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Charles Bradley has no time for dreaming; finally has time for Toronto

Frank Yang — Wed, 16 Nov 2011 13:28:08 +0000

Kisha BariIf you were to ask anyone at SXSW this past March what was the best thing they’d seen, odds are you’d have heard “Charles Bradley” in response; I certainly did. Like his Daptone labelmate Sharon Jones, the Florida-born, Brooklyn-based classic soul singer had travelled a long, hard road filled with false starts and personal tragedies, but with the release of his first full-length album No Town For Dreaming earlier this year and accompanying praise for both his recordings and performances, it seemed he was finally getting his due.

Or so I heard. I didn’t catch any of his sets in Austin and waiting for him to tour through Toronto – as I was certain he would considering he made appearances at Osheaga in Montreal and Sappyfest in Mount Allison in late July – proved fruitless. I had no doubt that the wide-eyed, breathless testimonials about the power of his shows was deserved, but I had yet to witness it for myself. Well as it turns out, I only had to wait the better part of a year – Charles Bradley & His Extraordinaires have just announced a date at Lee’s Palace on February 11 of next year, tickets $22.50 in advance and on sale this Friday. Which is not to complain – after all, Bradley had to wait decades for his shot. A year’s not so bad. If you’re a fan of old-school soul – and everyone should be – you ought to be there.

MP3: Charles Bradley – “The World (Is Going Up In Flames)”
MP3: Charles Bradley – “Now That I’m Gone”
Video: Charles Bradley – “Heartaches And Pain”
Video: Charles Bradley – “The World (Is Going Up In Flames)”

The Smith Westerns are rolling into The Horseshoe on January 27, tickets $15 in advance. It’s unlikely they’ve got a new album finished and ready for sneak release, so assume this is continuing to support this year’s Dye It Blonde.

MP3: The Smith Westerns – “Still New”

Oklahoma’s Other Lives got a bit of a profile boost when they were announced as the openers for the first leg of Radiohead’s US tour this Spring, but seeing as how there’s no local date for that bill as yet, fans and the curious will be pleased to know that they’ll be in town at The Drake Underground on February 14, tickets $12.50. That’s a bit less than Radiohead tickets would cost, I think.

MP3: Other Lives – “For 12″
MP3: Other Lives – “Tamer Animals”
MP3: Other Lives – “Song Song”

With the final – presumably – R.E.M. release in Part Lies Part Heart Part Truth Part Garbage 1982-2011 now out, it’s exit interview time. Michael Stipe explains the band’s decision to disband in conversation with Salon and CNN while Mike Mills chats with Billboard, Time, Spin, Consequence Of Sound, and Scotland On Sunday – he also talks to Spinner about Occupy Wall Street – and USA Today gets some quotes from all three members. Blurt, meanwhile, solicits testimonials from a range of artists and fans.

It’s not an official Neutral Milk Hotel video or anything, but this clip put together by Naomi Yang of Galaxie 500/Damon & Naomi is noteworthy if for no other reason than the song was, apparently, written about her.

Video: Neutral Milk Hotel – “Naomi”

The Stool Pigeon and Spinner talk to Dee Dee of Dum Dum Girls.

The Washington Post interviews Ted Leo.

Stereogum checks in with School Of Seven Bells to see how their first album as a duo is coming along. At least well enough to have a title – Ghostory – and ballpark release date of next Spring. Update: The record is out February 28.

Guitar Junkie, The Riverfront Times and Apes On Tape talk to Lauren Larsen of Ume.

Review of St. Vincent’s Strange Mercy

Frank Yang — Thu, 03 Nov 2011 12:32:07 +0000

Tina TyrellIt’s saying something when Annie Clark’s looks rank a ways down the list of things she has going for her as St. Vincent. If we’re keeping score, then you’d have to put her angelic, crystalline coo of a voice and virtuosic, elliptical guitar skills right at the top (though which of the two should come first is grist for hours of debate). And of course neither would be anything without her songwriting acumen, which nimbly treads the terrain between odd and accessible, between abstract and evocative.

But underpinning all of that, and what I’d put forward as her most important quality, is her restlessness, as showcased in fine form on her third album Strange Mercy. That constant desire – or maybe compulsion – to fill her work with idiosyncratic touches that range from quirky accents – such as the adorable vocal hiccups in opener “Chloe In The Afternoon” – to dissonent, square-waved guitar breaks, also in the same song. One can’t help wonder about her process, and whether she writes the pretty first and then deliberately takes it off-road, or if that’s simply intuits both halves as necessary parts of the whole. Was the wonderfully random and unabashedly ’70s prog guitar/synth line that closes out “Surgeon” a result of Clark stepping back and thinking, “you know what would be interesting here?” or more, “of course that’s the outro. Duh”.

Compared to the ambitiously orchestrated Actor, Mercy is more of a guitar-heavy affair, with the contrast between Clark’s sumptuous voice and her favoured abrasive guitar tones played up throughout. Some find Clark’s penchant for abruptly shifting gears or marrying brutality with beauty if just to see what happens off-putting, but that unpredictability is rather key to the experience. Like its predecessors, it’s a touch more cerebral and considered than I might like, but the way Clark is able to sound confessional and emotionally bare without sometimes seeming to reveal anything at all and always maintaining a distance is, I suppose, perfectly in keeping with the duality of St. Vincent. And whether you genuinely love what she does or are just fascinated by it, you can’t help coming back.

The Guardian, Interview, Consequence Of Sound and The Village Voice have feature interviews with Clark, while 4AD Sessions and The AV Club have videos of some in-studio live performances and NPR is streaming her show in DC from earlier this week. She is at The Phoenix on December 15.

MP3: St. Vincent – “Surgeon”
Video: St. Vincent – “Cruel”

After bringing The Black Sea along with her in February to support Mondo Amore, Nicole Atkins returns for a solo show at The Drake Underground on December 3 – tickets $15 in advance.

