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Elvis Costello & The Imposters at The Sony Centre For The Performing Arts in Toronto

Frank Yang — Mon, 27 Jun 2011 12:21:36 +0000

Frank YangIf any artist has earned the right to do whatever the hell he wants, it’s Elvis Costello. And indeed, he’s taken full advantage of this creative liberty over his three-and-a-half decade career; starting as the “angry young man” coming out of the British punk scene and becoming, at various points in his career, a country crooner, jazz singer and pop classicist and all points in between, to say nothing of his forays into acting and television talk show host. And unlike some who’ve transformed their personas to match each artistic endeavour, Costello has always remained Costello – same glasses, maybe a different hat (okay, there was the Mighty Like A Rose beard). As said, the man does what he wants and offers no apologies for it.

And if he wants to resurrect a tour concept from a quarter-century ago, “The Spectacular Spinning Songbook” wherein audience members choose the set list by randomly spinning a giant carnival wheel, then he’s going to do it – never mind that the original go-around with the wheel apparently didn’t go so well. Having been all of 11 at the time that went down, I obviously can’t comment on whether or not the criticisms of the tour were valid but considering that Costello’s two 1986 releases – King Of America and Blood & Chocolate – are basically my favourite of his records, so from my point of view circa ’86 he was on top of his game. And anyways, the idea of seeing Elvis for the first time in a decade or so playing songs pulled from throughout his career rather than to promote his last record National Ransom – which is fine and all, don’t get me wrong – sounded like a pretty good one. Which brings us to Thursday night at the rather posh Sony Centre For The Performing Arts.

Eschewing any support act for the evening, Costello and The Imposters – his backing band of the past decade or so which is basically The Attractions, his backing band of the past three decades with the exception of Davy Faragher replacing bassist Bruce Thomas – took the colourfully-decorated, playground-like stage shortly after eight, supported by a go-go dancer and hostess charged with selecting and escorting audience members to spin the wheel, typically attractive and well-dressed young women. Not that they were called on until a ways into the set; Costello and company set the tone themselves opening with a blistering “I Hope You’re Happy Now” (from Blood & Chocolate) and tearing through a set of classics that established that they were here to play. At that point, Costello introduced himself as Napoleon Dynamite – his alias that predates the movie by a good twenty years – and entered sideshow barker mode and the first audience member invited to take the Spinning Songbook for a whirl landed on Punch The Clock‘s “Everyday I Write The Book”, the first Costello song I ever recall hearing. Yeah, I’d say this was a good start to the night.

Offering a blow-by-blow of the more than two-and-a-half hour show would be futile, so I won’t bother; just look at the set list. In a word, the show was amazing. In a few more words, it was a joyous romp through Costello’s extensive songbook and a few others’, with covers and cribs of artists as diverse as The Beatles, Prince and Smokey Robinson peppered through the set. What it wasn’t, however, was a greatest hits set – there were hits a-plenty, yes, but still plenty of selections from Costello’s more recent, less chart-topping records, all of which served a purpose. “I Still Have That Other Girl”, from his Painted From Memory Bacharach collaboration gave him opportunity to roam the audience crooning, “Spooky Girlfriend” – leading off a block of four “girl”-themed songs thanks to a jackpot spin on the wheel – reminded that his 2001 return to form album When I Was Cruel really was a return to form and “Turpentine” off of 2008′s Momofuku allowed Costello to showcase his “little hands of concrete” on some absolutely ripping guitar solos.

Truly, every selection was some degree of highlight but as good as it all was from note one, but as you’d expect from a veteran showman, he still saved the best for last. Closing the main set with an affecting “Shipbuilding” – I guess we were lucky no one spun that one earlier on – Costello took advantage of the break to change out of his suit coat, which was by this point completely soaked through with sweat, to change into something a little more checked and kitschy and play a couple of National Ransom tunes solo and acoustic and then into some gold lame jacket to lead the Imposters back onstage for the second encore. Not done yet, no sir. The wheel was brought back into play and though the results rigged just a bit, no one was going to complain about the Armed Forces/My Aim Is True/This Year’s Model suite of songs that ensued, including the most polite, middle-aged stage invasion you ever did see. “Pump It Up” segued into an unexpected partial cover of “Purple Rain” and following a stirring “Man Out Of Time”, they closed with “I Hope” from National Ransom.

What else can be said? It was a two-hour, forty-minute tour de force performance from one of the greatest pop songwriters of the last thirty years. Ladies and gentlemen, Elvis Costello.

The Toronto Sun, The Globe & Mail, Lithium, The National Post and Torontoist also have reviews of the show.

So far this year, we’ve had visits from Duran Duran, Orchestral Maneuvers In The Dark and now… The Human League? They’re going to be in town as part of a North American tour on September 18 at The Guvernment, ostensibly in support of new album Credo but let’s be honest – you know what you want to hear.

Video: The Human League – “Don’t You Want Me”

The Fader chats with Dev Hynes of Blood Orange; his debut under that name, Coastal Grooves, is out August 8.

NPR has posted a World Cafe session with James Blake. He plays The Phoenix on September 30.

Under The Radar has details on the debut album from London’s Still Corners; Creatures Of An Hour will be out on October 11 and the first MP3 is available to grab now.

MP3: Still Corners – “Cuckoo”

Glasvegas have released a new video from Euphoric Heartbreak.

Video: Glasvegas – “Shine Like Stars”

DIY chatted with Yuck whilst at Glastonbury this weekend.

NPR checks in with Ida Maria, whose new album Katla came out very quietly at the start of the month, at least in digital form. The record is streaming on her website right now.

Stream: Ida Maria / Katla

NPR has a profile of Nick Cave, whose rendering of The Zombies’ classic “She’s Not There” with Neko Case, recorded for this season’s True Blood soundtrack, is available to stream over at KCRW.

Beady Eye at The Sound Academy in Toronto

Frank Yang — Fri, 24 Jun 2011 12:31:42 +0000

Frank YangIf it were possible to discuss Beady Eye and their debut album Different Gear, Still Speeding based strictly on their musical merits and not their backstory, then it would be a fairly short conversation: alright-enough Brit-rock, hardly re-inventing the wheel. But taking into account that the band comprises 4/5 of the final lineup of Oasis, less chief songwriter Noel Gallagher, extra scrutiny is unavoidable. Which is unfortunate since despite the band’s – well, Liam Gallagher’s – insistence that they’re going to be the biggest band in the world, they don’t aspire to much more than solid, meat-and-potatoes rock’n'roll. And in that, especially considering the younger Gallagher’s rather unspectacular songwriting efforts in Oasis, Different Gear is surprisingly decent, with a good dose of swagger and energy and thankfully fewer than expected cringe-worthy lyrics. After all, Liam has never pretended there was a poet underneath the gruff exterior; Noel was the sensitive one.

