Frank YangIf there’s any lessons a band can take from Ash, first and foremost would be a) to never mind fashion and stick to what you do well, and b) to get started young. The benefits of both of these points were on display Saturday night when the Northern Irish trio rolled into Lee’s Palace for their first Toronto show in seven years. To the former, they had a massive and impressive repertoire of high-energy, ultra-melodic punk/metal-laced pop to draw from and to the former, well if you’re so fortunate to be celebrating your twentieth anniversary as a band then you would probably want to be has as young and spry as the 35-year old Tim Wheeler, even with the flecks of grey in his beard.

While I can think of some acts I’d have rather seen open for Ash – former guitarist Charlotte Hatherley, say, or Wheeler’s girlfriend Emmy The Great – Halifax’s Kestrels were more than fine as well. As I wrote in July, their debut A Ghost History has more than enough ’90s-vintage college rock/shoegaze DNA in it to be a good fit, and there was even a formal connection what with Wheeler making a guest guitar appearance on the record. As is not unusual for bands of their ilk, their live show was exceedingly loud, and many of the pop-friendly nuances on the record were smothered with distortion and volume. The rhythm section, with its thick, fuzzy bass chords and nimble, 16th-note drumming, was an effective balance of heavy and agile and Chad Peck’s guitar leads were less melodic lines than bursts of noise run through a wah pedal. They probably could have done themselves a favour by turning down just a bit, but their enthusiasm was warranted – it was their last show of the year after touring heavily in support of their album and as Peck noted, Ash was his favourite band since forever so getting to open for them – and then take over Wheeler’s guitar roadie duties later – made for a pretty unique experience. If ever there was a night to leave it all on stage, it was this. And they did. Loudly.

Though chronologically, Ash fit right into the first wave of Britpop, I never really thought of them as such – and not just because Northern Ireland isn’t technically part of Britain, so the genre was a misnomer anyways. No, it was more their youthful energy and punkier inclinations didn’t really fit with the sort of Anglo sophistication that I wanted from the likes of Blur or Pulp, and so while I appreciated the singles I heard over the years, I didn’t start making up the lost time until recently. Definitely in time to thoroughly enjoy their show, though. Obviously feeling no inclination to be difficult, the set was wall-to-wall hits – both actual and should have beens – drawn from throughout their career but focusing largely on their 1996 debut 1977 with appropriate consideration given to 2001′s Free All Angels and 2004′s Meltdown, and ranging from the relatively gentle “Shining Light” to the positively raging “Clones”. And while not sold out, the show was well-attended with no small number of Irish fans and not singing along with anthems such as “Goldfinger” or “Girl From Mars” was simply not an option. They also drew heavily from their recent ambitious A-Z singles series – the triple vinyl North American release ostensibly the reason for the tour – and tracks like “Arcadia” and “Binary” proving that even after twenty years, their simple formula of riff and melody – and recently, the occasional electronic flourish – still pays tremendous dividends.

As you would expect a band with as many years and miles under their belts as Ash, they were unbelievably polished and powerful, bassist Mark Hamilton not missing a not while striking body-contorting rock poses through the whole night and Wheeler, when not singing, was bounding around the stage and confirming that the road case oddly placed front and centre stage was indeed for jumping on and rocking out. And after nineteen songs and 90 minutes, it was also the place for the trio to stand up and take a well-earned bow.

Oh, one more lesson bands can take from Ash? Flying Vs rawk.

Exclaim also has a review of the show and A Music Blog, Yea has an interview with Tim Wheeler.

