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Slow Club, Death Cab For Cutie, The Raveonettes, and Arab Strap cover Darlene Love

Frank Yang — Sun, 25 Dec 2011 14:30:36 +0000

WikipediaGood: the holiday season is just lousy with cover versions. Bad: they’ve all been posted by every blog under the mistletoe ad nauseum. So while in past years I’ve done mini-omnibus holiday mixes – 2010 and 2008 are still up – this year I’ll just focus on one song, Darlene Love’s most famous contribution to the classic Phil Spector-assembled A Christmas Gift To You, and four diverse covers of it.

Slow Club do the most faithful version of it, thanks to Rebecca Taylor’s soulful vocals and the Spector-ish production. It’s taken from last year’s Christmas, Thanks For Nothing EP and also last year’s Christmas covers post, but is topical because the band released their second album Paradise this year and will be bringing it on tour through North America this Winter; they’re at The Rivoli on February 19.

Death Cab For Cutie took a swing at the tune for the 2004 Maybe This Christmas Tree compilation and, basically, it sounds like Death Cab – for good or for bad. They also released a new record this year in Codes & Keys.

The Raveonettes turn their synths up to 10 in reinterpreting the song as the leadoff track of their 2008 Wishing You A Rave Christmas seasonal EP. They put out their fifth studio album in Raven In The Grave back in the Spring and their Rarities/B-Sides compilation just a couple of weeks ago.

Arab Strap split up back in 2006, so this version recorded for BBC Radio 1’s Evening Session – featuring Lauren Laverne of Kenickie on vocals – must date from before then, but I don’t know exactly when, sorry. In any case, Maclolm Middleton and Aidan Moffatt unexpectedly got back together this year, though not under the Arab Strap name, to record a Slow Club cover of all things. Then they got back together under the Arab Strap name for a one-off show in November. Could more be coming? Why not?

Darlene Love also had an eventful 2011, what with being inducted into the Rock’N'Roll Hall Of Fame this Spring. Phil Spector’s appeal to overturn his murder conviction was denied this Summer and he remains in prison for murder. His year has been less good than the others in this post.

MP3: Slow Club – “Christmas (Baby Please Come Home)”
MP3: Death Cab For Cutie – “Christmas (Baby Please Come Home)”
MP3: The Raveonettes – “Christmas (Baby Please Come Home)”
MP3: Arab Strap – “Christmas (Baby Please Come Home)”
Stream: Darlene Love – “Christmas (Baby Please Come Home)”

Spiritualized offers Sweet release

Frank Yang — Fri, 09 Dec 2011 13:33:00 +0000

FacebookAlmost four years on from their last dispatch, Spiritualized has announced that their seventh studio album Sweet Heart Sweet Light will be released on March 19, 2012. It’s about the same gap that separated 2008′s Songs In A&E and 2003′s Amazing Grace, but that delay was compounded by Jason Pierce’s near-death experience. This time any extenuating factors in the delay fell into the more decidedly benign category; new labels in both Europe and America, recitals and reissues to mark the 10th anniversary of their landmark Ladies & Gentlemen We Are Floating In Space, etc.

But the record is finally done and according to the press release from Domino (their new European home to go with Fat Possum Stateside), it’s Pierce’s tribute to old school rock’n'roll in the spirit of The Beach Boys and Chuck Berry. I can only hope it turned out better than their last stab at raw rock as Amazing Grace is the go-to Spiritualized album for precisely no one.

The Guardian has an audio interview with Jason Pierce about the making of the new record and also a live video of the album’s leadoff track, recorded last weekend at the Other Voices festival.

Video: Spiritualized – “Hey Jane” (live at Other Voices)

Also at Other Voices and recorded by The Guardian were Wild Beasts, whose entire set is available to watch.

Exclaim reports that Tindersticks have confirmed details of their new record: The Something Rain will be out on February 21 and a stream and video for the first single from the album are available now.

Stream: Tindersticks – “Medicine”
Video: Tindersticks – “Medicine”

DIY talks to Veronica Falls frontwoman Roxanne Clifford about their plans for following up a pretty swell 2011; plans which include a February 14 date at The Garrison in Toronto.

SYFFAL – yes, it’s an acronym – has words with Charles and Rebecca of Slow Club.

In conversation with The Creator’s Project, Jamie xx says that the new xx album should be done and out in time for the Summer festival season, which is to say the front half of 2012.

The Leeds Guide speaks briefly with David Gedge of The Wedding Present, in town at The Horseshoe on March 25.

Alex James tells NME that Blur are planning a holiday get-together and in addition to exchanging gifts and drinking egg nog, they may well do some recording.

Emmy The Great ponders to The Daily Star why there are so many indie Christmas albums being released this year, including her own.

Kaiser Chiefs are still around and Under The Radar reports they’re following this Summer’s The Future Is Medieval with a new album less than a year later in Start the Revolution Without Me, out March 6. The first MP3 is available to download at RCRDLBL – also still around – and they’ll be at The Phoenix on April 17.

Video: Kaiser Chiefs – “Little Shocks”

Coldplay are at the Air Canada Centre on July 23. Last time they were here in 2009 it was the Rogers Centre; stadium band to arena band, oh the indignity.

Video: Coldplay – “Paradise”

The Line Of Best Fit and The Edinburgh Journal talk to James Graham of The Twilight Sad, whose new record No One Can Ever Know is out on February 7.

Exclaim gathers five bits of Stone Roses trivia for your enjoyment.

