Clare NashUpdates from the recording sessions for Kate Nash’s follow-up to 2007’s Made Of Bricks were few and far-between, but what did come out – that she was working with Bernard Butler, as famed for his stint as guitarist in Suede as his production work and that boyfriend Ryan Jarman from Brit-rockers The Cribs was hanging around – seemed to imply that her bubbly piano anthems might be taking on a harder edge on the sophomore effort. A theory borne out by the first released MP3 from the album, initially entitled Crayon Full Of Color but since changed to My Best Friend Is You and out on April 20 either way – “I Just Love You More” sounded like a not especially successful attempt at punk rock and certainly not playing to Nash’s strengths – clever wordplay and keen, observational songwriting that’s as humorous as it is pointed.

The first proper single, however, does sound like vintage Kate Nash. “Do Wah Doo”, for which a fun dancing stewardess-themed video has just been released, is very much in line with the best of Bricks, just gussied up with Butler’s signature retro-slick production. In fact it might be a little too similar to those who’d like to see some more growth from album one to two, but if “Do Wah Doo” represents one end of the stylistic spectrum covered on the new record and “I Just Love You More” the other, then My Best Friend Is You should be a fun and interesting listen.

Nash was already announced as one of the artists taking part in this year’s Lilith Fair revival, but this piece in Rolling Stone shows she’s not waiting for Sarah McLachlan’s say-so to bring her new record to North America. Less than a week after the record’s release, Nash is embarking on a small club tour across the continent, starting on April 26 in Toronto at the Mod Club – tickets $22.50. I missed both of Nash’s previous local shows back in 2008, so I’m pretty excited about the opportunity to finally see her live, and in cozy environs no less. And hopefully it will go better than her recent Glasgow show.

The Daily Record and Contact Music have interviews with Nash.

MP3: Kate Nash – “I Just Love You More”
Video: Kate Nash – “Do Wah Doo”

Spin finds out why Victoria Hesketh calls herself Little Boots while NYLON and Metro also have interviews. It seems that it’s not just the Toronto date of her North American tour that’s been scotched – none of her east coast, post-Coachella dates are listed on her website anymore.

Pitchfork has details on the forthcoming album from the all-new. all-different Pipettes – Earth vs. the Pipettes will be out on June 28 in the UK and if the band believes that it’s the planet Earth that is conspiring to have all their members quit… they may be on to something.

Magnet has an interview with former Delgados frontwoman Emma Pollock, who has been playing guest editor on their site all week. Her second solo record The Law Of Large Numbers came out last week.

MP3: Emma Pollock – “Hug The Harbour”

If the questions posed in these following Spinner quickie SxSW preview interviews look familiar… well, they are. Thankfully the answers are different.

Spinner talks to Frightened Rabbit, whose Winter Of Mixed Drinks finally began this week. They are at the Opera House on May 4.

Fanfarlo chats with Spinner and The Daily Texan. They’re in town with a show at Lee’s Palace on April 9, and Clash reports the band are planning to give away a free live EP in conjunction with this (or some other upcoming) tour.

This Spinner interview with The xx strays from the script a little bit. They’re at the Phoenix on April 4 and the Kool Haus on April 20.

Let’s Wrestle grapples with some questions from Spinner. They’re at the Horseshoe on April 18.

NYC Taper is sharing a recording of a recent show from We Were Promised Jetpacks and oh yeah, there’s one of those Spinner interviews too.

The Line Of Best Fit chats with Field Music. They’re at the Horseshoe next Friday night with The Clientele, with whom 77 Square and City Pages have chats.

The Tripwire has a feature piece on The Big Pink. They play The Mod Club on March 24.

JAM and The Montreal Gazette interview Muse.

The High Wire, heartily endorsed late last year, have made the title track of their new album The Sleep Tape available to download. It starts out small, but quickly becomes a pretty compelling argument for this as one of the best dream-pop records of the year. Which, as of this moment, it is.

