West – “Perfect Games”

CHUD interviews Scott Pligrim creator Bryan Lee-O’Malley.

Frank YangSo yes I’m a bad Torontopian. I know it’d been a while since I’d been to Wavelength, but a little archive digging revealed that it’d been almost four years since I last darkened Sneaky Dee’s doorway on a Sunday night. That’s a long time. And so with the local institution not only celebrating its ninth anniversary but its upcoming final year this past weekend, I got off my butt and headed out.

Don’t get me wrong – I’ve always loved and supported the idea and mission of Wavelength, but I’m a pop guy and in recent years their programming has gotten more eclectic and less personally interesting to me. And late Sunday nights are hard. So anyways, of the four nights of anniversary shows I opted for the one the Saturday night soiree at the Polish Combatants Hall (a community centre now hosting shows), which featured a few bands I wanted to see and was (therefore) the most “conventional” lineup of all the Wavelength parties.

Or so I’d thought – any notions that this was going to be an evening of just guitar rock were dispelled with the very first act, The Element Choir. An improvisational choir featuring a couple dozen members, they gathered in the centre of the hall’s floor and proceeded to create a downright mesmerizing sound sculpture constructed of just their voices. The troupe utilized yelps, hums, moans, animal noises and random chatter to create an ever-morphing soundscape that was hypnotic to listen to and also fascinating to watch, as they took direction from conductor Christine Duncan. Certainly not something I’d ever seen before.

Next up were The Luyas, who despite having been around for a while sounded like a work in progress – not incomplete but more in the process of deconstructing what they were and seeking to become something new. There were vestiges of the pop leanings from Jessie Stein’s last band, the SS Cardiacs and from what I’d heard from the Luyas before, but it seemed like they were trying to become something more oblique or inscrutable. Not the most enthralling performance, but I’ll give them the benefit of the doubt and check back in if/when they get where they’re going.

Faring much better were pop collective Hooded Fang. I had figured that since I saw them just a month ago that they’d deliver much the same set, but in fact they were much more assured and polished yet managed to not sacrifice any of the playful whimsy they’d demonstrated before. Considering how much better they’d gotten in just a month and factoring in the fact that they’ve only been in existence for a year, it seems like a mathematical certainty that they’ll be the best band on the planet in another two years. Okay, probably not, but if being the next Los Campesinos! is something that anyone would aspire to, it could well be in their grasp.

Though you could accurately describe Guelph’s Brides as atonal, skronky, and not at all pop – generally things I don’t look for in music – they more than surprised by turning out to be the highlight of the night. I’m at a bit of a loss to articulate exactly what it was about their performance that I found so engrossing. Perhaps it was the way that they managed to be all the things mentioned above without being deliberately difficult and sacrificing some structure or even melody for the sake of exploration, and deliver it all with intensity. I don’t really know what it was, but I liked it.

The last act of the night was $100, and after the stylistic smorgasborg of the night leading up to their finale, their decidedly traditional country songs seemed almost out of place. But straightforward isn’t a slight when you’re talking about hurtin’ songs and the directness of their approach, in particular the raw, honest rasp and twang of singer Simone Schmidt, conveyed that emotion quite effectively. I’ve gotten so used having country used in a hybrid sense with other styles that hearing it in such a pure, undiluted form was pretty eye- and ear-opening. There’s good reason that people are talking about $100.

Though the Polish Combatants Hall is certainly not Sneaky Dee’s – there’s no way I’d have sat on the floor at Sneaks – the evening was a terrific reminder of what makes Wavelength great. You may not like everything you see, but it’ll almost never be uninteresting. Happy birthday to a great Toronto institution and hopefully it won’t be a year before I see you again. But no promises.

BlogTO also has a review of $100’s set if not the rest of the evening.

Photos: $100, Brides, Hooded Fang, The Luyas, The Element Choir @ The Polish Combatants Hall – February 14, 2009
MP3: $100 – “No Great Leap”
MP3: $100 – “Forest Of Tears”
MP3: $100 – “Nothing’s Alright”
MP3: Hooded Fang – “Land Of Giants”
MP3: Hooded Fang – “The Pageant”
MP3: The Luyas – “Cats In A Bag”
MP3: The Luyas – “Tantamount”
MySpace: $100
MySpace: The Luyas

And speaking of the Polish Combatants Hall (a nice and large community centre-type building by the University, if you were wondering), if you didn’t have tickets for Bruce Peninsula’s record release show there next Sunday (still some left but not many) or just couldn’t make it, take heart because they’ve already announced another show for March 28 at Lee’s Palace, tickets $8. And I don’t recommend sitting on the floor there. The National Post has a video performance and interview with the band.

Making it a three-peat, the “Rolling Tundra Revue” featuring Constantines and Weakerthans has added a third and final show at the Phoenix for April 2. Tickets $25. If you manage to miss out on this one as well as the two previously announced ones for March 31 and April 1, then congratulations – you are the absolute worst procrastinator in the world.

Tricky, who was here for a show at the Phoenix last September, returns for a much more intimate performance at the Mod Club on April 2. Tickets $29.50.

It’ll be all about the UK dance-rock at the Kool Haus on April 10 when The Whip and Late Of The Pier roll into town. Both are touring behind their debut albums – X Marks The Spot (out March 3) and Fantasy Black Channel respectively. Please don’t ask me what the mash-up below is, I really don’t know. It’s just there.

