Chromewaves

The Seldom Seen Kid

Wed, 23 Jul 2008 08:28:47 -0500

Photo via MySpace

Ultimately, I think it might just be a matter of size. Elbow frontman Guy Garvey is a big guy. The one time I saw them live, he was confined to a chair due to a leg injury but even seated, he had enormous presence. He's a big guy with a big voice and a beard, and he's from Manchester. Based on this, it's not unreasonable to expect that any band fronted by him might be ready to bring the rock at the drop of a hat, or at least get in a fight. It's with this preconception that I've generally approached Elbow, starting with their last release Leaders Of The Free World, and it's on that misconception that I've always felt a bit let down by them.

But with their latest, The Seldom Seen Kid, I think I'm starting to get it. Garvey is the sort of guy who may well sit anywhere he pleases at the pub on a Saturday night, but with a few pints in him he doesn't get combative but poetic. He'd sooner drag himself to the piano in the corner and sing his heartbreak than pick a fight. Those seeking a musical punch up should look elsewhere - those willing sit a spell and actually listen, pull up a stool. This is not to say that Elbow are soft. They're well aware of their weight and aren't afraid to throw it around as necessary and seem to do so at least once a record - the lumbering stomp of "Grounds For Divorce" wears the title this time out - but even then it's never a conventional rocker, more the threat of it.

The point is that Elbow are not a quick hit. It's taken a few months of moderate rotation for The Seldom Seen Kid to begin to properly sink in - apparently I needed to listen closely. I'll be revisiting Leaders Of The Free World in short order to see what, if anything, I missed there but even allowing for that record's reconsideration I'd submit that Kid is a superior record, with a greater musical sweep and emotional resonance. Garvey's no mean wordsmith but he also appreciates that while there's a time for flowery prose, there's also a time for raw directness - when he sings, "because it's breaking my heart" in a cracked falsetto on "Some Riot", you don't notice that it's a phrase that's been used countless times in countless pop songs, you only notice that this man's heart is genuinely breaking.

No sanctioned MP3s available from the record but there's plenty to see and stream at the seldomseenkid.com promotional website. In The News has an interview with Garvey, who also fields readers questions at Drowned In Sound. And he tells NME and BBC that he's pleased as punch that The Seldom Seen Kid has made the shortlist for this year's Nationwide Mercury Prize.

Video: Elbow - "Grounds For Divorce"
Video: Elbow - "One Day Like This"
MySpace: Elbow

Oh yes, the final ten nominees for the Mercury Prize were announced yesterday. In addition to Elbow, the list features familiar names such as British Sea Power and Radiohead as well as a bunch of others I don't know so well. I also don't know offhand what the actual criteria for selecting a winner are, so I'll refrain from offering any odds on who might take home... sorry, what's the prize again? Cash? Is it cash? In Canada we give cash. What? £20,000? Well, that's definitely not nothing. Anyway, Strange Glue has some of the official reasoning about the shortlist from the star chamber that selected the finalists, one of the judges blogs for The Guardian and The Daily Record asks a couple nominees what they'd do with the loot.

The Quietus has some video footage of British Sea Power's recent show at the Museum of Natural History in London.

The Verve tell BBC that their much-ballyhooed reunion was hardly smooth sailing. The fruits of their labours - Forth - will be released on August 26.

Also on the reunion trail are James, who are bringing their new record Hey Ma to the Phoenix on September 23. Full North American tour dates at NME.

And one surprising reunion that's probably of interest to only a handful of people - namely the ones in attendance when it happened - is that Chapterhouse got back together at the Truck Festival in the UK this weekend to play "Love Forever" with Ulrich Schnauss. Full details at NME. I swear at this rate every shoegaze band to ever have existed will be getting back together except the ones that I want.

Goldfrapp will be touring this Fall and has a date scheduled at the Danforth Music Hall for September 14. Full dates at Pitchfork, World Cafe session streamable at NPR.

Lucky Soul have blogged a progress report on the writing and recording of their second album. It doesn't sound like that one will be done for some time, unfortunately.

The Go! Team are clearing out their cupboards and giving much of what they find away for frees. Head on over to register and see what's up for grabs. They're at the Phoenix on August 5.

Philadelphia's Windsor For The Derby will be at the Drake Underground on August 29 in support of their new album How We Lost, tickets $8.50.

MP3: Windsor For The Derby - "Maladies"
MP3: Windsor For The Derby - "Hold On"

Also from Philly are Dr Dog, who will be touring their new album Fate - out yesterday - to the El Mocambo on October 3, tickets $10.

MP3: Dr. Dog - "The Old Days"
MP3: Dr. Dog - "The Ark"

Decidedly not from Philadelphia is New Zealand's Liam Finn, who is still touring his album Call Me Lightning. He'll be at the El Mocambo on October 4 and tickets are $12.

MP3: Liam Finn - "Second Chance"

Born Ruffians will play their biggest local headlining show yet on November 1 at the Opera House. $12.50 in advance gets you in.

Iron & Wine are hitting the road this Fall and will stop in at The Phoenix on November 13. Tickets $25.

M83 are coming back to town with New York's School Of Seven Bells (ex-The Secret Machines and On!Air!Library!) for a show at the Opera House on November 20. Full dates at Pitchfork.

The Independent goes to town on the whole notion of "indie" in the UK, offering up choice quotes such as "landfill indie", "firework band" and "like the sound of Satan's scrotum emptying". That is my new favourite phrase. I will endeavour to use it in conversation at least once a day. Via Coolfer.