MP3: The High Wire – “The Sleep Tape”

Exclaim reports that Belle & Sebastian are off hiatus and headed back into the studio to record album number eight. EIGHT. Goodness.

Daytrotter has a session with Ian McCulloch of Echo & The Bunnymen. They are at The Phoenix on April 23.

Rumoured a little while ago but now official – first-wave shoegazers Chapterhouse have slated a North American tour for this Spring and will kick it off on May 1 at the Horseshoe in Toronto.

Video: Chapterhouse – “Pearl”

Billboard wonders what David Bowie is up to – apparently, not much.

Andy WillsherDo not get me wrong, I’m as excited as anything to be heading down to Austin, Texas in a week and a half for my sixth (!) SxSW, but there’s more than a twinge of regret over what I’ll be missing back here at home: my cat, my own bed and a hell of a double-bill at the Horseshoe on the Friday night with The Clientele and Field Music.

The former will be touring in support of last year’s lovely (and rumoured swan song) Bonfires On The Heath while the latter will be playing songs from their just-released return to active duty, (Measure). Verily, for an Anglophile such as myself, it’s the sort of bill that one dreams about and missing it, as I will be? Well, it hurts. It really does.

So for those of you remaining in the 416, I ask that you go, bid these weary travelers welcome and bear witness to this show in my stead. I’ll even make it easy for you – courtesy of Collective Concerts, I’ve got a pair of passes to the show to give away. To enter, email me at contests AT chromewaves.net with “I want to see The Clientele” in the subject line and your full name in the body, and have that in to me before midnight, March 14.

There’s an interview with The Clientele at The Los Angeles Times and with Field Music at Tour Dates UK.

MP3: The Clientele – “Harvest Time”
MP3: The Clientele – “I Wonder Who We Are”
MP3: Field Music – “Measure”
Video: Field Music – “Them That Do Nothing”
MySpace: The Clientele
MySpace: Field Music

Frank YangEditors are from Birmingham in the UK and are weathering criticism for daring to mess with their sonic formula on their latest effort In This Light And On This Evening. The Antlers are from Brooklyn in the USA and are basking in acclaim and ever-growing attention in the wake of last year’s Hospice. Two bands who wouldn’t appear to have a whole lot in common except for this – both steep their music deeply in dramatics for effect and both were at the Phoenix in Toronto on Tuesday night.

For The Antlers, the drama extended into their very arrival, having been held up at the border by some extra-conscientious immigration officers and only beginning to load in at their designated set time. Still, they were set up and ready to go just 10 minutes later than scheduled and immediately launched into a sprawling reading of “Kettering”, clearly not willing to be rushed for the sake of expediency. When I saw them in September 2009 at their Criminal Records in-store, what stood out most was how in a live context, they were able to transform the the anguish that permeates Hospice into something more cathartic, and in a large setting such as this, that was even more the case. Despite the late start, they were able to stretch out five songs over about 40 minutes, each filled with crescendos, false endings and emotion, and when they left the stage, it was to an ovation that you might have thought marked the end of the evening.

But no, as much as the crowd appreciated The Antlers, they were here for Editors, mixed reactions to In This Light be damned. Opening with the title track from the new album, it became clear how they’d be handling its synth-heavy sounds while maintaining the dynamicism of their live show – it began with Tom Smith seated at the piano and then midway through, getting up to grab his guitar while Chris Urbanowicz switched off from guitar to synth, a routine that would continue throughout the night as some or all would handle keyboard duties while the others kept it analog. Not a bad arrangement, allowing them to maintain the walls of keyboards while Smith did what he does best, and that’s lurch around stage and providing the kinetic energy necessary to get the show into gear. Though the rest of the band was more animated than the last time I saw them, it’s Smith’s presence and delivery that allows Editors to sell their songs to those, such as myself, who might otherwise have difficulty embracing the dubious lyricism of their grandly appointed anthems.