MP3: Nicole Atkins – “Vultures”

The Kills are also planning a return engagement as part of a Winter tour in support of their latest Blood Pressures, setting a date at The Kool Haus for February 7 of next year. Tickets $26.50 in advance. They’ve also released a new video from said record.

MP3: The Kills – “DNA”
Video: The Kills – “Baby Says”

After trickling out streams of most of the songs from their Long Live The King EP – another went up at The Huffington Post earlier this week – The Decemberists are streaming the whole thing at Spinner.

Stream: The Decemberists – “Sonnet”
Stream: The Decemberists / Long Live The King

Hey, you know that 24-hour Flaming Lips song? No? Well they recorded one, it’s called “7 Skies H3″ and it’s streaming at flaminglipstwentyfourhoursong.com. And it’s also available for sale encased in one of 13 real human skulls for the reasonable price of $5000. Pitchfork has details and Flaming Lips completists have my sympathy.

The Columbia Free Times talks to Ted Leo.

Doug Martsch of Built To Spill updates Rolling Stone on the status of their next album. Which is not to say anyone should expect it soon, but it is – you know – coming.

Pitchfork reports that The Antlers will release a new EP entitled (together), comprised of some remixes, collaborative reinterpretations of songs and an XX cover. It’s out November 22.

It’s certainly not a reunion or a new album – I hold no hopes of either of those things ever happening – but there’s a bit of Luna news to report. Their last two albums and EP – which had the misfortune of coming out on fly-by-night labels – have been digitally reissued with a handful of bonus tracks added on. Details and an opportunity to grab a cover of Kraftwerk’s “Neon Lights”, taken from the Close Cover Before Striking EP, can be had at Full Of Wishes – yeah you have to give your email address for the download, but how much mail do you really expect to get from a band that’s been defunct for six years? There’s interviews with Dean Wareham at Polaroids For Androids and 130BPM.

The first official single from the new Guided By Voices album Let’s All Eat The Factory is now available to stream and will be available on 7″ come November 28. All 1:44 of it. The album is out January 1.

Stream: Guided By Voices – “Doughtnut For A Snowman”

Caithlin de Marrais – the former voice of Rainer Maria – will release her solo debut Red Coats on Tuesday and in advance, Magnet is streaming the whole thing.

MP3: Caithlin de Marrais – “Belong”
Video: Caithlin de Marrais – “Birds”
Stream: Caithlin de Marrais / Red Coats

Mates Of State have released a new video from their latest, Mountaintops, and Playback has an interview with the Jason Hammel half of the duo.

Video: Mates Of State – “Sway”

Exclaim reports that Brassland Records is celebrating their tenth anniversary with gifts – in the form of a free song a day, one of which is this early demo by The National. To get at the downloads, engage the label in some social media love via Facebook or Twitter – details over here.

Stream: The National – “High Beams” (demo)

Review of Sleepy Vikings’ They Will Find You Here

Frank Yang — Fri, 06 May 2011 12:28:10 +0000

Kelley JacksonHere’s a somewhat disturbing trend – bands of young’ns drawing influence from the music I grew up with, despite the fact that they probably weren’t even out of diapers when it was contemporary. Disturbing mainly in the fact that it implies I’ve crossed some sort of generational checkpoint and the cycle of influences is looping in on itself, as it does.

Case in point, Tampa sextet Sleepy Vikings, whose acquaintance I first made at NXNE last year. Despite making a non-stop 26-hour drive from there to here and playing their showcase half-dead as a result, they still impressed with their decidedly ’90s-vintage sound, all beautifully sullen jangle and fuzz. The only recordings they had to offer then were a three-song EP dubbed Ghost, but it certainly augured well for the future.

And the future is now – or more accurately, next Tuesday when their debut They Will Find You Here is released. It takes those three songs from Ghost – which remain the standout moments – and adds another half-dozen compositions that mostly reinforce what they’ve already proven excellent at. But what’s most remarkable about They Will Find You Here isn’t so much the music itself but the mood that it, as a whole, conjures. Led by singer Tessa McKenna’s subtle twang and Julian Conner’s rough harmonies, Sleepy Vikings evoke the sense of ennui and melancholy that’s one of the less-celebrated aspects of being young. They sound too resigned to be called angsty, even in their more fiery moments, but with that comes an honesty and vulnerability that would have been lost if delivered with more bluster.

I initially liked Sleepy Vikings because they sounded a lot like bands I used to – and still do – enjoy; now I like them because they remind me of things I used feel – though thankfully not nearly as much.

Orlando Weekly and therepubliq have band features.

MP3: Sleepy Vikings – “Calm”
MP3: Sleepy Vikings – “Flashlight Tag”

am New York talks to Kip Berman of The Pains Of Being Pure At Heart, in town at The Opera House on August 2.

Spinner talks to Warpaint about the Interface session they’ve just posted.

The Kills’ Jamie Hince talks to Spinner and The Georgia Straight.

According to Pitchfork, Ted Leo will be recording a none-more-analog live set for Jack White’s Third Man Records next week, to be released on vinyl shortly thereafter.

Interview talks to The Antlers’ Peter Silberman about their new record Burst Apart, due out on Tuesday. They play The Mod Club on June 14.

Consequence Of Sound reports that the Soft Bulletin live shows that The Flaming Lips have been performing will produce a live album in the near future.

eye, The AV Club and Cleveland Scene interview Kevin Barnes of Of Montreal.

Simultaneously tending to both their their present and their past, R.E.M. has released another new video from Collapse Into Now while also revealing details of their next super-deluxe reissue set; next up is 1986′s Life’s Rich Pageant, which will be released in loaded-with-bonuses double-disc form on July 25. Interview has a talk with frontman Michael Stipe.

Video: R.E.M. – “Discoverer”

Fracture Compound interviews Superchunk.

It’s a J Mascis video bonanaza. In addition to a new official clip from Several Shades Of Why, there’s a set of in-studio performances over at Pitchfork.