Cat’s Eyes, the debut album from Cat’s Eyes, continues to yield new videos. Like this one.

Video: Cat’s Eyes – “The Best Person I Know”

As is usually the case when a band with a breakout album does a tour of woefully undersized venues that are sold the hell out, M83 has announced a Spring tour that brings the French electro-gaze act back to town for a show at the Sound Academy on May 6, tickets $25 in advance. And while normally I wouldn’t bother hitting a second show for the same album having just seen them last month, I’ll definitely be there. Why? I Break Horses are opening the whole tour. I love I Break Horses, and their debut Hearts. How much? I’ll tell you next week.

MP3: I Break Horses – “Winter Beats”
Video: M83 – “Midnight City”

Cheers to Ja Ja Ja for finding and posting this live Loney Dear studio performance of “D Major”.

The Raveonettes are marking the holidays with a new video for the cryptically-titled “Christmas Song”.

Video: The Raveonettes – “The Christmas Song”

The Jonsi-scored soundtrack to Cameron Crowe’s latest film We Bought A Zoo is now up to stream at Rolling Stone.

Stream: We Bought A Zoo original soundtrack

NPR has posted a KEXP session from Icelandic merrymakers Of Monsters & Men. Their first North American release will be the digital Into The Woods EP on December 20, followed by a domestic issue of My Head Is An Animal in the Spring.

Australia’s Gotye has a date at The Phoenix on March 31.

Video: Gotye – “Bronte”

Interview talks to Hayley Mary, lead singer of The Jezabels.

NME reports that the long-awaited (by me, anyways) second Ladyhawke album will have a title of Anxiety and release date of March 19. And they’ve got some video of Pip Brown at work on said record.

Lykke Li and First Aid Kit at The Sound Academy in Toronto

Frank Yang — Thu, 17 Nov 2011 13:23:24 +0000

Frank YangIt’s a little bit of bragging when I point out that our blogger posse had Lykke Li close out the second day of our Hot Freaks! party at SXSW 2008 before her star became ascendant. But the fact is that it was almost entirely Gorilla Vs Bear’s doing, with most of the rest of us having no idea who Li Lykke Timotej Zachrisson was at the time. And not too many did, as only a modest number of people came out to Club DeVille to see play that afternoon. So you’d think that it would have been the perfect opportunity to get ahead of the curve on her, but the fact was I didn’t love her stuff and that opinion extended to her debut album Youth Novels; it was fine and all but hardly stopped me in my tracks. Which is why despite her having come through town a number of times between now and then, I’d not seen Lykke Li live since.

So if you choose to interpret my trekking down to the Sound Academy on Tuesday night to see her as meaning that I was stopped in my tracks by her second album Wounded Rhymes, well that might be a little hyperbolic but it’s not far off. I understand how Lykke Li’s breathy vocals and the coquettish tone of the lyrics were the source of Youth Novels‘ appeal for many, but to me they were the main points of complaint – the record felt slight, like it was all surface. Rhymes, on the other hand, with its combination of girl-group/doo-wop touchpoints, a dash of gospel and altogether rawer and heavier themes tapped into something much deeper both sonically and emotionally. Novels was flirtatious; Rhymes was lustful. Yeah I was going to see this record performed live.

Opening up this tour were fellow Swedes and sister folk act First Aid Kit – combined with Sunday night’s all-Icelandic bill, this was turning into quite the Scandinavian revue week. I’d seen them last Summer when they stopped in at the comfy and cozy Rivoli – about as diametrically opposed a venue from the cavernous Sound Academy as you can get. And yet without changing up their simple presentation – the Söderberg sisters switching up on guitar, keys and autoharp and harmonies and Mattias Bergqvist on drums – were more than able to step up to the occasion, sounding confident and punchy. In addition to drawing from their 2010 debut The Big Black & The Blue, they previewed material from their forthcoming second album The Lion’s Roar – out January 24 – and when heard side-by-side with the older material, it was remarkable how far they’ve come as songwriters, the new songs being both more melodic and dramatic at the same time. Though there was some headbanging, you couldn’t say they rocked – that’s not their game – but the did impress.

Lykke Li’s arrival was heralded by an extended strobe light and smoke machine intro which highlighted the sweeping black and white stage dressing for this tour, an aesthetic mirrored in her outfit for the night – a black robe/gown and dark eye make-up. “Witchy” and/or “goth” are not adjectives one would have typically thought to apply to Lykke Li, but there it was. Opening with “Jerome”, the depth and dramatics of the new record were clearly going to be translated to the stage with Lykke Li an exceptionally expressive and dynamic presence from the get-go.

Danciness is a key element of Lykke Li’s sound, but what sets her apart from others operating in that space is her reliance on live and acoustic instruments, particularly drums and percussion, and it was easy to get caught up in the pounding, rhythmic grooves she and her band created and her voice would ride upon. Though she’s not what you’d call a powerhouse singer, her delivery has a strength and soulfulness that’s irresistible and thankfully shuns your standard diva moves; on her cover of “Unchained Melody”, whereas other singers might have gone for a solo moment at its peak, Lykke Li instead turned to her band for multi-part harmonies that were unexpected and beautiful.

