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.

Photos: The Joy Formidable, The Lonely Forest @ The Horseshoe – April 2, 2011
MP3: The Joy Formidable – “Whirring”
MP3: The Joy Formidable – “Austere”
MP3: The Joy Formidable – “Greyhounds In The Slips”
MP3: The Joy Formidable – “Cradle”
MP3: The Lonely Forest – “Coyote”
Video: The Joy Formidable – “Whirring” (new)
Video: The Joy Formidable – “Austere”
Video: The Joy Formidable – “I Don’t Want To See You Like This”
Video: The Joy Formidable – “Popinjay”
Video: The Joy Formidable – “Whirring” (original)
Video: The Joy Formidable – “Austere” (original)
Video: The Joy Formidable – “Cradle”

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.

Frank YangThe Friday night of Canadian Musicfest saw the only bit of club-hopping that I’d be engaging in over the weekend, but even that was just across a couple of blocks in Parkdale, and I took a streetcar. No, not so much with the spirit of the club-level festival.

Stop one was the Drake Underground for Olenka & The Autumn Lovers. I’d seen them just a few weeks prior, but while that show had been as a stripped-down four-piece, advance billing promised a full lineup for this one. But instead of the stage-filling configuration that played The Garrison in October 2009, this show was again Olenka Krakus with Sara Froese on violin, Kelly Wallraff on cello and Tyler Belluz on upright bass. And if there’s any trace of disappointment in that, it’s just because it meant that some of the songs from And Now We Sing that required a fuller presentation would again be left out of the set. And yes, this show was similar if not identical in structure to the Horseshoe show but actually probably better overall thanks to the more intimate setting encouraging a more conversational tone between Krakus and the attentive audience. Don’t get me wrong – I still love these songs and am happy to hear them however they’re presented, but if next time out they bring a drummer along… I won’t be upset.

Spinner has an interview with Olenka Krakus.

Photos: Olenka & The Autumn Lovers @ The Drake Underground – March 11, 2011
MP3: Olenka & The Autumn Lovers – “Odessa”

Montreal’s Adam & The Amethysts made a positive impression with their debut Amethyst Amulet back in 2008, but kind of fell off the radar since I saw them live that Summer. That looks to change with the impending release of their second album Flickering Flashlight, and while details of that release are still forthcoming their showcase did a good job of reminding why they were worth paying attention to in the first place. Their appreciation and affinity for classically-styled, music in the vein of The Zombies is still as sharp as ever, their songs all understated hooks and sneaky sophistication. I wasn’t able to stick around for the whole of their set but was there long enough to whet my appetite for the new record. Hope it gets out sooner rather than later.

Chart has thoughts on their set.

Photos: Adam & The Amethysts @ The Drake Underground – March 11, 2011
MP3: Adam & The Amethysts – “Prophecy”
Video: Adam & The Amethysts – “Gitche Gumee Yeah Yeah”

Then it was further into the dark heart of Parkdale to Wrongbar, where 2/3 of what would have been the best bill of the festival were ready to make an argument that it still was. Leading their case was reigning Polaris Music Prize winners Karkwa, who’d been spending no small amount of time since the win last September introducing themselves and the winning record Le chemins de verre to English Canada. And making those introductions by way of live performance was really putting their best foot forward as their show was nothing less than electrifying. I’d seen them play at the Polaris gala and while I didn’t know it at the time, that was Karkwa at their most subdued what with frontman Louis-Jean Cormier on piano – and while that was fine, having him brandish guitars as he did this night made for a very different sort of show.

My French hasn’t gotten any better since September so I still didn’t understand any of what they were singing, but the collective musicianship of the band and melodic and visceral impact of their songs needed no translation. Not even Le chemins de verre properly captured the intense dynamics and surprising amount of brutalism (a good thing) that was on display here. I know that there was a fair bit of head-scratching when Karkwa won the Polaris, both with respect to who they were and whether they deserved it. The former shouldn’t be an issue anymore and the latter? Just go see them live. And make sure the guitars are out.

Spinner and Chart were also on hand at the show while The Globe & Mail has a feature piece.