Video: J Mascis – “Is It Done”

NYC Taper is sharing a recording of Buffalo Tom’s recent visit to the Bowery Ballroom in New York.

In conversation with Hitfix, Zach Condon reveals that a new Beirut record should be out sometime this Summer. Presumably before they play two nights at The Phoenix, August 2 and 4.

Hitfix also gets the scoop on Matt Ward’s return to being M Ward – solo artist – rather than Him or a Monster.

Fleet Foxes have posted up another MP3 from the just-released Helplessness Blues. They’re at Massey Hall on July 14.

MP3: Fleet Foxes – “Grown Ocean”

On May 31, My Morning Jacket will mark the release of Circuital that day with a live-to-YouTube concert at Louisville’s Palace Theater. The New York Times talks to filmmaker Todd Haynes, who will be directing the performance, as to what he’s got planned.

NOW finds out what’s going on in the world of Joe Pernice; home renovations, a new record due out this Fall, a possible/probable tour as Pernice Brothers and a solo show at the Dakota Tavern tonight.

Exclaim has details on the first new Richard Buckner record in five years; Our Blood will be out on August 2 and the first taste of what he’s been up to in that time is available to download.

MP3: Richard Buckner – “Traitor”

Old 97′s will follow up the release of last year’s The Grand Theatre, Vol. 1 with – wait for it – The Grand Theatre, Vol. 2 on July 5. Spinner talks to Rhett Miller about the record.

The Toronto Star, Houston Chronicle and The Daily Herald talk to Steve Earle. He’s at The Molson Amphitheatre on August 20.

Review of LCD Soundsystem’s London Sessions

Frank Yang — Tue, 22 Feb 2011 13:39:09 +0000

Ruvan WijesooriyaThough James Murphy warned us even before This Is Happening was released last Spring, the LCD Soundsystem victory lap has run for so long and through so many gigs that the idea that the band as we know it is coming to an end in a little over a month – at a final Madison Square Garden show will apparently be attended solely by scalpers – is a bit surreal. But anyone thinking that that final LP was the last word from the band should definitely look for the London Sessions live postscript released digitally late last year and physically this year.

Recorded last Summer at south London’s Pool/Miloco Studios, the hour-long Peel Session-ish document functions both as a live album and best-of compilation. It captures the band sounding tight, lean and pretty much the peak of their live powers while running through a pretty good selection of their most essential tracks, adding occasional embellishments like the Joy Division-ish guitar parts on “All My Friends” and Murphy’s hilarious ad-libbed lyrics on “Pow Pow”, but largely staying true to the originals.

But rather than make London Sessions redundant, this faithfulness makes it all the more essential – those who only know the band from the albums might well assume that they’re a largely studio creation, but those who’ve had the privilege of experiencing them in a live setting know that they’re all hellaciously good musicians and Murphy is a completely riveting frontman, even though objectively speaking he doesn’t do much on stage. Even though there’s not the crowd noises and interaction you’d typically get from a live album, there’s still plenty of live-wire energy captured and the fact that the band are doing this off the floor – there are presumably no overdubs – makes London Sessions almost as essential a component of the LCD discography as anything else they’ve done.

London Sessions was released on CD in late January and will be out as a double-LP on April 26. The Vine has an interview with James Murphy.

Video: LCD Soundsystem – “Pow Pow”
Video: LCD Soundsystem – “Drunk Girls”

Billboard talks to Death Cab For Cutie bassist Nick Harmer about their new record Codes & Keys, due out May 31.

James McNew of Yo La Tengo discusses the band’s ongoing “wheel of fortune” tour with The Vancouver Sun.

Ted Leo talks about striking out on a solo tour with The Los Angeles Times.

Ra Ra Riot have released a new video from The Orchard. There’s an interview with the band at The Victoria Times Colonist.

Video: Ra Ra Riot – “Too Dramatic”

NPR solicits a Tiny Desk Concert from Local Natives.

The Black Keys are going to be at the Molson Amphitheatre on July 7. Tickets $50. Fifty. Plus fees. Yup. Presale today at 10AM.

Video: The Black Keys – “Tighten Up”

Magnet Q&As Gary Louris of The Jayhawks in advance of turning over the editorial reins to he and Mark Olson this week.

NPR is streaming a studio session with Iron & Wine.

Washington City Paper talks to Mike Cooley and The Chicago Tribnue to Patterson Hood of Drive-By Truckers. Their new record Go-Go Boots is out today.

Aquarium Drunkard has an interview with Lucinda Williams, who will be at Massey Hall on March 4 and 5 opening up for Levon Helm and promoting her new record Blessed, out March 1.

Review of Nicole Atkins’ Mondo Amore

Frank Yang — Thu, 10 Feb 2011 13:37:04 +0000

nicoletakins.comThat Nicole Atkins’ 2007 debut album Neptune City was a favourite in these parts is a matter of public record, but does that mean it was a perfect record? No, not at all. As a vocalist and songwriter, Atkins has never tried to hide her New Jersey roots or the classic rock, blues and country traditions that informed her formative years so drenching her first record in big, romantic orchestral arrangements was a gutsy case of trying something completely unexpected from the get-go. And by and large, it succeeded though it was more because of Atkins herself and sometimes despite the production choices.

So opting to strip things down for her second effort, the just-released Mondo Amore, might seem a little less creatively adventurous but hearing Atkins operating completely within her comfort zone and playing to her strengths more than validates the decision. The front half of Amore showcases the rock instincts that were sublimated on Neptune City, from the sinister and slinky leadoff “Vultures” through the countrified “Cry Cry Cry” and barrelling “You Come To Me” – some of the genre nods can be a little on the nose, but their energy more than makes up for it.