The set was split about evenly between the two albums but with the older material sonically beefed up to match the current aesthetic and all the better for it. And while I clearly favoured the new material, the sea of cellphones raised aloft during “Little Bit” was ample evidence that many of the fans there were old school. Excepting a couple moments of feedback, the sound throughout the night had been pretty good but as things moved towards the finale – perhaps in an attempt to make things even heavier – the bass began turning to mud on “Youth Knows No Pain” and sadly robbed it of its impact, only being salvaged by the extended percussion, chanting and megaphone-powered (and Kanye “Power”-quoting) coda. But things recovered enough that set closer “Get Some” satisfied and one-song encore of “Unrequited Love” the perfect, bruised cap on the evening. I now regret somewhat not keeping up with Lykke Li following that SXSW show and missing out on her more intimately-scaled performances, but if she keeps putting out records as strong as Wounded Rhymes, then this won’t be the last time I’ll be making up for lost time.

The National Post was also on hand for the show and have a review. And with this show done, First Aid Kit have announced their own headlining gig at The Great Hall on April 4 of next year.

Photos: Lykke Li, First Aid Kit @ The Sound Academy – November 15, 2011
MP3: Lykke Li – “Youth Knows No Pain”
MP3: Lykke Li – “Get Some”
MP3: First Aid Kit – “I Met Up With The King”
Video: Lykke Li – “Sadness Is A Blessing”
Video: Lykke Li – “I Follow Rivers”
Video: Lykke Li – “Get Some”
Video: Lykke Li – “Little Bit”
Video: Lykke Li – “I’m Good I’m Gone”
Video: Lykke Li – “Breaking It Up”
Video: First Aid Kit – “The Lion’s Roar”
Video: First Aid Kit – “Hard Believer”
Video: First Aid Kit – “I Met Up With The King”

The Quietus explores the sad and beautiful world of Loney Dear.

DIY chats with Alec Olenius of Serenades.

The Raveonettes have released a video for the new single from their latest album Raven In The Grave.

Video: The Raveonettes – “Let Me On Out”

Rolling Stone talks to Ritzy Bryan of The Joy Formidable, who have begun work on album number two and hope to have it out in the new year.

Paste has a feature piece on Los Campesinos! and over at Nerve, bassist Ellen Campesinos! dishes on what it’s like to be a female musician looking to get some while on the road.

Fact talks to Kate Jackson about her nascent but promising solo career.

NME has details on the second album from The Big Pink; it will be entitled Future This and come out on January 16 of next year. This is the first single and video.

Video: The Big Pink – “Hit The Ground (Superman)”

Though just here a few weeks ago, Metronomy have scheduled a Spring North American tour that brings them back to town on April 2 for a show at The Hoxton.

Video: Metronomy – “Everything Goes My Way”

Exclaim reports that New Order will release an album of studio outtakes from Waiting For The Sirens Call as Lost Sirens sometime in December.

Similarly, Pet Shop Boys will collect 13 years of b-sides as the double-disc collection Format and put that out on February 7; Slicing Up Eyeballs has specifics.

Q talks to Dev Hynes of Blood Orange.

Paste, The Phoenix and PopMatters interview Anthony Gonzalez of M83, in town for a sold-out show at Lee’s Palace tomorrow night.

Proving that Toronto’s appetite for things naked and famous shows no signs of abating, Kiwis The Naked & Famous will be back for their fourth show in less than a year, returning for an engagement at The Sound Academy on April 5 of next year; tickets $22.50 in advance.

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

Jonny and Apex Manor at The Drake Underground in Toronto

Frank Yang — Mon, 06 Jun 2011 12:25:43 +0000

Frank YangWhat’s in a name? If you were at The Drake Underground on Friday or Saturday nights, possibly a lot. Over those two nights the marquee outside the front doors read Jonny and Apex Manor, as the two acts were kicking off their North American tour with a two-night stand in Toronto, but had the top billing read Teenage Fanclub and Gorky’s Zygotic Mynci – as Jonny is the collaboration of those two bands’ Norman Blake and Euros Childs – then maybe there’d have been a little less elbow room for those who were in the know enough to show up.

The identity issue might have also applied to the support, as Apex Manor is the new band of Ross Flournoy, who used to front Los Angeles power pop outfit The Broken West, who once upon a time were called The Brokedown. Got that? Good. Though advance listings had stated that this show would feature Apex Manor as an acoustic duo – presumably Flournoy and bassist Brian Whelan, also from The Broken West – but when things got underway it was just Flournoy, his Martin acoustic and a brace of songs drawn mostly from Apex Manor’s debut The Year Of Magical Drinking. And though the stripped-down nature of the set necessarily diminished the “power” half of the equation, the “pop” of things was still very much in effect thanks to the sophisticated hookiness of the material. It was good to be reminded of how good a band The Broken West were – particularly when Flournoy busted out their song “Down In The Valley” – and satisfying to see that carried over into their new incarnation.

No one would accuse Jonny of being an overly serious side-project, but assuming that Childs and Blake – the former with a couple of keyboards to go with his acoustic guitar and the latter handling guitar, drum machine and laptop duties – would treat it as a joke would have been a mistake. Okay, that’s not entirely accurate; there were plenty of jokes as the duo bantered back and forth in a manner worthy of a seasoned stand-up duo, their ultimately aborted attempt to cover the Saxons’ “It Ain’t Right” was more comedy sketch than musical performance and there were running gags of a sort with Childs’ collapsing homemade keyboard stands and Blake’s orchestration of the drum machine, but with the talents on hand, even the silliest songs were immaculately executed.