Clearly believing their new material is more worthy than the critics do, Editors played In This Light in its entirety, and to be fair, its shortcomings are less evident when interspersed with the stronger, more guitar-driven material from their first two records. Both An End Has A Start and The Back Room were well represented, with five tracks from each getting aired out. There were stretches where my attention began to wander but there was usually a big single strategically placed to pull it back in and keep me hanging around and my endurance was rewarded with pretty intense readings of “Munich” and “Papillon” in the encore. Critics of Editors like to point at the band’s over-emotive and unabashedly melodramatic approach, and yeah, they’re pretty well over the top in that department, but it wouldn’t have been nearly as good a show if they weren’t.

eye has a review of the whole show Panic Manual some thoughts on the Antlers’ set while Chart only has eyes for Editors. The Boston Herald and Metro have interviews with Editors and WOXY a Lounge Act session with Antlers, who were just announced as support for The National’s upcoming Spring tour, including the June 8 and 9 dates at Massey Hall.

Photos: Editors, The Antlers @ The Phoenix – February 16, 2010
MP3: Editors – “Papillon”
MP3: Editors – “Munich”
MP3: The Antlers – “Two”
MP3: The Antlers – “Two” (remastered)
MP3: The Antlers – “Bear”
MP3: The Antlers – “The Universe Is Going To Catch You”
MP3: The Antlers – “On the Roof”
MP3: The Antlers – “Stairs To The Attic”
MP3: The Antlers – “Cold War”
MP3: The Antlers – “Keys”
Video: Editors – “You Don’t Know Love”
Video: Editors – “Papillon”
Video: Editors – “An End Has A Start”
Video: Editors – “Smokers Outside the Hospital Doors”
Video: Editors – “All Sparks”
Video: Editors – “Munich”
Video: The Antlers – “Bear”
Video: The Antlers – “Two”
MySpace: Editors
MySpace: The Antlers

Rolling Stone checks in with Aaron Dessner of The National, who still don’t have a title for the new record but should have one before it hits stores on May 11. As mentioned, they have two nights at Massey Hall on June 8 and 9.

There’s a second MP3 available from Ted Leo & The Pharmacists’ new record The Brutalist Bricks, out March 9. And Ted has excuses as to why there’s not Toronto date on the tour itinerary yet, but promises one is coming soon.

MP3: Ted Leo & The Pharmacists – “The Mighty Sparrow”

The Calgary Herald has an interview with Jeff Tweedy of Wilco.

Stephin Merritt of The Magnetic Fields talks to Chart about Realism.

Quasi have released a second MP3 from American Gong, due out next Tuesday. They’re at The Horseshoe on April 18.

MP3: Quasi – “Laissez les Bon Temps Rouler”

Spinner has an Interface session with Beach House – look for them March 30 at the Opera House.

The Futureheads have rolled out a video from their new album The Chaos, due out April 26. Drowned In Sound has it and a making-of clip for the video.

Video: The Futureheads – “Heartbeat Song”

The Quietus interviews Field Music. They’re at The Horsesehoe on March 19.

The Dallas Observer profiles We Were Promised Jetpacks.

Frank YangJust one question for everyone at Lee’s Palace for Mumford & Sons on Monday night. Where did you all come from?

This question doesn’t just come from the fact that this band – whose debut album Sigh No More was only just released in North America yesterday and who were conducting this super-short, four-date North American tour without, at least to my knowledge, any major promotional push – had sold out Lee’s Palace, but had filled it not with curious musical passers-by, but raving, honest-to-god fans. Largely of the shrieking variety. Seriously, I had not seen Lee’s – or any venue – so packed and so unbelievably LOUD.

And so early. It was to the benefit of the openers that Mumford & Sons’ fanbase is punctual, because they got to ply their wares to a pretty full house and really, I couldn’t think of a better-suited local support act for Mumford than Sunparlour Players. Like the headliners, the duo are all about impassioned and rousing country-rock performed with remarkable musical dexterity, though the Sunparlour are considerably (and deliberately) rawer in execution – think moonshine versus whiskey. Either way, the audience ate it up and responded with huge and honest enthusiasm, and deservedly so – Sunparlour Players set the table with a killer set.

