The latest batch of Miyazaki/Studio Ghibli DVD releases weren’t supposed to be out until February 22, but Queen Video somehow had them available for rent already so I finally got to see Miyazaki’s first film, Nausicaa Of The Valley Of The Winds. I am flabbergasted that this film is over 20 years old. While the animation isn’t as lush or intricate as, say, Spirited Away, it’s still lovely to see onscreen bears the unmistakable mark of its creator.

The story and themes are also vintage Miyazaki – the blend of fantasy and science fiction, the heroic young girl protagonist, the pastoral yet post-apocalyptic setting, the environmental themes. I think the narrative is somewhat simpler than his later work, not as ambitious or confusing (I admit, I get confused by some of his stuff), but is in no way lacking for it. The simplicity is actually a large part of Nausicaa’s charm.

Usually I watch these North American editions in the original Japanese with subtitles, but this time I wanted to hear it with the English voice talent (Alison Lohman, Patrick Stewart, Uma Thurman). Surely heresy to some, but I think they did a pretty good job of it. There’s still a second DVD of bonus materials that I hope I will get the chance to go through before I have to return it to the shop, but considering I’m sort of hip-deep in stimulus right now, I wouldn’t be surprised if I didn’t.

I can’t wait until the next Miyazaki film, Howl’s Moving Castle, gets a North American release on or around June 17.

SF Weekly contemplates a life informed by Luna, and bids farewell to a friend.

Given the extent and quality of pure pop music coming out of Sweden lately, I’ve been known to declare, often without prompting and at inopportune times, that Sweden is the new Scotland (“How do you plead to these charges?” “Sweden is the new Scotland, your honour”). But how does one keep up with the goings-on in that strange and foreign land of blondes, massages and affordable furniture? With Hello! Surprise!, a guide to Swedish pop music. Hallelujah. They’ve got news, bios, links, mp3s, the whole whiz-bang. God bless the Swedes. From LHB.

Yeah, I’m excited about the music at SxSW, but as SxSW Baby correctly points out, there’s another grand attraction… BARBEQUE. Oh yeah.

Oodles of Batman Begins trivia, courtesy of IMDB (via Achtung Baby). Cinescape also has an early early review of the film, not due out till June 17.

np – Shivaree / Who’s Got Trouble?

Because it’s really starting to back up and make me feel guilty, I’m going to try and round up some of the freebies I’ve gotten from various kind folks who read this here site. That’s right, on occasion, I get sent free stuff, but not nearly as much as you might think. However, in the case that you (being everyone and anyone) want to send me stuff, my formal policy on review material is as follows:

1) I may or may not like it

2) I may or may not write about it

3) I may or may not remember that I have it

4) My opinions on your music, or lack of opinion, in no way reflects on my feelings for you as individuals and human beings. I’m sure you’re all lovely people.

Thank you. Now to business.

When The Futureheads’ self-titled debut came out last year, I admit I didn’t pay too much attention. A cursory listen and I wrote them off as another mucho-hype 80s new-wave revivalist band. Which they sort of are, but they don’t use the disco hi-hat so I give them props for that. My first impression was that they sound almost exactly like early XTC – singer Barry Hyde is an almost dead ringer for Andy Partridge – but more in-depth listening reveals they actually sound almost exactly like early XTC crossed with The Jam, equal parts spastic and soulful. That’s a good thing. The record has grown on me quite quickly and I’m sorry I won’t be able to catch them in town on February 27 but hope to see them at SxSW next month.

I am going to try and talk about Robbers On High Street’s debut record Tree City (out February 22) without mentioning Spoon.

…

Okay, can’t do it. The singer sounds like Britt Daniel. The songs sound like Spoon songs in arrangement and structure. It’s… I… COME ON. There’s cribbing, everyone does that, but geez. If I have to find a point of difference, it’s that ROHS’s stuff is a little less experimental and therefore more accessible than Spoon’s, but considering that Spoon is pretty damn accessible, that’s not saying much.

Joy Zipper are a husband-and-wife two piece from Long Island, their latest record is American Whip, out on the 22nd. Their ultra-laid back dreamy burbling pop is pleasant enough, but is so laid back, dreamy and burbly that it’s almost insubstantial. A couple of listens and what had been sort of nice to begin with just became completely forgettable.

LCD Soundsystem is apparently one of those ultra-hip outfits that people who read Vice like. I’ve never read a copy of Vice in my life. It’s sorta dance-y/disco-y, sorta rock, sorta jokey and quite interesting though not really my thing. I don’t know how often I’d listen to this, but now if I hear “Daft Punk Is Playing At My House” when I’m out, I can nod knowingly and say, “Ah, LCD Soundsystem” and seem cooler than I am. I suspect it’s meant to be played loud and in a club rather than at modest volumes in my living room, but what can you do. The self-titled record is a two disc set but I think only one disc is the proper album, the other is a compilation of singles and whatnot. It’s in stores on Tuesday.

