Frank YangSo here we are, with both post-Oasis projects with their debuts officially out in the wild – the Liam-led Beady Eye having released Different Gear, Still Speeding back in March and Noel Gallagher’s Noel Gallagher’s High Flying Birds out this week. Given the not-so-greatness of Liam’s Oasis output, the bar for the former was set fairly low and Different Gear‘s meat-and-potatoes Brit-rock had no problem clearing it, with “not bad” counting as a big win. Noel, on the other hand, had considerably more to live up to what with not only having penned some of the most memorable British rock anthems of his generation, but having been the one pulled the pin on the grenade that finally, inevitably, killed Oasis. Though looking at it from another perspective, Beady Eye had everything to prove while Noel could point as his songbook and say, “what the fook have YOU done?”.

The best and the worst thing you can say about High Flying Birds is that it’s pretty much what you’d expect from a Noel Gallagher solo record, with his respective weaknesses and strengths on full display. Amongst the former are his penchant for cribbing lyrics and melodies from others wholesale, and may of the words that are his are vague and nonsensical, though at least they rhyme. However just as he did in Oasis, he’s able to marry them with an unimpeachable gift for melody, a delivery that makes them sound profound and a flair for dressing them up in big arrangements that aren’t too overcooked (obviously this took some time to learn). It can be frustrating to sing along with words that make no sense, but sing along you will.

That said, for all the familiar motions, Birds feels distinct from an Oasis record for reasons beyond the absence of Liam’s rock’n'roll sneer. Perhaps in being freed from the inherent compromises of a band and being able to take full creative control, Gallagher has been able to fully assume the role of composer rather than just songwriter and consequently, Birds feels more meticulous in its execution than any Oasis record I can recall. Some might bemoan its mid-temponess or dearth of guitar heroics, but let’s be fair – he’s made those records already. High Flying Birds doesn’t necessarily revitalize or recontextualize what Noel Gallagher is about – not even remotely, if we’re being honest – but it is well-crafted, tuneful and likeable. Well I like it, anyways, and that’s why despite not getting accredited to cover the show in an official capacity, I headed down to Massey Hall about 20 minutes before showtime and patronized my first ever scalper. Less than half face value? Sure.

Though not sold out – two nights at Massey is a tall order for many acts, even one who sold out arenas with his old band – the hall was nearly full and crackling with the energy of fans who’d not seen the elder Gallagher since that fateful Virgin Festival 2008 appearance where he was assaulted onstage, if not earlier. The vibe was not unlike that at The Sound Academy in June when Liam led Beady Eye into town for their first visit, though feeling a bit older and with fewer (no) Union Jack flags hanging from the balconies.

Unlike Beady Eye, however, Noel had already said that the Oasis songbook was very much fair game for his solo shows and to prove it, the show opened with “(It’s Good) To Be Free”, a 17-year old b-side from a non-album single. Not just the hits, then. Oasis material would actually comprise almost half the 90-minute set, spanning the breadth of their catalog but with no small amount of revisionist history applied – “Wonderwall” got the Ryan Adams treatment, “Supersonic” was stripped down to acoustic guitar and piano (and would be a post-show point of contention for being a Liam song) and “Talk Tonight” given the full band treatment. It was as though Gallagher was more than willing to indulge his fans’ desire to hear the old material, but wasn’t going to make head-to-head comparisons of Oasis and his High Flying Birds easy.

As for the new material, not only was the album played in its entirety, but a b-side and new song thrown in for good measure. All of it was played pretty much verbatim from the album arrangements and in workmanlike fashion from Gallagher and his five-piece band – the crowd was enthused but Gallagher didn’t seem particularly interested in stoking the fires, just in doing his thing. It would have been unreasonable to expect him to discover some heretofore unknown wellspring on on-stage charisma upon assuming the role of frontman, but at least Gallagher seemed chipper in bantering with the crowd.

