Frank YangExecutive summary of this post: Arcade Fires’s third album The Suburbs did what everyone kind of expected and won the 2011 Polaris Music Prize last night, and with the $30,000 giant novelty cheque comes loads of praise and under-the-breath mutterings about how they don’t deserve it, though that’d have happened no matter who won. If you’re the sort of person who only looks at the scoreboard and pays no attention to the boxscores, then you’re done here. If you want the blow-by-blow about how it happened, well, I don’t have that for you either. I offered my own thoughts on the record’s deserving the prize when I put it at the top of my ballot but as with every year, what happens in the Grand Jury room stays in the Grand Jury room, guarded by the ghosts of masons and templars, but I can at least report on what happened at the gala proper.

Unlike last year’s rare ten for ten in terms of shortlisters showing up to perform, only six acts were available to take the stage this year. Arcade Fire and Colin Stetson had legitimate reasons for missing out, the former having just headlined Austin City Limits the night before and unable to do it logistically (though three of the band were in attendance) and the latter being in Los Angeles as part of Bon Iver’s touring band. No official reason was given for Destroyer’s Dan Bejar not being in attendance, let alone perform and even though The Weeknd had established themselves as actually existing and being able to perform a couple months earlier, Abel Tesfaye seems to have since decided it’s more fun being an urban legend than a real person.

And so we began with Ron Sexsmith, looking dapper in a red tuxedo jacket, led his full band through a couple selections from Long Player Late Bloomer. I daresay no one was especially blown away by the performance but that’s not Sexsmith’s thing – he’s in it for the long game and will be crafting fine pop songs years from now. Austra followed and though from the same neck of the woods – Toronto represent! – was at the complete opposite end of the musical spectrum, with a dramatic visual presentation to go the intense, operatic synth-goth sound of Feel It Break. The live show was about as impressive as I’ve heard it was.

Montreal’s Galaxie were up next and were an anodyne for anyone bemoaning the lack of straight-ahead rock in today’s music. For Galaxie and their nominated record Tigre et diesel were nothing if not straight-ahead rock, with lots of meaty, 70s-vintage guitar riffs and corresponding swagger. I continue to bear them a bit of ill will for calling themselves Galaxie 500 for so long but if you heard them, there’s no way you’d confuse them with the REAL Galaxie 500. Timber Timbre recital of a couple numbers from Creep On Creepin’ On was probably the biggest revelation of the night. I’d not seen them live since it was still a Taylor Kirk solo project hiding in the dark and here, they were a full 9-piece band with string quartet and the scale of sound they made were remarkable; there was no more hiding in the shadows, instead this was Timber Timbre standing proud and tall for all to see and hear and they would not be cowed by the light.

The Timber Timbre experience was emblematic of why these Polaris galas are so great – in the months leading up to it, there’s inevitably bands you dismiss or make jokes about because you don’t believe they’ll win or even belong on the short list, but to see them in this sort of setting and doing their thing it’s very difficult to not understand and appreciate how, even if they’re not your thing, they’re almost always great in their way. Braids, whose Native Speaker I never warmed to, almost made me want to reassess my opinion of them in that manner – in fact with their first song, they had me with their obviously impressive musicianship and complex songwriting. But by their second number, those feelings of “this is so pretty” were equaled if not surpassed by feelings of, “this is so so so long”. That said, their focus is much sharper than it was when I last saw them live, so in a few years/records I may well be on board. But not yet.

This left Newfoundland’s Hey Rosetta! to close things out. Contrary to their last gala appearance in 2009, the band eschewed the massive orchestral presentation that people equate with their sound and went with the core six-piece configuration to showcase a couple songs from Seeds. Their earnest compositions were pretty and pleasant, but felt more polite than passionate – many swear by their grand, heartfelt pop but it just doesn’t really connect with me… but two Polaris shortlist appearances in as many albums certainly speaks to them doing something right.

