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A (re)introduction to Rose Elinor Dougall

Frank Yang — Mon, 16 Jan 2012 13:28:43 +0000

last.fmI’ve been meaning to write up Without Why, the debut album from Rose Elinor Dougall, for well over a year now but for whatever reason never actually got around to it. And while normally almost year and a half on from its release is too long to give a record props, the fact that Ms Dougall is back on the radar with a new stopgap release while she wraps up work on her second album is good enough reason for me to revisit it.

If her name isn’t immediately familiar then perhaps her former stage name of Rosay, by which she went when she was one-third of the original lineup of The Pipettes, will ring a bell. The polka-dotted retro-pop trio was all the rage in 2007 but their actual musical merit couldn’t escape the shadow of the novelty and by 2008, things had essentially run their course and both Dougall and Rebecca Stephens, aka RiotBecki, had left the band to pursue their own projects. During her run with The Pipettes, Dougall was clearly the strongest singer of the three and the odds-on favourite to do something interesting on her own; a potential that she seemed set to fulfill based on some early singles and an impressive set at SXSW 2010 wherein she made clear that trading in her polka dot dress for a leather jacket went deeper than just a wardrobe change.

Not that Without Why is a rock record; it’s certainly moreso than the Pipettes ever were but it’s really a pop record that comes without any preset notions of what it should be, though it tends to orbit an uptempo, lightly baroque, and richly conceived and executed aesthetic. You can feel the freedom that Dougall enjoys from having full control over her sound and songwriting – she has sole credits on all but one track – and if there’s any shortcoming to be found, it’s that she takes too much advantage of it. There are points where a less showy vocal approach or lush arrangement might have worked better, but it’s never to the detriment of the song and really, it’s hard to fault someone on their first time out for having too many ideas.

Independently released, I was far from the only one to miss out on giving Without Why its due – hopefully album number two both gets and merits more attention. Dougall has just offered up an EP of unreleased material for free download entitled The Distractions, named for her backing band, but as The Quietus reports these represent more the tail end of the Without Why sessions than the start of the next album’s. But still, new music is new music and free new music is even better – plus it gave me the opportunity to (finally) get this post out of my brain.

Dougall released another free EP of demos a while back, which you can grab over here.

It took Rebecca “RiotBecki” Stephens a little longer to get her post-Pipettes project together, but Projectionists appear ready to make their mark on 2012 – there’s interviews with them at CityLife and The Von Pip Musical Express and one of their songs available to stream below.

Stream: Projectionists – “Falling Into You”

Daytrotter has posted a session with Laura Marling.

Anna Calvi will be releasing a French version of her cover of “Jezebel” b-sided with her take on TV On The Radio’s “Wolf Like Me” on a limited edition 7″ on February 20. Stream it below.

Stream: Anna Calvi – “Jezebel” (French version)

Writers On Process gets into the nuts and bolts of writing for We Were Promised Jetpacks with Adam Thompson.

Blurt reports that the new Wedding Present album, which will be showcased along with 1992′s Seamonsters on their upcoming Spring tour, has the title of Valentina and will be out in March. They’re at The Horseshoe on March 25.

Rolling Stone has premiered one of the tunes from the new Field Music album Plumb, due out February 21, while The Guardian gets the band to play the tune previously released in a video session.

MP3: Field Music – “A New Town”

BBC and Australia’s Summer Festival Guide chat with The Vaccines.

Consequence Of Sound and Billboard have interviews with The Big Pink while songs from their new record Future This are performed live for 4AD Sessions. It’s out tomorrow.

First Aid Kit’s new record The Lion’s Roar is now available to stream at NPR in advance of its release on January 24. They’re at The Great Hall on April 4.

Stream: First Aid Kit / The Lion’s Roar

Basia Bulat with Symphony Nova Scotia at Halifax Pop Explosion

Frank Yang — Mon, 25 Oct 2010 12:32:43 +0000

Frank YangThe “see something new” mandate largely fell apart on the third night of Halifax Pop Explosion, but with good reason; when you get the opportunity to see Basia Bulat perform with a symphony, you take it. Bulat was the third artist to be brought together with Symphony Nova Scotia as part of the Pop Explosion, Ron Sexsmith and Owen Pallett had done so in past years, and it was Pallett who crafted the orchestral arrangements of Bulat’s songs for this performance which took place in the Rebecca Cohn Auditorium on the Dalhousie campus.

The evening was structured more like a symphony concert than a pop one, split into two halves and opening with the symphony performing a piece by Toronto composer Jordan Pal before being joined by Bulat and bandmates Holly Coish on vocals and taropatch and Bobby Bulat on drums. Bulat’s songs have often been called orchestral-pop and often come out of the box lovingly adorned with strings, brass and woodwinds, but the strength of her work comes from the emotional directness of their simple folk hearts. So to hear them with their sonic dressings increased tenfold (or so) was fascinating to witness. Pallett’s treatments took those supporting elements and gave them a new level of animation, sometimes taking hues that were muted and enhancing them to technocolour levels or simply adding all-new shapes and colours and in doing so, inverting the tone of the song completely. The symphony emphasized the shadows lurking on “Heart Of My Own” and practically inverted the usually-joyous “I Was A Daughter” into an elegiac sort of farewell.

For me, the real test would be “The Shore”, which was pretty much perfect in its austere presentation on Heart Of My Own and was even more stunning in its live solo arrangement. The rearranged version pretty much came out of it a draw, with the timpani and percussion giving it a stirring, tidal rumble but the trilling woodwinds distracting from the song’s emotional heft. And that would largely sum up how the collaborative pieces went – a lot of embellishment and some distraction. When they played together, it could feel trepidatious, particularly rhythmically, as though songs that were used to flitting freely in light Summer dresses were now having to move with heavy, fancy formal wear on. But even so, in the end the pieces were always made winners not by the massive orchestra or Pallett’s contributions, but by Bulat and her songs.