It’s not especially original by any stretch, but the phrase “bluegrass Beatles” crossed my mind later on in the evening as I tried to articulate what I witnessed with Mumford & Sons’ set. From the moment Ted Dwane carried his upright bass across the stage while they were still setting up until the end of the encore, the capacity crowd roared, shrieked and just went completely bonkers for the London quartet. And while I am incredulous about the fact that so many were so enthralled by them so early in their career – they certainly didn’t have that sort of fanbase when they first visited in October 2008 – that it’s happened really doesn’t surprise. If you accept that there’s been a heretofore untapped market for earnest, bluegrass/country-inspired indie rock, it’s hard to think of an outfit better positioned to exploit it than they. They’re handsome to a man with a distinctive, old-timey sartorial style; their banter is charming, witty and delivered with an English accent; their songs are sensitive, soaring and anthemic; their musicianship and vocal prowess ridiculously polished. To wit, there is no reason, in a just world, that Mumford & Sons wouldn’t be filling rooms the size of Lee’s if not larger with devoted fans, ready willing and able to sing along with every word. And yet to actually see it happen was wonderfully bizarre.

Even with so much going for them and the audience won over before they played a note, Mumford & Sons still had to deliver on the performance, and deliver they did. From the opening four-part harmonies of “Sigh No More”, it was clear they came to play. Their set covered most (all?) of Sigh No More, rendered perfectly with the crescendos lifting spirits and the quiet passages breaking hearts and the omnipresent kick drum propelling it all forward. The also aired out three new songs which didn’t stray far from their formula but held to more conventional rock band arrangements – at one point, they were kitted out with electric guitar, electric bass, keys and drums; completely standard for almost any other band but strangely alien on them. Perhaps most memorable was the first song of their encore, wherein the four of them played unamplified from the edge of the stage. Not an unusual move in acoustically gifted venues, but the first time I’d seen it pulled at Lee’s Palace and, of course, they did it masterfully. A show like this one couldn’t have ended any other way.

Photos: Mumford & Sons, Sunparlour Players @ Lee’s Palace – February 15, 2010
MP3: Sunparlour Players – “Battle Of ‘77″
MP3: Sunparlour Players – “Shake & Bake For Goodness-Sake”
Video: Mumford & Sons – “The Cave”
Video: Mumford & Sons – “Winter Winds”
Video: Mumford & Sons – “Little Lion Man”
MySpace: Mumford & Sons

Clash chats with Field Music while Drowned In Sound takes a track by track tour through their new album (Measure), which you can follow along with thanks to MBV Music, who are streaming the album right now. They’re at The Horsesehoe on March 19.

Stream: Field Music / (Measure)

Baeble Music is streaming a full live show from Fanfarlo. They’re at Lee’s Palace on April 9.

Florence Welch of Florence & The Machine talks to BBC and The Daily Mail. She brings her BRIT-crowned “best British album” Lungs to The Phoenix on April 10.

Check out this PitchforkTV Surveillance session with The xx, coming to town twice in April – on the 4th at The Phoenix and on the 20th at The Kool Haus.

Clash has excerpted part of their feature piece on Hot Chip, in town at The Kool Haus on April 20.

Scott Hutchison of Frightened Rabbit takes Clash on a guided tour through their new record The Winter Of Mixed Drinks, due out March 9. See them at the Opera House on May 4.

BBC checks in with Franz Ferdinand’s Alex Kapranos on the direction of album number four.

Laundromatinee has a video session and The Boston Herald an interview with We Were Promised Jetpacks.

Drowned In Sound is currently streaming the whole of Lightspeed Champion’s latest opus Life Is Sweet! Nice To Meet You, out now.