The Rogers Picnic

Tue, 22 Jul 2008 08:38:44 -0500

Photo by Frank Yang

The Rogers Picnic, the little one-day festival held on the grounds of Historic Fort York, was supposed to be a low-impact affair - hang out, shoot some bands, check out some acts I'm not too familiar with, just chill, y'know? That was the plan, anyway. Unfortunately nature had other plans. I'd hoped the deluge of Saturday evening and Sunday morning would do it for the rain for the weekend, and when the skies cleared around noon on Sunday, I was optimistic enough that the worst was over to take my bike down to the concert site.

From the look of the lineup, things seemed to be running a touch late getting started, but The Carps were still able to kick things off on time. I'd actually been advised to miss the Scarborough duo if at all possible but despite the dire warning, they weren't all that bad. Their drums-and-synth electro-funk was certainly on the sophomoric side but they managed to engage the small crowd - most were still outside the gates in line - and get them moving. Sure, their repertoire of antics consisted of pretty stock rock moves - crowd surfing, climbing into the audience to sing and smashing a cheap bass guitar to cap things off - but those moves have only persisted this long because they still sorta work.

Photos: The Carps @ Historic Fort York - July 20, 2008
Video: The Carps - "From Compton To Scarboro"
Video: The Carps - "Heaven's Gates & Hell's Flames"
MySpace: The Carps

Though I've seen Born Ruffians seemingly countless times previous (okay, four times) I hadn't caught them live since last October and not since the release of their debut full-length Red, Yellow & Blue earlier this year. By now I appreciate that I like about 60% of what they do, but the fact that the other 40% often finds its way into the same songs keeps me from really getting into them. But I do respect that they've carved a distinctive sound for themselves and that they're managing to maintain their quirks while crafting some catchy songs. And judging from the number of Ruffians t-shirts I spotted being worn proudly around the audience over the rest of the day, they're successfully growing their fanbase. Or maybe their shirts were just the most absorbent.

Photos: Born Ruffians @ Historic Fort York - July 20, 2008
MP3: Born Ruffians - "Knife"
Video: Born Ruffians - "I Need A Life"
MySpace: Born Ruffians

To this point the weather had only threatened, maybe some drizzle, but nothing too fierce. Maybe it was intended to make Londoner Dizzee Rascal feel at home because when the Ruffians finished up, the skies opened up and carried on pouring through most of his set. Though most serious hip-hop fans would have been at the Rock The Bells tour elsewhere in the city that day, enough in attendance seemed to be into Dizzee's chart-topping (the #1 single in the UK right now is "Dance Wiv Me" from Maths + English), so-called "grime" to reciprocate the energy he brought to the stage, even if they weren't familiar enough to make his call-and-response efforts wholly successful and when his sideman exhorted the crowd to "make some fucking noise" - which would have been after every song - the audience obliged. And while it's unclear if they were really calling for an encore or just happy that the rain was easing off, Dizzee came back out for a couple more numbers. It didn't throw the schedule off, though, so no harm no foul.

Photos: Dizzee Rascal @ Historic Fort York - July 20, 2008
MP3: Dizzee Rascal - "Where Da G's?"
Video: Dizzee Rascal - "Dance Wiv Me"
Video: Dizzee Rascal - "Where Da G's?"
Video: Dizzee Rascal - "Flex"
Video: Dizzee Rascal - "Old Skool"
MySpace: Dizzee Rascal

While I was initially ambivalent about Vampire Weekend, I've gotten off the fence on the "nay" side. It's not backlash to the hype, it's just that I find their self-titled debut to be anywhere from bland to annoying, depending on my mood. That said, I was still curious to see how they did live and while I wouldn't have been surprised if their chirpy pop had actually managed to summon out the sun (it didn't), they still didn't especially impress. Granted, their tunes are quite hooky but there's something irritating about them that I just can't get past... musically, it's harder to put a finger on but on this day, it's most definitely singer/guitarist Ezra Koenig's horrid sweater and beach shorts ensemble. Hey, I never said I wasn't petty.

Photos: Vampire Weekend @ Historic Fort York - July 20, 2008
MP3: Vampire Weekend - "Cape Cod Kwassa Kwassa"
Video: Vampire Weekend - "A-Punk"
Video: Vampire Weekend - "Oxford Comma"
MySpace: Vampire Weekend

I'm not especially familiar with just how Animal Collective works, but my first reaction on seeing them take the stage - nominally they're a four-piece but today were just a duo - was that if I were a fan who'd come to the show just to see these guys, I'd feel a bit cheated. But as it turns out, Panda Bear and Avey Tare are all you need to make a helluva racket. Armed with an arsenal of instruments both conventional and electronic, they crafted a dense and steady 40-minute psychedelic drone that was either the best or the worst thing the happen the whole day, depending on who you asked and what drugs they were on at the time. I can't imagine how loud it'd have been if the rest of the band was present. I found it interesting but also easy to be distracted from, particularly when the it began to pour again. Chart has a pre-fest interview with Animal Collective.

Photos: Animal Collective @ Historic Fort York - July 20, 2008
MP3: Animal Collective - "Peacebone"
MP3: Animal Collective - "Forest Gospel"
Video: Animal Collective - "Water Curses"
Video: Animal Collective - "Peacebone"
Video: Animal Collective - "Fireworks"
MySpace: Animal Collective

I didn't know who Chromeo were before Sunday, but henceforth they shall be known as the act that pretty much stole the day (though who they stole it from - no one else really owned - is unclear). It'd have been easy to dismiss the Montreal electro-funkers as a pair of goofs, but they put on a terrific, charismatic and funny performance that got most everyone in a party mood and forgetting for a moment that they were all going to have pneumonia the next day. Though they pushed the limits of good taste on how much vocoder you can use in a set, they incited more than a few mud-splattered dance parties out in the field. Somewhere, backstage, I could imagine The Carps frantically taking notes on how to do what they do correctly.