With the performances done, all that remained was to give Arcade Fire another major award to go with their Grammy, Juno and BRIT. Unlike past years, where the announcement of the winner usually resulted in at least some gasps and/or confused looks, this year’s announcement was met with applause and nods – either in agreement that the right call had been made or in resignation that none of an electronic witch, avant-garde saxman or leisure-suited poet could derail the Suburbs-sized freight train. Represented by Win Butler, Richard Reed Parry and Jeremy Gara, they were gracious winners who encouraged young bands to create greater works than they had and invited them to come record at their studio, into which they hinted that at least some of the winnings would get invested.

And so the record that was both the surest thing and the longest shot come out on top and in the process, dismantled the Polaris’ growing reputation as something of a contrarian prize. Everybody wins. Especially Arcade Fire.

For more non-performance shots from the gala and Arcade Fire press conference, check out my Flickr.

Photos: Polaris Music Prize Gala 2011 @ The Masonic Temple – September 19, 2011
MP3: Austra – “Lose It”
MP3: Braids – “Lemonade”
MP3: Destroyer – “Chinatown”
MP3: Hey Rosetta! – “Yer Spring”
MP3: Colin Stetson – “Fear Of The Unknown And The Blazing Sun”
MP3: Timber Timbre – “Black Water”
MP3: The Weeknd – “The Party & The After Party”
Video: Arcade Fire – “The Suburbs”
Video: Galaxie – “Piste 01”
Video: Ron Sexsmith – “Late Bloomer” (live)

The Globe & Mail, Toronto Star and National Post ran some pre-gala Polaris pieces on the topics of citizenship and eligibility for the award, the Arcade Fire’s chances and the process and nominees and whatnot, respectively. And peeking over across the Atlantic, The Line Of Best Fit had a three-parter examining each of the shortlisted records and an interview with prize founder Steve Jordan.

Also posted prior to last night – Spinner asking Katie Stelmanis of Austra what they’d have done with their winnings and Exclaim, BlogTO and Spinner finding out how being shortlisted has affected Colin Stetson.

The Vancouver Sun and Georgia Straight talk to 2010 Polaris winners Karkwa.

The Georgia Straight, The Portland Mercury and Backseat Seattle talk to Young Galaxy as they tour over to the west coast.

Stool Pigeon talks to Chad VanGaalen. He’s at The Mod Club on October 28.

Pitchfork has an interview with Broken Social Scene’s Kevin Drew wherein he reveals the band are going on a hiatus after their last few shows of the year are done. Whether this means another deluge of “Broken Social Scene Presents” solo records is unclear.

The New York Times talks to Feist about her new record Metals, out October 4. She plays Massey Hall on December 1.

State interviews Alexei Perry of Handsome Furs.

Bruce Peninsula are sharing a track from their forthcoming album Open Flames, out October 4. They play an album release show at Lee’s Palace on October 27 and are interviewed by The Record.

MP3: Bruce Peninsula – “In Your Light”

Elliott Brood are marking the September 27 release of their new album Days Into Years with an in-store at Sonic Boom’s Annex location that evening at 7PM. Their proper hometown show doesn’t come until November 18 at the Phoenix so if you want to see ’em, be there with some canned goods to donate.

MP3: Elliott Brood – “Northern Air”

NOW has an interview with Rebekah Higgs, who will have a Sunday night residency at The Drake Underground throughout the month of October – that’s five shows on each of the 2nd, 9th, 16th, 23rd and 30th – admission $7 each.

MP3: Rebekah Higgs – “Gosh Darn Damn”

Hour has a feature piece on Montreal’s Adam & The Amethysts, whose Flickering Flashlight is out October 4 and available to stream at Exclaim. They’ll be at The Piston to celebrate with a show on October 5.