Photos: Karkwa @ Wrongbar – March 11, 2011
MP3: Karkwa – “Dors Dans Mon Sang”
Video: Karkwa – “Le pyromane”
Video: Karkwa – “Echapper au sort”
Video: Karkwa – “Marie tu pleures”
Video: Karkwa – “Oublie pas”
Video: Karkwa – “Échapper au sor”
Video: Karkwa – “À la chaîne”
Video: Karkwa – “Combien”
Video: Karkwa – “La facade”
Video: Karkwa – “La fuite”
Video: Karkwa – “Vrai”
Video: Karkwa – “Le coup d’etat”
Video: Karkwa – “Poisson cru”

It took a while to tear down after Karkwa’s set – to say they’ve got a lot of gear is an understatement – it didn’t take long to get Brighton’s Esben & The Witch, who don’t need a whole lot in the way of equipment to build their dark, atmospheric sound, to get ready to go. This show was considerably different from their local debut supporting Foals back in September; whereas that one came across as decidedly primal and amorphous with its heavy percussion and free-form vocals, this performance had much more structure, dynamics and overall intent – as though the building blocks that had been present but strewn about in the Fall had now been assembled into something using their debut Violet Cries as a blueprint. But even though it was more controlled, there was still plenty of intensity on offer be it from Daniel Copeman’s hair-whipping guitarwork, Rachel Davies’ plaintive vocals or any or all of the band beating the bejesus out of a single floor tom. Though Esben in general isn’t really my thing, I think I still prefer the album to the live show – it offers up their songs in their most fully-formed state – but neither form is boring.

Chart also has a review of the show.

Photos: Esben & The Witch @ Wrongbar – March 11, 2011
MP3: Esben & The Witch – “Warpath”
Video: Esben & The Witch – “Warpath”
Video: Esben & The Witch – “Marching Song”

Spin chats with Noah & The Whale before soliciting a video performance from the band. Their new record Last Night On Earth is out today and they play The Mod Club on March 24.

British Sea Power have released a new video from Valhalla Dancehall, just in time for their North American tour, which starts next week and hits Lee’s Palace on March 24.

Video: British Sea Power – “Who’s In Control”

Clash has an interview with Ritzy Bryan of The Joy Formidable, whose The Big Roar is now officially out in North America. They’re at The Horseshoe on April 2.

Another video from Mogwai’s latest Hardcore Will Never Die But You Will has been released. The band are at The Phoenix on April 26.

Video: Mogwai – “San Pedro”

Drowned In Sound meets Yuck, who’re giving away their single to download. They’re at The Phoenix on May 1.

MP3: Yuck – “Get Away”

NPR has a World Cafe session and JAM an interview with chart-topper Adele. Her May 18 show at the Kool Haus is looking mighty undersized and intimate right about now, eh?

With the April 12 release of their self-titled debut just about here, Jonny – aka Teenage Fanclub’s Norman Blake and Gorky’s Zygotic Mynci’s Euros Childs – have announced a North American tour that kicks off with two nights at the Drake Underground in Toronto on June 3 and 4.

Video: Jonny – “Candyfloss”

Elvis Costello’s tour in support of last year’s National Ransom brings him to the Sony Centre on June 23.

The Quietus has details on the extensive series of Suede remasters and reissues that will be getting rolled out starting May 30 and ending June 22. I am loathe to re-buy these albums, particularly on CD, but man I can’t imagine not having the “definitive” Dog Man Star. Damn you, Suede.

PopMatters and Under The Radar talk to Elbow’s Pete Turner and Guy Garvey respectively about the band’s stunning new record build a rocket boys!.

The title track from PJ Harvey’s latest Let England Shake is now available to download.

MP3: PJ Harvey – “Let England Shake”

Mumford & Sons tells Rolling Stone they’re intending to record album number two this year.

DIY talks to Ladytron’s Reuben Wu. Their Best of Ladytron: 00-10 is out March 29.

The Creators Project Q&As Mica Levi of Micachu.

Seamus MurphyThroughout her career, Polly Jean Harvey has managed the difficult feat of being artistically chameleon-like from one to the next, each often stylistically miles removed from that which came before it, while remaining consistently interesting and by and large excellent throughout. Her last effort, 2007′s fragile piano-led White Chalk, certainly didn’t hint at what Let England Shake – out next week – has to offer.