Photos: Ash, Kestrels @ Lee’s Palace – November 17, 2012
MP3: Ash – “Return Of White Rabbit”
MP3: Ash – “Burn Baby Burn”
Video: Ash – “Carnal Love”
Video: Ash – “Binary”
Video: Ash – “Kamakura”
Video: Ash – “The Creeps”
Video: Ash – “War With Me”
Video: Ash – “Neon”
Video: Ash – “Ichiban”
Video: Ash – “Space Shot”
Video: Ash – “Pripyat”
Video: Ash – “Tracers”
Video: Ash – “Arcadia”
Video: Ash – “Joy Kicks Darkness”
Video: Ash – “True Love 1980″
Video: Ash – “Return Of White “
Video: Ash – “End Of The World”
Video: Ash – “Polaris”
Video: Ash – “You Can’t Have It All”
Video: Ash – “I Started A Fire”
Video: Ash – “Renegade Cavalcade”
Video: Ash – “Starcrossed”
Video: Ash – “Orpheus”
Video: Ash – “Clones”
Video: Ash – “There’s A Star”
Video: Ash – “Candy”
Video: Ash – “Sometimes”
Video: Ash – “Burn Baby Burn”
Video: Ash – “Shining Light”
Video: Ash – “Warmer Than Fire”
Video: Ash – “Wildsurf”
Video: Ash – “A Life Less Ordinary”
Video: Ash – “Oh Yeah”
Video: Ash – “Goldfinger”
Video: Ash – “Angel Interceptor”
Video: Ash – “Girl From Mars” (US)
Video: Ash – “Girl From Mars” (UK)
Video: Ash – “Kung Fu”
Video: Ash – “Uncle Pat”
Video: Kestrels – “The Past Rests”
Video: Kestrels – “There All The Time Without You”

Here’s one to file under “happy coincidences”. Just yesterday morning, I was listening to The Joy Formidable and thinking that it had been too long since I saw them live, having skipped their show in April and also planning to give next Sunday night’s support slot for The Gaslight Anthem a pass. And then, lo and behold, they announce a last-minute headline gig at The Mod Club for next Monday, November 26. It’s a free show as part of CFNY’s holiday concert series, so head to theedge.ca for details on how to win tickets. Expect to hear material from their new album Wolf’s Law, out January 22.

MP3: The Joy Formidable – “Wolf’s Law”

Kate Nash has announced her Death Proof EP will indeed be out this Fall as promised – as of right now, in fact. DIY has details on the release, which will be out on November 19, and Consequence Of Sound has some specifics on Nash’s third studio album, entitled Girl Talk and targeted for a March 2013 release. Spin talks to her about her new video for the title track of the new EP.

Video: Kate Nash – “Death Proof”

Florence & The Machine have squeezed another video out of Ceremonials and premiered it over at Nowness.

Video: Florence & The Machine – “Lover To Lover”

Played the new Veronica Falls track to death already? Head over to They Shoot Music where the band play a live version for a video session in addition to an old song. The new album Waiting For Something To Happen is out February 12.

4AD has details on the second album from Stornoway, to be entitled Tales From Terra Firma and due out on March 11.

Pitchfork has a Takeaway Show with Jessie Ware, filmed last month in Paris.

Blurt talks to Beth Orton.

The first track from Foals’ new album Holy Fire, out February 12, is now available to download.

MP3: Foals – “Inhaler”

Esben & The Witch are also giving away the first teaser of their second album Wash The Sins Not Only The Face, out January 21.

MP3: Esben & The Witch – “Deathwaltz”

For Folks Sake and The Stool Pigeon talk to Neil Halstead.

The Guardian asks the question so many have wondered – how did Mumford & Sons get so damn big?

Wales Online reports that Manic Street Preachers have gotten to work on a new album, though it won’t be out until 2014 at least.

Blur have released a clip from their not-farewell Hyde Park concert, documented on the forthcoming CD/DVD Parklive set. It’s out December 3.

Video: Blur – “Under The Westway” (live at Hyde Park)

Wired reports that Beautiful Noise, the documentary film on the shoegazing movement featuring interviews with many principals of the scene that has seemingly been in production forever, is finally finished and turning to Kickstarter to fund its distribution. $25 gets you a copy of the DVD… and you know you want it.