As invigorating as side one of Mondo Amore is, it’s the smouldering side two that really seals the deal, dimming the lights, raising the reverb and spotlighting Atkins at her wounded, torchy best. The compositions themselves wouldn’t have been out of place on Neptune City, but whereas a track like “Heavy Boots” might have reached its crescendo accompanied by legions of strings, Amore drives the emotional quotient home with cavernous piano and understatedly snarling electric guitar. There’s still plenty of drama on tap, but it’s delivered more naturally and thus more effectively – Amore is less theatre, more boozecan, and all the better for it.

The New York Times, Seattle Post-Intelligencer, Palo Alto Daily News, Largehearted Boy, Spinner, NorthJersey.com, Blurt, Interview and BlogCritics all have features on Nicole Atkins. Her North American tour is underway and will make its way to The Horseshoe in Toronto on February 26. The whole of Mondo Amore is currently available to stream at Spinner.

MP3: Nicole Atkins – “Vultures”
Video: Nicole Atkins – “Vultures”
Stream: Nicole Atkins / Mondo Amore

Conor Oberst discusses the new Bright Eyes modus operendi with Billboard. The People’s Key is out next week and they’re at The Sound Academy on March 13.

Pitchfork is streaming Okkervil River’s new non-album single “Mermaid” while talking to Will Sheff about their new record I Am Very Far, due out May 10. Sheff also takes Spin through the new album track by track.

Austin360 celebrates Shearwater drummer Thor Harris.

Buffalo Tom is making an acoustic EP entitled Bones available for free download from their website in advance of the release of new album Skins next week.

Le Blogotheque has a Take-Away Show with Local Natives.

The Telegraph profiles Drive-By Truckers, whose latest Go-Go Boots arrives February 22.

There’s a new MP3 from J Mascis’ forthcoming solo record Several Shades Of Why, out March 15. He’s at The Great Hall on March 11 for Canadian Musicfest.

MP3: J Mascis – “Is It Done”

Oh hey it’s a new Kills video. Blood Pressures is out April 4 and they play The Sound Academy on May 1.

Video: The Kills – “Satellite”

Phantogram have released a new video from last year’s Eyelid Movies.

Video: Phantogram – “When I’m Small”

Ahead of their show at The Horseshoe later that evening, Telekinesis will play an acoustic in-store at Sonic Boom at 7PM on March 6. Their new record 12 Desperate Straight Lines is out next Tuesday.

MP3: Telekinesis – “Car Crash”

Magnet Q&As John Vanderslice, whom they’re letting play website editor for the week.

The final deluxe-ass Pavement reissue – that for Terror Twilight – will see the light of day sometime in November.

Eater talks food and drink with Ted Leo.

The Phoenix New Times interviews Interpol drummer Sam Fogarino while eye catches up with School Of Seven Bells. They’re both at The Sound Academy on February 15.

Exclaim reports the new TV On The Radio record has a name – Nine Types Of Light – and should be out this Spring.

And because for a short time yesterday people trying to get the new Strokes MP3 basically broke the internet, here it is. It sounds like The Strokes. Angles is out March 22.

MP3: The Strokes – “Under Cover Of Darkness”

Guided By Voices, Yo La Tengo, Liz Phair and more at Matador at 21

Frank Yang — Thu, 07 Oct 2010 12:31:32 +0000

Frank YangIf there’s an upside to getting a full night’s sleep after turning in at 5AM, it’s that it eliminates a lot of the decision-making around what to do with one’s day. Hauling my ass out of bed at almost 1PM meant that all I had to do for the last day of Matador at 21 was shower, cram myself with enough food to get me through till the wee hours of the morning and stand in line waiting for the doors to the Pearl to open. Easy peasy.

The weekend’s grand finale was led of by Shearwater, who this show and ACL aside, were taking a short break before a final, extensive November tour in support of this year’s The Golden Archipelago. And if this performance was any indication, the US cities on that itinerary had best be prepared for a Shearwater that’s making a strong argument for themselves as a rock band. I’d seen Shearwater a number of times through a number of lineups, including their last visit to Toronto in April, but this was the most punchy and aggressive I can recall hearing them and that they were able to convey that kind of energy and dynamicism without compromising the majesty and mystery that makes up so much of their appeal was really remarkable.

Photos: Shearwater @ Pearl at The Palms – October 3, 2010
MP3: Shearwater – “Black Eyes”
MP3: Shearwater – “Castaways”
MP3: Shearwater – “Rooks”
MP3: Shearwater – “The Snow Leopard”
MP3: Shearwater – “Red Sea, Black Sea”
MP3: Shearwater – “Seventy-Four, Seventy-Five”
MP3: Shearwater – “I Can’t Wait”
MP3: Shearwater – “Room For Mistakes”
MP3: Shearwater – “An Accident”

Though only a recent signee to Matador with this year’s Brutalist Bricks, Ted Leo seemed to have been anointed man-about-fest and label ambassador for the weekend – he was ubiquitous at events and after parties, guesting in MC sketches, karakoeing and generally seemed to be having a great time, as someone who’s finally found a stable home after being on way too many failing labels reasonably would. That positive energy gave his set a distinctly different vibe than the last time I saw him in June during a totally different kind of insane weekend. Highlights included bringing Sally Crewe out to add vocals and tambourine to “Bottled In Cork”, a rampaging “Ballad Of The Sin Eater”, the best one-liner of the weekend (“this is champagne, not my own urine”) and being joined by Carl Newman for a closing cover of “I Love My Label”, though delivered sincerely rather than ironically as songwriter Nick Lowe had intended. This weekend, we all loved his label.

I had spent much of the weekend playing The New Pornographer bingo and had managed to spot half the lineup in the wild before they took the stage. I was excited not just because they were one of only two Canadian acts in the lineup – gotta have some national pride – but because I hadn’t yet seen them on tour for Together. Whereas some of their label peers were using the occasion to do something a little different, be it a guest appearance, deep cut or cover, the Pornographers instead went for maximum content, cramming a dozen of their biggest, hookiest songs into their allotted time. Things were hampered a bit by a questionable mix that was far too light on the vocals for a band with so many great vocalists, but the sheer concentration of tunes and the presence of a happy and chatty Neko Case and a Dan Bejar who didn’t look like he wanted to bolt for the nearest exit as soon as his song was done made for a great set that finished with the unbeatable one-two punch of “Letter From An Occupant” and “Bleeding Heart Show”.