Early on, he told an audience member who’d not heard the new record that, “it’s going to be a long fucking night for you then” and later, when the inevitable topic of his younger brother came up (he has a home in Toronto), he responded to someone calling out that they’d seen Liam around town buying shoes, “were they high heels?”. Noel has a well-earned reputation for shooting his mouth off about anything and everything, but he’s got a sense of humour. The encore was a triple-bill of Oasis numbers – “Little By Little” from Heathen Chemistry, “The Importance Of Being Idle” from Don’t Believe The Truth and, finally, predictably and thrillingly, “Don’t Look Back In Anger”. That finale was spared any rejigging and performed as it always has – how else do you lead the singalong? And sing along everyone did.

So with all the evidence gathered – live and on record – how do the two post-Oasis projects measure up? Both have turned in decent efforts without offering anything new, but neither is a patch on Oasis in their prime – but to be fair, most of Oasis’ career isn’t a patch on Oasis in their prime either. With Beady Eye, Liam seems to want to recreate the rock’n'roll heyday of Oasis without invoking Oasis, whereas Noel is content to acknowledge his legacy without resting on it. I’d go so far as to say if you took both their records and combined the best moments into one, you’d have the best Oasis record in some years. To be at their best, as both brothers once sang, they need each other. Maybe someday they’ll once again believe in one another.

The Toronto Sun, Exclaim, The Globe & Mail, Toronto Star, NOW, Spinner and National Post also have reviews of the show and Los Angeles Times and National Post also have feature interviews.

Photos: Noel Gallagher’s High Flying Birds @ Massey Hall – November 7, 2011
Video: Noel Gallagher’s High Flying Birds – “AKA… What A Life”
Video: Noel Gallagher’s High Flying Birds – “If I Had A Gun”
Video: Noel Gallagher’s High Flying Birds – “The Death Of You & Me”

In talking to NME, Damon Albarn reveals that Blur have been recording and discussions about more touring in 2012 have taken place. None of which is a commitment to anything, but it is something.

BBC chats with Arctic Monkeys frontman Alex Turner.

Band Of Skulls have set a date at The Phoenix for March 30 of next year in support of their new album Sweet Sour, out February 21. Tickets are $17.50 in advance. Exclaim has details and dates and there’s a video for the first single from the album.

Video: Band Of Skulls – “The Devil Takes Care Of His Own”

DIY talks to Kele about his new EP The Hunter.

Clash interviews Florence Welch of Florence & The Machine.

Artrocker profiles Los Campesinos!, whose new record Hello Sadness is streaming at NPR ahead of its November 15 release date.

MP3: Los Campesinos! – “By Your Hand”
Stream: Los Campesinos! / Hello Sadness

Interview, The Independent and Londonist talk to Summer Camp on the occasion of the release of their debut Welcome To Condale this week.

Pitchfork reports that The xx have begun work on their second album, and will be documenting the process via cryptic animated gif.

The ink barely dry on the their Toronto debut last month, London’s Still Corners will be back on December 9 at The Horseshoe in support of The War on Drugs. The Georgia Straight and Houston Press have interviews and Radio K is streaming a session with the band.

MP3: Still Corners – “Into The Trees”

The AV Club talks to Charlie Fink of Noah & The Whale.

Spinner interviews Laura Marling.

The Guardian gets two generations of folk music – Billy Bragg and Johnny Flynn – to discuss the relevance of protest music today.

Patrick Wolf has released a new video from Lupercalia, which continues to await a North American release. In 2012, perhaps. The Gay Times talks to Wolf about his impending nuptials.

Video: Patrick Wolf – “The Falcons”

Rocksucker talks to The Twilight Sad about their third album No One Can Ever Know, due out in February.

Clash marks the 20th anniversary of My Bloody Valentine’s landmark Loveless album, while The Quietus reflects on the significance of The Jesus & Mary Chain’s debut Psychocandy.

And while not nearly on the level of either of those records, I greatly appreciate Drowned In Sound saluting The Closer I Get, the second album from Nottingham’s Six By Seven. Terribly underappreciated over their tenure, at their best – which would be that record – there was no more beautifully aggressive and misanthropic rock band out there. After a few ill-fated reunions, the band is done but if you go to their website, their last great record – 2004′s relatively sunnier :04 – is available for free download in exchange for an email. You should do this thing.