While Beady Eye have hardly set the world ablaze with their debut, they found it worthwhile to bring it across the Atlantic for their first North American tour starting this past weekend in Chicago and landing in Toronto’s Sound Academy on Monday night. It would be the first time Liam would take a stage here since Oasis’ final assault-interrupted performance at V Fest 2008, and clearly the faithful had been waiting – the giant Union Jack flag waving from the balcony and random chants of “Liam!” a few of the signs that the band were on friendly turf. And really, it’s a rare sort of crowd who sings along en masse to The Jam’s “That’s Entertainment” over the PA, isn’t it? When the lights dimmed a few minutes later than the scheduled start time – it wouldn’t have done to not let the final bars of The Stone Roses’ “I Am The Resurrection” not ring out, after all – the cheers went up and out strode Liam Gallagher in appropriately ridiculous Union Jack topcoat and his more conservatively dressed compatriots and we were away.

Opening with “Four Letter Word”, Gallagher in his familiar nose-on-the-mic, arms-behind-his-back post and picking lyrics off a teleprompter, the first thing you noticed was that they were loud. More specifically, Gallagher was loud – heinously so. It was as if his monitor mix was being fed into the house by accident, so much louder were his vocals than the band that it was like hearing someone singing at the top of their lungs to music playing on their earphones. Thankfully within a few songs it was sorted somewhat – or fleeing to the back of the venue made the difference – and the remainder of the set was entertaining in a steady head-nodding sense. Each song from Different Gear as well as a couple of non-album tracks and one new composition was aired out, each with its own staging and adhering closely to their studio versions. And while it obviously wasn’t the context I’d ideally like to have seen, it was good to see Andy Bell back on guitar and taking a few solos in person.

Without that much material on hand and a sworn oath to not delve into the Oasis songbook, it wasn’t surprising that the main set was over in less than an hour, closing with “Champagne Supernova”-like psychedelic slow jam “The Morning Son” before returning for a two-song encore that brought the show to a respectable length. Throughout, Gallagher conducted himself with an interesting combination of confidence and humility, as though he still believed that he was fronting the best band in the world but understood that he had to prove it; this solid showing was a good start. Will Beady Eye, as their song declares, “stand the test of time like The Beatles and The Stones”? Not likely, to be honest, but at least they’ve bought themselves some of that time to get there.

Metro, The Grid and Shortlist have typically entertaining interviews with Gallagher and his bandmates. Chart, examiner.com and JAM also have reviews of the show.

Photos: Beady Eye @ The Sound Academy – June 20, 2011
MP3: Beady Eye – “The Roller”
Video: Beady Eye – “Millionaire”
Video: Beady Eye – “Four Letter Word”
Video: Beady Eye – “Bring The Light”

Loads of new videos making their way across the pond over the last few days. Let’s sum up.

Amor de Dias has a new clip from Street Of The Love Of Days. Alasdair MacLean and Lupe Núñez-Fernández are also playing guest editor this week at Magnet starting with a Q&A and submitted a guest list of inspirations to Critical Mob.

Video: Amor de Dias – “Wild Winter Trees”

The latest single from Anna Calvi also comes with a video.

Video: Anna Calvi – “Desire”

The previously mailing-list-sign-up-only video for the new Slow Club single is now available for all to see. It comes from their second album Paradise, which is out September 12 – NME has details.

Video: Slow Club – “Two Cousins”

Friendly Fires have confirmed their Fall North American tour which includes the make-up for the cancelled Toronto show, now taking place October 23 at The Phoenix. The Georgia Straight and Black Book have interviews with the band and oh yeah, there’s a new video from Pala.

Video: Friendly Fires – “Hawaiian Air”

Yuck have a new, kind of disturbing clip from their self-titled debut. RTE has an interview with the band.

Video: Yuck – “Shook Down”

The new clip from Noah & The Whale’s Last Night On Earth is appropriately slick and cinematic. And nice dance moves, Charlie. Creative Loafing has an interview.

Video: Noah & The Whale – “Life Is Life”

The Joy Formidable’s Big Roar has yielded a new video, which proves their affection for ’90s alt.rock extends to video aesthetic.

Video: The Joy Formidable – “A Heavy Abacus”

It’s not a proper promo clip, but people will still want to see this live video of Radiohead performing a new, non-album track. It’s taken from their upcoming From The Basement webcast, which I believe will be aired on July 1.

Video: Radiohead – “Staircase” (live)

Some news from components of Blur; Clash checks in with Graham Coxon on the state of his next record while The Guardian has a feature on the many projects of Damon Albarn, including an opera about John Dee and a tease about possible North American Blur dates next year – hello Coachella?

Summer Camp have turned to Pledge Music to garner financing for their debut album, and have put together some very neat and entertaining rewards for various pledge levels. The real reward, of course, will be a record of wonderful pop music like the track “Nobody Knows You”, which they’re trading for your email address, but if you want to walk away with Jeremy Warmsley’s bass guitar, well that can happen too. Clash talks to Elizabeth Sankey about the new album and fundraising efforts.

Clash quizzes Emmy The Great about this, that and the other thing.

Laura Marling has announced the September 13 release of her third album A Creature I Don’t Know. She talks to Spin a bit about what to expect and The Line Of Best Fit has more specifics. The record is already available to pre-order.

Bella Union has announced details on the debut album from Newcastle’s Lanterns On The Lake, who rather beguiled at SXSW. Gracious Tide, Take Me Home will be out on September 19 in the UK – the first MP3 from it is available to have and the hold now.

MP3: Lanterns On The Lake – “You’re Almost There”

The Quietus talks to The Horrors and gets a track-by-track breakdown of their new record Skying, due out July 12. They play Lee’s Palace on September 27.

Spinner, HitFix and The Mirror talk to Guy Garvey of Elbow, finally coming back to town for a show at the Sound Academy on September 28.

Pitchfork filmed a short James Blake film at Primavera last month; Blake is at The Phoenix on September 30.

The Daily Record asks Glasvegas frontman James Allan where he’s living nowadays while Rab Allan talks to Metro.

Spin is streaming a second preview track from the new Ladytron album Gravity The Seducer, due out September 13.