Trailer: Beautiful Noise

Memphis IndustriesIt’s been interesting tracking the musical evolution of El Perro Del Mar, the musical project of Sweden’s Sarah Assbring. Her 2006 self-titled debut cast her as the mournful ghost of a ’50s doo-wop girl while the 2008 follow-up From The Valley To The Stars invited fuller arrangements into the mix – even getting jaunty at points – while keeping the sentiments beautifully downcast. 2009′s Love Is Not Pop was took great strides towards feeling more modern, mostly via studio-slick musical arrangements, and while surprisingly short compared to Valley – seven tracks versus its predecessor’s 16 – assuming that that the three dancey remixes appended as bonus tracks to the US edition were just filler would have been a mistake; they were more of a signpost.

In the three years between that release and her fourth album Pale Fire, Assbring seems to have completed the transition from old-school chanteuse to dance diva and also invested in a lot of keyboards in the process. Pale Fire is an unabashedly synthetic record, built on beats and loops and existing in a haze, sounding largely like a remix album of a more conventional work. Assbring’s retro stylings have been wholly subsumed by the dedication to the groove, but her signature sadness is still detectable – it seems the dancefloor isn’t necessarily any less lonely a place than one’s bedroom.

Assbring doesn’t have the sort of voice one would typically associate with dance music – it’s not an especially powerful or sensual instrument – but it’s that dissonance that helps Pale Fire stand out from the current crop of electro-pop, and when when Pale Fire reverts to a more traditional sonic form, as on “I Was A Boy”, the other would-be peers just fall away. Given the number of guises that Assbring has donned over the course of her career, it’d be presumptuous to think that Assbring will dwell in Pale Fire‘s aesthetic for too long, but it does feel like the end of the transformation that she’s been undertaking since Valley; maybe she’ll keep it on for a little while.

Pale Fire is out next week but now streaming in whole over at Hype Machine. A Heart Is A Spade has an interview with Assbring.

MP3: El Perro Del Mar – “Hold Off The Dawn”
Video: El Perro Del Mar – “Walk On By”
Video: El Perro Del Mar – “Innocence Is Sense”
Stream: El Perro Del Mar / Pale Fire

Interview talks to Joachim Läckberg of Sambassadeur, who may be releasing a new single in “Memories” in a few weeks but aren’t looking to put out their next album until late next year. Teases.

The Line Of Best Fit note that Icona Pop’s self-titled debut will be released in their native Sweden as soon as next week, November 14. A worldwide release will follow next year. They open up for Marina & The Diamonds at The Kool Haus on December 1.

Those who’ve been following along with Sigur Rós’ Valtari Mystery Film Experient and wish they could see the works on a bigger screen may be interested to know that a goodly number of the films – at least 17 – are being compiled and taken on the road for some worldwide screenings over the course of a weekend in December. Toronto gets ours on December 8 at The Bloor.

And if that’s not enough Scandi-music film action for you, 4AD has released some details on The Ghost Of Piramida, a film that documents Efterklang’s visit to the abandoned Russian town of Piramida, from which their latest album drew inspiration and its name.

Foals have confirmed the February 12 release of their next record Holy Fire with the release of the first video from the record.

Video: Foals – “Inhaler”

Pitchfork has more specifics on the solo debut from Johnny Marr; The Messenger will be out on February 26 of next year.

Justin Young of The Vaccines offers an interview to Drowned In Sound. They play The Phoenix on February 4.

The 405 meets Field Music.

NPR has a World Cafe session with Beth Orton.

Mumford & Sons enlisted Stringer Bell – that’s actor Idris Elba, for non-Wire watchers – to star in the new video from Babel.

Video: Mumford & Sons – “Lover Of The Night”

The Quietus talks to Neil Halstead about all things Slowdive, Mojave 3, and Neil Halstead. Denver Westword also has an interview.