Judging from the large wad of PR that accompanied the debut North American EP (out February 22) from London’s Little Barrie, some folks on the other side of the Atlantic think these guys are the shit (note the definite article there, please and thank you). Blues/punk/funk saviours, etc etc. What I heard from these four tracks were some proficiently-played, fairly soulful blues-rock. My idea of funk is like, Prince, so maybe we’re coming at that facet from different directions. Little Barrie are not as funky as Prince. The production is also a little flat – there’s not enough weight in the low-end to really get grooving and not enough rawness to really leap out of the speakers. I dunno, again, what they’re doing really isn’t my thing, but Mojo likes em. They’ll be at SxSW so if any of them take exception to my opinion, they’re welcome to hunt me down and punch me out there.

Okay, that’s everything for now.

Six By Seven’s latest, :04, finally gets a North American release almost half a year after coming out in the UK. It will be available on May 3 via The First Time Recordings, the good folks who brought you the Ride box set and reissues. :04 is an excellent record, I’ve had an mp3 CD-R since last Fall but will be happy to get a proper legit copy.

Photos from Thursday’s Bettie Serveert show here. I think Carol and Peter may have had the brightest-coloured stage garb, like, EVER.

np – Ambulance LTD / LP

Without actually doing calculations, I think I can say that Bettie Serveert is possibly the band I’ve been a fan of the longest without ever seeing live. I first got their sophomore record Lamprey way back in the Summer of 1995, and was hooked ever since – yet have never caught them on tour. Granted, there haven’t been many opportunities since they’re based out of the Netherlands and really don’t come through town much, but still – a decade is a long time. Well I’m happy to say that was rectified last night at the Horseshoe where they played in support of their sixth album, Attagirl, and in grand fashion. No one ever told me they were so good live!

The show had been advertised in the local weeklies as “90s Alternative Rock” but anyone who showed up hoping for a blast from the past was likely disappointed. The band drew exclusively on their last three albums (though mainly the last two) for the first three quarters of the set before venturing back to their debut Palomine for “Tom Boy” (they eventually played three Palomine songs, nothing from Lamprey or Dust Bunnies). Actually, I would hope those folks weren’t disappointed because those last three albums contain some really strong material which translated even stronger in a live setting. Whereas the albums leaned more toward the tasteful side, on stage they embraced the chaos and rocked out wholeheartedly – more than a few songs in the one hour, forty-five minute set turned into frenzied, extended jams. I honestly hadn’t expected the Betties to be quite so high-energy, but was pleasantly surprised. They did mix up the dynamic of the set some with a few slower and more groove-oriented numbers, but it was the rockers that came across best (and were actually the better songs, even on record).

Guitarist Peter Visser was most animated, leaping all over the stage while spewing copious Young/Mascis-approved guitar leads… a note to anyone going to see them later on this tour – watch out if you find yourself standing in front of Visser. When he stands at the edge of the stage and waves his guitar around, he’s swinging for the fences. Singer/guitarist Carol van Dijk also proved she has one of the more distinct voices in indie rock, equal parts husky and sweet, world-weary and naive. I thought she sounded splendid. And bassist Herman Bunskoeke is a large, sweaty man whose shirt seemed to open up further as the night went on. The man is hirsute, let’s leave it at that.

van Dijk estimated it had been nine years or so since they had last been in our fair town – an absolute crime, that. I was glad to see that they drew a pretty healthy crowd to the ‘Shoe, particularly since there hadn’t been a whole lot of advertising or press leading up to it (a couple reviews of Attagirl in the local papers was about it). It may have been a while since they’ve been college radio sweethearts or even remotely hip, but it’s good to see the band continue to make great music and find an appreciative audience for it.

Openers Walker’s Line are named after a street in Burlington (Toronto suburb, the burg that gave us Finger Eleven) and they sound like a band from Burlington. Very “alternative/emo” in the radio genre sense, not my bag at all. I don’t think they had any idea who they were opening for (“There’s a great band coming up next!”). Sometimes I wonder what the people who put these bills together are thinking… maybe it was sort of a joke? Alternative in the 90s vs alternative in the 00s? Who knows.

I’ll have my photos up tomorrow – thank God for good lighting – but in the meantime, some additional Bettie Serveert goodies. You can download the title track from Attagirl courtesy of Minty Fresh, watch the video for “Dreamaniacs”, also from the new album, and find out why Vancouver native Carol still identifies as a Canadian.