Considering the Jonny album barely clocks in at 40 minutes, their set was considerably longer than you might have expected. Of course some of that was for the aforementioned between-song back-and-forth, but they also included a number of non-album songs and made what could have been a brief-ish affair not only feel like a full and proper set, but one that reinforced Jonny as its own entity, separate and distinct from the resumes of the two artists who made the band up. Not so much, however, that one of the biggest highlights of the show was the encore wherein each of them busted out a couple of the former/other bands’ tunes. Jonny was charming and all, but hearing “I Don’t Want Control Of You” and “Spanish Dance Troupe” was the guaranteed way to close the night on the highest possible note.

Photos: Jonny, Apex Manor @ The Drake Underground – June 4, 2011
MP3: Jonny – “Candyfloss”
MP3: Jonny – “Gloria”
MP3: Apex Manor – “Under The Gun”
Video: Jonny – “You Was Me”
Video: Jonny – “Candyfloss”
Video: Apex Manor – “My My Mind”
ZIP: Jonny / Free

With reunions must come reissues, and so Pitchfork reports that Pulp’s first three albums – It, Freaks and Separations – will be reissued with bonus material come August 8.

The Independent finds out Elbow frontman Guy Garvey’s secrets to staying grounded while The Sydney Morning Herald chats with guitarist Mark Potter.

Emmy The Great offers a guide to staying virtuous to Clash. Her new album Virtue is out next week.

Exclaim and Metro interview James Blake, in town at The Phoenix on September 30.

Gruff Rhys has released a new video from Hotel Shampoo, just in time to wrap up the North American tour that hits The Horseshoe on June 11.

Video: Gruff Rhys – “Honey All Over”

TapeDek gets The Vaccines to indulge in some old-school Britpop trash talk. The National Post also has a chat.

Clash interviews Ladytron, whose new album Gravity The Seducer arrives September 13.

Beatroute interviews The Raveonettes.

Billboard has got a live video session from Peter Bjorn & John, while Metro, The Province and OC Weekly have interviews. They play Lee’s Palace on September 2 and 3.

aux.tv talks to The Naked & Famous, in town at Lee’s Palace on August 9.

Austin’s Ume have finally announced details of their new long-player; The AV Club has all the details but the key information is that it will be called Phantoms, be released on August 30 and the band will be in town on June 15 at the Drake Underground as part of NXNE. This is not a song from the new record but a good reminder of why they’re a band worth getting excited about.

MP3: Ume – “The Conductor”

The War On Drugs, last seen hereabouts opening up for Destroyer back in April will be back on August 24 at a venue to be named in support of their new record Slave Ambient, out August 16. Pitchfork has full dates and check out the Springsteen-ish first MP3 below.

MP3: The War On Drugs – “Baby Missiles”

Peter Hook brings his new band the Light and their rather questionable re-production of Joy Division’s Unknown Pleasures to The Phoenix on September 24. “Atmosphere” isn’t from Unknown Pleasures but this video should give you an idea of how they’re doing it. The Spectator has an interview with Hook.

Video: Peter Hook & The Light featuring Rowetta – “Atmosphere”

Once again announcing a new show before their last one has actually happened yet, Foster The People will be at The Sound Academy on October 1, tickets $23.50. More immediately, they’re at The Mod Club on June 18 but that’s sold out.

MP3: Foster The People – “Pumped Up Kicks”

Officially back from Europe/vacation, and let me tell you I am thrilled about it. THRILLED.

Notes from Barcelona

Frank Yang — Thu, 26 May 2011 11:28:31 +0000

Frank YangI’ve been in Barcelona for a few days now – four, including today – and as of tomorrow things become very Primavera-centric so now’s as good a time as any to offer some thoughts on the trip so far and the city in general. And those thoughts can be summed up pretty succinctly as, “amazing”.

Before coming here, I had very little history with Spain, at least from a pre-conceived or pop cultural sense. I’ve seen a number of Almodovar films and started (but have not yet finished) Don Quixote, but had nothing of the romantic notions about the place that I do for, say, Britain or New York City. A few days here have rectified that, however, and I am now in a general state of wonder about this place, on so many levels. In no particular order:

The civic planning and infrastructure. This is an old city, and yet it seems to have been laid out in a way that it perfectly accommodates modern needs. Their main boulevards are massive, allowing fast movement of cars, buses and taxis while also providing extensive bike lanes and pedestrian thoroughfares and there’s lots of scooter parking, too. And they do this while largely maintaining an almost perfect grid-pattern through much of the city and allowing for giant fountains and monuments at key intersections, though if that’s all too orderly for you there’s the old-school European narrow streets and alleys of Barri Gotic. Add in the fact that the subway is extensive, modern and reasonably priced? Getting around is a joy.

The architecture. Everyone knows about the works of Gaudi – and they are unique and breathtakingly strange, existing out of time and place – but most everything else in the city is just as beautiful in their own way, with a pleasingly sort of old world classicism unifying many of the structures but all with their own distinct character. All of which is to say, everywhere you look, there’s something beautiful.

The culture. This applies to most places in Europe I’ve been, but it’s reinforced a thousand-fold here, seeing the value they put into things like their galleries, their opera house, the music festivals they host, the sheer appreciation for art. It’s so completely opposite to how cultural institutions are regarded in North America, it’s astonishing. The creative things they invest in simply because they understand their value beyond monetary terms is inspiring and depressing (because such thinking seems to be anathema to so many at home).

The food. Holy cow. Never has pointing randomly to colourful presumably edible things on menus or in counters ever been so tasty. There has been much tapas consumed on this trip, and hopefully more before I leave – question to 416-ers; where is there good tapas in Toronto? I need to know where I can go to obnoxiously declare that the food is not as good as in Barcelona. I also ate at my first – and at those prices possibly my last – Michelin star restaurant this trip and while it cost more than I care to recount, it was a gastronomical experience I won’t soon forget. I wish Coke wasn’t quite as expensive as it is – I’ve had carbonated cola cravings since I’ve been here – and it’s been harder to find a to-go coffee shop than it should be, but by and large the food? Dang, son. Dang.