MP3: Six By Seven – “Bochum (Light Up My Life)”
Video: Six By Seven – “Eat Junk Become Junk”

Frank YangFirstly, thanks to The Grid for their preview piece on the Death From Above 1979 reunion tour which finally made it home for two nights at the Sound Academy last Thursday and Friday night. They do a far better job of encapsulating the band’s backstory than I could, since though I was certainly around for their first heyday in the early aughts, I wasn’t much of a fan. Some of their disco-metal hybrid was appealing and I dug Jesse Keeler’s bass tones, but it was generally too aggressive for my tastes and Sebastien Grainger’s vocals were definitely not my thing. When they announced they were splitting up five years ago, I didn’t give it half a shrug.

So why be at the Sound Academy to see the reunion? Mostly curiosity about this reunion which, even in the era of reunions, felt different to all the others. For starters, the response to it seemed disproportionate to how big they were when they broke it off, but as The Grid points out they were on the cusp of blowing up when they split and rather than see interest in them fall off a cliff as a result, evidently it kept growing into the realm of myth. Hence the high billing on festivals worldwide. Hence the playing to more people at home over two nights than they probably did in total over their first run. So curiosity, and also the fact that I happened to be outside the Beauty Bar in Austin, Texas back in March when they were soundchecking their surprise SXSW appearance – their very first comeback show and eventual near-riot – and it sounded great.

I’ve been to my share of reunion shows and most have had the sort of demographic you’d expect; mainly older fans from said act’s first go-around indulging in a bit of nostalgia with the mean age brought down a notch by kids who discovered the act in their fallow years and finally getting a chance to see them live (I tend to straddle the two). For DFA1979, however, the audience was overwhelmingly young – so much so that you got the sense if they hadn’t booked an all-ages venue, they wouldn’t have needed two shows. My theory is that those who’d followed the band in the first half of the decade had largely outgrown them, no longer running on the necessary blend of hormones and adrenaline, and instead these shows were being attended by those who’d been in high school or college when DFA were at their peak – see above about hormones and adrenaline – but had never gotten the chance to see them live. Until now.

And with youth comes energy and the jammed room was rather crackling with it as they awaited their hometown heroes to emerge, getting into form with a little exploratory crowd surfing to Iron Maiden over the PA and chanting, “D! F! A!” the way you might hear “U! S! A!” at a monster truck rally. With that as the pre-show noise floor, then it was no surprise that security had orders to be extra-vigilant and rightly so – when the curtain covering their giant “DFA 1979 2001-2006″ tombstone backdrop fell to the floor and Keeler and Grainger strode out onstage, shit was lost (and so was their stage garb, with the all-in-white, bleached-blonde Grainger looking rather Jacob and Keeler playing The Man In Black, but I digress).

I must confess to only knowing a few songs from the DFA1979 oeuvre (even though it consists of just a single full-length in You’re A Woman, I’m A Machine and a few EPs and singles) but I don’t think that was a real issue as their aesthetic is pretty limited. Imagine grinding, metallic bass and drum riffing seasoned with synths and wailing vocals and you’re pretty much there. But what they lack in range, they more than make up for in volume and vigor. They pounded out one song after another while the crowd surged like a wave pool, steadily cresting with crowd surfers as drinks, clothes and three-finger devil salutes flew about. Early on it seemed like it’d be all business for the duo, with a “Thank you, we’re from here” offered by Grainger as the only bit of banter, but later on they got chattier with a highlight of the banter being Keeler’s response to a request for a bass solo: “every song is a bass solo”.