MP3: Adam & The Amethysts – “Prophecy”
Stream: Adam & The Amethysts – “Flickering Flashlight”

The Wooden Sky are going to be previewing material from their follow up to If I Don’t Come Home You’ll Know I’m Gone with a short Fall tour that includes a hometown stop at The Dakota Tavern on October 19, tickets $15 in advance. The new album won’t be out until next year but the band will have a tour EP available at these shows to tide fans over.

MP3: The Wooden Sky – “Bit Part”

Shout Out Out Out Out have made a date at The Great Hall on October 27.

Video: Shout Out Out Out Out – “Coming Home”

Baeblemusic has video of a live set from Suuns recorded way back at SXSW; they’re at The Garrison on October 2.

Keith KlenowskiJust to be clear: filling Massey Hall for two nights in a row is no mean feat. Not many bands can do it once, let alone twice, but when The National did just that last June in support of their breakout album High Violet, it felt like an arrival – the best and most natural setting for a band that had graduated from the bar circuit and were taking their rightful place in the city’s most hallowed room, hopefully for years to come.

Except clearly, they weren’t done. A year and a half on from their last album’s release, though a couple of high-profile singles released over this Summer as well as plenty of touring have kept them front of mind, The National have gotten big enough that their next North American tour will bring them to the Air Canada Centre on December 8. Granted, it will probably be the approximately 5200-capacity theatre configuration, which is about the same size as their Massey shows held, but still – it’s a remarkable thing (and a depressing thing for those who hate arena shows). The band are apparently conscious of the fact that their fanbase may not be especially keen on seeing them play such a large room, so they’ve sweetened the deal via the support acts – joining them for this show will be none other than Neko Case and Wye Oak. Yeah, that ACC isn’t looking so unappealing anymore, is it? Tickets range from $43.50 to $59.50 plus fees and presale goes Wednesday morning, public onsale Friday.

Express Night Out chats with bassist Scott Devendorff while NME gets the Dessner twins on camera talking about this and that, including their next record.

MP3: The National – “Bloodbuzz Ohio”
MP3: Neko Case – “Middle Cyclone”
MP3: Wye Oak – “Civilian”

By the same token, people were incredulous when Mumford & Sons sold the hell out of the Sound Academy last Fall – hadn’t they just played Lee’s Palace that February? – but indeed, they were really that popular and now it seems they’re even more popular. Again, it’s probably the theatre configuration, but that doesn’t change the fact that when Mumford & Sons hit the Air Canada Centre on October 25, they’ll have taken their bluegrass-pop anthems arena-scale. And just to prove it’s not a fluke, they’re doing the same thing down the 401 in Hamilton when they play Copp’s Coliseum the following night and then Montreal’s Bell Centre the night after that. Maybe their quickie Canadian tour is just them trying to catch some hockey games? Tickets for both Ontario shows are $34.50 and $49.50 plus fees.

Video: Mumford & Sons – “The Cave”

Certainly not on the same scale of “really” but still a bit surprising is Coeur de Pirate making what I think is her first regular and proper club show in Toronto at a room the size of The Mod Club on November 11. I assume this means that her new album Blonde, out November 8, will be getting a hefty push to get folks interested before then. Tickets for the show are $21 in advance and they’ve released a little trailer for the new record.

Trailer: Coeur de Pirate / Blonde
Video: Coeur de Pirate – “Comme des enfants”

The Rural Alberta Advantage, on the other hand, seem to have settled quite comfortably into The Phoenix as their home away from home while at home – November 17 will be their third show in a row there, I think. Don’t think there’s any particular occasion for this show besides, well, why not? Tickets are $20 in advance.

MP3: The Rural Alberta Advantage – “North Star”

Zeus will be at Lee’s Palace on November 24, tickets $15 in advance.

MP3: Zeus – “Marching Through Your Head”

Formerly operating as Harbourcoats, former Constantines frontman Bry Webb has decided to go with his own name for his solo debut Provider, which will be out on November 15. And he’ll be introducing the songs live in a pretty daunting setting – he’s opening for Feist at Massey Hall on December 1.