The women. Hola!

Photos from the trip thus far are up on Flickr and for those of you who care not one whit for my travelogues – which is fair, you heartless bastards – here’s some music-related links.

The Quietus has assembled a retrospective piece on the glory of Pulp, which may be instructive to those of you who didn’t live through the Britpop era and may not understand why it was necessary for me to get on a plane to see them perform.

Even though they were indeed just here at the start of the month, Peter Bjorn & John have put together a Fall tour that brings them back for two nights at Lee’s Palace, September 2 and 3.

Video: Peter Bjorn & John – “Second Chance”

NOW talked to Lykke Li in advance of Sunday night’s show at The Phoenix.

New Raveonettes video!

Video: The Raveonettes – “Appartitions”

Pitchfork has a stream of the first track from the new Horrors record Skying, set for a July 26 release.

His time with Pavement again winded down, Stephen Malkmus has reconvened The Jicks and with the assistance of Beck as producer, will put out a new album in Mirror Traffic on August 23. Details at Pitchfork.

Spinner talks to Superchunk about their legacy.

NPR has a World Cafe session with Steve Earle. He plays The Molson Amphitheatre on August 20.

Billboard has posted their upcoming cover story on Bon Iver’s Justin Vernon, whose new record Bon Iver is out June 21. They play The Sound Academy on August 9.

MP3: Bon Iver – “Calgary”

Charleston City Paper chats with Neko Case.

Spin checks in with Broken Social Scene’ Kevin Drew about his favourite things. Surprisingly, the answers are broader than just “Kevin Drew”.

Handsome Furs have released another MP3 from Sound Kapital, due out June 28. They’re at The Garrison on June 18 and The Horseshoe on August 1.

MP3: Handsome Furs – “Repatriated”

Fucked Up frontman Damian Abraham lists off some of his influences for Spin. David Comes To Life is out June 7 and they play two NXNE shows – Yonge-Dundas Square and Wrongbar – on June 16 in addition to their August 9 engagement at the Air Canada Centre.

Spinner looks into the longevity of Sloan. They’re at The Mod Club on June 21 and 22.

The Elected elect to run again

Frank Yang — Fri, 13 May 2011 12:35:27 +0000

Lauren DukoffOnly the most optimistic of souls think we’ll ever hear new material from Rilo Kiley; aside from rumours of a b-sides/rarities compilation, it would seem that 2007′s Under The Blacklight – on which they already sounded disinterested – will be the final word for the Los Angeles pop outfit. And while frontwoman Jenny Lewis has already established a pretty successful solo (and duo) career, former partner Blake Sennett is returning to active duty by turning his former side-project The Elected – last heard from on 2006′s aptly-titled Sun Sun Sun – into a full-time gig with Bury Me In My Rings, out next Tuesday.

The album is currently streaming in whole over at My Old Kentucky Blog and it sounds as though Sennett is still content to mine the rich tradition of classic and breezy Californian pop – with a foray into funk that’s as questionable as any attempts at funk that can be described as a “foray” – for his purposes. His tunes were never the highlights of Rilo Kiley’s records – Lewis’ ascent to stardom over their run was impossible to eclipse – but he was always a solid tunesmith with a good sense of melody. Perhaps now, without having to be constantly measured against his bandmate, he can establish his own merits properly.

He’s also taking his show on the road and that will bring him to Toronto’s Drake Underground on June 30. American Songwriter and Consequence Of Sound have conversations with Sennett about the new record and the latter gets a pretty colourful and definitive-sounding quote about the current (and final?) state of Rilo Kiley.

MP3: The Elected – “Babyface”
Stream: The Elected / Bury Me In My Rings

PopMatters and The News Chief have interviews with Jason Isbell, in town for a show at The Horseshoe on May 22.

And Maria Taylor, who opens up that show and the tour for Isbell, has announced an August 16 release date for her new record Overlook. Details and a streamable new song over at Under The Radar.

Rolling Stone talks to The Head & The Heart.

The Fruit Bats have a new record in the can entitled Tripper, and will be sharing it with the world come August 2. Exclaim has details and a widget from which to download a new, non-album, J Mascis-guesting MP3.

eMusic interviews Will Sheff of Okkervil River. They’re at The Phoenix on June 10.

NPR has a couple notable World Cafesessions up for your enjoyment – one with The Mountain Goats and another featuring The Kills.

Blurt profiles The Antlers, in town at The Mod Club on June 14.

Spin and NOW talk to Death Cab For Cutie’s Ben Gibbard and Chris Walla, respectively. Death Cab are at The Phoenix on May 18 and the Molson Amphitheatre on July 29 and their new record Codes & Keys is out May 31.

Daytrotter has posted a session with John Vanderslice.

Metromix and CityBeat welcome The National back to Cincinnati.

Captain’s Dead has unearthed an old 1988-vintage Uncle Tupelo demo tape and posted the contents online.

Interview does its thing with James Blake, playing a sold-out show at Lee’s Palace on Saturday night.

NPR is streaming a Lykke Li session from KCRW while Express Night Out has an interview. She’s at The Phoenix on May 22.

The Alternate Side has a video session and interview with The Raveonettes, The Columbian just an interview.