In addition to the eight orchestral pieces, Bulat played a number of selections either with Coish and her brother or solo, and those performances – aided by the theatre’s stunning acoustics – were just as much highlights of the night as those with the symphony. In particular, one of two new songs – “It Can’t Be You” – featured a vocal performance from Bulat that was just jaw-dropping, and the encore-closing unamplified stomp-and-clap of “Death Come Creeping” on the fancy auditorium stage in front of the orchestra, was as wonderful as it was incongruous. More, actually.

I won’t say that the symphonic treatments improved Bulat’s songs – I think they’re “right” the way they were originally conceived and presented – but that wasn’t the intention in the first place. Rather, it was an artistic and musical experiment for everyone involved that yielded interesting and frequently beautiful results, and one that I still feel privileged to have gotten to see. Here’s hoping that more orchestral collaborations are in the cards for the future so that others can share that privilege and the works can evolve further as their own entities.

This ended up being the only thing I attended on the third night of HPX – partly because Rebecca Cohn was far enough from any other venue that it would have required a whole lot of effort to get anywhere else, partly because the idea of going to a little club after this show and getting blasted in the face with some punk rock wasn’t very palatable and partly because it was going to be more fun to just kick back and hang out with friends afterwards. I’d make up for it the next night.

The Halifax Chronicle-Herald also has a review of the show. She now opens up a series of cross-Canada shows for Josh Ritter, including tomorrow night at The Phoenix.

Photos: Basia Bulat with Symphony Nova Scotia @ Rebecca Cohn Auditorium – October 22, 2010
MP3: Basia Bulat – “Go On”
MP3: Basia Bulat – “Gold Rush”
MP3: Basia Bulat – “In The Night”
MP3: Basia Bulat – “Snakes & Ladders”
Video: Basia Bulat – “The Pilgriming Vine”
Video: Basia Bulat – “In The Night”
MySpace: Basia Bulat

Rae Spoon rolled out a couple more videos from Love Is A Hunter over the last while.

Video: Rae Spoon – “There is a Light (but it’s not for everyone)”
Video: Rae Spoon – “Joan”

Sufjan Stevens talks about some of the personal issues that informed and delayed The Age Of Adz with Exclaim.

The Vancouver Sun talks to Matt Ward of She & Him.

The Asheville Citizen-Times chats with Band Of Horses’ Bill Reynolds and Tyler Ramsey.

NPR interviews School Of Seven Bells.

The video for Johnny Flynn’s new single is out, featuring a live performance in a garden with Laura Marling covering her parts as she does on the studio version on Been Listening. Flynn will be at Lee’s Palace on November 14.

Video: Johnny Flynn with Laura Marling – “The Water”

A couple of interesting international bands are on the Nu Music Nite bill at The Horseshoe tomorrow night (October 26). From the UK there’s folk singer Alessi’s Ark and all the way from Australia, The Jezebels. Easier for you to give the samples a listen, than for me to try and describe a couple of acts I’m only a little familiar with, but the combination of both on one bill and it being free makes it hard for me to stay cooped up at home, as much as I’d like to.

MP3: The Jezebels – “Mace Spray”
MP3: Alessi’s Ark – “Hands In The Sink”

The Dumbing Of America and The Seattle Post-Intelligencer interview Sky Larkin, who are in town at the Horseshoe on Wednesday night.

Under The Radar talks to Rose Elinor Dougall.

Lykke Li has put out a new single – mainly digital but also as a 7″ for collectors – and you can download the a-side below and the b-side at her website. A new album should be out in the early part of next year.

MP3: Lykke Li – “Get Some”

Tom Petty & The Heartbreakers and Crosby, Stills & Nash at The Air Canada Centre in Toronto

Frank Yang — Fri, 27 Aug 2010 12:34:30 +0000

Frank YangHonestly, I’d thought that Tom Petty had retired. Between the themes of he and The Heartbreakers’ last studio record, 2002′s The Last DJ, and the victory lap of 2006′s 30th anniversary tour, I thought that he’d called it a day on active touring and my opportunities to see him perform had dried up. I don’t know how or why I had that notion, but it was clearly wrong as Wednesday night, there I was at the Air Canada Centre, ready to see Mr. Petty and company for the first time and, needless to say, excited about it. Update: And further proof I thought he retired – I completely forgot about the existence of 2006′s solo record Highway Companion. Oops.

Conversely, I’d never thought that Crosby, Stills & Nash had called it a day. Even though they’d not released a CSN record proper since 1994, they’d been touring constantly – sometimes with Neil Young, more often without – and though I had respect for their work and reputation, had never felt compelled to see them live. That said, I had no problem with adding another legendary act to my, “yeah I saw them” list. And that’s about all I got out of their almost headline-length opening set, as it was clear that whatever magic they had in their younger days was greatly diminished.

I appreciate that the ’60s are a long ways gone and all three had done more than their share of living in the interim, but hearing how shaky their once-pristine trademark harmonies had gotten was disappointing to say the least. They still performed with aplomb – more rock than their folk roots with Stephen Stills taking more than a few big rock guitar solos and Graham Nash chatty and charming as the group’s de facto spokesman – but the numbers that should have shone brightest, like “Our House” and “Love The One You’re With”, came off the wobbliest and they only got away with it because most of the audience was loudly singing along with all the old chestnuts and probably weren’t paying that close attention to the actual performance. One couldn’t help but think how this would have gone if Neil were along for the ride? He’d have probably kicked their asses backstage.

