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Posts Tagged ‘Blitzen Trapper’

Wednesday, July 31st, 2013

Anything We Want

Fiona Apple to do whatever she wants, including more touring

Photo By Dan MonickDan MonickFiona Apple did pretty much all anyone could have asked in 2012. Starting with a tense but triumphant comeback show at SXSW, she proceeded to release a stellar new record with The Idler Wheel Is Wiser Than The Driver Of The Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do last June and toured reasonably extensively behind it, though by late Fall she was cancelling dates to tend to her ailing dog. If that was the end of the promotional cycle for The Idler Wheel and the beginning of another hiatus, then so be it. Her inclusion on the initial lineup for the 2013 edition Primavera Sound in Barcelona was an encouraging sign that she wasn’t done yet, but that didn’t last.

Then last week – more than a year after the first single and video from Idler Wheel was released – a new video emerged for the album’s closing track, directed by auteur and former partner Paul Thomas Anderson, and that was followed up earlier this week with the announcement of a new Fall tour. But not a conventional tour. For starters, Apple will be touring and performing with Los Angeles singer-songwriter Blake Mills, and as per the name of the tour – Anything We Want – the format of it promises to be free-form and unpredictable. One would assume that with the not-cheap ticket prices, they’re acknowledging that Apple’s exponentially-larger fanbase will make up the bulk of the audience and will be played to accordingly, but then again, maybe not. They don’t know, so how can we?

In any case, Toronto is probably lucky that the October 17 date at the Queen Elizabeth Theatre comes a couple weeks into the tour, so folks should have an idea of what to expect by that point. Of course, if they’ve already shelled out their $49.50 or $69.50 for a seat, it’s kind of academic. But still.

Video: Fiona Apple – “Hot Knife”

Portland’s Blitzen Trapper have announced details of the follow-up to 2011’s American Goldwing as well as accompanying tour dates. VII will be out on October 1 on their new home at Vagrant Records, and the accompanying tour hits Lee’s Palace a few days later on October 5, tickets $18.50. You can stream one of the new songs via Rolling Stone.

Stream: Blitzen Trapper – “Ever Loved Once”

Providence’s Deer Tick are also putting out a new record of their brand of Americana this Fall in the form of Negativity, due out September 24, and will also be hitting the road in support, kicking that tour off in Toronto at Lee’s Palace on October 10 – tickets for that are $22. They released a video for one of their new songs a couple weeks ago and are streaming another new tune via Rolling Stone.

Video: Deer Tick – “The Rock”
Stream: Deer Tick – “The Dream’s In The Ditch”

Pennsylvania psych-folkers Dr. Dog are also readying a new album for Fall release, with B-Room coming out October 1 – stream a new song below – and their touring itinerary in support of it runs pretty much the entire Fall, with the November 8 date at The Phoenix being one of the last. Tickets for that will be $22.

Stream: Dr. Dog – “The Truth”

Entertainment Weekly are streaming the whole of Explosions In The Sky’s soundtrack to the Prince Avalanche film ahead of its August 6 release date, just before the film opens on August 9. They play The Air Canada Centre on October 4, opening for Nine Inch Nails.

Stream: Explosions In The Sky w David Wingo / Prince Avalanche original motion picture soundtrack

Though you could be forgiven for assuming that we’d lost Tanya Donelly to the world of motherhood and domesticity – I certainly did – you would in fact be wrong. The former Belly/Breeder/Throwing Muse has been recording new music and will begin releasing it to the world in a series of monthly EP’s that she’s calling the Swan Song Series; the first volume will be available next Tuesday, August 6, via Bandcamp though those in the US with access to Pandora can apparently stream the songs in advance now. Lucky ducks.

The Justin Vernon-powered Volcano Choir have released a new video from their forthcoming Repave, which is out September 3 and brings them to The Phoenix on September 8.

Video: Volcano Choir – “Byegone”

Billboard talks to Neko Case about her forthcoming record The Worse Things Get, the Harder I Fight, The Harder I Fight, The More I Love You, out September 3.