MSN talks to The Naked & Famous, back for a show at Lee’s Palace on August 9.

Review of The Kills’ Blood Pressures and giveaway

Frank Yang — Mon, 18 Apr 2011 12:30:02 +0000

Shawn BrackbillOn the surface, Blood Pressures – the new record from The Kills – resembles its predecessor, Midnight Boom, quite a bit; particularly in how it doesn’t really resemble their first two records Keep On Your Mean Side and No Wow very much. This is, of course, a very relative statement – everything that Alison Mosshart and Jamie Hince have put out has been been very distinctly them, defined by their two-piece art/garage-rock aesthetic and their sexually-charged/ambiguous/tense dynamic.

But with Midnight Boom, they opened up the range of sounds with which they’d work, amped up the pop elements of their sound and generally tidied things up enough to make for their most accessible work yet; certainly it was the record that got me on board. Blood Pressures continues on in the same direction, but the balance of songs versus sonics seems to have swung decidedly in favour of the former. The groove-first, lyrics-second process that accounted for some of Boom‘s sleazy playground rhyme-like numbers has taken a back seat to more conventionally composed and structured songs, perhaps something Mosshart has brought back from her time in The Dead Weather. And though many are still built on unabashedly mechanical and grimy-sounding backing tracks, even those are sounding more organic and tidier than before.

None of this meant in judgement, just as observation. That The Kills would be getting more polished and sophisticated, even if just in relative terms, should come as no surprise – even from their first release it was inevitable, less a question of “if” than “when” and “how”. But with regards to judgement, as solid as Blood Pressures is – tunes like “Nail In My Coffin” and “Baby Says” are as solid additions to The Kills canon as anything they’ve done – but as a whole it doesn’t have the sense of reckless, unhinged fun that made its predecessor such a treat. It’s wholly on target as a satisfying Kills record but confirms that Midnight Boom was the bullseye.

Spinner and Clash talk to The Kills about their new record while Yours Truly solicits an acoustic video session… geoblocked. What the hell, people. They’re at The Sound Academy on May 1 and courtesy of Domino Records, I’ve got a prize pack consisting of a pair of passes to the show and a copy of Blood Pressures on LP to give away. To enter, email me at contests AT chromewaves.net with “I want to Kills” in the subject line and your full name and mailing address in the body. Contest closes at midnight, April 25.

MP3: The Kills – “DNA”
Video: The Kills – “Satellite

The Guardian talks to Faris Badwan about his Cat’s Eyes project and their self-titled debut which is due out next week.

Video: Cat’s Eyes – “Face In The Crowd”
Video: Cat’s Eyes – “Cat’s Eyes”

The Boston Globe and Under The Radar talk to The Raveonettes.

Arctic Monkeys have a new video from the forthcoming Suck It And See. The album is out June 6 and they’re at The Kool Haus on May 21.

Video: Arctic Monkeys – “Don’t Sit Down ‘Cause I’ve Moved Your Chair”

Glasvegas guitarist Rab Allan talks to Billboard and RTE about new album Euphoric Heartbreak, out now in Canada but not until May 17 in the US. They play Lee’s Palace on May 29.

The Vinyl District interviews Eddie Argos of Art Brut about their new record Brilliant! Tragic!, out May 23. They’ve also released a video from said album and play The Mod Club on June 17.

Video: Art Brut – “Lost Weekend”

Oh look, a new Beady Eye video. They’re at The Sound Academy on June 20.

Video: Beady Eye – “Millionaire”

Filter continues Suede week by talking to some of the band’s producers and getting some discography commentary from Brett Anderson and Mat Osman as well as a two-part interview with the founding members. BBC America also talks to Brett Anderson.

Yours Truly has a video session from and The Arty Semite, Georgia Straight, The OC Weekly and San Diego City Beat have interviews with Yuck. They’re at The Phoenix on May 1.

Esben & The Witch have a new video from Violet Cries.

Video: Esben & The Witch – “Chorea”

Been wondering what happened to guitarist Nick McCabe and bassist Simon Jones since The Verve broke up for the millionth time? The Quietus has your answer – The Black Ships.

Ed O’Brien disappoints a legion of Radiohead-spotters by telling BBC that there will not be another album coming from the King Of Limbs sessions. There will, however, be a North American release for the “Supercollider”/”The Butcher” 12″ that they put out for Record Store Day in the UK – Exclaim reports that it’ll be out on June 14 and you can stream both sides right now at some dude’s Soundcloud.

Spin talks to PJ Harvey, who has another video to show off.

Video: PJ Harvey – “On Battleship Hill”

Drowned In Sound talks to Kate Nash about her record label and music education for girls endeavours.

Emmy The Great introduces and performs a new song inspired by the Royal Wedding for The Guardian. The song doesn’t appear on Virtue, due out June 13, but you can download one that does at RCRDLBL while Drowned In Sound has the artwork and tracklisting up. Emmy’s website has also relaunched and yes, I did check the cost of flights to New York on seeing she’s playing Pianos on May 5 (too much).

MusicOmh chats with Jeremy Warmsley and Elizabeth Sankey of Summer Camp.

Artrocker talks to Alan McGee, founder of Creation Records.

The Raveonettes cover The Stone Roses

Frank Yang — Sun, 27 Mar 2011 14:13:51 +0000

Vice RecordsThough they formed a decade ago, The Raveonettes are still a couple years from being able to mark the 10-year anniversary of their first album Chain Gang Of Love, the duo have been called on to mark some other notable anniversaries of late. Last Summer, they were one of a number of acts tapped to celebrate the 50th anniversary of Dr. Martens and their iconic shoes by way of a cover.