MP3: The Whip – “Trash”
MP3: The Whip Vs. Britney Spears – “Trash Circus” (Ruben X Trashmash)

The polar opposite of the previous bill – Damien Jurado and Laura Gibson – will folk things up at the Drake Underground on April 14. Jurado released Caught In The Trees last year and Gibson’s Beasts Of Seasons is out next week, though you can stream it right now at NPR. The song below is an older one. The Daily Vanguard has an interview. Full dates at BrooklynVegan.

MP3: Damien Jurado – “Gillian Was A Horse”
MP3: Laura Gibson – “Hands In Pockets”
Stream: Laura Gibson / Beasts Of Season

The Dears have scheduled at date at the Mod Club for April 30, tickets $20. The Montreal Mirror talks to Murray Lightburn.

Students.ch and The News interviews White Lies, whose debut To Lose My Life is out Stateside March 17 and they play Lee’s Palace on March 31 with Friendly Fires and The Soft Pack.

MP3: White Lies – “Death”
Video: White Lies – “Farewell To The Fairground”

Paste declares Alela Diane their artists of the week. Her new record To Be Still came out yesterday and is streaming at Spinner. She plays an in-store at Soundscapes this Saturday at 6:30PM and at the Horseshoe that night with Blitzen Trapper. That’s sold out, if you were wondering. Billboard has an interview with Blitzen Trapper.

Stream: Alela Diane / To Be Still

Also new this week and streaming – M Ward’s Hold Time. He also gave a solo performance and interview you can stream at NPR.

Stream: M. Ward / Hold Time

And to wrap up this week’s other new release streams of interest – Asobi Seksu’s Hush – they’re at the ElMo on March 3 – and Robyn Hitchcock & The Venus 3’s Goodnight Oslo. They play the Mod Club on April 16.

Stream: Asobi Seksu / Hush
Stream: Robyn Hitchcock & The Venus 3 / Goodnight Oslo

Marius HansenLast July, I was introduced to Spanish site Buffet Libre on account of their releasing a massive compilation of covers – mainly of ’80s pop tunes – by a slew of artists I’d mostly never heard of, but also the likes of Someone Still Loves You Boris Yeltsin and Electric Soft Parade. That was only the first salvo, however, and they’ve rung in the new year with part the second – another massive batch of covers, this one featuring the likes of Headlights, Au Revoir Simone and Amiina… and a whole pile of bands I’ve never heard of. Lots to wade through, and a bit fortuitously timed since I was just soliciting cover versions a couple days ago.

So why the picture of Ms Charlotte Hatherley, who does not appear on the aforementioned comp? Well hearing Headlights’ sleepy cover of XTC’s “Making Plans For Nigel” reminded me how much I enjoyed Hatherley’s own take on Swindon’s favourite sons in “This Is Pop”, recorded for a radio session in 2007. And it also reminded me to check on the progress of her third album, and what do you know? It’s completed and has a title – Cinnabar City – and is set for release in the first part of this year. According to the flowery language of the official release, it was tracked in a single week in London, has uber-producer Alan Moulder’s fingerprints on it in some capacity (probably mixing) and features “prog-pop, pop-punk and electro-junk”. Alls I know is that I’ve really enjoyed both Grey Will Fade and The Deep Blue, so whenever this one sees the light of day, I’ll be there.

Rewinding (ahem) a moment back to Champaign, Illinois’ finest pop band, Headlights, they released a remix record in the cryptically-titled Remixes late last year. It’s limited to 1000 copies so if you want, move it. All racing, no stopping.

I’ll tie up this twisty bit of blog with a trio of XTC covers – Hatherley’s, Headlights’ and SSLYBY’s from the first Rewind comp – and point you to XTC’s MySpace blog, which features extensive interviews with both Andy Partridge and Colin Moulding about a different song of theirs each week… and they’ve been doing this since October 2006. I know some of y’all are crazy XTC fans, so if this is news to you, consider your day/week wasted. You’re welcome.

MP3: Charlotte Hatherley – “This Is Pop”
MP3: Headlights – “Making Plans For Nigel”
MP3: Someone Still Loves You Boris Yeltsin – “Another Satellite”

The AV Club talks to Death Cab’s Ben Gibbard while Alternative Press has an interview with Chris Walla. I somehow doubt that Walla is going to get his wish for a louder, angrier Death Cab – becoming Mr Zoey Deschanel isn’t really the sort of thing that’d press Gibbard’s “rage” buttons.

Paste declares Gemma Hayes their artist of the week.

Matador continues to play “what the fuck” in announcing the release of a Condo Fucks album in March entitled Fuckbook. The Condo Fucks are a long-running joke alias for Yo La Tengo and it’s unclear if this is actually a new YLT record, an actual YLT side-project record or just an excuse for the Beggars Group to add yet another Fuck band to their roster though I have to say, if they’re not from Toronto – fictionally or otherwise – the critical acclaim isn’t guaranteed.

MP3: Condo Fucks – “Whatcha Gonna Do About It”

NPR profiles Blitzen Trapper, in town at the Horseshoe on February 21.

New York Press and The Daily Record talk to Glasvegas, whose self-titled debut gets a North American release today.

Daytrotter has a session with Thao.

Pitchfork interviews Love Is All’s Josephine Olausson.