Stereogum chats with Lou Barlow about the return of Sebadoh, while The San Francisco Appeal talks to drummer Bob D’Amico and The San Francisco Bay Guardian to bassist Jason Lowenstein. They’ve released a stream of one of the new tracks and a video of another, both from Defend Yourself which comes out September 17.

Stream: Sebadoh – “I Will”
Video: Sebadoh – “All Kinds”

Pitchfork has some specifics about the new Cults record Static, which will be out October 15.

Trailer: Cults / Static

Rolling Stone has premiered the second video for the first new Pixies song in ages, because if any band has mastered the art of miking it, it’s Pixies. Trivia: that’s not actually Kim Deal on the recording, it’s her replacement Kim Shattuck.

Video: Pixies – “Bagboy” (version 2)

Huffington Post has premiered a stream of the first new TV On The Radio music since 2011’s Nine Types Of Light. No info on the new album, but this is a start.

Stream: TV On The Radio – “Mercy”

Chicago Grid has a feature story on Wilco (the business).

Beatroute and The Edmonton Journal chat with M Ward.

The Creator’s Project have posted their mini-documentary on The Postal Service’s 10th anniversary tour.

Consequence Of Sound talks to Superchunk and Mountain Goats drummer Jon Wurster about his recent commitment to sobriety.

Airship Daily and The Huffington Post have interviews with Stephin Merritt about his work with Future Bible Heroes.

NPR has a video session with Yo La Tengo.

Wednesday, September 5th, 2012

FME 2012 Day Two

Feist, Louis-Jean Cormier, and more at Festival de musique émergente 2012

Photo By Frank YangFrank YangSo yesterday I talked about where and what Rouyn-Noranda was; today I will do the same for FME. You don’t need to be bilingual to discern that “Festival de musique émergente” implies a mandate of focusing on new and upcoming artists, primarily but not exclusively from Québec, with a few relatively big names to bring in the less musically adventurous. It was started ten years ago when the organizers were tired of driving to Montréal eight hours away to see shows and so they started a festival as a pretence to bring bands to them.

From drawing around 3000 people in its first year to an estimated 20,000 this year, it’s concentrated on growing in scale while maintaining its intimate and sometimes impromptu vibe and also become an important showcase for European festival bookers to discover Francophone talent. It’s definitely a grassroots/boutique-type festival – think Hillside meets Iceland Airwaves, but much smaller – that brings a few days of great music and arts to a community that has an immense appetite for it but is well away from conventional touring routes and for Anglophones like myself, provide a fascinating window into the often opaque world of Québec popular music.

After a Friday morning spent ziplining in a forest a little out of town – no broken bones! A triumph! – it was into town to catch some of their “5 á 7″ series of free day shows. Well, one of them – they were all at 5PM so conflicts were going to happen. I hit up Avec pas d’casque at Salle Evolu-Son on account of their latest Astronomie having made the Polaris long list this year, giving them more name recognition than anyone else playing. Lost list benefits in action! But while I knew who they were, I didn’t actually know what they sounded like so their slightly creaky country-pop was a total surprise to me. Of course, if they’d been a straightahead rock band or metal-reggae group, I’d have been just as surprised so whatever. Their down-home songwriting was augmented by some interesting instrument choices – steel and bowed guitars, a euphonium, autoharp, and kazoo were all drafted into service at some point in their set and while they demonstrated the ability to make their sound swell dramatically if they wanted to, they mostly kept it pretty mellow.

Photos: Avec pas d’casque @ Salle Evolu-Son – August 31, 2012
Video: Avec pas d’casque – “En attendant que ça paye”
Video: Avec pas d’casque – “Talent”
Video: Avec pas d’casque – “Dans les bras de la femme bionique”
Video: Avec pas d’casque – “Dans la nature jusqu’au cou”