As mentioned, things got fairly samey to me after a while with the band offering sleek aggression and relentless rhythm in lieu of hooks – not that my head ever stopped bobbing to the beat. “Romantic Rights” was appreciated not only because its killer opening riff remains a high point in the entire DFA1979 catalog, but because Grainger took the opportunity to get up from behind the kit and wander the stage while singing, proper frontman-style. But even when my attention wandered from the music, there was also the audience to watch as they continued to freak out, head bang, what have you throughout the show. I may have been there mainly out of curiosity, but for many/most this was something they’d been waiting for for years and probably never expected, considering how acrimonious the original split had seemed. And for them, I’m pretty sure it was everything they’d hoped for and more. I get it, but I still don’t like the vocals.

Exclaim, NOW, BlogTO, The National Post and The Globe & Mail all have reviews of the show(s).

Photos: Death From Above 1979 @ The Sound Academy – October 27, 2011
MP3: Death From Above 1979 – “Romantic Rights”
Video: Death From Above 1979 – “Black History Month”
Video: Death From Above 1979 – “Romantic Rights”

Arctic Monkeys have released a new video from Suck It And See.

Video: The Arctic Monkeys – “Evil Twin”

PopMatters chats with Ben Lovett of Mumford & Sons.

The Quietus talks to Jim Reid of The Jesus & Mary Chain.

Exclaim reports that Elvis Costello will be releasing a live set culled from the Los Angeles dates of this year’s “The Spectacular Spinning Songbook” tour, which came through town in June. Elvis Costello & the Imposters: The Return of the Spectacular Spinning Songbook!!! will be released as a limited-edition CD/DVD/10″ box set on December 6 – with price to match – and less fancy editions will be released in the new year.

GQ talks to PJ Harvey.

Spin is offering a stream of the opening track from Noel Gallagher’s solo debut Noel Gallagher’s High Flying Birds, out next Tuesday and showcased over two nights at Massey Hall on November 7 and 8. The Globe & Mail has an interview.

Stream: Noel Gallagher – “Everybody’s On The Run”

Nicky Wire of Manic Street Preachers discusses his Polaroid fetish with The Guardian. The images compiled over the Manics’ career will be compiled in a book entitled Death of a Polaroid: A Manics Family Album, out next month, and the band’s new best-of comp National Treasures is out today in the UK.

The Los Angeles Times, USA Today, The Globe & Mail and The Guardian talk to Florence Welch of Florence & The Machine about her second album Ceremonials, out this week.

Exclaim points to a stream of both sides of a new 7″ from former Long Blondes singer Kate Jackson, limited to 300 pieces and due out December 7. You may recall a different song was premiered a few months back, but it wasn’t sold physically so this is her first “proper” release.

MP3: The Kate Jackson Group – “Date With Dawn”
Stream: The Kate Jackson Group – “Wonder Feeling”
Stream: The Kate Jackson Group – “The Atlantic”

And Prince has announced two dates at the Air Canada Centre on November 25 and 26 as part of his “Welcome 2 Canada” tour. Yes he’s crazy but he’s also an incredible performer and if the “Welcome 2 America” shows already done are any indication, he’s giving the fans what they want this time out. So… yeah. Tickets on sale this Friday, November 4 at 10AM, ranging from $67.75 to $268.25, fees included.

Video: Prince – “Let’s Go Crazy”

Frank YangThe narrative around The Horrors’ second album Primary Colours was a simple one – the band who made Strange House, with the outlandish costumes and stage names, were no more and in their place was a lean, fearsome combo who weren’t part of a shoegaze revival but a shoegaze revitalization. Primary Colours learned from the sound-sculpting lessons of the past and applied them towards creating something familiar yet undeniably fresh. It was a remarkable thing. Their visit in October 2009 in support of Primary Colours confirmed that even if they’d ditched the accoutrements, they’d kept the punk energy and intensity that came with their earlier incarnation in a live setting. And so for their show on Tuesday night in support of their more textured and impressionistic third album Skying, the only real question was how great was it going to be?

