Matias CorralIt gives me great comfort to live in a world where Ted Leo & The Pharmacists continue to put out records. When it comes to marrying punk fury with pop hooks and striking the right balance of lyrical cynicism and optimism, all served with a good dose of humour and via a relentless work ethic, there’s few better or more consistent. With the release of his newest record The Brutalist Bricks tomorrow, he cements that opinion even further into fact.

Like pretty much everything Leo has ever put out, Bricks is loud, punchy and pogo-friendly with a couple moments of acoustic thoughtfulness to punctuate proceedings, but within the frame of reference of his discography, it stands apart for a couple reasons. His last effort, 2007’s Living With The Living, was a sprawling effort both in length and stylistic forays and while you hate to suggest that ambition or experimentation are bad things, it didn’t have the impact or staying power as his prior works. And whether the follow-up is a reaction to that or not, Bricks is both tighter-sounding and more focused and possibly Leo’s most outright rocking effort since 2003’s Hearts Of Oak. It’s a comparison which makes it worth noting that Bricks is the first record to be recorded as a four-piece since Hearts, though once-and-again Pharmacist James Canty’s guitar is a decidedly more in-your-face presence on the new album than Dorien Garry’s keys ever were.

Stepping back to regain perspective, Bricks nestles quite comfortably alongside its fellows – if you were to randomly grab a Ted Leo record to spin and came up with this one, you wouldn’t be at all disappointed. It also won’t likely be anyone’s long-term go-to Pharmacists record – all in all, Hearts Of Oak and The Tyranny Of Distance remain his finest moments – but as a reminder that the world is a better place with Ted Leo in it and making music, it does quite nicely.

The Brutalist Bricks is streaming in its entirety over at Ted Leo’s MySpace and Spinner just posted an Interface video session with the band.

MP3: Ted Leo & The Pharmacists – “The Mighty Sparrow”
MP3: Ted Leo & The Pharmacists – “Even Heroes Have To Die”
Stream: Ted Leo & The Pharmacists / The Brutalist Bricks
MySpace: Ted Leo & The Pharmacists

Annie Clark of St. Vincent tells Spinner about her contributions to Together, the new New Pornographers record, due out May 4.

Eater talks about the joys of being full of stomach with The Pains Of Being Pure At Heart.

Headlights have released a new video from Wilderness

Video: Headlights – “Secrets”

Black Book talks to Zooey Deschanel and Matt Ward of She & Him, who will release Volume 2 on March 23.

The Independent profiles Joanna Newsom, in town at the Phoenix this coming Saturday night, March 13.

Spinner talks to Ume about gearing up for this year’s SxSW.

If you, like me, are going to miss all three of Dan Mangan’s upcoming shows at Canadian Musicfest this week – Thursday night at The Great Hall, Friday night at The Courthouse and Saturday’s in-store at Criminal Records – take heart: he’s already scheduled a return engagement for April 22 at the Horseshoe, tickets $12.

MP3: Dan Mangan – “Road Regrets”

Aussies An Horse are looking to make my first post of the year even more correct, having scheduled another Toronto show for April 26 at The Garrison. They’ll release Beds Rearranged, a remix EP of last year’s Rearrange Beds, on March 23.

MP3: An Horse – “Postcards”

Caribou have announced a massive world tour to go along with the April 20 release of Swim. Toronto can catch them on May 3 at The Phoenix.

Video: Caribou – “Odessa”

Vancouver disco duo Fan Death will bring their debut EP A Coin For The Well to Wrongbar on May 21.

MP3: Fan Death – “Cannibal”

PopMatters pays tribute to the late Mark Linkous of Sparklehorse while Blurt reprints an interview with him regarding the Dark Night Of The Soul project, which will finally see an official release this Summer. Hopefully the almost-completed last Sparklehorse record will eventually see the light of day as well. So immensely saddened by Linkous’ untimely passing.