Just posted to stream in its entirety at NPR, it’s a strange yet immediately compelling collection built around themes of nationalism and war. While has echoes of her past works – the urgency of her early records, the melody of her middle-period works and the stark beauty of recent recordings – it sounds completely fresh, with Harvey favouring the higher registers of her voice in a way that I, at least, haven’t heard before. I’m only a few listens in and already I’m finding myself connecting with it in way that I haven’t with her stuff before. This is an exciting development.

She’s only got three North American tour dates scheduled right now (Los Angeles, Coachella and New York) but considering she’s not toured over here properly in forever – her last Toronto date was in 2004 – I have to think or at least hope that more will be coming.

MP3: PJ Harvey – “Written On The Forehead”
Stream: PJ Harvey / Let England Shake

The Guardian and State interview Anna Calvi, whose self-titled debut is due out on March 1 and who will be at Wrongbar on March 11 as part of Canadian Musicfest.

The Quietus goes over their debut Violet Cries track by track with Esben & The Witch while Drowned In Sound gave them the keys to their whole website last week. Paste just interviews them. They’re also at Wrongbar on March 11 for Canadian Musicfest.

Billboard has a cover story on Adele in advance of the February 22 release of 21. NPR is streaming the album in its entirety as well as a half-hour live performance from the singer, who’s just announced a North American tour in suport of album number two, including a May 18 date at The Kool Haus in Toronto.

Stream: Adele / 21

NPR has a World Cafe session with Duffy.

PopMatters interviews Kate Nash.

Spinner talks to Mira Aroyo of Ladytron about their forthcoming Best of Ladytron: 00-10 compilation, due out March 29.

Micachu & The Shapes are still working on the follow-up to 2009′s left-field gem Jewellery, but in the interim will be releasing Chopped & Screwed, a collaboration with The London Sinfonetta that will be coming out on March 22. What’s it sound like? Click below and read this piece on the collaboration at Clash.

MP3: Micachu – “Everything”

Pitchfork talks to Jamie Smith of The xx about stuff both xx and not xx.

The Fly checks in with Friendly Fires, who are finishing up their second record Pala, due out in the Spring – certainly before their May 30 date at The Phoenix.

The Fly and The Scotsman profile The Joy Formidable, who follow up the North American release of The Big Roar with a date at The Horseshoe on April 2.

Magnet handed over the editorial chair of their website to White Lies last week. The Mirror has an interview.

The Boxer Rebellion have made a date at The Horseshoe for April 18 in support of their new record The Cold Still; tickets $13.50.

Video: The Boxer Rebellion – “Step Out Of The Car”

State, Exclaim and Clash interview The Go! Team, who bring their new record Rolling Blackouts to The Opera House on April 10. They’ve released a couple new videos and an MP3 from said record.

MP3: The Go! Team – “T.O.R.N.A.D.O.”
Video: The Go! Team – “Super Triangle”
Video: The Go! Team – “Secretary Song”

Guy Garvey discusses Elbow’s forthcoming new record build a rocket boys!, out March 8, with The Quietus.

Toronto fans disappointed there’s no official stop here for the upcoming Trash Can Sinatras tour would do well to look at their itinerary, email the address noted on the right and ask themselves just how much seeing them play an intimate house show is worth to them.

Liam Gallagher of Beady Eye discusses his new band’s debut Different Gear, Still Speeding with Spin. The record is out March 1.

Spinner reports that Manic Street Preachers bassist Nicky Wire is disappointed that their last single didn’t chart in the UK; perhaps they overestimated the appeal of an Ian McCulloch duet? Time to dig up Nina Persson’s phone number again, methinks.

The Quietus contemplates the legacy of Teenage Fanclub while The Line Of Best Fit has an acoustic session with Fanny side-project Jonny. Their self-titled debut is out April 12.

Billboard profiles Mumford & Sons.

NPR puts folk-rock legend Richard Thompson behind a Tiny Desk and makes him play a concert. The indignity.

Grand CrewSo everybody’s holidays going well? Been catching up with friends and family, perhaps indulging in a little post-holiday retail therapy? That’s largely been my last few days, and in between all that, watching lots and Lost and lots of television. So in the spirit of that sloth, here’s some stuff for y’all to watch – particularly if you, like me, are stuck at work this week.