There were still surprises to be had, however, including the support act – a trio from Connecticut, of all places, called The Stepkids. Taking the stage dressed completely in white – to match the sheets draped over their gear and the backdrop behind them – they laid into a set of super-’70s psychedelic disco slow jams while trippy projections that seemed culled from episodes of The Electric Company danced overtop. All three were virtuosic players and singers, alternating lead vocals and combining on impeccable three-part falsetto harmonies, and on top of it all the material from their self-titled debut – which was officially released that same day – was more than solid. Initially the old-school Horrors fans in attendance didn’t look impressed, having come to the show to freak out rather than get their freak on, but by the set’s end there were more than a few brightly-dyed heads bobbing up and down with the groove. Which just goes to show – you can’t fight the funk.

It’d be dishonest to say that the opening of The Horrors’ set didn’t seem a little devoid of occasion, with the band strolling out one by one and kicking into Skying opener “Changing The Rain” without so much as dimming the lights. I can appreciate that they’ve reached a point where their music is strong enough that dressing it up is unnecessary, but a little attention to presentation is always nice, no? As it turned out, they were just doing me a favour in leaving the lights up long enough to get some decent photos. Within a few songs they began to dim and perhaps not coincidentally, the band’s energy levels began to rise and it became clear that this wasn’t just a recital, but a trip – a descent, and one of which the band was in complete control. It was loud and intense but there was no sense of chaos. Instead, their display of power was graceful and elegant and a thing to behold.

The set was divided evenly between Primary Colours and Skying, with lanky frontman Faris Badwan’s limited repertoire of stage moves – either gripping and grimacing into the microphone stand or foot on the monitor, doing the same – more than enough to command the packed house’s attention. It’d have been undivided attention if not for Joshua Hayward proving more and more that he’s as crucial an element in their sound. It’s astonishing that he’s the band’s only guitarist and is able to recreate so many of the records’ textures live and move from atmospheric soundscape to crushing riff at the drop of a hat. And as if to give him his proper due, the set built up to an epic, trance-like finale of Skying centrepiece “Moving Further Away”, which served as a showcase for his talents and brought what had been a rather short set – the main set ran just 45-minutes – to a respectable running length. Not that anyone should have been looking at their watches; that would have meant having to tear your eyes away from the show.

The National Post was also on hand and has a writeup. The Los Angeles Times has an interview with The Stepkids.

Photos: The Horrors, The Stepkids @ Lee’s Palace – September 28, 2011
MP3: The Horrors – “Moving Further Away”
MP3: The Horrors – “Sea Within A Sea”
MP3: The Stepkids – “Legend”
MP3: The Stepkids – “Shadows On Behalf”
Video: The Horrors – “Still Life”
Video: The Horrors – “Whole New Way”
Video: The Horrors – “Mirror’s Image”
Video: The Horrors – “Who Can Say”
Video: The Horrors – “Sea Within A Sea”
Video: The Horrors – “She Is The New Thing”
Video: The Horrors – “Gloves”
Video: The Horrors – “Count In Fives”
Video: The Horrors – “Sheena Is A Parasite”
Video: The Stepkids – “Wonderfox

The Phoenix has an interview with James Blake, who’s at The Phoenix (the venue not the Boston paper) on Friday night. There’s also a piece at Clash.

The Stool Pigeon interviews Veronica Falls, in town at The Mod Club opening for The Drums on October 1 and headlining their own show at Parts & Labour the following night.

Loney Dear has released a new video from Hall Music, out October 4 and followed up with a show at The Drake Underground on November 4.

Video: Loney Dear – “My Heart”

The Skinny talks to We Were Promised Jetpacks about their new record In The Pit Of The Stomach, which is out October 4 and streaming in whole over at Clash.

Stream: We Were Promised Jetpacks / In The Pit Of The Stomach

Drowned In Sound talks to Jim Reid of The Jesus & Mary Chain about their ongoing reissue series, which wraps up next week, and the odds of a new album: not nil, but not great.

BBC talks to Portishead’s Geoff Barrow about their plans for a new record once their North American tour – which includes two nights at the Sound Academy on October 9 and 10 – is done. And The Village Voice talks to him about this long-running relationship with hip-hop.

Pitchfork is streaming another bonus track from the deluxe reissue of Yuck’s debut Yuck, out October 11, and Room 205 has posted the third and final instalment in their video session series with the band.