Johnnie CluneyLast post before the holidays! And it comes courtesy of the ever-lovin’ Daytrotter, who’ve managed to wrangle a studio session of soon-to-be holiday classics from the animated miscreants of Aqua Teen Hunger Force. If the idea of Shake, Meatwad and Carl celebrating the season in song doesn’t do it for you, well I’m sorry, I don’t want to know you. And no, I don’t know where Frylock is – maybe he doesn’t celebrate Christmas. Or sing. Or both. And for context, the Aqua Teen Hunger Force isn’t singing just for the joy of it – they’ve got themselves a holiday album out in Have Yourself A Meaty Little Christmas. Do with that information what you will.

Also with a Christmas tune and a new album – but not a Christmas album – is The Magnetic Fields. Realism is out on January 26 and NME has posted up the one Yule-themed tune as a first taste of the record to download while Spinner talks to Stephin Merritt about the album’s influences. The Magnetic Fields will be at the Queen Elizabeth Theatre in Toronto on February 8.

MP3: The Magnetic Fields – “Everything Is One Big Christmas”

A Good Day For Airplay has an exclusive download of “Let It Snow” by Jon Auer of The Posies and Big Star.

BrooklynVegan has an end-of-year interview with The Pains Of Being Pure Of Heart and another one with Antlers.

Spinner talks to Wayne Coyne of The Flaming Lips about their decision to cover Dark Side Of The Moon.

Some shows – big and small – coming up in the new year that you may want to take note of. Hamilton’s Dark Mean, whose free-to-download Frankencottage EP makes them worthy of note – are playing a free show at the Horseshoe on January 4. Hero Hill named their debut one of their top EPs of the year and has an interview and new song to download.

Video: Dark Mean – “Frankencottage”

The Balconies, who need no introduction in these pages, have a gig at Supermarket on January 6.

Amos The Transparent will make the trek down from Ottawa for a gig at the Horseshoe on January 9. Not sure why, but my years seem to end or start with Amos. A tradition I’m quite alright with.

MP3: Amos The Transparent – “Title Track”

$100 will be at the Horseshoe on January 22. Oh No Forest Fires are there the following night.

A little bit of Brooklyn pays Toronto a visit when Pattern Is Movement and Via Audio stop in at the Drake Underground on March 1. Via Audio’s new record Animalore is out March 9, tickets to the show are $10.

MP3: Pattern Is Movement – “Blanched & Threshed”
MP3: Pattern Is Movement – “In Tape Grass”
MP3: Via Audio – “Babies…”

I’d call Swedish electro-pop duo jj un-Googleable, but that implies that there’s something out there in the wilds of the internet to find. And really, there isn’t, except for this glowing Pitchfork review for this year’s No. 2. Their next record – the imaginatively-titled No. 3 – will be out on March 9 via Secretly Canadian and their Spring North American tour will bring them to Lee’s Palace on April 3. It’s certainly implied that The xx, who are accompanying their lower-case compatriots on most other dates, will be along for this one as well but considering they’re confirmed to be at the Kool Haus barely two weeks later supporting Hot Chip, I wouldn’t take that for granted. I’ll confirm that one way or the other when I can.

MP3: jj – “Ecstasy”

Trans Am have a date at the Horseshoe on Horseshoe April 21.

MP3: Trans Am – “Remote Control”

Canadian Musicfest has rolled out the first batch of performers for the 2010 edition of the festival, running March 10 through 14 all throughout Toronto. Noteworthy names include Constantines, reigning Mercury Prize winner Speech Debelle, The Acorn, Rural Alberta Advantage and Great Lake Swimmers.

And no noteworthy names of yet for 2010’s Olympic Island festival, but it is happening and all will be revealed on January 11 at 7:30 PM. Any guesses?

K, that’s it for a bit. Happy holidays all.

Wikipedia

No two ways about it, 2009 sucked. Hard. It started badly with the demise of a relationship and despite my determination to pull myself up by the proverbial bootstraps, only went downhill from there. The past twelve months have been marked by people moving on, moving away and passing away – not just my loved ones but those of people close to me. If there’s any silver lining to the huge, black cumulonimbus thunderhead that was this year, it’s that it’s over and I can only hope it’s not tempting fate to believe that things can only get better from here.