For their selection they chose the first single from The Stone Roses, whose self-titled debut had itself just turned 20 the year before. It’s a pretty straight reading, though there’s no mistaking Sharin Foo’s icy coo for Ian Brown’s… Ian Brown-ness. And though she doesn’t appear in the video they made for the track – they go for an updated Harold & Maude-type narrative – I would imagine she’s a better dancer as well.

The Raveonettes’ new record Raven In The Grave came out last week and they’ll be in town on April 2 for both a free acoustic in-store at Sonic Boom at 6PM and a fully electrified and surely deafening show at The Phoenix later that same evening. The Stone Roses will, thankfully, probably never reunite and their legacy will remain intact. And though I’m generally loathe to recommend people re-buy records they should already own, I will say the John Leckie-remastered The Stone Roses that came out in 2009 is absolutely worth picking up as the sonic improvements are vast. There is actually some low end now! And Doc Martens remain great shoes.

MP3: The Raveonettes – “I Wanna Be Adored”
Video: The Raveonettes – “I Wanna Be Adored”
Video: The Stone Roses – “I Wanna Be Adored”

James Blake tours North America, displays indifference to principles of supply and demand

Frank Yang — Thu, 10 Mar 2011 13:28:02 +0000

FacebookBritish dubstep/soul-pop producing/singing/songwriting wunderkind James Blake has been getting a lot of press of late – in particular as first runner-up in the BBC Sound Of 2011 poll and a glowing Pitchfork “Best New Music” review for his self-titled debut, out in the UK since February but not here until March 22 – so it’s not unreasonable to think there’d be a lot of interest in live dates, even over in North America.

So on the bright side, tour dates have been announced in addition to his appearance at SxSW next week and they do include a Toronto date, but while the US dates are all in rooms ranging in capacity from 250 to 500 or so, despite this being one of the more Anglophilic markets on the continent, he’s playing pretty much the smallest room we’ve got – that’s The Rivoli, on May 14.

Tickets are $20 in advance, on sale Friday and done paperless/check your credit card at the door-style. Considering the room holds around 200 people, less yesterday’s fan pre-sale, less media and guest lists, there could be just a handful of tickets available for sale… I suspect that he’ll be back at a larger room around the time of his Pitchfork Festival appearance come mid-July, but that’s pure speculation on my part. All of which is to say that if you want to see him in close quarters, you’ll want to be on the Ticketmaster tomorrow.

The Fader has posted online their cover feature on Blake.

MP3: James Blake – “To Care (Like You)”
Video: James Blake – “The Wilhelm Scream”
Video: James Blake – “Limit To Your Love”

The Raveonettes claimed their acoustic in-store at Sonic Boom back in August 2008 was the first time they’d performed in such a setting; apparently they liked it, because they’re doing it again on April 2 at 6PM before their show at The Phoenix that evening. Expect to hear tunes from their new one Raven In The Grave, out March 22, done unplugged-style. They talk to Spinner about the new record.

MP3: The Raveonettes – “Forget That You’re Young”

Johnny Flynn – here solo back in November – returns with his band The Sussex Wit for a show at The Horseshoe on May 26, tickets $13.50.

MP3: Johnny Flynn – “Kentucky Pill”

In a bill that will make folks of a certain generation possibly/probably lose their shit, Brendan Perry, formerly of Dead Can Dance, and Robin Guthrie, ex of Cocteau Twins, have put together a North American tour together that will stop in at the Opera House on June 4, tickets $27.50. Perry released a solo album in Ark last year while Guthrie has a number of projects ongoing but whose latest solo record was 20009′s Carousel.

Video: Cocteau Twins – “Heaven Or Las Vegas”
Video: Dead Can Dance – “The Carnival Is Over”

Pitchfork asks Andy Bell of Ride for the musical touchstones of his lifetime.

Entertainment Weekly talks to Liam Gallagher of Beady Eye, in town at the Sound Academy on June 20.

Exclaim reports that Spiritualized will release a new studio album this Fall, to be released in North America on label of the moment Fat Possum.

Spin talks briefly to Guy Garvey of Elbow and have a stream of a live reading of one of the new songs from build a rocket boys!. There’s also band features at RTE Ten, Joe.ie, BBC and The Chronicle.

Spinner talks to The Joy Formidable, whose debut The Big Roar is out next week. And just as they did for “Austere”, which also appeared on their A Balloon Called Moaning EP, they’ve made a new video for the album version of “Whirring”. They play The Horseshoe on April 3.

Video: The Joy Formidable – “Whirring” (new)

NOW and New York Press meet Esben & The Witch, who are playing Wrongbar tomorrow night.

Let’s Wrestle has announced the release of their second album, entitled Nursing Home and due out May 17. Check out the first MP3.

MP3: Let’s Wrestle – “Dear John”

Also out on May 17 is Street Of The Love Of Days, the debut from Amor de Dias – a name that might not be too familiar, but as the new project from The Clientele frontman Alasdair Maclean and Pipas’ Lupe Núñez-Fernández, is worth getting to know. Exclaim has some info on the project, which has been ongoing for a while – as evidenced by this track premiered by Pitchfork last Summer in addition to the album track just released.

MP3: Amor de Dias – “Bunhill Fields”
MP3: Amor de Dias – “New Wine”

Arctic Monkeys have released details on their next album – the classily-named Suck It And See is out June 6; more info at The Fly. They have a date at The Kool Haus on May 21.