Petty and The Heartbreakers likewise came to give the people what they wanted to hear but did it almost perfectly, the way you’d expect one of America’s finest rock bands of the past 35 years to do. Petty, dapper in a duster and sporting a sharp-looking beard, was all smiles and Southern charm and opened with the big bold jangle of “Listen To Her Heart” before sliding effortlessly into a slightly greased-up “You Don’t Know How It Feels”. The band sounded nothing short of amazing as a unit – maybe not so surprising considering how long they’ve been playing together, but remarkable to see and hear nonetheless. The arrangements of the songs were largely faithful to the recorded versions, leaving their perfect pop structures and southern accents intact, but improvisationally pushing the edges just enough to let them stretch out and show off a bit. This mainly applied to lead guitarist Mike Campbell, whose economical solos on record serve the song perfectly but in live setting, allow him to inject that extra dose of flash and bang.

One gets the sense that letting Campbell better showcase his talents was a large part of the reasoning behind their blues-centric new record Mojo, which I should and do appreciate for giving them the excuse to head back on the road but not much else. The blues is not alien territory for the band, being an essential part of their Americana stew, but brought to the fore as it is on the new material, it’s just not interesting with their faithfulness to the genre coming at the expense of the hooks and melodies. The four-song set of Mojo material dropped in the middle of the set really put the damper on what to that point had been some terrific momentum though on the plus side, it did give Campbell some impressive solos and allowed a good portion of the audience to refill their beer.

That said, there wasn’t any better way to get things back on track than with a gorgeously stripped down version of “Learning To Fly”, followed by a thundering “Don’t Come Around Here No More” and a grand “Refugee” to close the main set. At this point the 11PM curfew was drawing awfully close, but there was no way the nearly-full arena was going to let things end without the encore, and so they returned for “Runnin’ Down A Dream” and what I thought for sure would be the coup de grace show stopper – and my favourite Petty tune – “American Girl”. But instead of the big ringing D chord I expected, they broke into the Wildflowers-vintage descending riff of “You Wreck Me” and while I like that song a lot, it’s not “American Girl”. And after the big linked-arm bows and the house lights came up, it became clear that there would be no “American Girl”. And as great as most of the show was to that point, it was and remains a bit of a bitter finish for me… In time I’ll be able to focus on the great 100 minutes they did play and not the three they didn’t, but y’know Campbell, you could have soloed just a little less and bought some time and it would have been perfect. Just saying.

The Toronto Sun, The Toronto Star, The Globe & Mail and eye all have reviews of the show.

As expected with such a massive tour already lined up, Sufjan Stevens will release his first new and proper album in ages on October 12, the day before he plays Massey Hall. Pitchfork has details on what to expect from The Age Of Adz and the first MP3 is up for grabs.

MP3: Sufjan Stevens – “I Walked”

James Murphy of LCD Soundsystem clarifies (or makes vaguer) his intentions to retire the band to The Quietus.

New York Magazine talks to Kevin Barnes of Of Montreal. Their new record False Priest is out September 14.

The Montreal Gazette and Chart have feature interviews with Land Of Talk’s Elizabeth Powell. They play Lee’s Palace on September 16.

alt.ohio interviews Scott Hutchison of Frightened Rabbit, complete video of whose show in San Francisco from this past May is available to stream in its entirety at Revision 3.

Rose Elinor Dougall has premiered a new video from Without Why over at The Guardian. Her debut album is out on Monday.

Video: Rose Elinor Dougall – “Carry On”

The Vine interviews Warren Ellis of Grinderman. Grinderman 2 is out September 14 and they kick off their North American tour November 11 in Toronto at the Phoenix.

The second part of Le Blogotheque’s Take-Away Shows from NXNE is now up.

An introduction to Blood Red Shoes

Frank Yang — Mon, 23 Aug 2010 12:30:32 +0000

Steve GullickThough English – they hail from Brighton, England – most reference points for the duo of Laura-May Carter and Steven Ansell, aka Blood Red Shoes, hail from this side of the Atlantic. With she on guitar and he on drums, they’re a touch too polished to really call punk but are much indebted to the grunge movement of the ’90s and all that followed and some of what preceded it. Which is to say they deliver a loud, punchy attack that’s light on frills, heavy on distortion and informed by angst but with enough pop hooks and charisma to be worthy of attention.

Ansell handles the majority of vocals from behind the kit but Carter’s backing vox and occasional leads offer some welcome compliment and contrast to his decidedly aggressive approach to the mic. This is not to suggest that Carter’s contributions are any more gentle than Ansell’s – she’s behind all the furious guitar riffage on their records, and there’s a lot of it. Though there’s just the two of them, they make a righteously large and full sound.

Their 2008 debut Box Of Secrets showcased their tried and true approach effectively, but their follow-up Fire Like This doesn’t sacrifice the intensity but adds just enough sophistication and nuance to their sound to keep them interesting over extended listens. It’s this foot that they’re putting forward when album number two, released in the Spring in the UK, becomes their North American debut on October 5 (following an appearance on the Scott Pilgrim vs The World soundtrack), which will be followed by a two-week North American tour, including an October 27 date at the Horseshoe in Toronto.

Glasswerk documents the “smash your shit” ethos that went into the making of their new video for “Heartsink”.

MP3: Blood Red Shoes – “Light It Up”
Video: Blood Red Shoes – “Heartsink”
Video: Blood Red Shoes – “Don’t Ask”
Video: Blood Red Shoes – “Colours Fade”
Video: Blood Red Shoes – “This Is Not For You”
Video: Blood Red Shoes – “Say Something, Say Anything”
Video: Blood Red Shoes – “I Wish I Was Someone Better”
Video: Blood Red Shoes – “It’s Getting Boring By The Sea”
MySpace: Blood Red Shoes

BBC6 gets a status update on their new album from Elbow. Its current working title is Lippy Kids – somehow I don’t expect that one to stick.