And finally, as far as show announcements yesterday go, Tokyo Police Club will be rolling into The Phoenix on December 8 leading a Can-rocking bill that also features Born Ruffians and Said The Whale. Tickets for that are $25 in advance. Northern Star chats with TPC drummer Greg Alsop.

MP3: Tokyo Police Club – “Party In The USA”
MP3: Born Ruffians – “Sole Brother”
MP3: Said The Whale – “Camilo (The Magician)”

Pitchfork has an interview with Carl Newman of The New Pornographers, who’ve put out a new video from last year’s Together.

Video: The New Pornographers – “Up In The Dark”

Also with a new video is Diamond Rings, from Special Affections. He’s at The Mod Club on October 3.

Video: Diamond Rings – “You And Me”

Exclaim has got a new track from Ohbijou’s forthcoming Metal Meets, out September 27. They play Trinity-St. Paul’s in honour of its release on September 30 and PostCity chats with bandleader Casey Mecija about the new record.

MP3: Ohbijou – “Anser”

Pitchfork has a stream of Kathleen Edwards’ first new material in a while which will be released on 7″ on September 27 and oh yeah, features contributions from some guy who goes by Bon Iver.

Stream: Kathleen Edwards – “Wapusk”

The Line Of Best Fit chats with the sisters of Tasseomancy, whose record release show for Ulalame happens at The Great Hall on October 20. They also open up for Austra at The Phoenix on December 1. And speaking of Austra, a new b-side is available to stream, which is noteworthy because it’s kind of as good as their a-sides, and Prague Post has an interview with Katie Stelmanis.

Stream: Austra – “Identity”

The new Memoryhouse EP The Years has been available to stream for a while before its release today, but Drowned In Sound has sweetened their stream with track-by-track commentary from the band.

Southern Souls has an interview with Mark Hamilton of Woodpigeon.

Canadian Blast chats with The Wilderness Of Manitoba.

Le Blogotheque has a Take-Away Show filmed in Toronto with Little Scream.

Rockerzine chats with Sloan bassist Chris Murphy.

Under The Radar and The Victoria Times-Colonist interview Handsome Furs.

Frank YangWhat happens when The Pains Of Being Pure At Heart meet the pains of being busted up in shoulder? You take advantage of the fact that said band used an off day on their touring itinerary to play an in-store a day before their official show, so as to avoid having to stand around The Opera House for three hours, possibly/probably looped on meds. Which is basically what happened on Monday night at Sonic Boom.

Despite the fact that Pains’ self-titled debut was one of my favourites of 2009, I hadn’t seen the New York outfit since their local debut that February, when their buzz was just building and their packed Lee’s Palace show was one of their largest audiences to date. I missed their next two local shows that same year, but obviously the past two and a half years of steady touring through bigger and bigger stages has served the band well, honing them from a group of adorable wide-eyed kids at the start of a great adventure to a pretty damn tight rock band… who are still adorable. Their second album Belong captured this evolution pretty well, keeping the Sarah-referencing winsome pop core that made their debut so delicious but dressing it up in bigger, thicker production that added a little or a lot of roar to their guitar jangle.

It’s interesting to re-read my comments on the live Pains experience circa that Lee’s show and contrast them with the show they put on Monday night. That band was a shy four-piece, light on presence but charming nonetheless and had barely enough material to fill out 45 minutes including encore. This time out they numbered five, with second guitarist Christoph Hochheim along to fill out the sound, and played with the confidence of a band who’s no longer just happy to be there – they were there to play and play well and loud, even if it was just a freebie in the basement of a record store. And to that end, they played a full and sweaty 45-minute set – presumably the same one they delivered the day before to thousands at Osheaga – the the delight of those who opted to wind out their long weekend there instead of clutching a beer on some patio. I’m sure the hundreds who filled the Opera House last night got just as good if not better of a show, but for me this was an ideal opportunity to catch up with the band and still rest up the arm.