Drowned In Sound makes a case for the importance of Manic Street Preachers’ debut Generation Terrorists, turning 20 and out in deluxe reissue form now.

The National Post and eMusic talk to Bernard Sumner and Gillian Gilbert of New Order, respectively.

The Irish Times, Burton Mail, Gigwise, and The Edinburgh Evening News talk to David Gedge of The Wedding Present.

Clash and Exclaim have features on Tame Impala, in town at The Phoenix on November 12.

Kate MorossIn all honesty, I intended to write up Jessie Ware’s debut Devotion today whether or not it took the Mercury Prize last night or not – it went, as expected, to the heavily-favoured and bewilderingly dull Alt-J – I don’t need the validation of a shadowy cabal of British music industry types to tell me what the best British (or Irish) album of the past year is. Not to say that I’m bestowing that title on Devotion myself, but with each successive listen, it certainly makes a stronger case for itself.

Initially, the temptation is to classify her as a soul singer and indeed, her voice is a rich, emotive instrument with the perfect balance of breathy, brassy, and husky and if Ware had opted to follow a more traditional or throwback path, accolades would still surely be coming her way. But instead, the production on Devotion – courtesy of Dave Okumu of The Invisible – bounces from electronic, sample-happy beats (fitting, since she first attracted attention via her guest vocals on a SBTRKT song) to slick conventional band arrangements to inventive intersections of the two, generally refusing to hew to any specific musical dogma and emerging all the better for it.

And yet for all the musical ear candy permeating Devotion, it’s Ware’s songs and vocals that make it a remarkable record. It yearns and aches where it should without ever getting overwrought. Where lesser songwriters would turn to vocal tricks to grab the listener’s attention, Ware offers up gorgeous melodies, emotive lyrics, and rock-solid hooks. It’s a record that immediately announces itself as noteworthy, yet thanks to its smouldering pace, takes its time to reveal itself and grows stronger and more impressive each time out. It may not have won the Mercury, but Devotion is a stunning, can’t-lose debut.

Devotion has yet to receive a North American release, but that’s coming in 2013. She’s signed a deal with Cherrytree that will first yield a sampler EP in 110% by December to be followed by a brief US tour in the new year. Presumably more extensive touring will follow the proper release of the record, or at least it better.

The Telegraph and Grazia have interviews with Ware.

Video: Jessie Ware – “Night Light”
Video: Jessie Ware – “Wildest Moments”
Video: Jessie Ware – “110%”
Video: Jessie Ware – “Running”

Kate Nash loves her some Hallowe’en. Not only did she release a spooky-themed video for a song that will appear on an upcoming EP – you can also download it from her website in exchange for an e-mail – she also teamed up with Emmy The Great for a Buffy-themed Hallowe’en party wherein they recreated the musical episode, “Once More With Feeling”, on stage, though trainspotters may point out that Emmy is dressed as Willow and Willow didn’t really participate in the musical episode because Alyson Hannigan can’t sing worth a lick… But I digress. You can watch videos from the show at Bleeding Cool. And I won’t lie – I would buy a recording of this show.

Video: Kate Nash – “Fri-End?”

Polly Scattergood is putting the finishing touches on her promising and intermittently inspired 2009 self-titled debut and has made a track from it available to stream. The album, still untitled, is due out next Spring.

Stream: Polly Scattergood – “Disco Damaged Kid”

Charli XCX is streaming a new song taken from her new Super Ultra mixtape that’s scheduled to become available next Wednesday.

Stream: Charli XCX featuring Brooke Candy – “Cloud Aura”

NPR and Stereogum have interviews with Beth Orton.

Exclaim interviews Natasha Khan of Bat For Lashes.

Billboard talks to Pete Wiggs and Bob Stanley of Saint Etienne about undertaking their first North American tour in a decade without a label behind them. The San Francisco Examiner, meanwhile, talks to Sarah Cracknell.