Photos: Chromeo @ Historic Fort York - July 20, 2008
MP3: Chromeo - "Fancy Footwork"
MP3: Chromeo - "Needy Girl"
Video: Chromeo - "Bonafide Lovin'"
Video: Chromeo - "Fancy Footwork'"
Video: Chromeo - "Tenderoni'"
MySpace: Chromeo

Again, the rain had eased up and again, we dared hope that that would be the end of it and it's here that I'll point out a fact about the stage setup that surely affected the perceived intensity of the performances. Because of the rain, the bands were positioned about halfway back in the very large festival stage so that even in a full downpour, the rain wouldn't reach them and their gear and no one would die in a very messy and very electrified accident. And don't get me wrong, I'm all in favour of no one dying, but setting the performers so far back from the audience - factor in a fairly large photo/security pit - and it was difficult for any of the acts not tethered to instruments and amps, which is to say Dizzee Rascal - to get any real chemistry going with the audience. Unfortunate, but necessary I suppose.

Anyway, Tokyo Police Club had a tough act to follow and it was difficult for them to do so from where they were standing (literally). Though the fuzzy blasts of compacted pop that made up A Lesson In Crime and the recent Elephant Shell translate very well to the big stage, the four of them seemed very small up there. Singer/bassist David Monks took a few forays to the edge of the stage - I guess he had the long patch cord - but that made the staticness of his cohorts that much more evident. I've seen them perform better and fans may be interested to note that Monks mentioned they'd be playing again locally in December.

Photos: Tokyo Police Club @ Historic Fort York - July 20, 2008
MP3: Tokyo Police Club - "In A Cave"
MP3: Tokyo Police Club - "Juno"
Video: Tokyo Police Club - "Graves"
Video: Tokyo Police Club - "In A Cave"
Video: Tokyo Police Club - "Tessellate"
MySpace: Tokyo Police Club

The presence of Cat Power on the lineup, as eclectic as it was, was a bit of a head scratcher. Granted, she's a marquee name in any context but considering that except for Animal Collective, she was the only act with more than two albums to her name and also the only one who had been around in the 20th century, it was going to be interesting to see how she went over with the much younger demographic in attendance. Now I'd seen Cat Power twice in support of The Greatest and both - solo and with the Memphis Rhythm Band - were magical in their own way. I hadn't, however, seen her since she'd reconfigured with the Dirty Delta Blues band and released the almost all-covers Jukebox. That was the context for this performance and whereas those other two shows were shining examples of the new, fitter and healthier (but still sorta crazy) Chan Marshall, this one didn't measure up to that standard.

From the get-go, she was fixated with sound problems both real and imagined and spent as much time interacting with the sound tech as the audience. Though she'd later say her voice was gone, to my ears she sounded terrific as did the band, though they mostly kept the backing simple, only utilizing the impressive musical talent assembled to cut loose a couple times. What was distracting, however, was the seemingly on-the-fly reinventions of most of the songs that made up the set lists. The melodies from familiar songs were turned upside down or discarded entirely in favour of lines of Marshall's own invention, which often meandered and rarely repeated. Even her own "Metal Heart", completely reinvented for Jukebox, was turned on its head again and only recognizable when the title surfaced in the lyrics. It may have been that she knew exactly what she was doing and it was all by design, but considering who we're talking about the converse could just as easily be true.

It's hard to say how well Cat Power went over - there were definitely fans in attendance but there were also many who were clearly bored and/or confused, and it was hard to blame them. This was a very young audience and Cat Power comes from a very old place. It's not to say that the two can't meet, obviously they can and often do, but it's also not a given. Marshall finished off her set by tossing a bouquet of flowers into the audience - a nice touch - and introducing the band, and then was gone. And so was I.

Photos: Cat Power @ Historic Fort York - July 20, 2008
MP3: Cat Power - "Metal Heart"
MP3: Cat Power - "Song To Bobby"
MySpace: Cat Power

It's easy to read my not sticking around for headliners City & Colour as a deliberate diss to the screamo-turned-country stylings of Dallas Green (who got the name for his band from his own name - Dallas is a city, green is a colour. I just figured this out), but in truth if I wasn't completely exhausted, soaked and genuinely concerned about coming down with trench foot, I'd have probably stuck around if only to see what all the fuss was about. But instead I, and not a few others, headed out from former garrison of the city of Toronto and into the finally dry night. The folks at JAM, Chart, The National Post and eye stuck around, however, so if you're looking for complete top to bottom reviews, head there.

And I don't have trench foot, thankfully, though I'm not sure my shoes can be salvaged.

Feel The Love

Mon, 21 Jul 2008 08:30:26 -0500

Photo via Modular

When tickets for Cut Copy's show at Lee's Palace this past May turned into some of the hottest ducats in town, first forcing the show to be moved to the twice-as-large Phoenix and still selling out completely, I attributed it as much to the presence of much-hyped outfit Black Kids on the undercard as any buzz the Australian trio had amassed on their own.

But considering that they're coming back this Fall for a September 19 date at the Sound Academy (tickets $22.50) entirely on their own merits, it seems I may have underestimated their appeal. Not that it doesn't make sense - their new record In Ghost Colours reminds me of Technique-era New Order with some Depeche Mode thrown in (Dan Whitford's vocals can be eerily reminiscent of Dave Gahan's) and when you manage to be evocative of two of the biggest bands of the '80s with being slavishly derivative, well people are going to take note.