Stream: Yuck – “Soothe Me”

Florence Welch of Florence & The Machine has a chat with Interview about her forthcoming second album Ceremonials, out November 1.

Noel Gallagher has released a second video from his solo debut Noel Gallagher’s High Flying Birds, out November 7. He’s at Massey Hall on November 7 and 8.

Video: Noel Gallagher – “If I Had A Gun”

Drowned In Sound, The Skinny and MusicOmh talk to Anthony Gonzalez of M83 about their new record Hurry Up, We’re Dreaming, out October 18. They’re at Lee’s Palace on November 18.

Belle & Sebastian guitarist Stevie Jackson has released details of his solo debut (I Can’t Get No) Stevie Jackson, which is available now digitally and will be out physically whenever he gets physical copies back from the pressing plant.

MP3: Stevie Jackson – “Man Of God”

Much drama over the past day about Bloc Party and Kele Okereke’s status within it, but it appears to have shaken out that he’s still their singer, they’re still back in the studio and people are still far too easy to get worked up about rumours.

The Quietus, The Daily Star talk to Brett Anderson about matters solo and Suede.

Sleepover Shows has a video session with Frightened Rabbit.

The AV Club salues Nick Cave on the occasion of his birthday with a beginner’s guide to his works.

Frank YangBoth bands in this week’s selection have been away a while – though their absences are on different scales – and both are making returns to the public eye – though in different manners.

That The Shins went into hiding following the touring cycle for their third album Wincing The Night Away wasn’t especially odd – bands do that all the time – but a break turned into a hiatus as most of the band members who were not frontman and songwriter James Mercer were dismissed or otherwise left the band and the project was essentially rebooted. Shins 2.0 appear to be ready to go, however, as they’re embarking on a handful of live dates – including this Thursday night at The Phoenix in Toronto – in advance of releasing a new record in the new year.

The Jesus & Mary Chain split way back in 1999 and considering the acrimony that marked the band’s career, hardly seemed like candidates for a reunion but the Reid brothers made up in time to play Coachella 2007 and a number of additional European dates. And while technically the band remains an active concern with promises of a new album, they’ve been awful quiet for a band who made their name by being really loud. Fans do have something to look forward to, though, as super-deluxe double-CD-plus-DVD reissues of their entire six-album catalog are coming starting this week, with Psychocandy and Darklands out Tuesday, Automatic and Honey’s Dead next week and Stoned & Dethroned and Munki on October 4 – there’s video previews of each set over at YouTube. So those collections are some good news for fans… unless you re-bought their entire discography when they were reissued back in 2006. Then you’re probably more enraged than excited.

Oh and as for the song itself? That was Shins Mk1 taking the Psychocandy tune for a spin at The Troubadour in Los Angeles at some undetermined date. Fun times.

MP3: The Shins – “Taste Of Cindy” (live)
Video: The Jesus & Mary Chain – “Taste Of Cindy” (live in London, 2008)

Alex LakeOne of my most anticipated records of the last few years was First Love, the debut from London’s Emma-Lee Moss, aka Emmy The Great. I’d spent well over a year with my own custom compilation of her various singles, EPs and random releases on repeat before the album proper came out and perhaps inevitably felt a bit let down, though for reasons entirely my own and even so, it still made my 2009 year-end list.

There was no such weight of expectation surrounding her second album, which isn’t to say that I wasn’t anxious to hear it – I most certainly was – but even not having heard any of the new material, I figured I had a pretty good idea what to expect: acoustically-built pop songs with wonderfully clever lyrics delivered in Moss’ distinctively precise diction; more of First Love would have been just fine with me. So of course, it goes without saying that Virtue pretty much floored me. The backstory of the record isn’t essential to appreciating it, but understanding what the last couple of years have been like for Moss provides some invaluable context for the record. Read the unabridged feature from The Guardian for the full story but in brief, Moss was engaged until her formerly atheist fiancee found God and left her for the life of a missionary.