Billboard, BBC and The Quietus talk to Patrick Wolf about his new record Lupercalia while The Fly has an acoustic courtyard session with the artist.

Interview interviews Kate Bush.

Review of Allo Darlin’s Allo Darlin’

Frank Yang — Thu, 09 Jun 2011 12:29:30 +0000

allodarlin.comIt’s of no surprise whatsoever to learn that Elizabeth Morris, frontwoman of London’s Allo Darlin’ also pulls duty as part of Tender Trap. Even without a formal connection to the works of Amelia Fletcher, the influence of the former Heavenly frontwoman is all over the band’s self-titled debut.

You can draw a pretty straight line from Heavenly’s archetypal indie pop to what Allo Darlin’ are doing, making adjustments for Morris’ Australian accent and favouring of the ukulele as rhythm instrument. But rather than go retro and try to recapture the youthful innocence of the movement circa the ’80s, Allo Darlin’ picks up in present day with the song’s protagonists perhaps in their late twenties, coloured by the anxiety, disappointment and melancholy that comes with age and experience. It’s also peppered with pop cultural references – when was the last time you heard “Max Von Sydow” as a lyric – that are less about being clever and more about trying to express reel feelings with the only frames of reference available.

I realize this sounds kind of grim and maybe unappealing, but Allo Darlin’ wraps these sentiments up in some of the most buoyant and catchy melodies you’ll hear this side of, well, a Heavenly record. It’s indie pop of the most irresistible variety with a real emotional weight to it that adds just the right amount of heartache to go with the sugar buzz. Recommended on so many levels.

I wouldn’t have thought that the band had enough profile to stage a North American tour but after having to cancel a handful of dates due to visa issues aside, they got underway last night in New York City and will roll through Toronto this Saturday night at the El Mocambo. Tickets just $10 in advance; you should go.

MP3: Allo Darlin’ – “My Heart Is A Drummer”
MP3: Allo Darlin’ – “Dreaming”
Video: Allo Darlin’ – “My Heart Is A Drummer”
Video: Allo Darlin’ – “If Loneliness Was Art”
Video: Allo Darlin’ – “Dreaming”
Video: Allo Darlin’ – “The Polaroid Song”

The Guardian gets Emma-Lee Moss – aka Emmy The Great – to annotate her second album Virtue, which is due for release next week but available to stream in whole right now. The Guardian and I Like Music both have interviews with Moss.

Stream: Emmy The Great / Virtue

The Alternate Side has an interview and session and The Dumbing Of America, The Vine, Shortlist, City Weekly, The Georgia Straight and Soundspike have interviews with Noah & The Whale.

The Globe & Mail, National Post, Georgia Straight, Canada.com and San Francisco Examiner get to know Anna Calvi.

Florence & The Machine has released a video for their contribution to the Rave On Buddy Holly tribute album, due to be released on June 28. Gigwise reports that her second album will be done by the end of next month.

Video: Florence & The Machine – “Not Fade Away”

File this one under “can’t be anything but wonderful” – English folk-rock legend Richard Thompson is coming to town for a solo show at Koerner Hall in the Royal Conservatory Of Music on Thursday, September 8. Ticket information is still forthcoming but having seen him at Toronto’s Bluesfest back in 2003 – way back when we had a Bluesfest – I can attest that whatever they charge will be worth it. The man is unbelievable.

Video: Richard Thompson – “Shoot Out The Lights” (live)
Video: Richard Thompson – “1952 Vincent Black Lightning” (live)

The San Francisco Examiner and Los Angeles Times have interviews with James Allan of Glasvegas.

The Grid chats with Arctic Monkeys drummer Matt Helders.

Baeble Music is streaming video of a complete show by The Go! Team in Brooklyn from earlier this Spring.

Guy Garvey of Elbow ruminates on the British music scene for Shortlist.

NPR is streaming a WFUV session with Ellie Goulding, who will be at The Kool Haus on August 1.

Spin gets a notion of what Anthony Gonzalez has in store for the next M83 album. No release date or title, but apparently it will be an epic-scale double-disc set. So glad that Gonzalez is finally letting loose; all those previous M83 records being so introverted.

Pulp, Belle & Sebastian, The National and more at Primavera Sound

Frank Yang — Wed, 01 Jun 2011 12:30:26 +0000

Frank YangAsk me my dream festival lineup (within the realm of possibility) and I might well submit the four-block that was Primavera Friday night – you had The National as possibly my favourite act currently going and at the top of their game, Belle & Sebastian from the hall of all-time favorites, Explosions In The Sky to represent for my ambient/post-rock proclivities and as the hook – the mandatory reunion act – let’s say… Pulp. And this, in a nutshell, was why I was in Spain.

The previous night’s creep into this day’s morning meant a late start out of the blocks, and so arrival at Parc del Forum was timed just about right for duskfall and to see The National on the Llevant stage. This was the first time I’d seen them at a festival since they did a noon hour set at Austin City Limits in 2007 – clearly their stock had risen some in the interim. I’ve watched them at all levels since their days playing small bars circa Alligator and can confirm they already own in a theatre setting but dominating a major festival stage is something different. Or maybe it’s not, because The National had no problem at all with it. Even though their albums have gotten less overtly rock as you go, they have gotten more anthemic and that’s a trait that serves you well in these settings. As does having friends like Sufjan Stevens, who joined them to a roar of approval to contribute backing vocals on “Afraid Of Everyone”. Chalk it up as another glorious show from The National, even though those on the outskirts of the crowed seemed less enraptured, or at least more engaged in their own conversations. But in the heart of the crowd, there was nothing but devotion.

Like The National, I’d seen Belle & Sebastian many times but never in a festival setting. Unlike The National, big anthems weren’t exactly the Scottish pop outfit’s forte. But this didn’t prompt any sort of rejigging of their live show for the setting – they performed largely the same set as they did in theatres, clearly intending to draw the huge audience in rather than project out. They were stymied in this early on by a poor vocal mix, making them sound smaller than they should have, but eventually that got sorted out and their charms won the day. On the fan interaction end there was no autographed football tosses as there were in North America, but Stuart Murdoch did invite one audience member to apply some mascara to him during “Lord Anthony”, while inserting Pulp quotes into the lyrics to make things extra topical. On the downside, I learned that Belle & Sebastian fans can be seriously pushy jerks. Stop trying to get to the front – Stuart’s already has his makeover for the evening.