Chart and Paste have feature pieces on the band.

Photos: The Pains Of Being Pure At Heart @ Sonic Boom – August 1, 2011
MP3: The Pains Of Being Pure At Heart – “Young Adult Friction”
MP3: The Pains Of Being Pure At Heart – “Come Saturday”
MP3: The Pains Of Being Pure At Heart – “Everything With You”
Video: The Pains Of Being Pure At Heart – “The Body”
Video: The Pains Of Being Pure At Heart – “Say No To Love”
Video: The Pains Of Being Pure At Heart – “Heart In Your Heartbreak”
Video: The Pains Of Being Pure At Heart – “Higher Than The Stars”
Video: The Pains Of Being Pure At Heart – “Young Adult Friction”
Video: The Pains Of Being Pure At Heart – “Everything With You”

Pitchfork solicits a guest list from American ambient-pop artist John Maus, who has a date at The Drake Underground on September 30 in support of We Must Become The Pitiless Censors Of Ourselves. The Los Angeles Times also has a feature piece.

MP3: John Maus – “Believer”

I am going to assume that The Naked & Famous’ show at Lee’s Palace next week is well and proper sold out because otherwise, they wouldn’t have already announced a return engagement – October 6 at The Phoenix, tickets $20.

Video: The Naked & Famous – “Girls Like You”

Fans of all things rootsy and rocking will want to keep October 30 open, as that’s the day the double-header of Blitzen Trapper and Dawes hit the Opera House. Blitzen Trapper will be promoting their latest American Goldwing, out September 13, while Dawes released their second album Nothing Is Wrong back in June. And to whet your appetite, they’re giving away a six-track sampler EP in exchange for an email at either of their official websites. Playback, Illinois Entertainer and Boulder Weekly have interviews with Blitzen Trapper.

MP3: Blitzen Trapper – “American Goldwing”
MP3: Dawes – “Love Is All I Am”

Having played pretty much every major festival on the circuit, the Death From Above 1979 reunion finally comes home for a show at the Sound Academy on October 28, tickets $36 in advance.

Video: Death From Above 1979 – “Blood On Our Hands”
Video: Death From Above 1979 – “Romantic Rights”

Also in the finally department, those Feist tour dates announced last week have been enhanced with some Canadian dates, including a December 1 stop at Massey Hall. Exclaim has the complete itinerary as of right now, as well as the cover art and tracklisting for her new record Metals, out October 4 and a third vignette preview of the new record is up on her website.

Video: Feist – “Mushaboom”

And for those who’ve gone to put the above two dates in their calendars only to find prior commitments pencilled in, I offer these options – rather than try to choose between DFA1979’s sweaty shirtlessness at the Sound Academy and Dan Mangan’s bearded sensitivity at the Queen Elizabeth Theatre, catch Dan either the night before in Hamilton or the night after in Guelph. And as for choosing between Feist and Austra’s homecoming gig at The Phoenix that same night, note that the December 2 slot on her itinerary is currently vacant and the last times she played Massey back in 2007 and 2008, she did two nights and in ’08, there was also that Air Canada Centre nightcap. You do the math.

PopMatters has an interview with Austra’s Katie Stelmanis.

Daytrotter has got a session with Zeus, who’re playing a free show at Yonge-Dundas Square on September 9.

NOW talks to Owen Pallett about getting the band back together, in this case Les Mouches. Pallett and company are at the Phoenix tomorrow night warming things up for Beirut.

The Huffington Post talks to Torq Campbell and Amy Millan of Stars about their ten-year anniversary as a band.

Handsome Furs talk the touring life with The National Post and Georgia Straight.

Austin NelsonSo y’all know Wilco, right? Chicago-based outfit that rose from the ashes of Uncle Tupelo and survived numerous lineup changes and label drama to release some of the best pop/rock/roots records of the past almost two decades and establish themselves as one of America’s best bands. Yeah, that Wilco.