Ironically, though, it was a pretty good year for music. A lot of records I expected great things from met those expectations, some exceeded them by a wide margin and only a few disappointed. Picking ten to stand up and represent is always tough since what sounds like the best thing ever at any given time is wholly contingent on one’s mood. That said, as I’ve chewed on this list mentally over the past few months, a few records continue to bubble up to the surface as either played ad nauseum or hardly at all, for fear that the feeling of wonder around it might begin to dissipate.

Long-time readers may note an absence of some of the usual suspects who, despite putting out great records that if there existed some sort of absolute scale of measurement, might well be better than ones that made the cut, but never underestimate how much sway the element of surprise and discovery can have on one’s opinion. I can’t say that I’ll still endorse all of these records so strongly in a few years, or maybe even a few months from now but as of this moment, this is what it is. Alphabetized and unranked, as always.

And unlike past years where I spent an inordinate amount of time creating or commissioning artwork to accompany the year-end list, I’ve not gone to any particular trouble this year. Partly because though I’ve had some good/great ideas for visual treatments, I haven’t had the time to organize or execute them and partly because, well, 2009 doesn’t fucking deserve it. Maybe 2010 will get some sweet year-end loving but 2009? Begone.

(more…)

Frank YangDifferent bands have different attitudes towards the in-store set. Some treat them like opportunities to strip down and get intimate with their audience (okay, that sounded much dirtier than intended but you get the meaning), others don’t seem so comfortable with the setting and obviously want to get their sets done as quickly as possible. Montreal’s Malajube, in town a day before their show tonight at the Horseshoe, treated their Wednesday night in-store at Sonic Boom like any other show – by plugging in and turning up. Way up.

Though they’ve been twice-nominated for the Polaris Music Prize and are arguably the best-known Francophone rock band in Canada, Malajube still manage to fly under the radar of many, or at least me. And yeah, it’s a language thing mainly – I tend to be a lyrics guy (post-rock instrumental acts aside) and knowing they’re saying something but not knowing what is a bit of a barrier to full and proper appreciation. Their live performances, however, do a good job of proving that not nearly a good enough reason to ignore them. After all, good rock music transcends linguistics and Malajube are nothing if not good – nay, great – rock. Theirs is a twisty sort of prog-pop whose complexity is overlook because of the melodies layered overtop, just as their heaviness might not be immediately noticed for the giddy and mischievous tone of their songs. But Malajube brought all those characteristics to the fore during their reasonably long, 8-song set that was split almost evenly between 2006’s Trompe-L’oeil and this year’s Labyrinthes.

While that mini-set was enough to satiate my appetite for the next while – a slow week for shows such as this is something to be treasured – anyone who didn’t make it out to the in-store and/or has never seen them live is strongly encouraged to hit the Horseshoe tonight for their show.

Photos: Malajube @ Sonic Boom – November 25, 2009
MP3: Malajube – “Porte Disparu”
MP3: Malajube – “Fille à plumes”
Video: Malajube – “Luna”
Video: Malajube – “Porté disparu”
Video: Malajube – “Ton Plat Favori”
Video: Malajube – “La Crabe”
Video: Malajube – “Étienne d’Août “
Video: Malajube – “Fille à plumes”
Video: Malajube – “Pâte Filo”
Video: Malajube – “Montréal -40°C”
Video: Malajube – “Le jus de citron”
Video: Malajube – “Le métronome”
MySpace: Malajube

Spoon have pushed ahead the release date of their new album Transference by a week – it will now be available on January 19, not the 26th as originally announced.

Headlights have released a new wonderfully animated and wonderfully sad video from album number three, Wilderness.

Video: Headlights – “Love Song For Buddy”

Loud & Quiet talks to The Pains Of Being Pure At Heart.

The Line Of Best Fit compares the size of their acronym with A Place To Bury Strangers.

America is on holiday now and as such, I am rationing out what blog fodder I have to make it through the weekend. Just so you know.

last.fmUsually when you assemble a “supergroup”, you assemble top-notch artists for each conventional band position – kick-ass drummer from group A, shredmaster guitarist from group B, supreme bass-slapper from group C and a lead singer (assuming they’re not already one of A, B or C) whose usual bandmates are probably more than happy to get a break from and voila – a can’t-miss recipe that usually misses as often as it hits, if not more. Rarely, however, do you find multiple frontmen working together, with even the notion of managing egos and personalities enough to scare any right-thinking people away. The one notable exception being The Traveling Wilburys and the names involved there were so huge that it’s hard to imagine any of them really feeling insecure. Okay, maybe Jeff Lynne got tired of always being the last one to be named, but whatever.