The last time I saw Explosions In the Sky was actually at a festival – albeit a midday, second-stage set at V Fest 2007 – but their stature has grown so much since then that comparisons are rather moot. Here, they were playing a midnight time slot at the grand Ray-Ban Stage, whose coliseum seating and massive floors area made it seem like a much more grandiose setting than the de facto San Miguel mainstage. It definitely suited the band, though, combining with their simple yet dramatic light show and massive, cinematic post-rock sound – now even bigger-sounding with the addition of a full-time bassist – and tens of thousands in the audience for a full sensory experience. Not easy for an instrumental band to do. I would have liked to stay longer than the 30 minutes or so that I did, but I’ll have a chance for the full show when they come to town in October and there was more pressing business to attend to. Business a long time in coming.

I had never thought I would ever see Pulp live, and I was by and large alright with that. Their hiatus in 2001 didn’t seem like it would be a temporary thing, as their career had already had an arc that many would envy, and I had adjusted my concert bucket list to just include Jarvis Cocker solo – which was already proving exceedingly difficult to check off. So when the reunion was announced in December, there wasn’t a lot of hesitation before committing to coming to Primavera. The final minutes of a decade of anticipation were heightened by a series of cheeky messages laser-projeted onto a scrim in front of the stage, behind which you could clearly see the letters “P”, “U”, “L” and “P” in giant neon signs hanging in back. Yes. And when they lit up and the band kicked into the totally appropriate His ‘N’ Hers classic “Do You Remember The First Time?”, it was showtime.

Pulp-era Jarvis Cocker was by all accounts a different creature entirely from post-Pulp Jarvis Cocker, but by god if he didn’t slip completely back into character more easily than anyone could imagine, particularly since one would assume that he was the main holdout in any Pulp reunion happening before now. With only the natty salt-and-pepper beard to distinguish him from his previous incarnation, he danced, leapt, strutted and vogued around the stage as if the halcyon days of Britpop were just yesterday and certainly didn’t look as though he were a decade and a half older.

His shedding the jacket and tie early on was the only warning that they were going to spring “Disco 2000” on us – with no asides about meeting up 11 years late – far sooner than anyone might have expected. But even when taken by surprise, the reflex of pretty much everyone at the sound of those opening chords was to dance, dance, dance. Another highlight was Cocker’s pulling out a prop video camera/flashlight for “I Spy”, with which he broadcast to all an in-audience wedding proposal between a couple from Athens, Georgia – major props to the guy for managing to orchestrate that.

That moment of romance led appropriately/inappropriately into “Underwear” which segued into the gloriously seedy “This Is Hardcore”, the only selection from their arguably best (if less festival-friendly) album. Part of this may have been because guitarist/violinist Russell Senior was back in the fold for this reunion and he had originally left the band after Different Class; he wasn’t even onstage for “Hardcore”, though he did step in to handle the guitar solo on “Sunrise”, from the unfairly malinged We Love Life. And I’d never particularly thought of Pulp as a guitar band, but when Cocker strapped one on as he did at a few points in the night, the seven member-strong band actually had four axes going at once.

The main set closed with an explosive “Common People” – dedicated to some of those very people who’d been assaulted by police in Barcelona’s Catalunya Square earler in the week – followed by a one-song encore of “Razzmatazz”, in honour of the club in Barcelona of the same name – and while it was a glorious performance, I couldn’t help but feel a touch of disappointment. Not in the show, but in knowing that I probably won’t see them again and won’t hear so many of those songs from the other records live. And while Cocker was clear that this “wasn’t about ancient history” but instead “making history”, for 90 minutes they did make it feel like it was 1996 again. And it was good.

An attempt to add Battles’ set as a nightcap proved futile – there would be no following Pulp.

The New York Post looks into The National’s real estate holdings.

BBC interviews Pulp about the lead-up to the reunion shows.

Let’s Wrestle have put out a new video from Nursing Home.

Video: Let’s Wrestle – “In Dreams, Pt II”

Florence Welch talks to NME about some of the lyrical themes informing the next Florence & The Machine album.

Artrocker has an interview with Dev Hynes of Blood Orange, whose debut album Coastal Grooves has just been given a release date of August 8; details at DIY.

MP3: Blood Orange – “Dinner”

State has a feature on Elbow.

Interview and Stereogum check in with Arctic Monkeys, whose new record Suck It And See arrives next Tuesday.

JAM, Our London, New York Press and Filter interview Glasvegas.

Sons & Daughters have released a video from their new album Mirror Mirror, out July 12. The Scotsman has an interview with the band.

Video: Sons & Daughters – “Breaking Fun”

Gemma Hayes has just released her fourth album Let It Break in Ireland and the UK, though I’m in the UK and can’t find it… it’s due for a North American release later this year. There’s interviews with the singer-songwriter at State and The Irish Times.

Stornoway and other bands you should see because I can’t

Frank Yang — Mon, 23 May 2011 12:31:59 +0000

Frank YangSo yes, I am currently abroad – huzzah – but this little dispatch isn’t meant to rub it in to those who are still back in Toronto (or wherever you might be that is not Barcelona). Instead, it’s to gently remind you that there’s still plenty of stuff of the live music variety to see right there in Hogtown this week; more than is typical, I’d go so far as to say.

So here’s a quick run-down of stuff that, were I not elsewhere, I’d either be at or consider being at, starting off – both chronologically and interest-wise – with Oxford, England’s Stornoway, who are at The El Mocambo tomorrow night, May 24, with See Of Bees. The quartet were here back in December for a fairly jaw-dropping set that cemented their debut Beachcomber’s Windowsill on my year-end list, not that it necessarily needed the nudge.

I didn’t expect they’d be making another trip back before putting out a new record, but they are and if you missed that last show, want to taste some of that magic again or just have nothing else to do on a Tuesday night, then you could do far far worse than hitting up the ol’ ElMo.