Life-altering stuff, to say the least, and so it’s no surprise that whereas the songwriting on First Love felt like a collection of tales told through characters, Virtue feels considerably more personal, even filtered through the allegories – many religious and/or mythical – that suffuse the songs. Though it’d be justified if it was, Virtue is anything but a pity party – the songs constantly struggle for some critical distance from their inspiration, adding a certain tension to the proceedings, but on “Trellick Tower” that struggle ends, the tension evaporates and the album closes on its most emotionally unguarded and affecting moment.

Virtue is a darker and weightier record than the debut, both lyrically and musically. The latter point comes thanks to the addition of more electric and electronic textures to go with the more conventional acoustic instrumentation, courtesy of producer Gareth Jones and long-time collaborator Euan Hinshelwood. Moss was never comfortable being associated with the “anti-folk” tag that tied her to some of her peers and former bandmates, but only the most stubborn would call Virtue a folk record; it’s diverse and rangy enough that anything more specific than “pop” would be debatable. If you needed more adjectives, however, I would submit any or all of “contemplative”, “elegant”, “wistful”, “gorgeous” and “essential”.

The Westmoreland Gazette has an interview with Moss about the new record. Being independently released in the UK, there’s not much chance of a North American release but Virtue is available digitally at both eMusic and iTunes. Similarly, touring over here seems unlikely but Emmy is doing two US dates in Philadelphia and New York next month, and yes, I may well have moved my flight to New York up a day so as to be able to make the show at The Studio At Webster Hall. What of it?

MP3: Emmy The Great – “A Woman, A Woman, A Century Of Sleep”
Video: Emmy The Great – “Iris”

The Guardian has an extended feature on Antony Hegarty of Antony & The Johnsons.

The Vaccines are back in town for the third time this year, this time headlining a show at The Phoenix on September 27. It’ll be all-ages, tickets $15 in advance and Tennis and Young Buffalo support.

MP3: The Vaccines – “Norgaard” (live)
MP3: Tennis – “Take Me Somewhere”

Gearing up for the release of Skying next week – everywhere but North America at least, we have to wait until August 9 – The Horrors have made the whole album available to stream and have also released a first video from the new record. They play Lee’s Palace on September 27.

Video: The Horrors – “Still Life”
Stream: The Horrors / Skying

DIY and AOL Music UK have chats with the lads of Two Door Cinema Club; they have a date at The Phoenix on September 17.

Everyone expecting a new Spiritualized record this Fall, get ready to wait a little longer – State reports that a series of UK dates have been postponed until next year, wit said new album now targeted for a February 2012 release.

Liam Gallagher of Beady Eye tells The Sun that he’s gone clean and sober. His band has also put out a new video from Different Gear, Still Speeding.

Video: Beady Eye – “The Beat Goes On”

And Gallagher the elder – that’s Noel – has just announced details of his first post-Oasis projects. Noel Gallagher’s High Flying Birds will release their self-titled debut on October 17 and next year, look for a collaborative record with psychedelic-electronia outfit Amorphous Androgynous. Or don’t. Fuller details at The Quietus.

The Quietus reports that Jarvis Cocker will be publishing a collection of his lyrics in book form Mother, Brother, Lover: Selected Lyrics will be out in October.

The Independent checks in on some of the one-time heroes of Britpop, including Louise Wener of Sleeper; she’s now an author and I just realized that the two volumes of her Britpop memoirs – Different For Girls and Just For One Day are actually the same book under different titles. I wish I’d realized that before I bought them both.

Slicing Up Eyeballs reports that The Jesus & Mary Chain will be embarking on an extensive catalog reissue campaign this Fall; it begins on September 19 with double-CD/single-DVD sets for Psychocandy and Darklands, followed by Automatic and Honey’s Dead the following week and final two albums Stoned & Dethroned and Munki on October 3.

Post-punk forebears The Raincoats will be remastering and reissuing their 1981 album Odyshape on September 13 and follow that up with some North American touring that includes a September 23 date at Wrongbar in Toronto.

Video: The Raincoats – “Don’t Be Mean”