Digital Spy reports that Patrick Wolf’s next record will no longer be called The Conqueror nor be a thematic sequel to last year’s The Bachelor. Nor is it on pace to be complete in time for release this year, as originally intended.

The Twilight Sad have released a video for the title track from their new EP The Wrong Car, due out on September 28. It’s long, angsty and puppet-powered.

Video: The Twilight Sad – “The Wrong Car”

The Line Of Best Fit and Clash talk to Barry Burns of Mogwai, whose live audio/video experience Burning/Special Moves is out tomorrow.

Kele gets critical of his output with Bloc Party in conversation with Spinner. He will be at the Mod Club – solo-style – on September 3.

Manic Street Preachers are building anticipation for their new record by giving away a non-album track to download. Postcards From A Young Man is out September 28.

MP3: Manic Street Preachers – “I’m Leaving You For Solitude”

Shut Your Fucking Face And Listen talks to frontman Wesley Patrick Gonzalez of Let’s Wrestle. Wrestling does not ensue, at least not on the record.

Isobel Campbell talks about her working relationship with Mark Lanegan to The Guardian and to The Herald about making their new album together, Hawk. It’s out this week and streaming in its entirety at Facebook. They’re at Lee’s Palace on October 20.

Stream: Isobel Campbell & Mark Lanegan / Hawk

Also streaming in whole is Rose Elinor Dougall’s solo debut Without Why – it’s out next week.

Stream: Rose Elinor Dougall / Without Why

Exciting news from The Radio Dept. – following the release of a new single on November for “Never Follow Suit”, the reclusive Swedes will be coming to North America for a pair of shows in New York City on November 30 and December 1. And while I flew down there the last time they paid a visit, I’m hoping that won’t be necessary this time as they’re also promising more US (North American dates?) in early 2011 following the release of a double-disc compilation of b-sides and rarities in January. Radio Dept! Doing stuff! Yay! More details on the above available at Under The Radar.

Review of Land Of Talk’s Cloak And Cipher

Frank Yang — Thu, 19 Aug 2010 12:29:17 +0000

Saddle CreekWhen their debut mini-album Applause Cheer Boo Hiss arrived in 2006, Land Of Talk appeared as though Canada had a new hard rock heroine in Liz Powell, her white-hot guitar work matched only by her distinctive vocals, equal parts angst and yearning. It wasn’t a title – or pigeonhole – that Powell seemed interested in, however, and their 2008 proper debut album Some Are Lakes surprised not only by dialing down the white-knuckle rock in favour of a somewhat softer and more spacious sound, but by making it sound as good, if not in some ways better, than the big, brash document that many had been imagining it would be.

Last year’s Fun & Laughter EP reignited those expectations, though, as producer Jace Lasek coaxed back some of the rough edges that Lakes producer Justin Vernon had smoothed out and with Lasek also helming album number two, perhaps expectations that we now lived in a kinder, gentler Land Of Talk were premature. Instead, Cloak And Cipher – out next week – again confounds expectations by splitting the difference and proving, perhaps, that it doesn’t really matter who’s producing or what the balance of heavy and light songs across the record are – it’s the quality of the songs that matters and in that department, Cloak And Cipher delivers.

It’s been suggested that Land Of Talk are one big song away from breaking out in a major way and if that’s true, then Cloak And Cipher is probably not the record that will do it. It holds no anthem or ballad that stops you in your tracks or burrows deep into your skull on a single listen – what it does have is ten compositions that showcase the breadth of Powell’s talents, each sounding fully self-realized and yet for all the shifts in tones, textures and players, hang together marvelously. Album standout “Quarry Hymns” sounds deceptively simple but is just about perfect in how it’s assembled, showcasing Powell’s ability to mate her distinctive voice with just the right melody and phrasing and her unconventional, spidery guitar playing while the blistering “The Hate I Won’t Commit” aptly demonstrates her punk edge is still well intact but even then, is exceptionally layered and sophisticated. No breakout hit? No bangers? No jams? That’s fine, I’ll take a rich, solid from top to bottom album every day of the week.

The National Post is currently streaming the whole of the new record with accompanying song-by-song commentary from Liz Powell. In addition to the one download below, you can get “Quarry Hymns” over here in exchange for your email address. Land Of Talk play Lee’s Palace on September 16.

MP3: Land Of Talk – “Quarry Hymns”
MP3: Land Of Talk – “Swift Coin”
MySpace: Land Of Talk

Dan Mangan is staging a cross-country tour this Fall that includes a stop at Trinity-St. Paul’s in Toronto on October 28, tickets $22.50, with Bry Webb (formerly?) of Constantines supporting in his Harbourcoats guise. The Polaris-nominated Nice, Nice, Very Nice was just released in the US.

MP3: Dan Mangan – “Road Regrets”
MP3: Dan Mangan – “Robots”

Also coming from out west and graduating on to bigger rooms is Hannah Georgas, who is teaming up with Royal Wood for a cross-country tour that will be at the Queen Elizabeth Theatre on November 26.

MP3: Hannah Georgas – “Chit Chat”

Prefix interviews The Acorn

NPR is streaming a full session with Laura Marling.

The Daily Mail has a feature piece on Florence Welch of Florence & The Machine. She’s at the Sound Academy on November 3.

Just Played chats with Rose Elinor Dougall; her solo debut Without Why is out August 30.

This week, Exclaim is streaming the whole of Mogwai’s live album Special Moves, due out next week.

Stream: Mogwai / Special Moves

Rolling Stone talks to Nick Cave and Exclaim to Jim Sclavunos of Grinderman, whose Grinderman 2 is due out September 14 and whom the Huffington Post is calling the “first great band of the Anthropocene epoch”. Well duh. Grinderman play the Phoenix on November 11.