MP3: Stornoway – “Fuel Up”
MP3: Stornoway – “On The Rocks”
MP3: Stornoway – “Zorbing”
MP3: Sea Of Bees – “Marmalade”
MP3: Sea Of Bees – “Wizbot”
Video: Stornoway – “Zorbing”
Video: Stornoway – “I Saw You Blink”

And other shows while I’m away that are worth your attention:

Wednesday, May 25
Damon & Naomi, Amor de Días @ The Horseshoe
MP3: Damon & Naomi – “Walking Backwards”
MP3: Amor de Dias – “Bunhill Fields”

Thursday, May 26
Johnny Flynn & The Sussex Wit, Caitlin Rose @ The Horseshoe
MP3: Johnny Flynn – “Kentucky Pill”
MP3: Caitlin Rose – “Shanghai Cigarettes”

Man Man, Shilpa Ray & Her Happy Hookers @ Lee’s Palace
MP3: Man Man – “Life Fantastic”
MP3: Shilpa Ray & Her Happy Hookers – “Heaven In Stereo”

Friday, May 27
Anna Calvi, Cuckoo Chaos @ The El Mocambo
MP3: Anna Calvi – “Blackout”
MP3: Cuckoo Chaos – “Jesus Flag American Fish”

Portugal. The Man, Telekinesis, Unknown Mortal Orchestra @ Lee’s Palace
MP3: Portugal. The Man – “People Say”
MP3: Telekinesis – “Car Crash”

Saturday, May 28
Lissie, Ash Koley @ The Phoenix
MP3: Lissie – “Everywhere I Go”
Video: Ash Koley – “Brighter At Night”

Sunday, May 29
Glasvegas, Magneta Lane @ Lee’s Palace
Video: Glasvegas – “Euphoria, Take My Hand”
Video: Magneta Lane – “Lady Bones”

The Radio Dept, Nightbox @ The Horseshoe
MP3: The Radio Dept. – “Never Follow Suit”

Monday, May 30
Friendly Fires, Wise Blood @ The Phoenix
MP3: Friendly Fires – “Jump In The Pool”
MP3: Wise Blood – “Loud Mouths”

Wildbirds & Peacedrums , Yellow Ostrich @ The Drake Underground
MP3: Wildbirds & Peacedrums – “Fight For Me”
MP3: Yellow Ostrich – “Whale”

Wednesday, June 1
The Baseball Project, The Order Of Good Cheer @ Lee’s Palace
MP3: The Baseball Project – “1976″

Review of The Kills’ Blood Pressures and giveaway

Frank Yang — Mon, 18 Apr 2011 12:30:02 +0000

Shawn BrackbillOn the surface, Blood Pressures – the new record from The Kills – resembles its predecessor, Midnight Boom, quite a bit; particularly in how it doesn’t really resemble their first two records Keep On Your Mean Side and No Wow very much. This is, of course, a very relative statement – everything that Alison Mosshart and Jamie Hince have put out has been been very distinctly them, defined by their two-piece art/garage-rock aesthetic and their sexually-charged/ambiguous/tense dynamic.

But with Midnight Boom, they opened up the range of sounds with which they’d work, amped up the pop elements of their sound and generally tidied things up enough to make for their most accessible work yet; certainly it was the record that got me on board. Blood Pressures continues on in the same direction, but the balance of songs versus sonics seems to have swung decidedly in favour of the former. The groove-first, lyrics-second process that accounted for some of Boom‘s sleazy playground rhyme-like numbers has taken a back seat to more conventionally composed and structured songs, perhaps something Mosshart has brought back from her time in The Dead Weather. And though many are still built on unabashedly mechanical and grimy-sounding backing tracks, even those are sounding more organic and tidier than before.

None of this meant in judgement, just as observation. That The Kills would be getting more polished and sophisticated, even if just in relative terms, should come as no surprise – even from their first release it was inevitable, less a question of “if” than “when” and “how”. But with regards to judgement, as solid as Blood Pressures is – tunes like “Nail In My Coffin” and “Baby Says” are as solid additions to The Kills canon as anything they’ve done – but as a whole it doesn’t have the sense of reckless, unhinged fun that made its predecessor such a treat. It’s wholly on target as a satisfying Kills record but confirms that Midnight Boom was the bullseye.

Spinner and Clash talk to The Kills about their new record while Yours Truly solicits an acoustic video session… geoblocked. What the hell, people. They’re at The Sound Academy on May 1 and courtesy of Domino Records, I’ve got a prize pack consisting of a pair of passes to the show and a copy of Blood Pressures on LP to give away. To enter, email me at contests AT chromewaves.net with “I want to Kills” in the subject line and your full name and mailing address in the body. Contest closes at midnight, April 25.

MP3: The Kills – “DNA”
Video: The Kills – “Satellite

The Guardian talks to Faris Badwan about his Cat’s Eyes project and their self-titled debut which is due out next week.

Video: Cat’s Eyes – “Face In The Crowd”
Video: Cat’s Eyes – “Cat’s Eyes”

The Boston Globe and Under The Radar talk to The Raveonettes.

Arctic Monkeys have a new video from the forthcoming Suck It And See. The album is out June 6 and they’re at The Kool Haus on May 21.

Video: Arctic Monkeys – “Don’t Sit Down ‘Cause I’ve Moved Your Chair”

Glasvegas guitarist Rab Allan talks to Billboard and RTE about new album Euphoric Heartbreak, out now in Canada but not until May 17 in the US. They play Lee’s Palace on May 29.

The Vinyl District interviews Eddie Argos of Art Brut about their new record Brilliant! Tragic!, out May 23. They’ve also released a video from said album and play The Mod Club on June 17.

Video: Art Brut – “Lost Weekend”

Oh look, a new Beady Eye video. They’re at The Sound Academy on June 20.

Video: Beady Eye – “Millionaire”

Filter continues Suede week by talking to some of the band’s producers and getting some discography commentary from Brett Anderson and Mat Osman as well as a two-part interview with the founding members. BBC America also talks to Brett Anderson.

Yours Truly has a video session from and The Arty Semite, Georgia Straight, The OC Weekly and San Diego City Beat have interviews with Yuck. They’re at The Phoenix on May 1.

Esben & The Witch have a new video from Violet Cries.

Video: Esben & The Witch – “Chorea”

Been wondering what happened to guitarist Nick McCabe and bassist Simon Jones since The Verve broke up for the millionth time? The Quietus has your answer – The Black Ships.

Ed O’Brien disappoints a legion of Radiohead-spotters by telling BBC that there will not be another album coming from the King Of Limbs sessions. There will, however, be a North American release for the “Supercollider”/”The Butcher” 12″ that they put out for Record Store Day in the UK – Exclaim reports that it’ll be out on June 14 and you can stream both sides right now at some dude’s Soundcloud.

Spin talks to PJ Harvey, who has another video to show off.

Video: PJ Harvey – “On Battleship Hill”

Drowned In Sound talks to Kate Nash about her record label and music education for girls endeavours.

Emmy The Great introduces and performs a new song inspired by the Royal Wedding for The Guardian. The song doesn’t appear on Virtue, due out June 13, but you can download one that does at RCRDLBL while Drowned In Sound has the artwork and tracklisting up. Emmy’s website has also relaunched and yes, I did check the cost of flights to New York on seeing she’s playing Pianos on May 5 (too much).