For the evening programme, there wasn’t really anywhere else to be than the outdoor stage erected on 7e rue – this was where the festival’s headliner, save the special Sunday night performance, was going to be. Louis-Jean Cormier would have known what it was to be one of FME’s main draws – his band Karkwa had played the fest a number of times (their manager being the founder), most recently in 2010 – the year they won the Polaris Prize. With the band on the backburner for the foreseeable future, Cormier was using this occasion to showcase material which would appear on his solo debut, out on September 18, and while I’d seen him perform a number of times, it was always in the context of trying to introduce himself to unfamiliar audiences and win them over; it was quite different to see him in front of those who were already won over. Playing in a light, steady rain and fronting a five-piece band, Cormier gave ample proof that he was the melodic, pop heart of Karkwa. His stuff was more immediate and the fussier elements, while still present, were dialed down significantly. It was guitar pop of the sort that you didn’t need to understand the lyrics to enjoy, though the closing number’s chorus of “Goodbye Charest” made its sentiment pretty clear, along with Cormier’s political leanings and from the shouts of approval, the audience’s as well.

Photos: Louis-Jean Cormier @ Scène extérieur desjardins 7e rue – August 31, 2012
Stream: Louis-Jean Cormier – “L’ascenseur”

Being an international star, Feist has played a lot of places in Canada and abroad but it was probably safe to say she’d never played Rouyn-Noranda before. That, plus the fact that it was a festival headlining set towards the end of the touring cycle for Metals made me wonder if she might deviate from the consistent (read: same) set she’d been performing for most of the past year and maybe acquiesce to playing a few more of the hits? Not that I’d seen the set in question; I’d caught a bit of her at Osheaga but the last time I saw her perform was last October at the CBC’s Glenn Gould Studio, and that was a decidedly unique and guest star-laden show.

One look at the stage showed at least one way in which this would be different; Mountain Man, the trio who had been Feist’s backing singers for the entirety of the Metals tours, were absent and instead it was a four-piece band who would be playing tonight, though both Brian LeBarton and Charles Spearin’s musical workstations flanking Feist’s spot centre-stage were loaded with gear. They may have been small, but they were hardly unequipped.

Once they got started – the skies had cleared and a full moon shone – another benefit to the smaller band became evident: it gave them space. It’s difficult to be spontaneous with a big band but a lean unit – particularly one that’s been playing countless show for months – can turn on a dime and given this freedom and the casual vibe of the festival, Feist turned in an energized, exuberant set that proved that she stil knew where her indie rock roots were. Unsurprisingly, Metals material made up the bulk of the set, some of the selections had already mutated into new forms from the past year of live interpretations. I would have expected her French to be better given the time spent in Paris, but Feist was still able to engage the audience and invite them to act as choral vocalists on a few songs. The outro of “How Come You Never Go There” went alright – “whoa whoa” isn’t too hard to do – but the multi-octave harmonies on “So Sorry” were well beyond their abilities and were a kind of charming disaster.

It was the older material that really stood out, though, and not just because it was more familiar. “My Moon My Man” was a near-rager, replete with healthy guitar abuse, and “Feel It All” was a veritable punk rock number. The encore kept this up, with Feist and LeBarton – swapping keys for drums – turning “When I Was A Young Girl” into a garage rock-y White Stripes tribute and, with the rest of the band back on stage, making “Sea Lion Woman” a free-form jam before ending with an impressively big, “Let It Die”. It will probably be a while before Feist ever returns to Rouyn, but until then she left the town with a lot of lasting musical memories.

Spinner grabbed an interview with Feist prior to the show.

Photos: Feist @ Scène extérieur desjardins 7e rue – August 31, 2012
Video: Feist – “Anti-Pioneer”
Video: Feist – “Cicadas & Gulls”
Video: Feist – “The Bad In Each Other”
Video: Feist – “I Feel It All”
Video: Feist – “Honey Honey”
Video: Feist – “My Moon My Man”
Video: Feist – “Mushaboom”
Video: Feist – “1, 2, 3, 4″
Video: Feist – “One Evening”
Video: Feist – “It’s Cool To Love Your Family”

It would be hard to top that show, so Kandle’s midnight set at Agora des arts was doomed to pale by comparison, but even if that hadn’t been the context it probably still would have underwhelmed. The offspring of 54-40 frontman Neil Osbourne, Kandle Osborne should be commended for trying something completely different musically, but the moody, country-noir sound she’s going for is, for now at least, beyond her reach. Her voice may have the right smoky timbre but she didn’t demonstrate any of the range necessary to imbue it with emotion and her songwriting also lacked the maturity and sophistication needed to sell it. Maybe with time and experience, both musical and life, she’ll get more convincing but for now she comes across as an ingenue trying to play the femme fatale role and it’s not working.