Photos: The New Pornographers @ Pearl at The Palms – October 3, 2010
MP3: The New Pornographers – “Your Hands (Together)”
MP3: The New Pornographers – “My Rights Versus Yours”
MP3: The New Pornographers – “Myriad Harbour”
MP3: The New Pornographers – “Twin Cinema”
MP3: The New Pornographers – “The Laws Have Changed”

Of all the acts playing this weekend, the most intriguing was Liz Phair, who was originally listed as a performer when Matador 21 was announced, then mysteriously removed, then added again weeks later. The prodigal daughter, whose disastrous major label reinvention is used as a cautionary tale for others considering same, had been out of the public eye for some years but was apparently staging a comeback with the recent release of the perplexing and deliberately awful Funstyle and upcoming unearthing of the legendary Girlysound recordings on October 19 (as a bonus disc to the physical release of Funstyle, natch). Who would show up? The mainstream pop punch line or the revered indie queen? Would she be welcomed with arms open or crossed? The answer to both was clear when she strode out on stage, looking as great as ever, to huge applause. And in return, she opened with “Supernova” and the great Liz Phair resurrection was underway. Playing with just a second guitarist, the rest of her set was made up of highlights from Exlie In Guyville and Whip Smart that culminated in a terrific duet with Ted Leo on “Fuck & Run”. In the course of a 20-minute set, Liz Phair was able to largely erase the last 10 years from our memories and remind us why we cared so much about her in the first place. Where she takes things from here is anyone’s guess but either way – welcome back, Liz.

Photos: Liz Phair @ Pearl at The Palms – October 3, 2010
MP3: Liz Phair – “Fuck & Run”
MP3: Liz Phair – “Polyester Bride”

It must have been some bad luck the first couple of times I saw Yo La Tengo live because those shows, way back in the early part of this century, gave me the impression that the trio were first mates on the USS No Fun, so sullen and inward did they seem at those performances. But the music keeps bringing me back and every show since then – particularly in recent years – has been better and better as they’ve found a good balance between the extended jams and the pop gems, the deep cuts and the fan favourites. And while they still seem prone to bouts of moodiness, when they’re feeling good their shows are great and at Matador 21, they were feeling good. The trio – as synonymous a band with Matador as ever there was one – started off with the slow-burning “Our Way To Fall” but all the many sides of Yo La Tengo were represented, including the organ-driven “Autumn Sweater”, the goofy synchronized dance-move enhanced “You Can Have It All”, the eternally wonderful “Sugarcube” and epic drone-to-freakout finale “Blue Line Swinger”. I’d commented earlier in the day that the shortened set time might force them to stay focused and hopefully “Nuclear War”, which had been a 20-minute nadir of the worst Yo La Tengo show I’d ever seen, would be omitted but they made be eat my words as the Sun Ra cover was indeed in the set but flipped around lyrically to shout out to every member of the Matador staff. Hilarious and perfect.

And finally, at long last, after three days or six years – whichever you like – it was time for Guided By Voices. It wasn’t the first time I’d seen them – I caught one of their final tours, and the last to come to Canada, back in the Summer of 2002 at the Horseshoe – but certainly the first time with this “classic” lineup associated with their very best mid-’90s records. To be honest, I was less excited about the who that was going to be performing, though the presence of Tobin Sprout was a definite plus, than the what – a set made up of exclusively pre-1996 material was going to be pretty sweet. My anticipation was nothing compared to many of those in around me, though, waiting for that iconic “The Club Is Open” neon sign to light up. It seems that there had been convoys of Bud Light-wielding proto-bros from Ohio to Nevada and they spent the entire weekend to this point out in the parking lot having a giant tailgate party. That things were going to get rowdy was a foregone conclusion, as was the fact that my spot right up against the stage – claimed and held onto for the past seven hours or so – would get pretty painful as a result. But these are the prices you pay in the name of rock.

And it was indeed rock. Guided By Voices have never been a young band and were clearly even less so now – Robert Pollard in particular looking older than his 57 53 years – but they clearly weren’t going to let a little thing like age slow them down, at least not while they were on stage. Pollard had all his signature moves ready to go – the mic twirl, the skipping, the scissor kick – and he wasn’t even the most enthusiastic of the band. That honour went to guitarist Mitch Mitchell, who was so gleeful to be back out there with his windmills and rock poses, it was as though he’d been waiting by his phone for the reunion call for the past 14 years; bassist Greg Demos’ enthusiasm levels weren’t far off. Sprout, on the other hand, was more reserved with an amused professorial air about him but I suspect that was the case 15 years ago as well. I couldn’t see drummer Kevin Fennell behind his kit, but I will assume he was having a good time.

It wasn’t the old days – the mandatory cooler of beer wasn’t tapped in to nearly as much as it might have been a decade ago and with this being just their third show, the 90-minute set was a far cry from the 3-hour marathons they were once known for – but they certainly couldn’t be accused of not trying their damnedest. 30 songs ranging that dipped into more obscure EPs, but mostly they gave everyone what they wanted to hear – gem upon gem from Propeller, Bee Thousand and Alien Lanes. I would have liked to hear more from Under The Bushes, Under The Stars but couldn’t tell you at the cost of what selections. A show without “My Valuable Hunting Knife”, “Echoes Myron”, “Game Of Pricks” or “Gold Star For Robot Boy” would have been unthinkable. The actual execution of said songs wasn’t perfect; more than once Pollard and his bandmates had to catch their breath and they weren’t overly tight, but even in their heyday slop was part of the mystique and so that it now came from rust rather than beer didn’t matter so much. What did matter was that this was Guided By Voices, one more time, and that they were the perfect cap to an outstanding weekend and something I thought I’d never experience – a good time in Vegas. See everyone at Matador @ 22? Olé.