MusicOmh chats with Jeremy Warmsley and Elizabeth Sankey of Summer Camp.

Artrocker talks to Alan McGee, founder of Creation Records.

Sharon Van Etten at The Drake Underground in Toronto

Frank Yang — Thu, 14 Apr 2011 12:23:11 +0000

Frank YangWhen you’ve been through town as an opener as many times as Sharon Van Etten has – four times in just over a year with Rain Machine, Great Lake Swimmers, Megafaun and Junip – I think the hope is that you’ll have garnered enough of your own fans that when you make your headlining debut, as she did at The Drake Underground on Tuesday night, some people come out.

I ended up running a bit late and thus missed Picastro’s opening set but arrived to the sight of the room moderately full, but with a Toronto-typical big open space at the front of the space. Or so I thought, until I got closer and saw that no, it was indeed full, and half the room was sitting on the floor, waiting patiently and politely. That, essentially, was the tone for the evening. Whereas for her previous visits put her in the role of largely having to win over another artist’s fans, this time everyone was here for her and gave her the silence and rapt attention she deserved.

When Van Etten was here last Spring, it was a mostly solo affair but did give a taste of what she would sound like in a band setting when Megafaun backed her for the finale of her set. When her second album epic was released last Fall, it showed the full band configuration had followed her into the studio with stunning results. Unfortunately when she returned fronting a three-piece in November, it was still in the learning curve period for her touring band and issues of mix, arrangement and general familiarity kept the performance from being as good as it could have been.

No such qualifiers were needed on this evening, however, as the months of touring between then and now had worked out any kinks and their performance was a pretty much perfect balance of Van Etten as a solo artist and bandleader, with the bass and drums coming in when needed to push things forward – as they did on the practically rocking “Tornado” – and falling back when not. And as an extra bonus, they were joined for a number of songs by local singer-songwriter Julie Fader – nine months less a day pregnant – who added some gorgeous harmonies to the mix.

But at the core of it all was Van Etten, with a voice that could cut through hearts like a hot knife through butter and songs like maps of precisely where to aim. Opening with a new song – album number three is due out before the end of the year – she laid the first devastating blow a few songs in with “Consolation Prize” from 2009′s Because I Was In Love and through the musical portions of the next hour and some, didn’t let up, alternating between the wounded soul that inhabits Love and the more fiery spirit that informs epic and holding the audience enraptured throughout. In between songs, however, it was Van Etten’s charmingly self-deprecating and often hilarious personality that shone through, bantering with the audience (and mixing up Kenny Rogers and Kenny Loggins) or just talking to herself. She seems somewhat at odds with the soul-bared protagonist of her songs, but the the lightness offers a welcome balance to the darker hues of her work and given the more leisurely pace of a headlining set, allowed her to showcase both sides. And by the time the house called her out for her encore – a cover of Blaze Foley’s “Oooh Love” and an almost too-perfect for words “Much More Than That” – I understood why everyone had been sitting; it was so they could give her a standing ovation.

The Globe & Mail and Panic Manual were also in attendance. The Link, The Daily Cardinal, Interview and Boston Herald have interviews with Van Etten.

Photos: Sharon Van Etten @ The Drake Underground – April 12, 2011
MP3: Sharon Van Etten – “Love More”
MP3: Sharon Van Etten – “Don’t Do It”
MP3: Sharon Van Etten – “I Couldn’t Save You”
MP3: Sharon Van Etten – “For You”
MP3: Sharon Van Etten – “Consolation Prize”
Video: Sharon Van Etten – “For You”

eMusic talks to Laurel Sprengelmeyer of Little Scream about her new record The Golden Record, which has just yielded a new video is available to stream in its entirety at Spinner. She was supposed to open up for Van Etten but instead jetted off to Europe to do the same for Junip. She’ll make it up at The Mod Club on June 14 with The Antlers.

Stream: Little Scream / The Golden Record
Video: Little Scream – “The Lamb”

And speaking of The Antlers, Spinner talks to the band about their new record Burst Apart, due out May 10.

Writers On Process talk to Shearwater’s Jonathan Meiburg about his writing process.

NPR has a World Cafe session and JamBase a questionnaire with Nicole Atkins.

Spin, eye and Clash have feature pieces on TV On The Radio on the occasion of the release of Nine Types Of Light this week. The hour-long film made alongside the record is available to watch at YouTube and the band will be available to watch at the Sound Academy on April 18.

Video: Nine Types Of Light

The Dumbing Of America interviews A Place To Bury Strangers.

Want to watch that Death Cab For Cutie video that they recorded live while webcasting? Why not. CNN and MTV talk to the band about the experiment. Their new record Codes & Keys is out May 31 and they play The Phoenix on May 18.

Video: Death Cab For Cutie – “You Are A Tourist”

NPR has a World Cafe session and Spin a feature piece on Telekinesis, in town at Lee’s Palace on May 27 with Portugal. The Man.

Sloan will mark the May 10 release of their new record The Double Cross with an in-store at Sonic Boom on May 14 at 4PM, admission free with donation of a canned good. Have you noticed that Sloan pretty much never plays regular hometown shows anymore? It’s always a festival or a special event or something – never a regular show in a regular venue. Not complaining about free, intimate shows – just observing.

MP3: Sloan – “Follow The Leader”

Spinner, The Islington Tribune, DIY and The Skinny have features on Glasvegas, who’ve announced a North American tour in support of album number two, Euphoric Heartbreak, which is out stateside on May 17. I think the May 29 show at Lee’s Palace, for which tickets will be $20 on sale Saturday at 10, will be their first visit since they were here at the peak of their hype in April 2009.

Video: Glasvegas – “Euphoria, Take My Hand”

Ty Segall must really dig Canadian festivals – he was just here last month for CMW and will be back in June for NXNE. He’s currently got two shows on the sched, Thursday June 16 at The Garrison and then the next night at Wrongbar.

MP3: Ty Segall – “Girlfriend”

Review of Elbow’s build a rocket boys!

Frank Yang — Tue, 12 Apr 2011 12:23:36 +0000

elbow.co.ukThe overarching storyline to Elbow’s career can generally be summed up as, “slow and steady wins the race”, with the race in question perhaps referring to the prestigious Mercury Music Prize, which they were nominated for in 2001 for their debut Asleep in The Back and finally won in 2008 for album number four, The Seldom Seen Kid. The adage could also apply to my own relationship with the band, which started with indifference to Asleep, complete ignorance to 2003′s Cast Of Thousands (though better late than never), respect with their third record Leaders Of The Free World (thankfully in time to see them live) and, in line with the Mercury jurors, something akin to love for The Seldom Seen Kid.