And then we went for poutine.

Photos: Kandle @ Agora des arts – August 31, 2012
Video: Kandle – “Small”
Video: Kandle – “Knew You’d Never”
Video: Kandle – “Know My Name”

A brace of concert announcements following the long weekend yesterday. Starting with the quick and free, know that Bloc Party will augment their two-night stand at the Danforth Music Hall with a free show at Sugar Beach – that’s down at the Corus/CFNY/Edge building on Lakeshore – on September 11 at 7:30PM. Details at Arts & Crafts.

Video: Bloc Party – “Octopus”

West coast lo-fi fellows Craft Spells have a date at The Shop under Parts & Labour on September 23, tickets $12.50 for those who plan ahead.

MP3: Craft Spells – “You Should Close The Door”
MP3: Craft Spells – “Party Talk”

Aussies enamoured of their Kiwi neighbours’ jangle-pop traditions – read: Flying Nun et al – The Twerps will be at The Silver Dollar on October 22. Don’t know who they are? eMusic finds out.

Video: The Twerps – “Through The Day”

Portland’s Blitzen Trapper will find some time amidst their tour with Brandi Carlile to play a headlining show of their own at Lee’s Palace on October 22. Tickets $17.50.

MP3: Blitzen Trapper – “Black River Killer”
MP3: Blitzen Trapper – “Love The Way You Walk Away”

Texas psych-rock pioneer Roky Erickson is at Lee’s Palace on November 3, tickets $29.50. His last release was 2010’s Will Sheff-produced, Okkervil River-backed True Love Cast Out All Evil. The Advocate talks to Sheff about working with Erickson and what’s next for Okkervil.

Stream: Roky Erickson – “Be And Bring Me Home”

More Portlanders coming to town in the form of ornate folk outfit Horse Feathers. Their latest Cynics New Year came out in the Spring and they’ll be playing selections from it at The Drake on November 8, tickets $15.

MP3: Horse Feathers – “Fit Against The Country”
MP3: Horse Feathers – “Cascades”

And again from Australia, Tame Impala have announced a local date in support of their new record Lonerism, out October 9. Look for them and their psychedelically jammy ways at The Phoenix on November 12, tickets $20. SF Weekly has an interview.

MP3: Tame Impala – “Runway, Houses, City, Clouds”

The Twilight Sad brought No One Can Ever Know to town back in March and they’ll do so again with fellow Scots Errors in tow for a show at The Horseshoe on November 18, tickets $13.50.

MP3: The Twilight Sad – “Another Bed”
Video: Errors – “Ammaboa Glass”

Spinner talks Lawless with Nick Cave, screenwriter.

The Vinyl District interviews Pip Browne of Ladyhawke. She’s at The Hoxton on September 15.

The National Post interviews Torq Campbell of Stars. They support Metric at The Air Canada Centre on November 24.

Daytrotter sessions up an a capella Futureheads.

Friday, March 30th, 2012

SXSW 2012 Day Four A/V

Photo By Frank YangFrank YangThe final day in Austin for SXSW went a little something like this.

Gary Clark, Jr.
– Blues-rock axe-slinger who’s only got the 2010 Bright Lights to his name, but is already well on his way towards joining the ranks of Austin-bred guitar heroes. The Chicago Tribune has a feature interview.

Photos: Gary Clark, Jr @ The Mohawk Patio – March 17, 2012
Video: Gary Clark, Jr. – “Don’t Owe You A Thang”
Video: Gary Clark, Jr. – “Bright Lights”

The War On Drugs
– Spacey Americana-rockers hailing from Philadelphia, who enjoyed a breakout 2011 thanks to their second full-length album, Slave Ambient.