Forest City Lovers, Gentleman Reg and Carmen Elle at The Great Hall in Toronto

Frank Yang — Mon, 16 Aug 2010 12:29:33 +0000

Frank YangThough I’d seen Forest City Lovers a few times in the past year while their new record Carriage was being written, I can’t say as though I remember (m)any of the new songs being aired out live before being committed to tape; perhaps all the more reason that I was bowled over by just how good the new album is when I finally got to hear the finished product a couple months ago.

And that was also part of the motivation to head down to the Great Hall on Thursday night for their homecoming record release show, capping a tour that took them to the west coast of Canada and back. Better judgement suggested that staying in and resting up in the middle of a very busy week would be the smarter course of action, but I wanted to hear these new songs live and there would be time for sleep later. And the hall. It’s great.

For support, they enlisted a couple of noteworthy locals – one already so and the other well on her way. The latter was Carmen Elle, whom I’d seen back in 2006 and even then, at age 17, she was already a remarkable singer, guitarist and performer. Checking in three and a half years later, she’s even better. This time instead of a full band, it was her and a drummer and the economical arrangements allowed her smoky vocals and impressive guitar chops to come to the fore. The material struck the right balance between simple and sophisticated with plenty of great melodies and just enough rock action. She mentioned that they were debating band names so looking for Carmen Elle records might not yield the desired results – I’m not even sure there are any yet – but any project with her associated with it, like her other band Donlands & Mortimer, is worth taking note of.

Pop-smith Gentleman Reg has been doing his thing for well on a decade now, but has gone through periods of both ubiquity and extended absence. The release of last year’s Jet Black and its companion Heavy Head EP marked a period of the former over the past year, with numerous shows including a month-long Drake Underground residency, but partway through their set Reg Vermue mentioned that this might be their last show for a while, implying that a break was in order. And if so, they bowed out on a high note – I’ve seen Reg play in a variety of configurations and with different people, and this lineup really seemed to compliment him and his songs best, particularly the female harmonies offered by drummer Dana Snell and keyboardist Kelly McMichael. McMichael, in particular, shone on their unexpected cover of Sheryl Crow’s “If It Makes You Happy”, taking the chorus while Reg handled the verses.

In the past, Forest City Lovers have always given their songs an extra kick in a live setting, building on their albums’ understated charms with the contributions of new and extra players. With Carriage, they’ve brought that ethos into the studio resulting in their liveliest and most varied record yet but on stage, they sounded a bit tentative on the new material as though they still weren’t fully comfortable with playing them live. This isn’t to say they didn’t play them well, not at all, but the extra gear that I was used to them finding wasn’t quite there for the Carriage material. And it wasn’t an off night for them either, as the older material did find that next level and net, they put on a pretty great show in what I think was their largest room to date, the core lineup bolstered by keys and a second violin. Carriage should be their breakthrough record and I’m certain that next time I catch them live, it’ll all sound equally grand.

View has a feature profile on Forest City Lovers.

Photos: Forest City Lovers, Gentleman Reg, Carmen Elle @ The Great Hall – August 12, 2010
MP3: Forest City Lovers – “Light You Up”
MP3: Forest City Lovers – “If I Were A Tree”
MP3: Gentleman Reg – “We’re In A Thunderstorm”
MP3: Gentleman Reg – “Plan On Including Me”
Video: Forest City Lovers – “If I Were A Tree”
Video: Forest City Lovers – “Pirates”
Video: Forest City Lovers – “Song For Morrie”
Video: Forest City Lovers – “Please, Don’t Go”
Video: Gentleman Reg – “How We Exit”
Video: Gentleman Reg – “Rewind”
Video: Gentleman Reg – “We’re In A Thunderstorm”
Video: Gentleman Reg – “Over My Head”
Video: Gentleman Reg – “Boyfriend Song”
MySpace: Forest City Lovers
MySpace: Gentleman Reg

PopMatters converses with Sarah Harmer. She plays Massey Hall on November 20.

Spinner talks to Dog Day about going from a quartet to a duo.

Chart, Metro, The Vancouver Sun and Spinner have interviews with Kathryn Calder about her new solo record Are You My Mother?.

NPR is streaming a World Cafe session with The New Pornographers.

Check out the first video from Isobel Campbell & Mark Lanegan’s new record Hawk, out next week. They play Lee’s Palace on October 20.

Video: Isobel Campbell & Mark Lanegan – “You Won’t Let Me Down Again”

Spinner wonders if Johnny Flynn will be the next British folk star. If it means his second album Been Listening gets a release in North America, I vote yes.

Exclaim reports that Elvis Costello will release a new record entitled National Ransom on October 5.

NME is sharing a track from Rose Elinor Dougall’s forthcoming debut album Without Why, due out August 30.

MP3: Rose Elinor Dougall – “Come Away With Me”

Drowned In Sound and Spinner talk to Kele; he plays the Mod Club on September 3.

Pitchfork has details on The Concretes’ new album WYWH, due out November 8.

MP3: The Concretes – “Good Evening”

And since I get the sense that you guys like winning stuff, check out this contest to win a trip to the Polaris Music Prize gala on September 20 at the Masonic Temple in Toronto. You know, I see nothing in the rules and regulations that stipulates that Polaris jurors can’t enter. Of course, I couldn’t use the flight since I live down the street from the hall, but maybe I could trade that for a pedicab. Or a piggyback ride.

Two Door Cinema Club and Bad Veins at Wrongbar in Toronto

Frank Yang — Wed, 19 May 2010 12:20:50 +0000

Frank YangNear as I can tell, there’s no great narrative that explains why or how Two Door Cinema Club’s sold-out show at Wrongbar earlier this week became the hottest show in town, with tickets in huge demand and scalpers having apparently missed the boat entirely. There’s been no soundtrack appearance, no ad placement, no celebrity scandal, nothing that could explain why people were lined up hours in advance of doors to see the Northern Irish trio (quartet live) except that, well, they liked the songs from their debut album Tourist History. Which is reasonable.