TTIKTDA has a couple tracks from the new House Of Love album, Days Run Away, available to preview. Still not really digging the first single “I Think I Love You Too Much”, but “Gotta Be That Way” is a little better. If these tracks are representative of the album as a whole, we could be looking at a more intimate record along the lines of Guy Chadwick’s solo work than the widescreen epic-ness of the first couple HoL records. The album is out in the UK on February 28.

Dig into some Guided By Voices bootleg material here. It’s on their old label’s website so I assume it all kosher. Via Golden Fiddle.

Wilco are celebrating Yankee Hotel Foxtrot going gold by holding a contest for one of the gold record plaques. How nice. Enter here. Wilco are great. They’re the future of music, you know. Wired says so. And Jeff Tweedy don’t care much ’bout no Grammy-winning, no sir. Via Largehearted Boy.

Pollstar puts The Raveonettes, Autolux (yeah, them again) and Sweden’s The Peels at Lee’s Palace on June 4. I’m beginning to suspect they automatically put Autolux on EVERY bill that comes through town.

Watchmen. It’s actually happening. They’ve got a website.

To all the sick fucks out there with Nielsen boxes (do they still have Nielsen boxes?) who are not watching Arrested Development – what the hell is wrong with you? I mean, seriously? Hollywood Reporter says that Fox has reduced their episode order of AD and come May 1, it will be replaced in the schedule with American Dad for a few weeks at least. BOO. The CBC fears that if AD fails to convince the network to keep it on the air, it will pretty much sound the death knell for decent programming (at least of the sitcom variety) anywhere but cable (via 10:51AM). Creator Mitchell Hurwitz tells the Onion AV Club they’re doing okay ratings-wise, but I’m not convinced. Update: The news gets worse and worse. Or not quite so worse? Update 2: Saveourbluths.com. Talk amongst yourselves.

Hey, Salon.com likes me! Neato.

np – Slowdive / Just For A Day

Come dancing,

Just like the palais on a saturday.

And all her friends will come dancing

Where the big bands used to play

— Ray Davies, “Come Dancing”

I admit, I was kinda surprised when I saw on 20Hz that Blow-Up was ending with a grand to-do at the El Mocambo (upstairs and downstairs) on March 26 – it had always been one of those things I took for granted as a constant in the city, whether I cared or not. For non-locals, Blow Up was/is a local dance night that caters to the indie/Britpop/mod/soul crowd. While these sorts of themed nights are everywhere these days, Blow Up has been kicking around the longest. When I first moved downtown six years ago, it was one of a couple regular hangouts for my friends and I. Almost every Saturday night, like clockwork, we’d congregate there and dance, hang out, whatever, into the wee hours of the morning.

This isn’t to say that I actually enjoyed going. I didn’t hate it (for the first while), but at best it was something to do. I mean, I’m not a big dancer or drinker, I never picked up or got picked up there, it was quite literally just somewhere to go and meet up with my friends. And ogle girls, yes, but mostly just an excuse to get out of the house. I was actually quite relieved when we eventually stopped going… The crowds got younger and younger, I got older and older. The music got stale (Ooh, they’re playing the Strokes/Hives/White Stripes block! Again!) and my crowd of friends who usually went inevitably thinned out as real life took them far away (like the suburbs). I’ve been maybe a few times in the past couple years, but they mostly reinforce how little I missed going. More than anything, it’s become an object of scorn and ridicule. Mostly by me.

And yet, seeing that it’s all coming to an end, I am overcome by a wave of nostalgia – odd, since as I already said, I don’t have much to be nostalgic about. Maybe it’s the timing – I’m turning 30 and one of the places I spent a good chunk of my twenties is going away. It’s like the cosmos is telling me there’s no going back. Like many, I will probably end up going just to bid farewell… and the lineup of bands they’ve got on tap is pretty good as well (click on the graphic for details). It is nice that they’re holding it at the ElMo again, which was easily the best of its many different venues over the years. Betcha they play the Strokes, Hives and White Stripes back to back to back.

So while one Toronto institution is calling it a day, another is celebrating an anniversary. The Wavelength music series celebrates its fifth birthday this weekend and is celebrating with a full slate of shows happening all over town. Festivities start at Cinecycle tonight, continue tomorrow at Lee’s Palace, Saturday at the Music Gallery and the grand finale is in the usual WL slot of Sunday night at Sneaky Dee’s – check out the website for full lineups and times. Wavelength has been crucial in helping launch pretty much every indie band of any reknown to come out of TO in the past five years and is something this city can be immensely proud of. I must confess, however, that I rarely go. I just can’t get the energy to head out on Sunday nights, what can I say.