Photos: The War On Drugs @ The Mohawk Patio – March 17, 2012
MP3: The War On Drugs – “Come To The City”
MP3: The War On Drugs – “Baby Missiles”
MP3: The War On Drugs – “Taking The Farm”
MP3: The War On Drugs – “Comin’ Through”
MP3: The War On Drugs – “The History Of Plastic”
Video: The War On Drugs – “Come To The City”
Video: The War On Drugs – “Baby Missiles”
Video: The War On Drugs – “Needle In Your Eye #16″

Blitzen Trapper
– Jam-friendly roots-rockers whose 2011 release American Goldwing was their sixth record of genre-melting Americana. The West Australian and The Daily Texan have feature pieces.

Photos: Blitzen Trapper @ The Mohawk Patio – March 17, 2012
MP3: Blitzen Trapper – “Love The Way You Walk Away”
MP3: Blitzen Trapper – “American Goldwing”
MP3: Blitzen Trapper – “Dragon’s Song”
MP3: Blitzen Trapper – “Heaven & Earth”
MP3: Blitzen Trapper – “Black River Killer”
MP3: Blitzen Trapper – “Gold For Bread”
MP3: Blitzen Trapper – “Furr”
Video: Blitzen Trapper – “Love The Way You Walk Away”
Video: Blitzen Trapper – “Black River Killer”
Video: Blitzen Trapper – “Furr”
Video: Blitzen Trapper – “Wild Mountain Nation”
Video: Blitzen Trapper – “Woof And Warp”
Video: Blitzen Trapper – “Devil’s A Go Go”

Bob Mould
– Legendary leader of Husker Du and Sugar who has taken to performing the whole of the latter’s debut Copper Blue live in concert, as he did this day. He’ll release a new solo record this Fall on Merge. Filter has an introduction to the greatness of Copper Blue.

Photos: Bob Mould @ The Mohawk Patio – March 17, 2012
Video: Sugar – “Helpless”
Video: Sugar – “Changes”
Video: Sugar – “If I Can’t Change Your Mind”

The Roots
– Groundbreaking hip-hop/soul virtuosos, collaborators with everyone, house band for Late Night With Jimmy Fallon and maybe one of the best live acts going. Their last record was 2011’s Undun.

Photos: The Roots @ The Mohawk Patio – March 17, 2012
Video: The Roots – “Tip The Scale”
Video: The Roots – “Make My”
Video: The Roots – “Stomp”
Video: The Roots – “Sleep”
Video: The Roots – “The Fire”
Video: The Roots – “Dear God 2.0″
Video: The Roots – “How I Got Over”
Video: The Roots – “Rising Up”
Video: The Roots – “Birthday Girl”
Video: The Roots – “Get Busy”
Video: The Roots – “75 Bars (Black’s Reconstruction)”
Video: The Roots – “Don’t Feel Right”
Video: The Roots – “I Don’t Care”
Video: The Roots – “Star”
Video: The Roots – “Don’t Say Nuthin'”
Video: The Roots – “The Seed (2.0)”
Video: The Roots – “Break You Off”
Video: The Roots – “The Next Movement”
Video: The Roots – “You Got Me”
Video: The Roots – “What They Do”
Video: The Roots – “Concerto Of The Desperado”
Video: The Roots – “Clones”
Video: The Roots – “Silent Treatment”
Video: The Roots – “Proceed”
Video: The Roots – “Distortion To Static”
Video: The Roots – “Pass The Popcorn”

Monday, March 26th, 2012

SXSW 2012 Day Four

The Roots, Bob Mould, Blitzen Trapper and more at SXSW

Photo By Frank YangFrank YangIf you were to ask me what I thought MOG did – and for the life of me I can’t imagine why you would – the best I could offer is that they excel at getting my exhausted ass out of bed early on the Saturday of SXSW to go line up at The Mohawk so I can stand around for hours on end. They did it last year with a bill of Smith Westerns, Wild Flag, Okkervil River and TV On The Radio (I didn’t stick around for Big Boi but most everyone else did) and this year, the promised headlining double-bill of Bob Mould playing Copper Blue and The Roots was too much to resist.