They’re following up 2009’s Wilco (The Album) with their eight studio album The Whole Love on September 27 – the first to be released on their own label dBpm Records. And, being the road warriors that they are, they’re a-gonna tour it with the first leg of North American dates starting up a good two weeks before the record is even out.

Toronto’s two dates – we’re a bona fide overnight destination for the band now – go early on in the tour, September 16 and 17 at Massey Hall with New wave pop legend (and songwriting royalty beneficiary thanks to the first single from The Whole Love) Nick Lowe supporting. Massey has been their Toronto home away from home starting back in 2004 and since then, the Old Lady Of Shuter Street has hosted many memorable shows (as well as a famous dressing down by Jeff Tweedy for being too courteous – 10MB video clip under the link there); no reason to think these ones will be any less so.

So considering both the fan and Friends of Massey Hall presales went yesterday morning and unsurprisingly sold out in minutes, this Friday’s public onsale at 10AM is almost your last chance to score tickets for the show. Note that I said almost. Courtesy of the band and LiveNation, I’ve got a pair of tickets to give away for the Saturday night show. To enter, I want you to leave a comment on this post with your favourite Wilco in Toronto memory, and that can include Wilco-related anecdotes involving any of but not limited to Uncle Tupelo, Golden Smog, The Autumn Defense, Jeff solo, whatever. And if you’re new to the band and don’t have one, something related to their music and not the shows is fine too. Make sure your email is in there, and don’t worry – it will remain hidden from nasty spambots. The contest will run until midnight, August 26 so if you want to try your hand at the public on-sale and enter if you miss out, do that. But if you score some ducats, don’t water down the odds for those less fortunate – unless you just want to share some reminiscences, then just note that you’re not entering the contest proper. And to get things rolling, mine remains their last-minute post-cancelled-Lollapalooza-tour club show at The Mod Club in August 2004 with their rotating-substitute-drummer set opening for Neil Young at the Air Canada Centre in December 2008 not far behind.

I’m sure there’s someone out there for whom their favourite Hogtown Wilco memory took place the evening of November 20, 1996 circa Being There when Jeff Tweedy and Jay Bennett performed a super-intimate acoustic set in the back room of C’est What. I wasn’t there, no sir, but someone with a cassette recorder was, and they tapped said recorder into the soundboard and made a fine-sounding recording of the show. I was given a copy of said show on cassette a few years ago but not having anything resembling a working cassette deck, it just sat there like a special prize hidden away behind technological lock and key. I actually borrowed my brother’s cassette deck with the intention of ripping it and sharing it with the world and last night while messing with cables and laptop audio settings that refused to cooperate, it occurred to me to see if maybe – just maybe – someone had already gone to the trouble. And they had. The full recording of the show is available over at Ohmpark and probably sounds a good deal better than I’d have been able to manage. Enjoy a couple samples below, head over there for the rest and share some stories below.

MP3: Jeff Tweedy & Jay Bennett – “I Got You (At The End Of The Century)” (live at C’est What – 11/20/96)
MP3: Jeff Tweedy & Jay Bennett – “Dreamer In My Dreams” (live at C’est What – 11/20/96)
MP3: Jeff Tweedy & Jay Bennett – “Pick Up The Change” (live at C’est What – 11/20/96)

The Toronto Star interviews Fleet Foxes, who are playing Massey Hall tonight.

Interpol have released the animated collaboration with David Lynch originally put together for Coachella as the latest video from Interpol. PhillyBurbs talks to guitarist Daniel Kessler.

Video: Interpol – “Lights”

A second track from Stephen Malkmus’ forthcoming Mirror Traffic is now available to download ahead of the record’s August 23 release. Malkmus and his Jicks play The Phoenix on September 21.

MP3: Stephen Malkmus & The Jicks – “Tigers”

The Line Of Best Fit has posted the first part of an interview with Death Cab For Cutie, playing the Molson Amphitheatre on July 29.