Not that folks had necessarily intended to line up for hours. The quoted door and set times proved to be completely wrong, but as it turned out, with good explanation – Miami’s MillionYoung, who was supposed to open things up, had all their gear stolen in Montreal the night before (really, Montreal? Again?) and consequently had to cancel, throwing the evening’s schedule into disarray. The way it all shook out, doors opened an hour later than planned – thankfully the weather was nice out – and the sole support act, Cincinnati’s Bad Veins, rolled out a little after 9.

As the duo pointed out early, it was their first time playing in Toronto though it wasn’t their first time here – they had already crossed the border last Summer en route to a date at the El Mocambo when headliner Now Now Every Children’s van self-destructed and the gig had to be canceled at the last minute. This I know because I was one of a handful of people standing around outside a shuttered ElMo that evening, wondering what the what. The delay may have proved to be a blessing, though, as they can now say they made their Toronto debut in front of a packed house instead of an empty one. And while the duo’s aesthetic might have appeared junk-store – drums and guitar were handled live, but additional backing tracks were run off a reel-to-reel analog tape recorder and singer Ben Davis often sang through an old telephone handset (and through the earpiece, no less) – their songs were stadium-sized, all heart on sleeve emotional and built on big choruses. I had forgotten that I actually quite liked their 2009 self-titled debut, but their set more than reminded me not only that I did, but why.

For Two Door Cinema Club, this show marked the finale of a two-week tour that saw them criss-cross the continent and a peak to the buzz that they’d been steadily building along the trek. And really, their appeal isn’t hard to understand – it’s upbeat, hooky, danceable guitar pop delivered by young men with accents. It’s not especially deep or rich in variety – the musical equivalent of empty calories – but it is fun and when the whole room is bouncing up and down and singing along, you’d have to be an exceptionally determined stick in the mud to not play along. With just the one album clocking in at a touch over half an hour, their set list was predictable with the whole of Tourist History being aired along with three non-album tracks. All were played tightly and nearly note-perfect to the recorded versions, but theirs is not the sort of pop with a lot of room for side trips or on-the-fly reinterpretations; it’s meant to be delivered fast and fun and to keep the kids moving. Countless bands have made it work for them in the past, countless more will do so in the future. For now, however, the moment appears to belong to Two Door Cinema Club.

Paste declares Two Door Cinema Club amongst their “best of what’s next”; after a Summer of European touring, they’ll be back in North American in the Fall – expect another and larger Toronto date in October-ish. Bad Veins will be back in town sooner than that on June 15 at The Phoenix, opening for Thrice.

Photos: Two Door Cinema Club, Bad Veins @ Wrongbar – May 17, 2010
MP3: Two Door Cinema Club – “I Can Talk”
MP3: Two Door Cinema Club – “Something Good Can Work”
MP3: Bad Veins – “Gold & Warm”
MP3: Bad Veins – “Go Home”
Video: Two Door Cinema Club – “I Can Talk”
Video: Two Door Cinema Club – “Undercover Martyn”
Video: Two Door Cinema Club – “Something Good Can Work”
Video: Bad Veins – “Gold And Warm”
MySpace: Two Door Cinema Club
MySpace: Bad Veins

State talks to Kele about his solo debut The Boxer, due out June 21. He plays the Mod Club on July 29.

NYC Taper is sharing a recording of yet another Joy Formidable show from New York, this one from the Mercury Lounge on May 10.

The Twilight Sad will release a new EP on July 26 entitled The Wrong Side Of The Car; details at Clash. They’re at Lee’s Palace on May 26.

MPR is streaming a studio session with Frightened Rabbit.

Filter and The Atlantic have feature pieces on Laura Marling.

Florence Welch of Florence & The Machine talks to BBC6 about how her second album is shaping up. But before that, a new and final video from her first album.

Video: Florence & The Machine – “Cosmic Love”

Rose Elinor Dougall has also put out a new video and her debut album Without Why has finally been given a release date – it will be out on August 30.

Video: Rose Elinor Dougall – “Find Me Out”

Patrick Wolf has reported via blog that work is complete on his new record The Conqueror and it will be coming out on a new subsidiary of Mercury Records later this year, thus returning the Wolf to the major label fold. Here’s hoping it turns out to be a more enjoyable experience than last time…

Le Blogotheque scores a Take-Away Show with Echo & The Bunnymen. The song they convince Mac to play for them? One guess.

To accompany the deluxe reissue of Disintegration on June 8 in bonus-laden triple CD or bonus-less double LP form, The Cure have set up a minisite on which they’re streaming 20 live and unreleased tracks from the era which are not included in the reissue. Hit up Slicing Up Eyeballs for details on the set, the site, and a way to save those streaming tracks for your very own.

SxSW 2010 Night One A/V

Frank Yang — Tue, 30 Mar 2010 12:20:33 +0000

Frank YangFull writeup of the evening over here.