The Line Of Best Fit report that Brighton’s Esben & The Witch will release their second album – Wash The Sins Not Only The Face – on January 21. A first taste is available to stream now.

Stream: Esben & The Witch – “Deathwaltz”

Allo Darlin’ have compiled a bunch of covers – all wonderful, like the Darren Hayman/The French track below – on a limited edition 10″ they’ve called Covers. It’s out November 28.

Stream: Allo Darlin’ – “Wu Tang Clan”

Japan Times talks to Guy Connelly of Clock Opera.

Jason Pierce of Spiritualized chats with Drowned In Sound and The Yorkshire Evening Post.

The Quietus and The Independent talk to Nicky Wire about the 20th anniversary of Manic Street Preachers’ debut Generation Terrorists, the mandatory deluxe edition of which is out on Monday.

Exclaim has collected some information on Johnny Marr’s first proper solo record – apparently we’re not counting when he fronted the disappointingly bland Healers – which will be called The Messenger and be due out in or around February.

ClashWhen you’re a couple years on from your last album and still a calendar year off from your next, yet you want a pretence to stage a North American tour, what do you do? If you’re Frightened Rabbit, whose Winter Of Mixed Drinks was back in 2010 and major label debut isn’t due out until early 2013, you put together five-song EP of new songs, call it State Hospital, release it on vinyl and digital only – because the kids love their vinyl and MP3s – and you hit the road.

Not that they needed the excuse to tour – their October 10 show at the Mod Club was well sold out a while ago – but if they wanted to remind folks of why their decidedly Scottish, anthemically miserable folk-rock has made the band beloved, they’ve begun streaming the EP at Pitchfork ahead of its release on September 25, setting the stage for them to finish up some European dates before crossing the pond. For whatever reason, Winter didn’t have quite the charm of its predecessor, the breakout Midnight Organ Fight, but the new EP is whetting my appetite for the band again, which is to say it’s doing its job.

The Daily Record, The 405, and The Banter have interviews with frontman Scott Hutchison about the new EP and the next album.

Stream: Frightened Rabbit / State Hospital

Lots of angles from which to get your daily Neil Halstead fix: a new MP3 from Palindrome Hunches is available to download courtesy of IFC, a new video has premiered at Nowness, and an EP to go with the Fall tour that brings him to the Dakota Tavern on October 8 is available for free – or you can leave a tip if you like – at Noisetrade, and includes songs from all points of his career. Including Mojave 3. And Slowdive. Yeah.

MP3: Neil Halstead – “Tied To You”
Video: Neil Halstead – “Hey Daydreamer”

Billboard has a conversation and The Alternate Side a session with Alt-J, making their Toronto debut at Wrongbar tomorrow night.

Bat For Lashes has made another track from The Haunted Man available to download; it’s out October 23.

MP3: Bat For Lashes – “Marilyn”

Beatroute and The Boston Phoenix talk to Bloc Party.

The Toronto Star has a feature on The xx, who’ve made another track from Coexist and a new track not on the album available to download.

MP3: The xx – “Sunset”
MP3: The xx – “Reconsider”

Billboard profiles The Vaccines.

Under The Radar reports that Ladytron frontwoman Helen Marnie has begun work on a solo record and is hoping to crowdfund it via Pledge Music. And by selling her car.

The AV Club reports that Manic Street Preachers will celebrate the 20th anniversary of their debut album Generation Terrorists with a slew of special edition reissues coming on November 5. This is the album, if you’re recall, that was supposed to outsell Appetite For Destruction, propel the band to global superstar status, culminate in a three-night stand at Wembley Stadium, and then allow the band to burn out and disappear. Fancy-pants twentieth anniversary editions weren’t in the manifesto, but what really turns out the way we expect?

The Guardian profiles the career of Amelia Fletcher, now fronting Tender Trap.