Photos: Guided By Voices @ Pearl at The Palms – October 3, 2010
MP3: Guided By Voices – “Everyone Thinks I’m A Raincloud”
MP3: Guided By Voices – “Window Of My World”
MP3: Guided By Voices – “I’ll Replace You With Machines”

Las Vegas Weekly, Billboard and North County Times have interviews with Liz Phair, who herself contributed a piece to The Wall Street Journal about the phenomenon of ’90s nostalgia.

Paste checks in with Mitchell and Fennell about the road to the Guided By Voices reunion, and one of the reunion shows is available to download in whole for free at GBV Digital.

The Los Angeles Times, Las Vegas Weekly, The AV Club, Wall Street Journal and Rolling Stone have writeups of the final night’s festivities while Pitchfork, Entertainment Weekly and Spin opt for complete weekend feature pieces. Also check out the oral history of Matador at MySpace, a complete set of festival feature articles and interviews at Las Vegas Weekly and a list of acts who could have/should have played but didn’t and why not at Spinner.

And tomorrow, back to reality.

Darnielle and Bruno team up as The Extra Lens

Frank Yang — Fri, 03 Sep 2010 12:33:50 +0000

MergeIt was announced last month that following a long, fruitful run on the venerable 4AD label, John Darnielle was herding up his Mountain Goats and moving to the equally venerable Merge Records for the release of the next Mountain Goats record and presumably a number of its successors. But before that run of records begins – presumably next year – there will come Undercard, a new album from the Darnielle project with frequent collaborator and contributor Franklin Bruno under the name The Extra Lens.

Formerly known as The Extra Glenns, the duo have been producing music independent of their respective solo projects since 2000 but had only one album to their name – 2002′s Martial Arts Weekend. And with the name change, I guess that won’t ever change, but I digress. Those coming to The Extra Lens via The Mountain Goats will be pleased to know that Darnielle’s distinctive cadence and aesthetic makes The Extra Lens feels instantly familiar. It’s sparer in arrangement than recent Goats records yet fuller in a sense, with Bruno’s multi-instrumental skills put to good use.

Though the record isn’t out until October 19, it’s already available to stream in its entirety at Merge so if the wait from last year’s The Life Of The World To Come to next year’s whatever it ends up being called is too long for you to manage, make with the clicky. It’s unclear if The Extra Lens will become a touring proposition, but if so, it’s worth pointing out that The Mountain Goats skipped Toronto entirely whilst promoting Life, so being one of some select dates would ba nice way of making that up. Just saying.

MP3: The Extra Lens – “Only Existing Footage”
MP3: The Extra Glenns – “Going To Marrakesh”
Stream: The Extra Lens / Undercard

New York’s Postelles are coming to town as part of a Fall tour in support of their forthcoming self-titled debut which is due out October 12 – look for them at the Mod Club on November 30. In addition to a Daytrotter session released earlier this Summer, the band have also put out a Buddy Holly cover.

MP3: The Postelles – “Everyday”
MP3: The Postelles – “White Night”
Video: The Postelles – “White Night”

Radiohead have made a fan-made live video bootleg of a show in Prague official by providing the audio masters from the performance for the soundtrack. Radiohead: Live In Praha is currently available for free download or can be watched clip-by-clip at YouTube.

Built To Spill have put out a new video from last year’s There Is No Enemy.

Video: Built To Spill – “Hindsight”

Beatroute interviews Ted Leo while Pitchfork talks to Tom Scharpling, who directed Leo’s new video for “Bottled In Cork”.

Beatroute talks briefly to Titus Andronicus’ Patrick Stickles.

The Irish Times runs a profile on The National, interviewing guitarist Aaron Dessner.

The Morning Benders have put out a new video from Big Echo. Support for their November 5 show at The Mod Club have been announced as Twin Sister and Oberhofer.

MP3: Twin Sister – “Dry Hump”
MP3: Oberhofer – “I Could Go”
Video: The Morning Benders – “All Day All Light”

Baeble Music has posted a Guest Apartment session with School Of Seven Bells. They’re at the Mod Club in a couple weeks, on September 15.

The Santa Barbara Independent interviews Tift Merritt.

Interview talks to Wes Miles and Rebecca Zeller of Ra Ra Riot.

Review of Kathryn Calder’s Are You My Mother?

Frank Yang — Mon, 30 Aug 2010 12:33:06 +0000

Caleb ByersIt’s been a half-decade since Kathryn Calder joined The New Pornographers in 2005, and in that time she’s gone from handling the impossible task of pinch-hitting on tours for Neko Case to appearing on their last three albums and becoming an as integral part of the band – her parts may not have the force of personality as Case’s, but her more delicate approach offers an important contrast and gives Carl Newman another invaluable tool in assembling his power pop symphonies. But prior to joining the Pornographers, Calder had her own creative outlet in Immaculate Machine and while she retains a membership card for the Victoria-based band, she’s largely ceded that outfit to guitarist Brooke Gallupe. Which basically meant that a solo album was pretty much an inevitability, but that doesn’t make Are You My Mother? any less of a surprise.

My experience with Calder as a songwriter goes back as far as the first couple Immaculate Machine records and while they were decent enough pop records, they weren’t particularly exceptional within the realm of Canadian indie. The years of apprenticing to Carl Newman have clearly paid off, however, as Mother is a remarkably fully-realized solo debut, and while it features plentiful contributions from various Pornographers and other Vancouver-based musicians, Calder is clearly in the driver’s seat throughout. One might be forgiven for assuming that given her role as singer and keyboardist in the Pornographers, Calder solo might turn out a record of singer-songwriter-oriented girl-and-piano material. And while at its quieter moment Mother does strip things down to just that, numbers like album opener “Slip Away” and the barreling “Castor And Pollux” are as grandiose pop as anything the New Pornographers might create and just as instantly memorable. Mother is rangy and engaging, built around Calder’s crystalline, pitch-perfect yet expressive voice and perhaps more importantly, her impressive songwriting chops.