Chad VanGaalen has put together a cross-Canada tour in support of his latest record Diaper Island; it brings him to The Mod Club on October 28.

MP3: Chad VanGaalen – “Sara”

Rebekah Higg’s second full-length Odd Fellowship will finally see the light of day on August 23. Exclaim has album details and a bunch of eastern Canadian dates – nothing in Toronto yet, but there’s a week between London and Wakefield, I can’t imagine those won’t get filled out before long.

MP3: Rebekah Higgs – “Gosh, Darn, Damn”

Room 205 has a video session with Austra; just one song for now but these tend to get padded out over time – expect more to be added. The Times-Colonist and BrookylynVegan talk to Katie Stelmanis, who also shows/tells The Guardian how she wrote “Lose It”.

Beatroute, The Star-Phoenix and Uptown interview Handsome Furs, in town at The Horseshoe on August 1 and 2.

Frank YangYou might not have guessed it to listen to their records, as laid-back and fuzzy blanket-like as they were, but the American Analog Set were an amazing live act. Not through on-stage antics or pyrotechnics or the like, but by how unbelievably tight they were as a unit. The sound of Andrew Kenny’s soft voice and echoing guitar overtop the bed of vibraphone and Farfisa was the very definition of hypnotic and each of the two Toronto shows I saw prior to their disbanding in 2006 were magical. So given that Kenny’s new outfit The Wooden Birds shares many stylistic attributes with AmAnSet, it wasn’t unreasonable to hope that their first visit in support of their new record Two Matchsticks last night at The Drake would recreate some of that magic.

Support for the evening came from locals Heartbeat Hotel, whose psych-pop-laden Fetus Dreams I’d recommended picking up (for free) and who’d made a decent live impression back in December. They’d played out a fair bit since then, though, and some growth was to be expected. Even so, I didn’t expect that the echoey, slow burn that opened their set would be more the rule than the exception. The freewheeling sonic experimentation that marked Fetus Dreams seems to have been reined in, or the approach of flinging everything against the wall has served its purpose and they’ve now identified what stuck and what works; either way, Heartbeat Hotel circa Summer 2011 is a much more controlled, groove-oriented entity, yet still capable of getting noisy when needed. They’ve learned a lesson in musical economics that some bands take albums to master, if ever, and though it’d be nice if some of the energy of the LP could find its way back into their sound, based on the new material showcased – due for release in EP or album form this Fall – they’ll do well on the exam.

Even before The Wooden Birds played a note, it was pretty clear that this wasn’t going to be American Analog Set unplugged. For starters, Leslie Sisson was handling the acoustic guitar duties I’d assumed were Andrew Kenny’s on record, Kenny had no six-string of any kind, instead holding down the low end with a Thunderbird bass and whereas on the recordings electric guitar was used for texture or the occasional lead, the two electric setup implied that live, it would be decidedly otherwise. And indeed, it didn’t take very long to understand and appreciate that The Wooden Birds were no extension of anyone’s old band, but their own thing entirely; whereas AmAnSet shows were like exercises in hypnosis, this performance was wide-eyed and fully awake.

As the band showcased material from Two Matchsticks and its predecessor Magnolia, I couldn’t help think how someone for whom their first impression of the band was this show might find those decidedly mellower-sounding records. Because the live presentation of The Wooden Birds was definitely a much louder and more sprightly and widescreen-sounding affair. Tempos were stepped up appreciably, and rhythms given an almost country-western shuffle which would prove especially complimentary to the subtle twang of Sisson’s vocals. Those vocals were more than complimentary to Kenny’s voice – they sounded as lovely together as any two voices could – and for an hour or so, they led the band through a set of splendid pop. And for the AmAnSet fans in the audience – which I would assume to be most of them – they did Toronto the pleasure of honouring a request made the last time AmAnSet was in town, which is to say half a decade ago, and offered a reading of “Aaron & Maria” which they segued into a cover of Jackson Browne’s “Somebody’s Baby”. I went into this show hoping to relive a little AmAnSet magic but The Wooden Birds would have none of that; as stated they’ve got their own thing going on and that thing is simply lovely. If they’re coming through your town on their way back down to Austin, do go see them.