All of which is to say that the Mancunians’ fifth album build a rocket boys! was the first of theirs that I had been awaiting with hand-rubbing glee and though it’s not quite what I had expected, it hasn’t disappointed one bit. To the point of it not being what I was expecting, it’s hard to articulate what I mean by that as I don’t really know what I was expecting. Another record with the grandeur of Kid was unlikely, but the overt leanness of rocket was still surprising. From start almost to finish, it keeps things low and tight, the songs often built around a single unwavering chord or bass note like a pulse that must be kept strong and steady. The drama that Elbow excel at still manifests itself in swells and blooms throughout, but it’s not until the final tracks “Open Arms” and “Dear Friends” that it feels like the record is allowed to really exhale.

But despite the way things are constructed, tension is the last feeling that rocket evokes. Instead, it’s an almost preternaturally calm record – lead single “Neat Little Rows” is the only tune that you could consider a rocker – infused with a grace and sentimentality that’s distinctly Elbow. With orchestral and choral accents, it’s a recipe that from other bands’ kitchens might end up overly sappy but in Elbow’s masterful hands and delivered through Guy Garvey’s rough and yearning vocals, it deftly sidesteps melodrama pitfalls and is never anything less than gorgeous. For bystanders, the band’s Mercury win may have represented the culmination of a long career but clearly, for the band, it was just an affirmation that they were on the right track and people (like myself) were coming around. But they’re not done yet, not even close.

Though released in the UK and Canada since last month, build a rocket boys! gets a physical US release this week. The band plays its first North American show since Summer 2009 at Coachella and all indications are that a proper tour will follow later this year. Paste has an interview with Guy Garvey and the band have just released a video for the new record’s second single.

Video: Elbow – “Open Arms”
Video: Elbow – “Neat Little Rows”

Also making a return to America at Coachella – though a much longer hiatus – is Suede. The extensive reissue program for their back catalog which starts at the end of May in the UK and runs through the end of June will apparently also be happening in the US, though firm release dates haven’t been announced. Here’s hoping that it also includes more North American dates – even if they are with Fat Richard and not Bernard. Filter is marking the band’s return with a series of features all week including a history of and an interview with former Suede guitarist and Elastica leader Justine Frischmann. More will follow this week, and here’s one of the remastered tracks from last year’s The Best Of compilation.

MP3: Suede – “The Beautiful Ones”

NME reports that Bloc Party, their post-Intimacy hiatus apparently now at an end, will reconvene to work on a new record in September.

Pitchfork solicits a guest list from Ian Parton of The Go! Team while frontwoman Ninja has a quick chat with aux.tv.

Daytrotter serves up a session with Yuck, who also have a TunnelVision clip up at Pitchfork. They will be at The Phoenix on May 1.

The release of Patrick Wolf’s new album Lupercalia has been pushed back a couple of weeks from May 31 to June 20 worldwide, with a North American release date to be announced. DIY has the official statement from Wolf on the delay and an interview that talks about other things (almost certainly conducted before the delay was announced).

Spinner seems to have dug up an old interview with Dev Hynes of Lightspeed Champion, as it talks about last year’s Bye Bye EP and makes no mention of the fact that Hynes has shelved his Lightspeed Champion persona in favour of the funkier Blood Orange. That project’s debut release – the “Dinner”/”Bad Girls” 7″ – will be out on April 26 with a full-length to follow later this year.

Originally slated to come out in March, NME reports that Emmy The Great’s second album Virtue will now be out on June 13.

Noah & The Whale have put out a new video from Last Night On Earth.

Video: Noah & The Whale – “Tonight’s The Kind Of Night”

Interview speaks to Anna Calvi about the arm injury that forced the rescheduling of her North American debut dates. She will now be at The El Mocambo on May 27 and I hope that her inclusion on the just-released Osheaga lineup means there’ll be a return engagement come late July/early August.

Another day, another PJ Harvey video from Let England Shake.

Video: PJ Harvey – “On Battleship Hill”

The Fly reports that Johnny Marr has left The Cribs to devote more time to his solo project with The Healers and not reforming The Smiths. The Cribs have released a statement about the amicable parting of ways.

The latest Brit buzz band Brother will be at The Horseshoe on May 3 for a free show. The Slough Observer has an interview with their native sons; Live 4 Ever also has a chat.

Video: Brother – “Still Here”

Art Brut will bring their new record Brilliant! Tragic! to The Mod Club on June 17 as part of NXNE. The record is out May 23 and a second track from the album is available to download at Pledge Music.

MP3: Art Brut – “Lost Weekend”

Gomez will follow up the June 6 release of Whatever’s On Your Mind with a date at The Phoenix on July 17; tickets $26 in advance.

Though Guillemots frontman Fyfe Dangerfiend has done quite well for himself solo, he and his band have reconvened for a new record in Walk The River and it is streaming in whole right now at Hype Machine in advance of its release next week. The Independent has a feature piece.

Stream: Guillemots / Walk The River

Wild Beasts have released a video from their new record Smother, due out May 10.

Video: Wild Beasts – “Albatross”

Interview does its thing with James Allan of Glasvegas. Euphoric Heartbreak is out today.

The Georgia Straight, Vancouver Sun and Montreal Gazette chat with Two Door Cinema Club.

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.

British Sea Power and A Classic Education at Lee’s Palace in Toronto

Frank Yang — Wed, 30 Mar 2011 12:20:17 +0000

Frank YangFor the first few years of their existence, the British Sea Power live experience had a reputation as something of a spectacle, thanks to their habit of decorating the stage with local foliage and then-keyboardist Eamon Hamilton’s on-stage shenanigans – both of which were in full effect the last time I saw them play a regular-type show in Toronto, way back in May 2005. Both times I’ve seen them since then – a SxSW day show and television taping – weren’t necessarily conducive to indulging in madness though since Hamilton’s departure in early 2006 the bedlam had been toned down somewhat anyways. So it’s a good thing that their records since then – 2008′s Do You Like Rock Music? and this year’s Valhalla Dancehall have easily been solid enough to warrant hearing live even if the band just stood stock still and played, though thankfully they did not.