Grand Crew is a site based out of France that I hadn’t heard of until last week, when they began spreading the word that they had a beautifully-shot, wonderfully recorded and intelligently-presented – check out the timeline/song-selector at the bottom – multi-camera concert of a solo Mountain Goats show in Paris from October of this year. John Darnielle and company have yet to tour The Life Of The World To Come up this way – hopefully in the new year – so until then, this recording will have to suffice. And wholly impressed by this show, some digging through the archives revealed similarly high-quality performances from The Big Pink, The xx and Micachu, amongst others. Worth taking some time out to enjoy, and that club looks beautiful to shot in – tasteful smoke machine, front-lighting… my shutter button-finger is getting twitchy.

The Big Pink are at the Mod Club on March 24. The xx are at the Kool Haus on April 20.

Video: The Mountain Goats @ Point Ephémère, Paris – October 13, 2009
Video: The xx @ Point Ephémère, Paris – April 29, 2009
Video: The Big Pink @ Point Ephémère, Paris – April 29, 2009
Video: Micachu & The Shapes @ Point Ephémère, Paris – April 21, 2009

Also coming out of Paris are a couple more noteworthy performance courtesy of La Blogotheque – a Take-Away Show from The Antlers and a Soiree de poche (pocket evening?) from The Dodos.

A bit closer to home, Southern Souls have posted a new performance from Diamond Rings, who you have no shortage of opportunities to see live over the next while – he’s performing at the big Tranzac New Year’s Eve throwdown happening, um, New Year’s Eve at the Tranzac, then opening up for Owen Pallett at the Mod Club on January 12 then at the Roundhouse on February 11 as part of Wavelength 500. And now’s as good a time as any to remind you that The D’Urbervilles, aka Diamond Rings’ rock’n'roll outfit, are playing The Drake Underground tonight as part of What’s In The Box. Spinner talks to John O’Regan about how things are coming with The D’Urbs’ next record.

And finally, Ohbijou stopped in at Toro Magazine’s studios for a video performance of “Jailbird Blues”.

Frank YangQ: Without a new record to promote – Mr. Love & Justice has been out for close to two years – what reason did Billy Bragg have for staging an ambitious cross-Canada tour?

A: Who cares? Any time you get the opportunity to see Billy Bragg live, you take it, no questions asked.

Of course, I say that having missed his last three appearances in Toronto – the September 2006 show at the Music Hall for not one but two weddings, the June 2008 in-store at HMV because I was working and the show that same night at Harbourfront for no reason I can recall. So Tuesday night’s show at the Phoenix marked the first occasion I’d see him perform since March 2006; in other words, far too long. The fact that this tour was somewhat without context was extra exciting, because the two proper shows of his I’d seen before were great but a little too rich with context – the 2006 show was to promote his Volume 1 box set and as such, only included material from that era and the July 2003 show at the El Mocambo was part of his “Talkin’ Woody” tour and as such, was almost 100% Woody. So it goes without saying that there was a LOT of material I’d been waiting a long, long time to hear live.

Support for the tour was perfectly chosen, with none other than hometowner Ron Hawkins – former frontman for my beloved Lowest Of The Low – kicking things off. It was an eminently logical choice as The Low and Bragg had played together back in the ’90s and Hawkins’ sharp folk-punk songwriting owes Bragg more than a few debts. Performing solo and acoustic, Hawkins showcased material from his new album 10 Kinds Of Lonely amidst some great banter, a tune from his other old outfit The Rusty Nails and a gorgeous and unexpected cover of Ryan Adams’ “Oh My Sweet Carolina”. Damn, Adams had the goods before he lost his mind. And Hawkins, happily, still does. He plays a show at the Dakota Tavern tonight before hitting the road out west with Bragg.

I’ve never seen Billy Bragg play with a band, but having heard live recordings of he with The Blokes, I’m perfectly fine with that. Not that they sound bad – not at all – but when it comes down to it, all Bragg needs is an electric guitar. And a cup of tea. Kicking things off with the oldest of the old school “World Turned Upside Down” before leaping ahead to a sublime pair of those aforementioned never-heard-live tunes from Don’t Try This At Home – “Accident Waiting to Happen” and “Cindy of A Thousand Lives”. Yeah, this was going to be a good night. At first, however, it seemed that Billy might disagree. Though sounding fine, he seemed a bit distracted or even perturbed at first – at least not the gregarious rabble-rouser he usually was.