The New Pornographers are frequently called a “super-group”, implying that each of their members are as equally accomplished on their own as they are in the band – with Are You My Mother?, Kathryn Calder steps up and makes that even more true.

MP3: Kathryn Calder – “Arrow”
MP3: Kathryn Calder – “Slip Away”
Video: Kathryn Calder – “Slip Away”
MySpace: Kathryn Calder

If you missed North Carolina’s Lost In The Trees when they played a free show here back in June (which I previewed but did not manage to attend), they’re back on September 27 at the Drake Underground in support of Mercury shortlisted Irish act Villagers. They’ve also got a new Daytrotter session up for grabs.

MP3: Lost In The Trees – “Fireplace”
MP3: Lost In The Trees – “All Alone In An Empty House”

Winter Gloves will mark the September 7 release of their second album All Red with an acoustic in-store performance at Kops Records that same night at 5:30PM.

MP3: Winter Gloves – “Plastic Slides”

Toronto power-pop aficionados The Golden Dogs will follow up their September 17 show at the Drake Underground with a September 23 in-store performance at Soundscapes at 7PM. Their new record Coat Of Arms came out last month.

MP3: The Golden Dogs – “Permanent Record”

The Great Hall will certainly be the scene of mayhem on October 12 when the tour teaming Lightning Bolt and Dan Deacon hits Toronto. Those wanting to be out of the line of fire can take refuge on the stage because neither performer will be setting up there.

MP3: Lightning Bolt – “Colossus”
MP3: Dan Deacon – “Get Older”

LA duo No Age will be releasing their second album Everything In Between on September 28 and have announced an extensive Fall tour to support – the Toronto date comes November 18 at the Polish Combatants Hall.

MP3: No Age – “Glitter”

The Toronto Star talks to Peelander Yellow of Peelander-Z, in town to make things silly at the Velvet Underground on September 1 and The Silver Dollar on September 2.

Spinner talks to Lissie about the attention her penchant for covers has gotten her and her debut album Catching A Tiger; The Independent also has a feature. She’s at the El Mocambo on October 19.

Spinner talks to Interpol drummer Sam Fogarino and Black Book solicits a list of the band’s favourite NYC hang outs. The band’s self-titled effort will be out September 7 and they’ve just released a second video from it.

Video: Interpol – “Barricade”

Ted Leo talks to Billboard about the making of the off-off-off-off-Broadway video for “Bottled In Cork”.

NPR is streaming a World Cafe session with LCD Soundsystem.

The Guardian salutes 4AD on the occasion of the legendary label’s 30th anniversary.

And a note to folks in Toronto that if you’re looking for something to do of the cinematic variety this week, you could do much worse than to check out No Heart Feelings at the Royal, where it’s screening through Thursday of this week. It’s a romantic comedy (but not really a rom-com) set in an eminently familiar Toronto from three local first-time directors and though imperfect – it suffers from the atmosphere-and-dialogue-in-lieu-of-plot vagueness that’s all too common in independent film – it’s still a winner thanks to its charm and authenticity (though I don’t do as much in and around the city nearly as much as their characters do, I have no problem believing that people actually DO these things and that I’m really just a shut-in). Don’t take my word for it, check out positive reviews in The Globe & Mail, The Toronto Star and The National Post.

Trailer: No Heart Feelings

Azure Ray return from hiatus with album, tour

Frank Yang — Thu, 15 Jul 2010 13:05:06 +0000

Saddle CreekMany little bits and pieces to get through before I head out to Chicago for the Pitchfork Music Festival, and any randomness in this post was compounded by the fact that I became an uncle for the first time last night. Yay babies.

With seven years past since their last album and numerous solo projects and albums between them in the interim, you’d be forgiven for assuming that Maria Taylor and Orenda Fink had gone their separate ways for good. But their hiatus has turned out to be just that, as Georgia’s Azure Ray is back in action – or at least as much action as can be expected from a band known for languid, hazy pop – and will release their first album since Hold On Love with Drawing Down the Moon on September 14. Exclaim has some details on the record, which was produced by Crooked Fingers’ Eric Bachmann.

They’ve also put together a Fall tour in support – their first in six years or so – and it includes a date at the Horseshoe on November 10 with Tim Fite as support. There’s no samples from the new record as of yet, but odds are they’ll pick up approximately where they left off and not stray too far from their older material.

MP3: Azure Ray – “If You Fall”
MP3: Azure Ray – “Sea Of Doubts”
MP3: Azure Ray – “November”

Amongst other shows announced yesterday – The Airborne Toxic Event will have some fancy digs on their next visit to town, as they’ll be playing Trinity-St. Paul’s on September 13 and they’re bringing a string section along with them. This is insupport of their concert film with the Los Angeles Philharmonic, All I Ever Wanted, which is out September 7.

Video: The Airborne Toxic Event – “Neda”

2007 Mercury Prize winners Klaxons are releasing the follow-up Surfing The Void on August 23 and are coming to North America to support it, including a date at the Mod Club on September 27.

MP3: Klaxons – “Atlantis To Interzone”

I’m not sure if Neon Indian ever became the soundtrack to Summer they seemed tipped to be back in the Winter, but after paying a visit back in the Spring, they’re hitting the road come Fall and the itinerary includes an October 12 date at Lee’s Palace.

MP3: Neon Indian – “Deadbeat Summer”

Irish stars Bell X1 are coming to North America this Fall for an acoustic tour that includes a stop at the Drake Underground on October 12.

MP3: Bell X1 – “How Your Heart Is Wired”

The Vaselines, who are releasing their first new album in forever with Sex With An X on September 14, have slated a North American tour that wraps in Canada, the second-to-last date being at the Horseshoe on October 30.