Visqueen
- Seattle-based power-pop outfit fronted by the awesome Rachel Flotard released Message To Garcia last year. Spinner has an interview.
Photos: Visqueen @ Stubb’s – March 17, 2010
MP3: Visqueen – “Hand Me Down”
MP3: Visqueen – “Beautiful Amnesia”
Video: Visqueen – “Crush On Radio”
Video: Visqueen – “Mrs. Elder”
MySpace: Visqueen

Trespassers William
- Seattle duo released The Natural Order Of Things EP last year and are currently working on their third full-length album while their cover of “The Rainbow Connection” from Sing Me To Sleep: Indie Lullabies is streaming over here. Spinner has a chat with the band.
Photos: Trespassers William @ 18th Floor at Hilton Garden – March 17, 2010
MP3: Trespassers William – “Sparrow”
MP3: Trespassers William – “Lie In The Sound”
MySpace: Trespassers William

Fanfarlo
- Swede-fronted London-based pop orchestra still riding high on last year’s glorious Reservoir are currently on tour in North America and will make their Toronto debut on April 9 at Lee’s Palace. They’re also giving away a free live EP on their website in exchange for an email address.
Photos: Fanfarlo @ The Galaxy Room Backyard – March 17, 2010
MP3: Fanfarlo – “Harold T Wilkins”
MP3: Fanfarlo – “I’m A Pilot”
MP3: Fanfarlo – “Luna”
MP3: Fanfarlo – “Finish Line”
Video: Fanfarlo – “The Walls Are Coming Down”
Video: Fanfarlo – “Harold T Wilkins”
Video: Fanfarlo – “Fire Escape”
MySpace: Fanfarlo

The Megaphonic Thrift
- Norwegian sonic anarchists released their debut full-length Decay Decoy at the start of March. Spinner has an interview.
Photos: The Megaphonic Thrift @ Habana Calle 6 – March 17, 2010
Video: The Megaphonic Thrift – “Acid Blues”

Rose Elinor Dougall
- Former Pipette who will release her solo debut Without Why in the Fall talks to Under The Radar.
Photos: Rose Elinor Dougall @ The Galaxy Room – March 17, 2010
MP3: Rose Elinor Dougall – “Fallen Over”
Video: Rose Elinor Dougall – “Start/Stop/Synchro”
MySpace: Rose Elinor Dougall

The Invisible
- London-based three-piece whose 2009 self-titled debut was shortlisted for the Mercury Prize begin a North American tour this week that stops at The Opera House in Toronto on Friday, April 2.
Photos: The Invisible @ Latitude 30 – March 17, 2010
MP3: The Invisible – “London Girl”
Video: The Invisible – “Jacob & The Angel”
Video: The Invisible – “London Girl”
MySpace: The Invisible

Rose Elinor Dougall, Fanfarlo, Trespassers William and more at SxSW

Frank Yang — Thu, 18 Mar 2010 15:46:37 +0000

Frank YangIt used to be that at 8PM, you could still wander into Stubb’s relatively easily as most were still getting their beer and BBQ on and couldn’t be expected to be in go-mode so early in the night. Apparently those days are past. Upon arriving at one of Sx’s largest venues, I was greeted with a line that went down and around the block, certainly the largest one I’d ever considered getting into. But seeing as how I had no other enticing options for that time slot, I opted to line up with everyone else and hope for the best. Things moved at just the right speed to not abandon ship and I managed to get into the venue and as politely as possible, plow my way up to the photo pit just in time to be let in for Seattle’s Visqueen.

I had been enjoying Message To Garcia, the latest slab of power pop from Rachel Flotard and company, so to hear them start with a vocal-and-cello crooner was a bit of a surprise – had there been a change of direction in the past year, perhaps inspired by Flotard’s stint as sidewoman to Neko Case a few years ago? Not in the least – with song two, the electric guitars came out and the big rock began. Their set was only four songs, but they were jam-packed with hooks, riffs and melodies, anchored by Flotard’s not inconsiderable charisma.

It was as I was leaving Stubb’s and heading to the Hilton Garden 18th Floor – a clever name for a conference room on the 18th floor of the Hilton Garden hotel – that word of Alex Chilton’s passing reached me, ensuring that the rest of the night would be at least moderately bummed out. So in that sense, the serenely downcast sounds of Trespassers William were an ideal choice. The Seattle outfit do not tour North America much, so SxSW has been my only opportunity to see them – their show in 2008 was a considerably different affair from this one, featuring a much larger band and a much louder approach. This time out, it was just principals Anna-Lynne Williams and Matt Brown with some help on drums from Robert Gomez and accordingly, it was much quieter and intimate. Their set included a couple of new songs, hopefully from a forthcoming album, and closed with a remarkable cover of Radiohead’s “Videotape”, for which Williams’ voice seemed tailor-made. A welcome pause from the general chaos of SxSW.

A chaos which I flung myself right into by trying to get into Fanfarlo at the Galaxy Room Backyard next. There wasn’t any real urgency to see them this week since they’ll be coming to Toronto in a few weeks (April 9 at Lee’s, assuming that no passports are stolen), but gave it a go and after a moderate wait in line, got in just in time for the start of the set. Or what would have been the start of the set had they started on time. Instead, they continued to soundcheck for nigh on 20 minutes longer and then, when things were set and the clock ticking, the showcase sponsor actually came out and read a prepared introduction. Dude, the house is packed and things are already running stupid late. Shut up and get off. Which he eventually did and the London five-piece came on, playing an abbreviated set that didn’t quite match the grandeur of their show last year, but a big tent is not the Central Presbyterian Church so that probably couldn’t be expected. They sounded leaner and scrappier than that show, but more boisterous and less polite – positive things both. I attribute that to frontman Simon Balthazar’s not wearing a bow tie this time out.

Post-Fanfarlo, I was almost at Latitude 30 for Johnny Flynn when I decided I’d be better off seeing someone I’d never seen before, and that meant Norway’s Megaphonic Thrift – which turned out to be a great idea except that I had forgotten I hated Habana Calle 6 as a venue. They too were running late with sound check, not getting started until 15 minutes into their set, but you don’t need a lot of time to get across what they’re about. Take one part Sonic Youth and one part Dinosaur Jr, throw them in a blender and set to “pop” and let it ride. Hellaciously loud and rife with guitar abuse, if the above recipe sounds like an awesome combination to you, then The Megaphonic Thrift may well be the most awesome thing to come down the pipe in the last 10 years.