While Colours runs a little long at 15 tracks, I appreciate how well they're able to balance out decent pop songwriting with the necessary traits of electronic dance music (big, repetitive beats) that make for enjoyable listening whether out at a club or just sitting at home. Which is how I've been listening to them. There's nothing wrong with that. There's not. It doesn't mean I don't dance to it. I mean, I don't, but that's not a given. Anyways.

There's features on the band at The New York Times, Metro, Chart and The Scotsman while Spinner's Interface recently hosted a studio session with the band.

Update: The tour will be a co-headline with fellow electro-Aussies The Presets. FYI.

MP3: Cut Copy - "Lights & Music"
Video: Cut Copy - "Lights & Music"
Video: Cut Copy - "Hearts On Fire"
MySpace: Cut Copy

As for their tourmates on the last tour, Black Kids will release their debut full-length Partie Traumatic in North America tomorrow and having gone though the record via the Spinner stream, I suspect this is a case where what comes across as exhilarating on a single or an EP gets exhausting over the course of a full length - Reggie Youngblood's almost-satirical Robert Smith yelping, in particular, becomes a bit much to take. Black Kids are at the Mod Club October 5, NPR has a World Cafe session with the band, Reuters and interview and The Independent an extensive feature.

Stream: Black Kids / Partie Traumatic
Video: Black Kids - "Hurricane Jane"
Video: Black Kids - "I'm Not Gonna Teach Your Boyfriend How To Dance With You"
MySpace: Black Kids

Also coming back to town for the second time this year - Jamie Lidell, who will be at the Opera House on October 9 in support of his latest album Jim, tickets $17.50. The New Zealand Herald has a profile of the electro-soul singer.

Video: Jamie Lidell - "Another Day"

Music Snobbery and Pitch talk to Supergrass, about whom the excellent question was raised the other day - why aren't the playing Toronto on this tour? Their jaunt with Foo Fighters ends in New York. Hardly a hop skip and a jump up here and you know they'd sell out wherever. Just saying.

Neil Halstead reminisces about the Slowdive-y days with Wired. His new solo record Oh! Mighty Engine is out next Tuesday.

The Quietus has an exclusive excerpt from Nick Cave's forthcoming book Dig, Lazarus, Dig!!! based on the song "Dig, Lazarus, Dig!!!" from the album Dig, Lazarus, Dig!!!. Dig, Lazarus Dig!!!, the concert, will be held at the Kool Haus on October 1.

The Sun and The Minneapolis Star-Tribune interview The Hold Steady while Spinner solicits a list of top ten pet peeves. I dunno, harping on pet peeves is hardly staying positive.

Vindy.com talks to Film School frontman Greg Bertens. They're at Sneaky Dee's tomorrow night.

And if you're in the mood for something a touch quieter Tuesday night, Bon Iver is at Lee's Palace though I believe that one is sold out. If you can't get tickets, perhaps console yourself with this Daytrotter session while reading these features at Relix and JamBase. It's like an intimate backstage concert and conversations... except not.

Paste has a first listen to one of the songs from Calexico's forthcoming Carried To Dust, out September 9, while Blurt profiles and offers a preview of their forthcoming cover story on the band. Update: MP3 now available to download!

MP3: Calexico - "Two Silver Trees"

The New York Times talks to Neil Young about the CSNY: Deja Vu documentary.

Leonard Cohen is profiled by The Times.

JAM discusses Something For All Of Us..., out tomorrow, with Brendan Canning.

The Province talks to Kathleen Edwards.

The National Post anoints Weakerthan John K Samson as "Canada's Poet Laureate". I don't think they can do that. And don't we already have the Alligator Pie guy? The Weakterthans are playing day two of V Fest on September 7 at the Toronto Islands.

Sunday Cleaning - Volume 95

Sun, 20 Jul 2008 09:01:17 -0500

Adam & The Amethysts / Amethyst Amulet (Pome)

Adam Waito, as in "& The Amethysts", might be best known to people as the keyboardist in Miracle Fortress - which is to say that he's probably not known to people at all. But those who enjoy that project's swirling pop classicism would be well advised to explore this particular branch of the family tree as they both share a debt to the sounds of the '60s and a home studio aesthetic, though the Amethysts keep things more analog and organic, rooted in a folk tradition and incorporating more acoustic instrumentation. Intended as an aural love letter to Waito's hometown of Thunder Bay, Amulet tempers a musical wanderlust with creative focus for a debut that's playful, elegant and nostalgic and not at all averse to a well-placed burst of fuzz guitar.

Adam & The Amethysts play Sneaky Dee's this Saturday with Miracle Fortress, Think About Life and Ruby Coast.

MP3: Adam & The Amethysts - "Stupid Ocean"
MP3: Adam & The Amethysts - "The Return"
MP3: Adam & The Amethysts - "Bumble Bee"
MP3: Adam & The Amethysts - "He Passed Away (The Darkness In His Head)"
MP3: Adam & The Amethysts - "Sonic Youth Centre"

Gregor Samsa / Rest (Kora)

Take the austerity of Low, the more keyboard-driven side of late-era Mogwai and some of the fairy tale otherworldniness of Sigur Ros and you've pretty much nailed Brooklyn's Gregor Samsa. Slow, stately rock of the post- variety, they differentiate themselves from their peers by eschewing guitar pedal-based dynamics for keyboards and orchestration and pairing the instrumental loveliness with ghostly co-ed vocals. Rest is sombre without being dour, and though its hazy nature does mean that it can pass by almost unnoticed if left to the background, some attentive listening yields understated yet beautiful returns.