A few songs in, when he got chattier, he revealed one of the reasons for his mood – just a couple days prior, it was announced that the execrable leader of the ultra-right British National Party, Nick Griffin, was going to be running for Parliament in Bragg’s very own home riding of Barking – the sort of news would drive any sensible person up the wall, let alone one as politically-minded and leftist as Bragg. He quickly got into proper form, however, and that along with myriad other injustices in the world – politicians, bankers, the military, North American football (or “runny runny catchy”, as he called it) – were called out and used as fuel for his performance.

As always, his between-song banter was as essential a part of the show as the songs themselves, and while we didn’t get a Morrissey story this time out, but there were fine tales about Woody Guthrie’s tumescence (with regards to “Ingrid Bergman”), his reaction to the misreported death of Margaret Thatcher, guitar quotes of “Seven Nation Army” and “Smoke On The Water” during the implied trumpet solo in “The Saturday Boy” and a profanity-riddled reading of poet John Cooper Clarke’s “Evidently Chickentown” to name but a few high points.

For all the funning, though, Bragg never travels without a message or two and those were well conveyed through anthems like “NPWA” and “O Freedom”, the latter introduced with a pointed comment about Canada’s handling of the Omar Khdar affair. But rather than accuse and criticize, Bragg was aware that he was largely preaching to the converted with the mostly-packed Phoenix audience and devoted most of his efforts to inspiring and mobilizing, decrying cynicism as the real enemy. To punctuate the point, the main set wrapped with a rousing run of “All You Fascists”, “I Keep Faith” and “There Is Power In A Union”. Heady stuff, indeed.

And it wasn’t done. Coming back out for the encore almost as soon as he stepped off stage, Bragg would do his own version of the “Don’t Look Back” movement of playing complete albums live, running through his debut mini-album Life’s A Riot With Spy Vs Spy almost in sequence, saving “A New England” for the grand, singalong finale to two glorious hours of Bragg. The absence of “St. Swithin’s Day” or anything from Worker’s Playtime was a bit disappointing, but for someone with a catalog as deep as Bragg’s there’s just no way to satisfy everyone. The only answer, I suppose, is for him to keep coming back – no excuse needed.

JAM and Panic Manual were also in attendance at the show. The Scope, Vue, FFWD, Canada.com, See, JAM and The Coast have all been conducting interviews with Bragg as he travels the country. Ron Hawkins gets some attention from Vue and Buffalo News.

Photos: Billy Bragg, Ron Hawkins @ The Phoenix – November 17, 2009
MP3: Billy Bragg – “I Keep Faith”
MP3: Billy Bragg – “Take Down The Union Jack”
MP3: Billy Bragg – “Must I Paint You A Picture?”
MP3: Billy Bragg – “Valentine’s Day Is Over” (live)
Video: Billy Bragg – “NPWA”
Video: Billy Bragg – “The Boy Done Good”
Video: Billy Bragg – “Sexuality”
Video: Billy Bragg – “Waiting For The Great Leap Forward”
Video: Billy Bragg – “You Woke Up My Neighbourhood”
Video: Billy Bragg – “Levi Stubbs’ Tears”
MySpace: Billy Bragg
MySpace: Ron Hawkins

The Telegraph and The Sheaf talk to Dan Mangan.

Rolling Stone talks to Jay Farrar and Ben Gibbard about their Jack Kerouac project One Fast Move or I’m Gone.

Drowned In Sound meets We Were Promised Jetpacks.

Matablog has a video teaser trailer for Shearwater’s new album The Golden Archipelago, due out February 23 in North America, a week later than the rest of the world.

Rogue Wave have set a March 2 release date for their new record Permalight.

Mumford & Sons have released a new video from Sigh No More, which will be getting a North American release in the early part of 2010.

Video: Mumford & Sons – “Winter Winds”

Bandstand Busking has session with Micachu & The Shapes.

Self-Titled talks about Bonfires On The Heath’s non-musical inspirations with The Clientele’s Alasdair MacLean.