Stream: Lightspeed Champion / Life Is Sweet! Nice To Meet You

PopMatters talks to Andy Partridge of XTC.

Frank YangHad Tuesday night’s Laura Marling show taken place at originally-intended venue of the Drake Underground rather than its final locale of Lee’s Palace (just under three times larger), then there’d have been throngs of disappointed fans either milling around outside the Parkdale hotel or moping at home instead of nearly packing the Annex club (and burrito outlet), eager to hear Marling preview material from her forthcoming second album I Speak Because I Can, due out April 6. And though this wasn’t Marling’s first visit to the city, her stock has risen considerably since her Toronto debut at the Rivoli in October 2008 so for many, this was probably their first opportunity to see her live.

Just as he did a year and a half ago, multi-instrumentalist Marling co-conspirator Pete Roe was an unscheduled opener. Unfortunately, unlike last time I wasn’t there in time to see his short set. There’d still be plenty of Roe through the night, however, as he would remain onstage for pretty much the entire night as in addition to playing with Marling, he was making his debut as a touring member of Nathaniel Rateliff & The Wheel. The Denver outfit was apparently down a few members on account of a broken-down van, but what pieces they had on hand were plenty to make a great impression. As one look at the bearded Rateliff might have tipped off, their sound was decidedly traditional and rootsy but with enough character to stand out. Gothic-sounding without being grim and infused with a good sense of melody, they definitely marked themselves as an act to keep an eye out for when they release their new record later this year.

The advance word on I Speak Because I Can is that Marling has gotten dark, and in more ways than just her hair – an opinion borne out from the very first song of her set, the galloping new single “Devil’s Spoke”. From the sounds of the new material that made up most of her set, Marling has checked some of her more pop inclinations in favour of a more dramatic approach and it serves her well. Selections from Alas I Cannot Swim were held to just a few singles, but the new material sounded so good and was so clearly evidence of an artist who’s grown significantly in the past couple of years that there wasn’t going to be any complaining. In fact, most in attendance seemed so pleased to simply be seeing Marling perform that by and large, the audience actually shut up while she played.

Backed by Roe and The Wheel for the opening and closing portions of the set and performing solo for the middle, Marling was a far more confident performer than the girl I saw in 2008 or even last March at SxSW. Largely gone was the thousand-yard stare or sense of being somewhere else entirely, and in its place were more jokes and storytelling and general engagement with the crowd, and though she didn’t entirely realize where she was when she introduced her cover of Neil Young’s “The Needle And The Damage Done”, at least we know she wasn’t pandering to the city. And while she does the, “we’re just going to play our encore without leaving the stage” announcement every show, we got to hear “Alas I Cannot Swim” get charmingly waylaid by what she called, “unexpected giggles” and forgetting the words. A perfectly imperfect way to finish the show, and enough to satisfy until the new record and another visit arrives.

Panic Manual, MuchMusic and The Singing Lamb also have reviews of the show. Daytrotter posted a session with Nathaniel Rateliff last December.

Photos: Laura Marling, Nathaniel Rateliff & The Wheel @ Lee’s Palace – February 9, 2010
MP3: Laura Marling – “Ghosts”
Video: Laura Marling – “Devil’s Spoke”
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: Laura Marling
MySpace: Nathaniel Rateliff & The Wheel

NPR has a World Cafe session and MTV and The San Francisco Examiner interviews with Mumford & Sons, whose Sigh No More is out on February 16 in North America, the day after they play Lee’s Palace.

There’s now a track from Joanna Newsom’s forthcoming triple-album epic Have One On Me available to download. The album is out February 23 and she plays The Phoenix on March 13.

MP3: Joanna Newsom – “Kingfisher”

JAM has a profile on Florence Welch of Florence & The Machine. She is at the Phoenix on April 10.

Field Music talk to Spinner about their love of the album format, evidenced by their new double-set (Measure), due out next week. They will be at the Horseshoe on March 19.