The lineup was great but that also meant the line up would be long, meaning that despite getting what was by my standards an early jump on the day, I didn’t get into The Mohawk until lead-off hitter Gary Clark, Jr. was already a little ways into his set. I wasn’t specifically familiar with Clark, but you didn’t need to read his Wikipedia page to know what he was about – the man was a modern/classic guitar hero in the Hendrix vein, blending blues, rock, soul and psychedelia into a lean, impressive package. Impressive not just for his chops, which were formidable, but because the man could also write a song, sing with feeling and inject his music with a genuine sense of urgency and excitement without being showy – no mean feat for a guitar slinger. I’ve always thought the best thing about Hendrix was not his guitar playing, but his ability to write a song; Clark gets that.

On average, my appreciation for The War On Drugs lasts for about 30 minutes; that’s why their in-store at Soundscapes last August was the perfect set for me to enjoy their spacey guitar jams and not get bored. Their set here was about 45 minutes and almost on cue, at about the half-hour mark the hypnotic effect of their really loud chill-out started to wear off. Until that point, it was quite a nice soundtrack for a sunny afternoon of standing around but still feeling like you’re going somewhere. But after that… well, email started getting checked.

Even so, they were an inspired one-two punch with Portland’s Blitzen Trapper, whose music shares a sense of quintessential American-ness, but theirs is a more wide-eyed and rambling take on it. It’s as though The War On Drugs take the highway while Blitzen Trapper opt to roam the woods. It’d been a while since I’d seen them live – way back when their buds in Fleet Foxes were just of opener status – but their recipe of big, Band-esque jams and extended guitar solos hasn’t changed too much. I have to say that while their albums tend to ramble a bit more than I’d like and haven’t managed to really get any staying power in my ears, they remain a good time live.

All of that was preamble, however, to what for me was the day’s main draw – Bob Mould playing Copper Blue. I’ve no doubt that most in attendance didn’t appreciate the significance of either the record or the fact that they were about to see it played live – even twenty years on from its release, not nearly enough recognize its rightful status as one of the best American rock albums of the ’90s – but those of us who did were, as the kids say, stoked. It was rightly billed as Bob and not a reunited Sugar, but Dave Barbe and Malcolm Travis had more than capable substitutes in Jason Narducy and Jon Wurster. Being a bit pinched for time, they wasted no time in getting set up and tearing into “The Act We Act” and if anyone ever wanted a picture of me losing my shit, that’d have been a good place to get it. Not that anyone would have expected it to, but age hasn’t slowed down or quieted Mould at all, with the recital running non-stop and even faster than the original recordings. Mould seemed to be having a good time of it, offering a few smiles when he wasn’t bellowing into the mic or unleashing hell via his old Stratocaster. A few glances around confirmed that most people weren’t really getting it, but for every handful of quizzical or bored faces, there was one in a state of ecstasy so that was good enough. It was a bit of a shame that they had to skip “Slick” due to time – hardly my favourite song but still part of the album – but having “Helpless”, “Changes” and “Hoover Dam” blasted in my face was as good as I’d hoped.

But you know what? As great as that was, it wasn’t the highlight. Even if Bob had brought out Greg Norton and Grant Hart to play all of Candy Apple Grey, it’d have probably taken a back seat to The Roots. I have to say that I’ve never seen The Roots live, or listened to a Roots record, or even watched the Jimmy Fallon show. I don’t even follow Questlove on Twitter. You would be hard-pressed to find someone less familiar with The Roots than me, but even with all that their 90-minute show was one of the best things I’d seen in forever, and I’d just seen Bruce Springsteen less than 48 hours prior. Of course, in a sense that makes it easier – I can’t comment on what they played (though the cover quotes of Guns’N’Roses, George Thorogood and Led Zeppelin were obviously identifiable) but can describe the whole experience as an explosion of music where we were invited to dance in the fallout. It was a hip-hop show, a rock show, a soul revue all at once and a exhibition of amazing musicianship and showmanship throughout. Perhaps the most amazing thing was that as incredible as it was to be witnessing all this from up close, the band looked like they were the ones having the best time – you cannot fake the kind of joy that they were radiating. The performance went pretty much non-stop for about an hour fifteen before the rest of the band took a breather and Questlove and F. Knuckles invited DJ Jazzy Jeff – yeah, that Jazzy Jeff – onstage for a 3-man drum-off, before everyone returned for the big finish. The Roots. Holy shit. If the festival ended right there, I’d have been just fine with it

But of course it didn’t; one more night to go.