MP3: Gregor Samsa - "Jeroen Van Aken"
Video: Gregor Samsa - "Jeroen Van Aken"
MySpace: Gregor Samsa

Dot Dash

Fri, 18 Jul 2008 08:32:43 -0500

Photo by Adam Scott

It's already been a good year for veteran acts touring through town, and the few weeks around the end of September and start of October just got that much more legendary with the announcement that influential-on-pretty-much-everyone British post-punk band Wire will be coming to Lee's Palace on October 7.

But there's no way the famously prickly outfit would hit the road on any sort of greatest hits/nostalgia tour so expect to hear lots from their just-released new album Object 47, but considering that their releases since getting back together in 1999 - the three Read & Burn EPs and the Send LP (which had overlapping material with the EPs) - have been very well received and only strengthened the band's legacy rather than dilute, that's not a bad thing at all. But that said, I'd be crushed if I went and didn't hear "Outdoor Miner"... which I don't expect I would.

Pitchfork has the rest of their Fall tour dates spanning both Europe and North America.

MP3: Wire - "One Of Us"
MP3: Wire - "In The Art Of Stopping"
MP3: Wire - "Dot Dash" (live at CBGB)
MP3: Wire - "3 Girl Rumba" (live at the Roxy)
MySpace: Wire

The Portland Mercury talks to Ray Davies, fans of whom are strongly urged to check out his cover story in the latest issue of Magnet. The Calgary Herald also has an interview and solicited some commentary about covers others have done of his work over the years.

Glide spends the day with Nick Cave & The Bad Seeds, leading up to their show at Dublin Castle (not really a castle, really in Dublin). They're at the Kool Haus on October 2.

Billboard reports that the second wave of fancy-pants Replacements reissues covering their releases on Sire will hit stores on September 23. Featuring the mandatory bonus tracks, I'm more curious if they were able to scrub any of that unfortunate '80s production off of some otherwise classic records. Oh, and there's a good 'Mats piece in the aforementioned issue of Magnet. For those of you who still read things on paper.

Also due out on September 23 and boasting Twin Cities roots is Stay Golden, a compilation from alt.country supergroup Golden Smog. According to Billboard, it will only feature material from the first two full-length albums - nothing from 2006's Another Fine Day or their debut On Golden Smog covers EP. There'll also be a demo and a Brian Wilson cover to round things out.

Mogwai's Stuart Braithwaite reminisces about the days of Young Team with Drowned In Sound. They'll release the Batcat EP on September 9, The Hawk Is Howling September 23 and play the Phoenix September 24.

Jambase, The Vancouver Sun and Georgia Straight chat with Aimee Mann, in town at the Kool Haus on August 28.

Blurt has a brief feature on Centro-Matic.

Finally, some firm news about Land Of Talk's long, long, long-awaited full-length debut. It's going to be called Some Are Lakes, it was recorded (and thus produced by?) Bon Iver's Justin Vernon and will be out on October 7 independently in Canada and via Saddle Creek (!) in the US. Exciting news, though it's interesting to note that the record apparently features Andrew Barr of The Slip on drums - not Eric Thibodeau, who took over back there after the departure of original drummer Bucky Wheaton last Spring and is not mentioned or pictured in any press materials. Either way, the fact that they're finally done with Applause Cheer Boo Hiss - as great a record as it was - and are ready to bring on something new is good news. No tour dates yet aside from a couple of Ontario festivals over the next month, but being the road warriors that they are, they'll be back in our clubs before too long.

NOW has a bluffer's guide to the lineup for this weekend's Rogers Picnic, happening Sunday afternoon at Historic Fort York, as well as an interview with Born Ruffians, who will be the second act up.

I've been watching a crapload of movies lately, but haven't been doing much in the way of reviews. So to mark the biggest movie day in the geekoid movie-goer's calendar this year, some itty-bitty capsule reviews of my recent views.

Cloverfield (Trailer) - Surprisingly engrossing. I thought it was going to be lame but I was all into it, and it was fun seeing the utterly demolished NYC locales and thinking, "hey, I've been there".
Be Kind Rewind (Trailer) - Much better than the reviews had led me to believe. Still quite slight, but more coherent than I thought it'd be and with a big, big heart.
In Bruges (Trailer) - Really enjoyed this - super black, super violent, wickedly funny in points and with lovely medieval scenery. What more could you ask for? Filter has an interview with director Martin McDonagh.
Atonement (Trailer) - I'd started reading the book some years ago but the library wanted it back before I got too far in - thus I didn't really know what it was about. Probably the saddest film I've seen in ages.
The Bank Job (Trailer) - I love a good heist film and this was a decent heist film. A bit lacking in focus in trying to stay (vaguely) historically accurate and a bit sudden in the swings from comical to brutal, but a pretty good time. And the finale was in Paddington Station, which was my tube stop in London. Whoo!
Run Fatboy Run (Trailer) - Lightweight (pun intended) and predictable, but reasonably solid directorial debut from David Schwimmer. It also earns points for being set in many of the places I visited in London.
Forgetting Sarah Marshall (Trailer) - Never thought I'd see the day that I'd rate Mila Kunis above Kristen Bell, but this movie did it. Probably my favourite from the Apatow factory, with surprisingly well-rounded characters and no villains. Refreshing.
Superman II: The Richard Donner Cut - While certainly better than the theatrical cut, still kind of awful though it's probably not fair to judge it by current comic adaptation standards. But still worthy for erasing memories of the flying cellophane "S" (WTF?) and for reminding that Christopher Reeve really was perfect for the role.
300 (Trailer) - I'm under the impression that a lot of people thought this film was awful. I liked it. It satisfied on a very visceral level and I didn't read any sort of socio-political agenda overtop. Just crazy violence.
Eastern Promises (Trailer) - Quite possibly the first Cronenberg film I've enjoyed start to finish. Intense and not at all ridiculous (except that bathhouse fight scene which was ridiculous in the best way).
Transformers (Trailer) - So this was really really really really... what's the word? NOT GOOD. Not that I expected it to be, really, but to actually witness... Yeah. No.

