RIP, Christopher Reeve. You fought one hell of a good fight.

So everyone has been telling me to go see Shaun Of The Dead. And I had my reservations, I thought from the trailers that it looked like a thin-concept low-budget flick but its boosters insisted it was really clever, funny, scary and original. Turns out we were both right. It’s absolutely a novel concept – protagonist and his overweight slothful buddy fight through a city of zombies to rescue his mom and ex-girlfrined – with decent production values and some genuinely clever bits, but it was also a pretty thin film. After playing up the comedy angle for the first two-thirds of the film, it finally runs out of clever and tries to play up the horror side after realizing that there’s simply not much humour left in the characters’ situation.

I was personally annoyed about a) how stupid all the characters got during the final act, seemingly forgetting EVERYTHING they’d learned to survive that far and b) how the zombies were so inconsistent in following the basic rules of zombie-ness. I realize that criticizing something as deliberately slight as this film is rather silly, but my basic criteria for good movie vs bad movie tend to be pretty firm no matter what I’m watching. But overall, it was alright and enjoyable, but not all that. And as for all this talk of it springing a new genre of “rom zom com” (romantic zombie comedy) – I certainly hope not. They barely got enough mileage out of the concept for one movie, there sure as hell isn’t enough in the tank for any more.

Pitchfork agrees with me that the new American Music Club album is excellent, as well they should. Because it is.

Interpol’s Daniel Kessler insists to The Boston Herald that “there is no sound as far as Interpol goes”, thereby confirming the guy has never actually listened to any of his own records. Remarkable. From Largehearted Boy.

Hey, are Americans not on holiday today? I thought is was Columbus Day or something, but everyone seems to be at work like normal. Aww. Happy Thanksgiving to all the hosers out there.

np – American Music Club / 1984-1995

So you think I’d be excited for last night’s Wilco concert at Massey Hall, right? And I was, very much so, but I was also apprehensive. After all – this show was coming barely two months after their Mod Club show, which I declared “the best show I have ever seen”… what could they do for an encore?

It’s probably a good thing that Massey Hall is a dramatically different venue from The Mod Club – by virtue of the environment, a different sort of vibe was almost guaranteed. Besides having almost five times the capacity, it’s also a proper seated theatre with the best sound in the city. However, that much-vaunted sound system seemed woefully absent when the band took the stage at nine sharp. Howling feedback punctuated the first three songs of the set, prompting Jeff Tweedy to fess up that the band had, in fact, skipped soundcheck that day and was now paying the price for their laziness. Sheepishly apologizing and promising an extra-long set to compensate, they let the sound crew sort things out and carried on with no more sonic gremlinery.

That did, however, set the tone for a most peculiar evening. After Mikael Jorgenson accidentally triggered the sample opening for “Shot In The Arm” one song too early, Jeff jokingly apologized for “the least professional show of this tour”. He also had to deal with an audience member who chose to run right to the front of the stage and try to engage Jeff in… something. Jeff was clearly perplexed by the incident and the mook stood there for all of “Hell Is Chrome” only to be shooed back to his seat by security after some of his buddies joined him up front. Otherwise they just seemed to be having a good time on this, the second-last stop on this leg of their North American tour. I was mildly disappointed that the setlist was very similar to the August show (last night’s setlist vs August’s setlist), but I suppose that it was only fair since more than 2000 of the people in attendance hadn’t been at that show and hadn’t seen the Ghost material performed live yet.

Things got more interesting in the first encore, which consisted of the two most contentious songs from A Ghost Is Born. “Less Than You Think” was a revelation, performed as a beautiful country-ish lament worlds removed from the static-y sonic experiment of its album form. The still managed to tack several minutes of noise onto the end, however, before launching into “Spiders” – ably performed but not as incendiary as the Mod Club show. The second encore consisted mainly of Mermaid Avenue material (in addition to “The Late Greats”) but the main highlight was the guest appearance on keys by Garth Hudson of The Band. The final encore, kept short by a firm curfew from the venue, paired up the rocktacular “I’m A Wheel” with the gorgeously pensive Bill Fay number “Be Not So Fearful”, which was an election-year dedication to any Americans in the audience.