Ex-Pipette Rose Elinor Dougall went completely against SxSW convention by booking only one single show at the festival, official or otherwise, which made her midnight show at the Galaxy Room a must-see. Previewing material from her forthcoming solo debut Without Why, due out sometime this year, Dougall seemed quite keen to break from her past by trading polka dot dresses for a black leather jacket and assembling a band more keen on ’80s dreampop guitar textures than ’50s girl group sounds. Always the strongest singer in the Pipettes, Dougall’s solo material puts that voice front and centre overtop some solid songwriting and sharp pop sensibilities. I do wish the Pipettes Mk 2 all the luck in continuing on through all their roster changes, but it’s very clear that Dougall made the right choice in setting out on her own. Definitely looking forward to that album.

As a nightcap, I stopped in at Latitude 30 en route back to the hotel to see London’s The Invisible. They did me the favour of playing “London Girl” as their second song of the set, so I didn’t feel too bad when I ducked out early. Their low-key, chilled-out groove was clearly doing it for some – there was some impressive dancing going on in the audience – but wasn’t what I needed just then. I was not going to need any help in falling asleep this night.

An introduction to The Invisible

Frank Yang — Wed, 03 Mar 2010 13:29:19 +0000

Mads PerchI kind of hate for the most apt reference point for a band to be the most obvious one, but if you have to offer an elevator pitch on London trio The Invisible, it’s hard not to want to use the letters T, V, O, T and R. The comparison goes beyond the superficial multi-racial composition of the band, though.

It also applies to their collective musical ability and creativity, both clearly on display but not ostentatiously so, and their aesthetic, which filters rock, rhythm and blues and soul influences through a thoroughly contemporary and frequently electronically-enhanced filter. Where they differ from the Brooklyn outfit is in their approach, which dials down – but doesn’t eliminate – the post-millennial tension and angst that informs much of TV On The Radio’s work in favour of a more chilled-out vibe. There’s still fire beneath the surface, but The Invisible opt to deliver it in a smoother, more soulful and dance-friendly sound.

Their 2009 self-titled debut, still only available in Europe, was a heady enough brew to garner the band a place on last year’s Mercury Prize shortlist, and after a short visit to New York for CMJ last Fall, they’re returning to North America this Spring; first for SxSW and then a proper tour that will allow music writers on this side of the Atlantic to make all kinds of bad puns about the seeing (or not seeing) the band and includes an April 2 date at the Opera House in Toronto. So if you, like me, were having trouble deciding between Serena-Maneesh at the Great Hall and A Sunny Day In Glasgow at The Garrison… your life just got a little more complicated.

MP3: The Invisible – “London Girl”
Video: The Invisible – “Jacob & The Angel”
Video: The Invisible – “London Girl”
MySpace: The Invisible

The Vinyl District gets The Joy Formidable frontwoman Ritzy Bryan to reminisce about her favourite records. They’ve released a new video as a preview of their debut full-length, due out sometime this Summer.

Video: The Joy Formidable – “Popinjay”

Music Snobbery and Spinner have interviews with Kate Nash, whose new record arrives on April 20 and now has a name – Crayon Full Of Color. Pitchfork likes the first giveaway track “I Just Love You More” more than I do. Spin has a stream of the more agreeable first official single, “Do Wah Do”, complete with obnoxious marketing voiceover. Update: The Music Slut says the new record is actually called My Best Friend Is You. I don’t know who to believe anymore.

MP3: Kate Nash – “I Just Love You More”

What better way to celebrate the North American release of Little Boots’ debut Hands than by canceling one of the dates on her North American tour? The April 30 Toronto date at the Phoenix is no longer showing up at either Ticketmaster or Ticketweb and there’s no trace of it on the promoter’s website. Still looking for an official word or reason, but none of the above are good signs. But on the bright side, it does make the question of whether to go see Jonsi at the Sound Academy that much easier to answer. Artist Direct has an interview with Victoria Hesketh.

Spinner talks to Rose Elinor Dougall about making her post-Pipette North American debut at SxSW. Her solo debut Without Why is due out this year. The Pipettes’ new one Earth Vs Pipettes is also due out in 2010.

Drowned In Sound, BBC and Pitchfork have words with Los Campesinos!. They’re at the Phoenix on April 20.

Horrors bassist Rhys Webb talks to Spinner about the band’s preparations for recording album number three.

NPR has an interview with Dev Hynes of Lightspeed Champion.

Doves have announced they’ll release a best-of collection entitled The Places Between: The Best of Doves on April 6, consisting of a CD of their singles, a second disc of rarities and a DVD of their videos. Specifics on the set available at Pitchfork, and if you were wondering only about half the material on Lost Sides is repeated here and there are three all-new songs scattered amongst the two discs.

The Clientele’s Alasdair MacLean submits five recommended hallucinatory children’s books to Owl & Bear, while Baeble Music gets a Guest Apartment video session and video interview. The AV Club also has a chat. The Clientele are at The Horseshoe on March 19.

The Georgia Straight talks to We Were Promised Jetpacks, who will release a new EP on March 9 entitled The Last Place You’ll Look. Head over to Stereogum to grab an MP3 from the short-player.

Get Hampshire talks to Frightened Rabbit frontman Scott Hutchison about their new record The Winter Of Mixed Drinks, due out March 9. They’re at the Opera House on May 4.

The Line Of Best Fit have premiered the new video from The Twilight Sad, who will be at Lee’s Palace on May 26.

Video: The Twilight Sad – “The Room”

JAM talks to Gary Jarman of The Cribs about adding legend Johnny Marr to their lineup.

Clash excerpts their feature piece on Tindersticks, getting guitarist David Boulter to recount tales of his early days.

Blurt has a two-part interview with Andy Partridge of XTC. Okay, technically that should be “formerly of”, but I can’t bring myself to say that. Or type that.