And I've also been sinking my teeth into the first season of Flight Of The Conchords, which is flat out hilarious. Why didn't anyone tell me?

MP3: Flight Of The Conchords - "Business Time"
MP3: Flight Of The Conchords - "Ladies Of The World"
Video: Flight Of The Conchords - "Ladies Of The World"

The first two-thirds of Joss Whedon's Dr Horrible's Sing-Along Blog are already online, part the third arrives tomorrow. Don't ask, just click.

Oh, and here's something that's been a long time in coming - the Watchmen trailer. It looks... expensive. Shame about the soundtrack, though. Smashing Pumpkins? Seriously?

Trailer: Watchmen

Live Fast Die Strong

Thu, 17 Jul 2008 08:28:54 -0500

Photo by Natasha Papadopoulou

"You have to see them live".

Now don't get me wrong, I like seeing bands live. I should think that much is obvious by now. But when that's used as a response to my voicing a lack of interest or enthusiasm for a particular artist's recorded output, I can't help but get even more wary. After all, I can tell the difference between unfortunate production and weak songwriting and can forgive the former, but not the latter. This isn't to say that a band with great songs be so much better live that the studio renderings pale in comparison, but when the strength of a band's live performance is used as an excuse for not being able to write decent tunes, it sounds to me like someone is trying to use wacky hijinks on stage as a smokescreen for other deficiencies.

I've been hearing stories of Montreal's King Khan & The Shrines' shows spoken of in hushed, reverential tones for some time now - all about the sheer madness of their live performances but never about the strength of the actual music - so I generally dismissed them. Come on, when you have as much music flung at you as I do you sometimes have to make wholly arbitrary snap judgments to stay sane. But that didn't keep me from giving their new record, The Supreme Genius Of King Khan And The Shrines, a fair shake when it showed up. Essentially a best-of compiled from his myriad EP, single and full-length releases, it functions as a strong introduction to Khan's frantic blend of garage rock, funk and soul. It's loud, proud and obviously doesn't take itself too seriously but still seriously enough to ensure it's expertly executed. They might be obviously and unabashedly goofy, but they can play. And while it may not be something that gets a lot of rotation when just hanging around the house, it's the sort of record you could put on at a party and easily let run start to finish.

And, perhaps more importantly, its existence gives Khan an excuse to go out and play some shows. Now as I've said, I'm a bit jaded to the whole "they're so amazing live" angle, but reading reviews like this one from San Francisco last week... I'm as intrigued as I am frightened. They've got two shows at the Horseshoe next week - Wednesday the 23rd and Thursday the 24th - and will also be doing an in-store at Sonic Boom at 7PM before the second night's show. Obviously that one has the appeal of being free, but I can't imagine they'll be fully debauched in such a PG environment - for that, you'll need to hit the 'Shoe shows which, thanks to Vice Records, could also be free. I've got a pair of passes to give away to each night - if you want in, email me at contests AT chromewaves.net with "I want to see King Khan!" in the subject line and your full name, along with which night you want to go to, in the body. If you want to enter for both nights - that's cool, you just won't win for both - email me twice and mention which night you'd prefer, in case it comes down to it. Contest closes at midnight, July 20.

Khan and The Shrines are currently on tour across America, leaving a trail of rock & wreckage and press clippings in their wake. Check out the local preview in eye as well as interviews in SF Weekly, The San Francisco Bay Guardian, The Georgia Straight, The College Times, Exclaim!, Creative Loafing, Desert News, Chart, Metro and Indy Weekly, who also have an MP3 available to download different from the one below.

MP3: King Khan & The Shrines - "Torture"

The National Post and The Capital Times talk to Hold Steady guitarist Tad Kubler while Spinner compiles a list of the band's favourite baseball movies.

Filter has some info on the forthcoming EP from Magnetic Morning, the collaboration between Swervedriver's Adam Franklin and Interpol's Sam Fogarino.

eye talks to Matt Ward about She & Him, kicking off their North American tour next Wednesday night at the Opera House.

The first taste of Ra Ra Riot's debut full-length The Rhumb Line, out August 19, is now available and if it sounds familiar it's because it's one of the songs that first appeared on their self-titled EP... but at least it's been re-recorded. They're at the Horseshoe on September 4.

MP3: Ra Ra Riot - "Dying Is Fine"

Nick Cave discusses the art of writing and his workaholic tendencies with The Telegraph. Cave and The Bad Seeds play the Kool Haus on October 1.

In talking to Billboard about Okkervil River's forthcoming The Stand-Ins, out September 9, Will Sheff says that after the tour that brings them to the Phoenix on October 12, the band will be taking "a long break". Oh noes!

Sleepercar, whose pedigree includes Sparta and At The Drive-In, are at the Horseshoe on August 5. Seeing as how that's a Nu Music Nite, it will possibly/probably be a free show.

Black Rebel Motorcycle Club are at the Mod Club on August 11, tickets $27.50 on sale now.