Though I’d corresponded with A Classic Education frontman Jon Clancy for some years and despite Clancy being an Ontario ex-pat now based in Bologna, Italy, this was the first time they’d made it to Toronto. Probably on account of the fact that they’re based in Bologna, Italy. But I’d managed to see them a couple years ago at SxSW and was impressed with the scope of their musical vision, even if I didn’t think their grasp quite matched their reach yet. Interestingly, in the time since them they’ve seemingly adjusted course to point towards a simpler, more ’50s-influenced style of rock and while their scope still retains some of that grandness, mostly thanks to sophisticated little flourishes in the arrangements, but the delivery is more compact and streamlined and the net result actually suits them better. Interestingly, for as long as they’ve been around there’s still not been a full-length release – their last issue was the Hey There Stranger 12″ EP last year. Hopefully that gets rectified soon.

British Sea Power has certainly grown, both in size and maturity. To the former, multi-instrumentalist Phil Sumner and violinist Abi Fry are now apparently full-fledged band members and to the latter, well they simply don’t get up to the tricks they used to (see above). It’s as though their gawky acting act has transmuted into a sort of stateliness, and accordingly they’re not in any rush to get where they’re going – they know it’ll get there eventually. Which is why it’s sort of alright that the show, like the last couple I’d seen, seemed to start off a bit slowly despite opening with a couple of Valhalla‘s more hopped-up numbers, though the fact that Hamilton had lost his voice and couldn’t take lead on some of the songs as he normally did might have had something to do with it as well.

Still, by the time they hit the Valhalla-era non-album track “Zeus”, they were clearly warmed up. The epic-length track was played with extra vigor and from there on, the second half of the show came with loads more drive than the first – thanks, no doubt, to the inclusion of ragers such as “Spirit Of St. Louis”, “It Ended On An Oily Stage” and “Lights Out For Darker Skies”. The four-song encore brought some dynamics back into it, pairing the anthemic “Waving Flags” and “Carrion” with the more elegiac “The Great Skua” and “All In It”, but the real highlight came with the second encore which revived some of the old-school on-stage anarchy soundtracked by “Apologies To Insect Life”. Antics included but were not limited to Yan giving local “super-fan” Kayvon a ride on his shoulders before doing a reverse double stage dive into the crowd – I hope Kavon was warned of it beforehand – and Noble, who had apparently hit a critical point of inebriation, going for a crowd surf after the song had ended in order to get to the bar as quickly as possible. Okay, maybe British Sea Power haven’t matured that much. Thank goodness.

BBC America has an interview with Martin Noble and NYC Taper is sharing a recording of the New York stop on this tour.

Clearly I’m being punished for going to Euro at the end of May. How else to explain the number of excellent tours coming through town while I’m away, which now include 2010 year-end listers Stornoway, who are bringing Beachcomber’s Windowsill back to North America and specifically the El Mocambo, where they dazzled last December, on May 24. Tickets $13.50 in advance.

MP3: Stornoway – “Zorbing”

But the one that really hurts is that Anna Calvi has made good on her promise to make up all the March dates cancelled because of her wrist injury, and the make-up date for Toronto will be May 27, also at the El Mocambo. Funny how I went from potentially seeing her a good number of times across CMW and SxSW to not at all… though it is some consolation that while she’s soundchecking a 10-minute walk from my apartment, I’ll be on the shores of the Mediterranean listening to Pulp. Under The Radar has full tour dates and tickets for the Toronto show are $12 in advance. Paste has an interview and Calvi has just released a new video.

MP3: Anna Calvi – “Blackout”
Video: Anna Calvi – “Blackout”

PJ Harvey has released a couple more videos from Let England Shake. Spinner has an interview with Polly Jean.

Video: PJ Harvey – “England”
Video: PJ Harvey – “The Colour Of The Earth”

It’s session time for Two Door Cinema Club as NPR has them visit The World Cafe and Daytrotter has a set available to download.

Daytrotter has also posted up a session with The Futureheads.

State talks to Rab Allan and Herald Scotland to James Allan of Glasvegas about their new record Euphoric Heartbreak, out next week.

Sons & Daughters have announced their new record Mirror, Mirror will be out on June 14, and based on the first MP3 made available, they’ve gotten as far as possible from the shiny glam of 2008′s This Gift. The Line Of Best Fit has details on the release.

MP3: Sons & Daughters – “Silver Spell”

The Guardian, Gigwise and Metro talk to Patrick Wolf about his new record Lupercalia, due out May 31.

Spin finds out the origins of The Joy Formidable’s name while The Asbury Park Press have an interview and NPR is streaming one of their SxSW sets. They are at The Horseshoe this coming Saturday night, April 2.

The Guardian has a feature piece on Adele, while NPR is streaming a World Cafe session. A couple people in the last few days have asked me how they might go about getting tickets to her May 18 show at the Kool Haus. It made me laugh. Update: And now who’s laughing? The show was just moved to the Air Canada Centre. It it’s a full arena setup, that’s like an eightfold increase in capacity. Even the theatre configuration is like two and a half times the Kool Haus.

Friendly Fires have confirmed a May 16 release date for their second album Pala; Ed Macfarlane speaks briefly to Purple Revolver about the writing process. They play The Phoenix on May 30.

Exclaim has an interview with Liam Gallagher of Beady Eye, who’ve managed to sell out their show at the Sound Academy on June 20. You know they’re not playing any Oasis material, right? No matter how much you plead? Okay, just checking.

DIY, Billboard and BBC talk to Elbow and learn that the band have plans for North American touring later this year (yes!) and collaborator Richard Hawley is currently in the studio working on a new record (yes!).

Brett Anderson of Suede tells NME that the reunited band is working on new material but that it won’t necessarily translate into new recordings.

Radiohead’s new record The King Of Limbs is now streaming in whole at Spinner. They will also be releasing a limited edition 12″ single for Record Store Day, April 16, featuring non-album tracks “Supercollider” and “The Butcher”.

Stream: Radiohead / The King Of Limbs

Clash checks in with Charles Watson of Slow Club about how work is progressing on the duo’s second album.

The Georgia Straight interviews Esben & The Witch.

Spinner talks to Reuben Wu and Clash to Mira Aroyo of Ladytron.

The Quietus profiles Cat’s Eyes, the new project from Faris Badwan of The Horrors and opera singer Rachel Zeffira. Their self-titled debut is due out April 25.

NPR interviews Lykke Li, who is at The Phoenix on May 22. A new track from Wounded Rhymes is available to download.

MP3: Lykke Li – “Youth Knows No Pain”

Clash, Spin and DIY have features on Peter Bjorn & John, whose new record Gimme Some is out now and available to stream. They’re at Lee’s Palace on May 6.

Stream: Peter Bjorn & John / Gimme Some