Stephin Merritt of The Magnetic Fields talks to Kelly Hogan for The Chicago Reader (Hogan covers The Magnetic Fields amongst others on her new record I Like to Keep Myself in Pain, out June 5, details at Exclaim) and to LA Weekly. The Magnetic Fields are at The Sound Academy on March 30.

M. Ward’s new one A Wasteland Companion is up and doing the stream thing at NPR ahead of its release next week, April 3.

Stream: M. Ward / A Wasteland Companion

Paste is all about Margot & The Nuclear So And So’s, post a video session to go with their feature piece. The band are at The Garrison on April 5.

East Village Boys sends Michael Stipe to interview Perfume Genius’ Mike Hadreas while The Los Angeles Times, Dallas Voice, and San Diego City Beat don’t need to celebrity proxies. Perfume Genius is at The Drake on April 8.

DIY has details on The Flaming Lips’ contribution to this year’s Record Store Day exclusives – The Flaming Lips & Heady Fwends celebrity collaboration album. Look for it (and probably not find it as it’s sold right out) on April 21.

Also coming out for Record Store Day are the first three Uncle Tupelo albums for the first time on vinyl since they were originally pressed back in the early ’90s (I assume – maybe they went straight to CD?). Until now, you could get Anodyne and the Anthology on wax, but not No Depression, Still Feel Gone or March 16-20, 1992 and also the literally-titled The Seven Inch Singles box set of four 7″ singles.. So this is good. Details at Exclaim.

Lower Dens are streaming a new track from their forthcoming Nootropics, out May 1.

Stream: Lower Dens – “Propogation”

S. Carey has posted a song from his new EP Hoyas to download. It’s out May 8.

MP3: S. Carey – “Two Angles”

Deer Tick are coming to town for a show at Lee’s Palace on June 11 in support of last year’s Divine Providence.

MP3: Deer Tick – “Miss K”

Drowned In Sound talks to James Mercer of The Shins and gets to know those who are now his bandmates. The Shins are at The Molson Amphitheatre on August 4.

Blurt interviews Andrew Bird.

Pitchfork is streaming a new tune from Sharon Van Etten, the b-side to her “Leonard” single. The Georgia Straight and San Francisco Bay Guardian also have conversations with her.

Stream: Sharon Van Etten – “Life Of His Own”

Daytrotter has posted a session with Wye Oak.

Blurt profiles Of Montreal.

Saturday, October 22nd, 2011

CONTEST – Blitzen Trapper @ The Opera House – October 30, 2011

Photo By Tyler KohlhoffTyler KohlhoffWho: Blitzen Trapper
What: Portland-based band whom you could reasonably call any and all of classic, folk, jam, country or psych rock and yet still not accurately pin them down.
Why: Their sixth full-length American Goldwing came out back in September and now they’re back where they’re most comfortable – on stage, on the road.
When: Sunday, October 30, 2011
Where: The Opera House in Toronto (19+)
Who else: Fellow Americana melting pots Dawes are co-headlining this tour.
How: Tickets for the show are $18.50 in advance but courtesy of Collective Concerts, I’ve got two pairs of passes to give away for the show. To enter, email me at contests AT chromewaves.net with “I want to Blitzen Trapper” in the subject line and your full name in the body and get that in to me before midnight, October 25.
What else: NPR has a KUT session with the band while The Ventura County Star has an interview.

MP3: Blitzen Trapper – “Love The Way You Walk Away”
MP3: Blitzen Trapper – “American Goldwing”
Video: Blitzen Trapper – “Love The Way You Walk Away”