September 20 brings The Oxford Collapse to town in support of their new record Bits, out August 5, for a show at Sneaky Dee's. They'll be accompanied by Love As Laughter, Gothamist has an interview.

MP3: Oxford Collapse - "The Birthday Wars"

San Francisco's Dodos will return for a date at the Horseshoe on October 6. The Grand Rapids Press has a talk with guitarist Meric Long.

And perhaps most intriguingly, The Charlatans (UK) have a date booked at the Mod Club on October 10, tickets $30. One one hand, they're quite obviously past their best-before date - this year's decent but not great You Cross My Path notwithstanding - and if they're out to prove themselves a vital creative entity, it could be awkward for everyone. But if they're willing to accept that their fans - and though they're playing a venue a quarter the size of the one I last saw them at in 2002 and half the size from their last visit in 2006, they'll have no trouble filling it with psyched up Britpop refugees - are old and not interested in change and just want to hear the hits, then a well-chosen set list in a room that cozy with a band whose been around long enough and played stages big enough that they know how to put on a great show, well that could be something really special that makes you (and them) feel at least 10 years younger.

Album: The Charlatans / You Cross My Path
MP3: The Charlatans - "Oh! Vanity"
MP3: The Charlatans - "You Cross My Path"
Video: The Charlatans - "Oh Vanity"
Video: The Charlatans - "You Cross My Path"
Video: The Charlatans - "The Misbegotten"

Leave The Light On

Wed, 16 Jul 2008 08:24:45 -0500

Photo by Frank Yang

First thing I did when I got home on Monday night was hit up eMusic for Silkworm's Firewater, which had just been recommended to me most emphatically, but as it turns out, I didn't have enough downloads left so I grabbed the new Bottomless Pit EP Congress and put Firewater at the top of the queue for next month.

The context of this was that I'd been at Sneaky Dee's and while as a longstanding Bedhead and The New Year fan, I'd obviously gone to see The Kadane Brothers play Toronto if not for the first time ever, then the first time in a damned long time, I was completely enthralled by their tourmates' set. I had no history with Bottomless Pit or their previous incarnation as Silkworm, save for knowing about the senseless death of drummer Michael Dahlquist in 2005 that forced the dissolution of that band. But while I'd primed a bit with their debut album Hammer Of The Gods in the days preceding the show, I didn't expect to be as amazed as I was.

From the moment they took the stage, via an instrumental segue at the end of the Kadane Brothers' set that ranks amongst the most impressive things I've seen in recent memory, they had me riveted. Not so much for their onstage charisma - they're mostly unremarkable-looking guys who just go about their business - but for the music they made. Melodic without being overtly pop and intense while remaining resolutely laid back, Bottomless Pit deliver "Indie rock" of the oldest school, with echoes of Built To Spill, Archers Of Loaf and Sonic Youth acquired not as influences, but contemporaries. The combination of Andy Cohen and Tim Midgett's guitar and baritone guitar, respectively, made for a distinct and glorious sonic blend that I'm amazed isn't utilized by more bands. Of course, it's not just the gear - there's also their respective virtuostic abilities on their instruments which made for some exhilarating six-string excursions. I know I've already used the word "enthralled" but it's the most appropriate one I can think of.

As for the Kadane Brothers, the one-word summary would be "hypnotic". Delivering exactly as advertised, Matt and Bubba Kadane explored the catalog of The New Year, including their forthcoming self-titled album due September 9, accompanied only on electric guitar but even without their three other bandmates, most everything sounded as full and mesmerizing as the recorded versions. What they were able to do with just the two electric guitars - and not even dueling guitars, often just some fingerpicking or sinewy lines played off of gently strummed power chords - was mesmerizing. The sort of thing that if you examine it too closely, makes no sense when you consider what you're hearing, so it's best to just close your eyes and listen. An unconventional but wholly satisfying first live Kadane experience, but I also say that with the knowledge that a proper New Year gig has already been booked for October 15 at Lee's Palace.

Opening up the night was local pop outfit Great Bloomers, whom I'd seen and been left rather nonplussed by at NxNE. They made a decidedly better impression this time, having apparently decided to inject some more twang into their sound over the past month, but their shortcomings also became clearer to me. While obviously musically talented and with a knack for melody, they also lacked any real sense of... danger? Edginess? With a couple exceptions, their songs seemed overly restrained and polite. Maybe it's just me, but bands that young should be looking to stir shit up. But on the plus side, since they are that young they've got plenty of time to develop a coke habit or two. NOTE: this blog does not condone or encourage the use of cocaine or other banned substances for the purpose of developing "rock" cred. But if you do it to be cool, then by all means.

There's another short video teaser for the new New Year record and The Phoenix talks to New Year drummer Chris Brokaw, who wasn't along for this tour (as he failed the "is your last name Kadane?" test) but should be behind the kit come October.

Photos: Bottomless Pit, The Kadane Brothers, Great Bloomers @ Sneaky Dee's - July 14, 2008
MP3: Bottomless Pit - "Fish Eyes"
MP3: Bottomless Pit - "The Cardinal Movements"
MP3: The New Year - "The End's Not Near"
MP3: The New Year - "Sinking Ship"
Video: The New Year - "The End's Not Near"
Video: The New Year - "Disease"
MySpace: Bottomless Pit
MySpace: The New Year

Chart talks to Stephen Malkmus, in town at the Phoenix tonight.

Pitchfork has the first sample of the new Mercury Rev album Snowflake Midnight, due out September 29.

MP3: Mercury Rev - "Senses On Fire"

According to CBC Radio 3, Gentleman Reg is the latest member of the Arts & Crafts family. His first album since 2004's Darby & Joan, Jet Black, will be out October 14.