MP3: The Vaselines – “I Hate The ’80s”
MP3: The Vaselines – “Son Of A Gun”

U2 has rescheduled their canceled Summer 2010 tour for Summer 2011 – the Toronto make-up date will be July 11, again at the Rogers Centre.

Video: U2 – “Cedars Of Lebanon”

Paste reports that R.E.M. have completed work on a new album, and are aiming to have it out in early 2011.

Superchunk have released the MP3 for the first single from Majesty Shredding, out September 14.

MP3: Superchunk – “Digging For Something”

The Village Voice talks to Ted Leo about his retirement plans or lack thereof.

Check out the new video from Miles Kurosky, taken from his album The Desert Of Shallow Effects.

Video: Miles Kurosky – “The Night Won’t Last”

Judging from the new Gayngs video from Relayted, the question is not, “will there be a disco ball when Gayngs play The Phoenix on October 1″, but “how big will it be”.

Video: Gayngs – “The Gaudy Side Of Town”

Each Note Secure has an interview with Matthew Houck of Phosphorescent conducted after $40,000 worth of gear and merch was stolen but before it was all improbably recovered a few days ago. Their tour continues on with the only net casualties being the Toronto and Buffalo dates, and they aim to make those up around the end of the Summer.

The Quietus gets a track-by-track breakdown of the new Autolux album Transit Transit from guitarist Greg Edwards. The record is out August 3 and they play Lee’s Palace on August 24.

eMusic, The Line Of Best Fit and The Music Slut interview School Of Seven Bells about their just-released Disconnect From Desire. They’re at the Mod Club on September 15.

Pitchfork talks to Spiritualized’s Jason Pierce about the decision to play Ladies & Gentlemen We Are Floating In Space in its entirety before retiring it.

Sky Larkin are giving away an MP3 of the title track from their new record Kaleide. It’s out August 9 but is available to pre-order now with downloads available immediately.

MP3: Sky Larkin – “Kaleide”

Bandstand Busking welcomes The Clientele for a session. Their Minotaur mini-album – eight tracks is too many to just call it an EP – is out August 31.

The Tallest Man On Earth tours to verify rest of world still shorter than he

Frank Yang — Thu, 08 Jul 2010 12:34:00 +0000

Julia MårdYou can probably scientifically and quantitatively prove that there is nothing fresh or original about what Swede Kristian Matsson does under his stage name of The Tallest Man On Earth. He’s a folk-oriented singer-songwriter who’s armed with just an acoustic guitar and a raspy, Dylan-ish twang and in those terms, is indistinguishable from an infinite number of performers in coffee houses around the world at any given moment in time.

What sets Matsson above and apart is something more ineffable; a fine sense of melody, deft guitarwork and evocative turn of phrase, certainly, but what I like most is his enthusiastic romanticism – he’s occasionally wistful but never downbeat or morose. The cap always sits at a jaunty angle, the step always has just enough spring. It comes across well on his latest record The Wild Hunt but is so much more irresistible live – I only caught him play a short in-store at Criminal Records back on Record Store Day but it was enough to be won over by his charm and charisma as a performer, and I’m a pretty hard sell on “guy with a guitar”.

His show at the El Mocambo that evening was all kinds of sold out, but those shut out will be pleased to know that Matsson will be spending a goodly chunk of the next few months on the road – in Chicago for Pitchfork next week, but Europe the rest of the Summer before returning to North America for a continent-crossing September that includes a September 24 date at Lee’s Palace in Toronto. Support on all North American dates comes from S. Carey of Bon Iver; his solo debut All We Grow is out August 24.

MP3: The Tallest Man On Earth – “Burden Of Tomorrow”
MP3: The Tallest Man On Earth – “King Of Spain”
MP3: S. Carey – “In The Dirt”

In other concert announcement news – Scissor Sisters bring their new record Night Work out on tour and stop in at the Sound Academy on August 31; tickets $35 in advance.

Video: Scissor Sisters – “Fire With Fire”

New York’s Ratatat are also now apparently big enough to play the Sound Academy – their latest album LP4 brings them to the aforementioned venue on September 8; tickets $20 in advance.

MP3: Ratatat – “Party With Children”

Maryland’s Cotton Jones, whose new record Tall Hours In The Glowstream is out August 24, will be at the Drake on October 9 supported by Pepper Rabbit, who were just there the other night.

MP3: Cotton Jones – “Gotta Cheer Up”
MP3: Pepper Rabbit – “Red Wine”

And speaking of just here – with the Toronto Islands gig over and done, Band Of Horses are coming back to town on October 21 for a show at the Kool Haus as part of a full North American tour. Tickets are $27.50 in advance.

MP3: Band Of Horses – “Factory”

Veteran punks Social Distortion have set a date at the Kool Haus on October 23 as part of a Fall tour.

Video: Social Distortion – “I Was Wrong”

The Line Of Best Fit interviews Swedish duo jj. Awkwardness ensues.

Jonsi talks to The Quietus about his days as a Metallica fan.

Wye Oak chats with NPR; they’re at the Horseshoe on August 28.

Daytrotter has served up a session with Drive-By Truckers.

The Quietus talks to Greg Edwards of Autolux. Their Transit Transit is out August 3 and they play Lee’s Palace on August 24.

Cults, who’re at the Horseshoe on August 7 opening up for Maps & Atlases, have a new video that is awash in balloons.

Video: Cults – “Oh My God”

Ted Leo takes to the blog to address rumours circulating about his impending retirement from music.

Local Natives are featured in a Spinner Interface session and interview with Filter. They play the Mod Club on October 19.

NPR has a World Cafe session with Holly Miranda.

That Imagine Concert that was supposed to bring the spirit of the ’60s to Downsview Park this coming weekend but never announced boo about boo? It’s not dead yet. They’re now targeting Labour Day weekend to get all up in your face with peace and love – lineup and ticket details coming soon. I can’t wait.