So all in all – better than the August show? No. A disappointment? God no. It was still a superbly entertaining concert and if anything, it made me appreciate the opportunity I had to see them really tear it up in a club setting. I can’t imagine they’ll be playing anything smaller than theatres in the forseeable future. I will say this about a seated theatre, though – it’s much easier to get good low light photographs (less moving around), though it does limit the number of vantage points you have for getting shots. Being front row certainly helps, of course… Check em out.

np – The Fiery Furnaces / Blueberry Boat

When I got up yesterday morning, I knew pretty much nothing of The Brian Jonestown Massacre and I knew that I didn’t like The Dandy Warhols. After seeing Dig! last night, I know that BJM mastermind Anton Newcombe is a total nutbar and I really don’t like the Dandy Warhols. The documentary film follows the two bands over the course of seven years, tracking them from total obscurity to world stardom, in the case of the Dandys, and cult obscurity, in the case of the Massacre. The Dandy Warhols come off as the epitome of vacuous fashion victims, eager – even desperate – to play the major label game to and make a grab for that brass ring. It’s especially surprising considering that Dandy’s frontman Courtney Taylor acts as the film’s narrator and doesn’t seem at all self conscious about being cast as the artistically bankrupt but commercially successful foil. In contrast, the BJM are portrayed as constantly teetering on the edge of self-immolation, despite Newcombe’s acknowledged musical brilliance. Particularly entertaining was Newcombe’s decision to start a public feud with the Dandy’s for publicity purposes without actually informing the other band of his plan. At one point, he sends each of the Dandy Warhols shotgun shells with their names on them. They got restraining orders. Regardless of the original intent, the film is pretty much a documentary on Newcombe, and understandably so – he’s utterly fascinating to watch, with his rages, rants and generally over-the-top behaviour. Not surprisingly, Newcombe disavows the film and the way he’s portrayed in the film, and while he probably has a fair point about context, the video doesn’t lie. But if you want to see for yourself, the Brian Jonestown Massacre is at Lee’s Palace on October 31.

Columbus Alive talk to Ben Gibbard of Death Cab about why The Photo Album didn’t work, why Transatlanticism does and the inevitability of losing their fanbase by growing their fanbase. From Donewaiting.

David O Russell tells The Toronto Star that he’s dead serious about everything in his new screwball existential comedy I Heart Huckabees.

So I suppose I should make the formal announcement that Lake Holiday is no more. In what may have been the most painless and amicable band dissolution ever, it was mutually decided that in addition to numerous practical and logistical hurdles, the spark had dwindled in the last few months and that it was probably time to move on. The record will still be coming out eventually in some form and there may be a performance to celebrate it, but as an ongoing concern and in anything resembling its current incarnation, after almost three years, Lake Holiday is done. I’m obviously saddened by all this, but you know what they say about doors closing and windows opening and all that jazz. Thanks to everyone who’s supported us over the duration, it was really appreciated.

So what next? Well, I need a band. I’ve still got the rehearsal space and would like an excuse to hold onto it, which basically means needing people to play with. I’m not entirely sure how I’ll go about that – it took me such a long time to find this band, I’m not especially looking forward to it. It’s like I have to dust off my musical resume and go applying for jobs, or starting to date again after a divorce. On the other hand, the idea of maybe trying something new with different musicians is appealing. I’ll have to take a little time and figure out what I want to do, and then we’ll see what happens… Psst – if anyone in the Toronto area is looking for a guitarist with modest abilities and a pretty eclectic range of interests and influences, drop me a line. Thanks.

Wilco tonight! That should recharge my creative batteries…

np – American Music Club / Love Songs For Patriots

I had decided to go see Tift Merritt at Lee’s last night some time before I knew I’d have a cold, so I briefly considered ditching in favour of staying home and sleeping. Eventually, I elected to dope myself up on medication and head down anyway and I’m glad I did. I liked her first album Bramble Rose well enough but her new one, Tambourine, is a far superior collection. Some have criticized her for branching off from the pretty but rather formulaic alt.country of her debut, but her decision to add rock, soul and gospel into the mix has really paid off. In addition to the honeyed twang her voice gives the countrier stuff, she’s a very effective belter on the more up material, evoking at times Luncida or Emmylou.

I had thought Lee’s would be an overly large venue for her, and while it wasn’t packed by any means, she drew a larger and more enthusiastic crowd than I’d expected. Tift and the band’s easy Southern charm made sure everyone was enjoying themselves, even when they were interrupted for several minutes early on by malfunctions in the keyboards department. The set was an excellent mix of gentler, weepier numbers, some performed solo acoustic by Tift, and all-out electric rockers. I was particularly interested to see her guitarist Brad Rice, who was just announced as part of the new Son Volt lineup. No question, the guy can play, but it was hard to picture the flashy and somewhat goofy guy onstage with Tift alongside the dour Jay Farrar. We’ll have to see how that turns out. Anyway, it was a perfectly entertaining and enjoyable show, and I think I’d say that even if I hadn’t been doped to the gills on antihistamines.