I got sent a taste of the next Fields record yesterday, which fits nicely with this recent NME piece about the band's return to live performance after basically being sequestered away in the studio working on the follow-up to Everything Last Winter for most of this year. As such, they'd fallen a bit off my radar and I hadn't heard about the departure of guitarist Jamie Putnam, which makes me curious how the new stuff will sound if frontman Nick Peill continues to stick with the acoustic guitar. If the first track is any indication, things are accordingly less rock-heavy and more synth-leaning. Of course, the second track is all anthemic guitar rock so... Either way, these tracks have sufficiently whetted my appetite for the new record. There's some more new material in the form of demos, including that of the track below, streaming on their MySpace. The new album is due out sometime this year.

MP3: Fields - "Worst Love"
MP3: Fields - "Are You Ready Yet"

JAM talks to Gary Louris about working again with Mark Olsen on their first collaboration in over a decade, After The Flood, due out in September.

NME reports that Jarvis Cocker is contemplating bringing the rock on his next solo record, due out sometime next year.

Wired contemplates the meaning of the term "shoegaze". Stuart Braithwaite, Adam Franklin and Jason Pierce all think the term is rubbish. Naturally.

Constructive Summer

Tue, 15 Jul 2008 08:27:45 -0500

Photo via Rough Trade

Some bands make concept records. The Hold Steady are making a concept career. With their debut Almost Killed Me, it seemed they were just writing about what they knew - adolescence, religion, rebellion and partying in Minneapolis - and they returned to many/most/all of those themes (as well as many of the characters) on the follow-up Separation Sunday. 2006's Boys & Girls In America carried the groundwork laid by its predecessors onto a widescreen canvas, technicolour and jubilant and flush with the energy and potential (and folly) of youth.

And their latest Stay Positive, out today, picks up right where Boys & Girls left off and while sticking close to what they know and what they do best, still find ways to stretch out creatively - Franz Nicolai has discovered the other patches on his keyboard - and in the process sound like they're laying the groundwork for the debut of The Hold Steady: The Rock Opera on Broadway. "Constructive Summer" is as grand an anthem as they've ever written, dedicated to the promise of a Summer of adventures and experiences of the sort that you only find in Hollywood coming-of-age stories but tempered by the sense that the window of opportunity for such adventures might be closing. By "One For The Cutters" - a Hold Steady murder ballad? - the consequences of youthful indiscretions no longer limited to hangovers or trips to the chillout tent, but the morgue. Despite the upbeat title, album number four is decidedly dark in places. Craig Finn is still majordomo of the party pit and the nights are still massive, but the partiers might feel a bit older and the harsh light of dawn feels a little closer than it has in the past. The title track is The Hold Steady as self-referential as they've ever been, tying together narrative threads from the past three albums into a single manifesto for their career thus far and despite the rather cautionary nature of the songs around it, offers an optimistic rallying point. "Our songs are sing-along songs" indeed.

But one of the strengths of the Hold Steady is that even if you choose not to listen too closely to Finn's dense, mile-a-minute lyrics it's still entirely possible to appreciate them on a purely visceral, force of rock level. As with each preceding record, Finn moves further away from the talking-singing style that he started out with and towards more conventional means of carrying the melody - this seems to force his voice to a lower, gruffer register that also contributes to the darker vibe of the record. But though some of the songs are more in the minor key to match their lyrics, much of Stay Positive is still the fist-pumping and rousing classic rock that sounds so familiar but which no one else seems to be doing or at least doing as well. They may be suggesting you think a bit about tomorrow, but that doesn't mean you can't have a good time tonight.

And just in case this sounds like it might be a (relative) bummer of a record, note that the three bonus tracks that appear on initial digipack-ed versions of the record are maybe the three most fun songs on the whole CD.

The Interface features the Hold Steady in a session, Paste has been running a series of studio diaries from the making of the record, Gothamist and The Wall Street Journal have interviews while Salon and New York Magazine have more expansive features. And, not surprisingly, the album is kicking aggregated ass at Metacritic.

Stream: The Hold Steady / Stay Positive
MySpace: The Hold Steady

Blurt goes record shopping with Drive-By Trucker Patterson Hood.

Muzzle Of Bees poses five questions to M Ward, who will be in town as the Him in She & Him next Wednesday at the Opera House.

With the last Rilo Kiley album put to bed (and I mean "last" as in "most recent" and not necessarily "final", though it could well be that as well), detail have come forth about Jenny Lewis' second solo record. Spin reports that it's entitled Acid Tongue, due in September and features a bevy of guest stars including the aforementioned Mr Ward and Elvis Costello. Update: Release date appears to be September 9.

Feist's upcoming appearance on Sesame Street has made its way to the internets. Brought to you by the number four, of course.

Video: Feist - "1, 2, 3, 4" (on Sesame Street)

Also surfacing on the YouTube, Radiohead's "look ma, no cameras!" laser-powered video for "House Of Cards". They're at the Molson Amphitheatre on August 15.

Video: Radiohead - "House Of Cards"

And not to be outdone with video premieres, Spinner has the newest from R.E.M., a clip which was born (created) right here in Toronto.

Video: R.E.M. - "Man-Sized Wreath"

The release date for The Verve's Forth has been pushed back a week to August 26, but even so Music Snobbery has an advance copy and shares their thoughts, though the fact that they regard "Love Is Noise" in a positive light makes their opinions suspect.

More verbiage from Wayne Coyne about the goings-on in Flaming Lips-land, via The Quietus.