While the principals of Monsters Of Folk – My Morning Jacket’s Jim James, M Ward and She & Him’s Matt Ward, Bright Eyes and The Mystic Valley Band’s Conor Oberst and Bright Eyes sideman and producer extraordinaire Mike Mogis – aren’t household names on the scale of the Wilburys, they are essentially superstars in the circles they run in. And while the first three’s getting together to tour as solo artists in 2004 made perfect sense, heading into the studio to craft a record of original material was less of a sure thing. After all – getting onstage to harmonize or tackle a cover is one thing, creating all new material together is quite another.

So the fact that the Monsters Of Folk self-titled debut, five years or so in the making, is pretty good on a universal scale can probably be interpreted as being terrific once the supergroup curve is applied. It achieves this largely by not trying to be much more than exactly what it advertises – James, Ward and Oberst contributing songs while Mogis ensures that while each composer’s tunes sound very much like they could have appeared on one of their own records, they still hang together seamlessly. James continues with the soulful excursions that marked the last couple of MMJ records, Ward’s pieces are rollicking AM radio revivals and Oberst still plays the moody, angsty card though he thankfully keeps his love-or-hate vibrato largely in check and doesn’t bring down the prevailing sense of fun that runs through the record as everyone romps in their common ground of classic rock, country, and yes – folk. No one would accuse them of saving A-grade material from their day jobs for this project, but nothing’s a throwaway, either. It’s a solid collection of songs from some top talent – nothing more, nothing less.

And it gives them an excuse to tour, as they currently are, and they’ll be in Toronto on Monday night, November 2, for a show at Massey Hall. Tickets are $36.50 to $49.50 with $1 from each going to Food Share, but courtesy of Against The Grain, I’ve got two pairs of tickets to the show to give away. To enter, email me at contests AT chromewaves.net with “I want to be a Monster Of Folk for Hallowe’en” in the subject line and your full name in the body. Contest closes at midnight, October 31. Update: Special four-packs of tickets for the show are now available – buy four and they’re $25.50 each (plus $1 charity fee).

The Vancouver Sun, The Chicago Tribune and Victoria Advocate have interviews with the Monsters Of Folk.

MP3: Monsters Of Folk – “Say Please”
Video: Monsters Of Folk – “The Right Place”
MySpace: Monsters Of Folk

Express Night Out and The Vermont Cynic chat with Annie Clark of St. Vincent.

Austinist talks to Jonathan Meiburg of Shearwater about their forthcoming album The Golden Archipelago, tentatively set for a February 9 release.

Rolling Stone declares The Pains Of Being Pure At Heart to be a “breaking band”. Way to stay ahead of the curve, Rolling Stone.

The Aquarian interviews Charlie Fink, frontman for Noah & The Whale. A reminder that their double-header performance in Toronto this Saturday comes with a 12-hour gap – the in-store at Criminal Records starts at noon while their headlining set at the Horseshoe begins at midnight.

The xx’s remix/cover of Florence & The Machine’s cover of Candi Staton has been given an official video, which is itself a remix of sorts of the official video of Florence’s version. Good luck sorting out the royalties on that. Florence is at the Mod Club on November 2, The XX are at the Phoenix on December 2 – if they don’t burn out first.

Video: Florence & The Machine – “You’ve Got The Love” (The xx remix)
Video: Florence & The Machine – “You’ve Got The Love”

Ian McCulloch of Echo & The Bunnymen talks to Exclaim.

Radio Free Canuckistan has a fascinating conversation with to Stuart Berman about his Broken Social biography
This Book Is Broken, and the past ten years in Canadian independent music in general. Berman is being interviewed about the book in front of a live audience this Friday night at Harbourfront Centre as part of the International Festival of Authors – congratulations go to Janet for winning the passes to the event.