Local media props: Torontoist sat down with one of the founders of Wavelength, Mr Jonny Dovercourt, to talk about the little music night and ‘zine that could (though the February issue of the zine will be the last one and will henceforth only exist online). eye pays tribute and previews the weekend’s shows. NOW talks to Owen Pallett, aka Final Fantasy, who is performing at the Saturday night show and releasing his first FF record Has A Good Home on Tuesday. The Toronto Star (bugmenot: wow@mail.com / sowhat) profiles The Creeping Nobodies, playing the Friday night show.

Nels Cline is coverboy for Guitar Player this month, wherein they talk to him about his solo work and future with Wilco.

eye introduces you to The Comas, playing a free show at Lee’s Palace next Wednesday.

There’s release dates for Ryan Adams’ other two releases this year. Jacksonville is out July 19 and 29 is out November 1. These will go along with the double-disc Cold Roses, scheduled to come out April 19.

A couple show announcements – The Soundtrack Of Our Lives are at the Guvernment March 26th, tickets $25.75, Josh Rouse is at Lee’s Palace April 5 with Amy Correia and Scout Niblett is opening for The Kills at the Horseshoe April 7, $12.50. Also, those excited about the prospects of seeing a reunited Wonder Stuff at the Horseshoe on April 9 should know that it’s not the complete original lineup, but instead frontman Miles Hunt with some hired players using the old moniker. The other Stuffies aren’t impressed and say so on the .com website. If you visit the .net website, everything is sunshine and lollipops. Finally, April 2’s Bloc Party show has been moved from Lee’s to the Opera House.

There was a starling lost in the hallway of my office building today. It seemed embaressed to ask for help, choosing to constantly fly into the windows instead. I know a cry for help when I see one, so I assisted it by first giving it directions into a cardboard box and then out the back door. Silly bird, I thought starlings were supposed to be smart?

np – Husker Du / New Day Rising

Acthung Baby celebrates the release of Eisley’s Room Noises yesterday with a multimedia link extravaganza, Paul reviewed the record for 75 Or Less and The Houston Chronicle profiles the band.

Even though the production on what I’ve heard of the record sounds a little Dawson’s Creek-ish at times (no, not even OC-ish), there’s still some real sharp songwriting and musical ideas in there – I can’t help but like it. Plus they’re still young (ridiculously so), so they’ll have the chance to refine their craft with time. Much potential here. I fully expect Reprise to give this the full-court promo press, so I figure I’ll be able to find a used copy within a week. It’s not that I don’t want to give these kids my money, but it’s become increasingly rare that I actually want anything that’s likely to turn up in the used CD stores, so when the occasion presents itself, I gotta take it.

I’ve did a review of the new Bettie Serveert record, Attagirl, for Torontoist yesterday. Reader’s Digest version? It’s okay, but not great. Private Suit was better and even the patchy Log 22 had higher high points. Still, looking forward to the show Thursday at the ‘Shoe with The Petit Project and Human Deluxe, neither of whom I know anything about.

So I saw Pitchfork’s Top 100 albums of 2000-2004 and it didn’t click that this was a different list from Stylus’. But it is… except not really. Because I have the sort of mind that likes to quantify everything, I tallied it up and found that I own 30% of PF’s list and 38% of Stylus’. Ergo, Stylus has better taste than Pitchfork. QED.

Sunday Life talks to Belfast ex-pat Darren Bleckett about life as drummer for Ambulance LTD. From LHB.

Torr reports that the North American release for the new New Order album, Waiting For The Siren’s Call, has been pushed up a couple weeks to April 12.

Having wrapped up a triumphant American tour, The Arcade Fire are recuperating back home but are planning to play a Toronto show sometime in mid-to-late April. Anyone want to guess at a venue? I don’t expect I’d bother going if it’s anywhere larger than the Phoenix or Palais Royale (capacity 1000-1100). The Kool Haus can kiss my ass. Related – David Byrne blogs about joining the band onstage in New York last week. Via Stereogum.

80s UK post-punk survivors New Model Army return to North America for the first time in ages, playing the Horseshoe on March 13.

Thanks to Travis for pointing out this choice Super Bowl commercial. I don’t actually remember what they were selling, which kind of defeats the purpose, but I’m always in favour of monkeys.

The Batman Begins has been given an overhaul and now actually has content! I have new wallpaper.

The Washington Post reveals what you’d have to look forward to if you started working for CTU.

Happy Chinese New Year. Note to self – CALL HOME.

np – The Futureheads / The Futureheads