PJ Harvey has released a new video from her latest Let England Shake.

Video: PJ Harvey – “The Glorious Land”

Also with a new video are Mystery Jets, this one for the title track of last year’s Serotonin.

Video: Mystery Jets – “Serotonin”

Keeping the new clip parade going are Yuck with the lead track from their self-titled debut. They are at The Phoenix on May 1.

Video: Yuck – “Get Away”

And finally, a new vid from The Go! Team, from Rolling Blackouts – they play The Opera House on April 10.

Video: The Go! Team – “Apollo Throwdown”

The Quietus explains why “C86″ is so important as a musical genre/era/adjective.

Review of Anna Calvi’s Anna Calvi

Frank Yang — Mon, 07 Mar 2011 13:29:54 +0000

Emma NathanThis week marks the beginning of the annual cross-continental live music bacchanal that I like to call CMWCMF SxSW (pronounced the way it’s spelled), and while I still fully expect to have a grand time of it, there’s been a bit of a pall cast now that one of the artists whom I’d been most excited to see at both festivals – London’s Anna Calvi – has pulled out of her entire North American tour, including fest appearances, because of an injury to her arm/hand/wrist.

Obviously the timing couldn’t be worse as she had a full slate of shows scheduled in Austin to showcase her just-released self-titled debut, but luckily for her the record doesn’t necessarily need to be seen live to be appreciated – just heard. It’s an unapologetically lush and wholly enveloping album, candlelit and thick with smoke and perfume and evocative of opera, theatre and cabaret influences but cast in a pop setting. And at the centre of the swirl of sounds and signifiers is Calvi, her guitar and her voice – and it’s hard to know which of her two instruments to be more impressed with.

Opening instrumental “Rider To The Sea” is a jaw-dropping declaration of intent, her distinctive flamenco-ish circular picking technique sounding more like an orchestra than two hands and a Telecaster and making you think that if this were just an instrumental album it’d still be impossible to turn away. But then when she steps up the mic on “No More Words”, everything else falls away as you lean in to better hear her breathy, alluring delivery. Oh yes, it’s going to be that kind of record. Or so you think, until “Desire” hits and the smouldering voice transforms into a conflagration.

This is the sort of dynamic that plays out over the course of Anna Calvi while exploring themes of seduction, love and lust, all punctuated with jaw-dropping guitar breaks. Some may find fault in its aesthetic and call the delivery over the top, but such is the world that Calvi’s music inhabits – all gestures are flourishes, all statements grand declarations of import. Seriously, if anyone objects to the amount of romanticism that positively saturates Anna Calvi, there is a very good chance that they are dead inside. My disappointment in not getting to see her live over the next two weeks is only tempered by the fact that when she finally does make it over here, I’ll had had that much more time to become more obsessed with this album.

Spinner, Artrocker, The Los Angeles Times and NPR have profiles on Calvi.

“Jezebel” was an Edith Piaf cover released as a teaser for the album, but does not appear on it. It was actually the first I heard from Calvi and honestly, didn’t do much for me – which made the album itself all that much more of a revelation.

MP3: Anna Calvi – “Blackout”
MP3: Anna Calvi – “Jezebel”
Video: Anna Calvi – “Jezebel” (live)

Adele talks about the creative power of heartbreak with Dose.ca. She plays The Kool Haus on May 18.

Spinner talk to Noah & The Whale, whose new record Last Night On Earth comes out next Tuesday. They play The Mod Club on March 24.

In Scottish Waters is a short documentary that follows British Sea Power to Scotland’s remote Isle of Eigg for a performance showcasing their new record Valhalla Dancehall. They’ll be trekking to Toronto’s remote Lee’s Palace for the same purpose on March 24.

Video: British Sea Power: In Scottish Waters

Pitchfork reports that Art Brut will release their new record Brilliant… Tragic! on May 23.

Also readying a new record but not offering up anything in the way of a title or release date are Arctic Monkeys. What they are offering, however, is a video for the first single. Update: And a North American tour – May 21 at the Kool Haus in Toronto.

Video: Arctic Monkeys – “Brick By Brick”

The Manchester Evening News, The Skinny and The Guardian have features on Elbow on the occasion of the release of build a rocket boys! this week.

BBC and The Independent talk to Radiohead’s Jonny Greenwood on the band’s current projects and soundtracking the film adaptation of Haruki Murakami’s Norwegian Wood.

Spinner discovers that Liam Gallagher of Beady Eye owns a house in Toronto. And other stuff. Update: Beady Eye are at The Sound Academy on June 20.

Drowned In Sound talks to Tim Burgess of The Charlatans.

Burgess is one of many, along with frontman Ian Brown and producer John Leckie, who contribute thoughts and reminiscences to Clash‘s special feature marking the 20th anniversary of The Stone Roses’ debut album.

The Raveonettes have also paid tribute to The Stone Roses by way of a cover of “I Wanna Be Adored”, for which they’ve put out a video. They’ve also released the first clip from their new record Raven In The Grave, out March 22. They play The Phoenix on April 2.

Video: The Raveonettes – “I Wanna Be Adored”
Video: The Raveonettes – “Recharge & Revolt”

Junip have put out a new video from Fields to go with their just-announced Spring tour, which starts April 20 at Lee’s Palace.

Video: Junip – “In Every Direction”

Lykke Li offers Black Book a list of her favourite “shameless pop songs” and a proper interview to The Guardian. She is at The Phoenix on May 22.