The Fort Worth Weekly and Sloucher have interviews with Andrew Kenny. There’s also a writeup and recording of much of the show over at Hater High.

Photos: The Wooden Birds, Heartbeat Hotel @ The Drake Underground – July 10, 2011
MP3: The Wooden Birds – “Two Matchsticks”
MP3: The Wooden Birds – “False Alarm”
MP3: Heartbeat Hotel – “Fins Of A Shark”
MP3: Heartbeat Hotel – “Walls Of Dry Clouds”
MP3: Heartbeat Hotel – “The Hello Barrel”
Video: The Wooden Birds – “Two Matchsticks”
Video: The Wooden Birds – “Hometown Fantasy”
Video: Heartbeat Hotel – “Windowsill #1”

Though just announced as support for The Vaccines show at The Phoenix on September 27, Young Buffalo will do a little advance work with a free show at The Horseshoe on July 26.

MP3: Young Buffalo – “Only We Can Keep You From Harm”
MP3: Young Buffalo – “Anthems For A 17-Year Old Girl”

On the NXNE schedule in June for like a nanosecond, Massachusetts’ Dom will be in town for real for a show at The Garrison on August 9, the same day their new Family Of Love EP is released.

MP3: Dom – “Living In America”

Marnie Stern and No Joy team up for a show at Wrongbar on September 23. The Riverfront Times has an interview with Ms Stern.

MP3: Marnie Stern – “Transparency Is The New Mystery”
MP3: No Joy – “Hawaii”

Suuns have slated a show at The Garrison for October 2 and there’s a new video session up over at For No One.

MP3: Suuns – “Up Past The Nursery”

Shonen Knife will be at The Horseshoe on October 20 to kick of a 30th anniversary tour and next week’s release of their new record Osaka Ramones, a Ramones tribute record. Tickets for the show are $14.50 in advance, full dates at Exclaim.

Video: Shonen Knife – “Ramones Forever” (live)

Spinner has the first sample of the first Ivy album in six years, All Hours due out September 20, and it seems that in the time away they’ve discovered their inner discotheque. They wear it well.

MP3: Ivy – “Distant Lights”

USA Today profiles The Head & The Heart.

Spin checks in with Stephen Malkmus about his new solo record Mirror Traffic, due out August 23. He and his Jicks play The Phoenix on September 21.

NBC San Diego, The Georgia Straight and San Diego City Beat chat with The Rosebuds, in town on August 9 at The Sound Academy opening up for Bon Iver.

Stereogum talks to the director of Handsome Furs’ racy new video. They’re at The Horseshoe on August 1 and 2.

Video: Handsome Furs – “What About Us”

Spin gets a guided tour of Fucked Up frontman Damian Abraham’s domicile. Their next date is August 9 at the Air Canada Centre with Foo Fighters.

Sax-toting Polaris shortlister Colin Stetson has an interview in The Globe & Mail and a session up at Daytrotter. He plays The Drake Underground on August 26.

Loud & Quiet talks to Timber Timbre.

Southern Souls has posted a video session with Jenn Grant.

The Wilderness Of Manitoba are featured in an interview and video session with The Alternate Side.

The documentary film which led to a rather nasty exchange between filmmaker Vincent Moon and Arcade Fire management – Miroir Noir: Neon Bible Archives – will be getting a screening at the TIFF Lightbox on Wednesday evening at 7:30PM as part of Images Festival. Probably safe to say neither filmmaker nor subjects will be in attendance.

Trailer: Miroir Noir: Neon Bible Archives