For Folks Sake chats with Stevie Jackson

The AV Club offers a starter’s guide to the musical genre referred to as “shoegazing”. Perhaps you’ve heard of it.

The GuardianSo yes, been away a little while – San Francisco was lovely, thanks for asking, I’ve just started putting up photos on Flickr – and yes, there’s a bit of a backlog of stuff to get through. But there’s also a dollop of jet lag to get over, so I’ll just ease back into this if it’s all the same to you.

We may as well start with the only thing that I actually listened to from all the RSS/Twitter/email items immediately: yesterday’s livestreamed Blur mini-concert from atop a London rooftop – the exact location of which was not revealed – wherein they debuted both sides of a new single to coincide with its digital release with the physical release by way of limited edition 7″ on August 6. That date, of course, coincides with their August 12 gig at Hyde Park which is meant to close out the Olympic Games but which many are speculating will also close out their career.

The band have been vague about their plans for the future beyond this single, the Blur 21 box set due out July 31, and the brace of small warm-up and big festival gigs that will lead up to the Hyde Park show; some quotes seem to unequivocally point to the band’s end, other explicitly contradict that finality (not that there’s any sort of symbolism in playing a London rooftop concert, no not at all). It leads one to think that they’re not so much being cagey about it as they genuinely have no idea what’s next, if anything.

And I actually kind of like that. The new tunes are solid, so there’s clearly some gas left in the tank, and if they choose to roll out a new single every now and again without all the weight of expectation, then it’s like a gift. And if that turns into an album and/or North American tour, well that’s cool as well.

The webcast of yesterday’s concert can be seen at The Guardian and rather nifty takes on the usually blah lyric video concept for each of the songs allow some decent streaming of the studio versions of the songs.

Lyric Video: Blur – “Under The Westway”
Lyric Video: Blur – “The Puritan”

Spiritualized have released a second video from Sweet Heart Sweet Light, and Blurt gets some insight on the clip from director Vincent Haycock.

Video: Spiritualized – “Little Girl”

Over at Gigwise, Nicky Wire of MSP expounds on why the Stone Roses is the greatest thing ever.

Pet Shop Boys are streaming a new song from their forthcoming album Elysium, coming September 17.

Lyric Video: Pet Shop Boys – “Winner”

Consequence Of Sound tracks down Emma Anderson of Lush to talk about their final album Lovelife and the nuts and bolts of why there hasn’t been a Lush reunion, though it’s interesting to learn how far along one has gotten.

Florence & The Machine have released another video from Ceremonials; pretty much every album should have been put out as a single by the time they play The Molson Amphitheatre on August 2.

Video: Florence & The Machine – “Breaking Down”

Summer Camp are streaming another track from their Always EP over at The Guardian, and don’t worry about what you might have heard about them going hip-hop on it – neither Jeremy nor Elizabeth tries to bust a verse, they’ve enlisted Odd Future associate Pyramid Vritra to do it for them. The EP is out next week, and apropos of nothing, Jeremy Warmsley lists off his fantasy band lineup for The Independent.

Stream: Summer Camp – “City”

Spin documents Charli XCX’s first foray to America, back in the Spring during SXSW. She’s back this Summer as part of the HARD festival at Fort York on August 4, and also talks to MTV Hive about her in-progress debut album, due out later this year. And oh, new vid.

Video: Charli XCX – “You’re The One”

The Line Of Best Fit welcomes Dry The River for a video session.

Los Campesinos! frontman Gareth Paisey follows up his musical salute to Housemartins/Beautiful South frontman Paul Heaton with an interview at Drowned In Sound about his new opera Presents The 8th, in which Paisey has a part.

Sigur Rós have released another video from Valtari, though this one contains 100% less celebrity penis than the last one.

Video: Sigur Rós – “Rembihnútur”

Filter and Relix get to know Of Monsters & Men.

Southern Souls shares a session recorded with Revolver, recorded when they were in town for NXNE last month.