More pics to come later – I tried shooting in RAW and they take ages to process. Update: Pics are done, up here.

Also on the slate last night was the advance screening for I Heart Huckabees, the new film from David O Russell. This has been on my short list of most-anticipated movies all year, and I can give it a head-scratching thumbs up. This movie is weird. I mean, it’s about an existential detective agency – how can it not be weird? It’s certainly the most original movie of the year, that’s for sure. I should admit that I have pretty much no background in philosophy, nihilism, existentialism or other such highbrow cosmic issues, so I had no idea if they were talking sense or smack. I did glean enough from the dialogue to have a good enough understanding of what was going on to follow the film, however, and there were enough moments of laugh-out-loud comedy to keep me entertained, even if I may not have appreciated the broader context. The top-notch cast (Jason Schwartzman, Dustin Hoffman, Lily Tomlin, Isabelle Huppert, Mark Wahlberg, Jude Law, Naomi Watts) all seem to be having a good time with the material, Hoffman and Tomlin as the husband-and-wife investigators, in particular. It was also nice to see Schwartzman get a decent post-Rushmore role though his unbelievably thick eyebrows were a little distracting. It’s not a film for everyone, very much a “you get it or you don’t” proposition, but if you go and are willing to not shut off your mind for the duration, it could well be worthwhile. If you’re looking for a popcorn flick, however, keep walking.

np – Mission Of Burma / Vs

The final word has come down on the Son Volt reunion, and it’s this – Jay and the band name are back, but the Boquists and Mike Heidorn are not. They were “unable to reach acceptable business terms” and the Son Volt lineup will now feature all-new players. Says Jay:

“Times change, and so do people, I guess. While I was looking forward to the reunion aspect of working with those guys, it just wasn’t meant to be. It’ll be liberating to get down to work with a different group of musicians. I had always envisioned Son Volt as a vehicle for my songwriting and expected it to evolve over the years. When I reformed the original band this year to record our track for Por Vida it seemed like we might be able to extend that two-day session into two years of recording and touring–but it doesn’t look that way now.

There is naturally much grumbling from the faithful about using the Son Volt name with a whole new lineup (some are calling it “Guns’N’Volts” though I think “Sons’N’Roses” sounds better) – me, I don’t know how I feel about it, necessarily. I’m disappointed that things didn’t work out but what’s in a name, really? I will wait and see what the music is like before giving it a ‘yay’ or ‘nay’. I do think they totally blew it in making the announcement before all i’s were dotted and the t’s crossed – they had gotten everyone so worked up that now it can’t help but seem like a disappointment. The negotiations and breakdown thereof absolutely should not have been done in public, now everyone just looks bad. Regardless, the studio webcam will be going live on October 12, with the album hopefully coming out mid-next year. There will also be an anthology compiling album cuts along with rare or unreleased material coming out around the same time for those still craving a taste of the original lineup.

Fear Of Speed talks to American Music Club drummer Tim Mooney and singer Mark Eitzel in separate interviews about how the reunion came about and the making of Love Songs For Patriots. Apparently Mark is having trouble making heads or tails of cascading style sheets for his website. Love Songs should be out everywhere very very shortly, if not already. Get it. They also have a nice interview with Jesse Sykes. It’s a nice site – why have I not heard of it before?

CNN talks to Paul Westerberg about Folker and the ‘Mats reunion that never was. From Largehearted Boy.

NOW and eye both profile Interpol in advance of their show at The Docks next Wednesday. And if that’s not enough Interpol for you, bassist Carlos Dengler will be doing a DJ set at the Dance Cave that night at 10:00, cover $8.

A couple shows… UK buzzband of the moment Razorlight are at Lee’s Palace November 4, tickets on sale now for $12.50, and The Unicorns play an all-ages Hallowe’en show at the Vatikan (no I don’t know where that is) October 27, cover $8. And some ticket prices – Luna at Lee’s November 7 is $17.50, Matthew Sweet and Velvet Crush at the Mod Club November 8 is $25 (ouch!), Sufjan Stevens at Lee’s November 16 it $14. All on sale now. Doing the math for all the tickets I need to get, including those for other people, and… ow. Better hit a bank machine. Update: Razorlight appears to have been cancelled. Don’t ask me, I don’t know.

np – Sonic Youth / Sonic Nurse