Philadelphians Human Television would have had a reasonable excuse for being out of sorts for their first Canadian show – a lightly-attended Monday night gig at Sneaky Dee’s coming at the tail end of a North American tour that’s kept them out on the road for over a month would be tough for anyone to get psyched for. Unfortunately, that’s exactly the card that they’d need to play to explain away their lacklustre performance.

From what I’ve heard of their debut full-length Look At Who Your Talking To, I’d expected a high-energy, youthful pop dynamo that could easily shake off any road fatigue. There’s no denying their songs are sweet, janglesome and relentlessly hooky but the band that was on stage playing them on Monday was almost catatonic. Seriously, it was like a black hole of stage presence up there and almost uncomfortable to watch – no one moved, almost every song was introduced with, “this next song is called…” and while the actual execution of the songs was fine, there was no joy behind them – just workmanlike proficiency. They did loosen up a bit towards the end of the set, even straying from script to talk to the crowd (just a little) and work up some dorky charm, but really too little too late. Really a shame, because the songs are great and deserve better presentation that this. Maybe this show was an anomaly but from this Village Voice piece, it doesn’t sound like a scintillating live show is a real high priority for these guys. Ah well.

The local openers fared better. The Amber Room, a group of Vancouverites relocated to the Big Smoke, have been around since 2001 so you can’t really accuse them of being johnny-come-latelys to the whole Joy Division/Chameleons tribute act scene but they’ve got the membership cards nonetheless. The tunes didn’t really impress but they gave it their all despite having a mostly-empty room to play for. And they come by their skinny Brit affectations honestly – the singer actually is a skinny Brit.

Middle act The Early Morning had some technical difficulties that truncated their set and got them started a little wobbly. From where I was standing, the singer was having real pitch issues and the trio was not terrifically in synch with their drum machine. When you’re playing with programmed beats, you really have to be spot on because it’s not going to adjust and let you catch up. Thankfully for the band, they got sorted out about midway through and were pretty solid for the rest of their show. They’re a little hard to describe – Magnetic Fields raised on Jesus & Mary Chain instead of Tin Pan Alley? Electro and a little goth-y.

Human Television’s Billy Downing talks to DailyBulletin.com about their new record. Gig photos here. Check out media from all the bands on the bill below. And say that 10 times fast.

MP3: Human Television – “I Laughed”
MP3: Human Television – “In Front Of The House”
MP3: The Early Morning – “I Won’t Forget This”
MP3: The Amber Room – “Secrets”
Video: Human Television – “In Front Of The House” (MOV)
Video: Human Television – “Look At Who You’re Talking To” (MOV)
MySpace: Human Television
MySpace: The Amber Room
MySpace: The Early Morning

BrooklynVegan offers up an interview with Jens Lekman. The New York Times enjoyed one of his always-enjoyable shows.

And thanks to Stereogum for pointing out that Little Miss Sunshine is more than just the new Greg Kinnear film. Not that you’d need any reason beyond that to see it opening night, but it’s also scored by DeVotchKa. Bonus. Note that on the film’s website there’s places to sign up for free first-come, first-serve screenings of the film which opens today. FREE GREG KINNEAR. It’s like Christmas in July.

Trailer: Little Miss Sunshine
Video: DeVotchKa – “Til The End Of Time”

The Beautiful South will be at the Phoenix on November 1. I really used to like these guys. In high school I played the tape I had of Welcome To The Beautiful South to death. DEATH. These days, not so much.

Pitchfork reports that Mat Cooke Brooke has left Band Of Horses, which was pretty evident from his absence on their recent tour.

np – Lambchop / Damaged

Having already seen the first two installments in Korean director Chan-Wook Park’s so-called “revenge” trilogy – Sympathy For Mr Vengeance (review) and Old Boy (review), it went without saying that I’d be seeing the final film – Lady Vengeance – eventually. But this wasn’t something I was especially looking forward to. I mean I was, I really enjoyed the first two films, but they were also some of the most violent and shocking films I’d seen in recent memory. I did not anticipate the last one would be a breezy walk in the park (pardon the pun).

Somewhat to my surprise, Lady Vengeance is actually easier to take than the first two. Mr Vengeance was unrelenting with misfortune upon misfortune laid on the characters, often quite bloodily, but without a real hero or villain to the piece – there were just casualties and bad luck. Old Boy was a more conventional action/thriller though ratcheted up to outrageous levels of audacity (hammer fight!). Lady Vengeance, on the other hand, is actually quite a black comedy. Like void of space black, but still. Geum-ja Lee has just been released from prison after serving 13 years for kidnapping and killing a 5-year old boy. But, of course, she didn’t actually do it so she’s spent the time plotting revenge on the real guilty party and once on the outside, puts her ruthless plan into effect. Hilarity and bloodshed ensues.

Actually there’s far less violence to this film than the others and the overarching theme is more one of redemption than of revenge. Those who liked the bloodiness of the first two might be disappointed by this, but there’s still a goodly amount of Park’s trademark stylish unflinchingness and audacity – he’s not gone soft. He’s actually grown quite a bit, offering up a truly complex and complicated protagonist in Geum-ja. It’s not as tightly plotted as its predecessors (or maybe over-plotted) and the jumping around in time and place isn’t as tidy as one might like but the payoff is still there, particularly in the final act (which, incidentally, is where most of the blood is as well). There’s revenge, yes, but there’s also a goodly amount of heart in this film, and not just in the sense of being ripped out of one’s ribcage and spurtling blood all over the place.

Trailer: Sympathy For Lady Vengeance

Eric Bachmann talks to Aversion about living in a van down by the river. His solo record To The Races is out August 22 and you can see the guy from Crooked Fingers and Archers Of Loaf at the Horseshoe on September 16.

Also in town that night at Lee’s Palace are Mates Of State. Stereogum proves he’s good for more than just celeb gossip by ponying up an interview with Kori Gardner.

And further down the road, Jolie Holland is at the Horseshoe on October 13.

Looking a little closer in time, if you need something to do tomorrow night your main choices would be Mission Of Burma at the Horseshoe or The Futureheads at the Phoenix. Chart talks to Roger Miller from the former and while the latter is technically headlining, people seem much more interested in openers Tapes’N’Tapes. The AV Club and Chart have interviews with the band and AOL is streaming their album The Loon, which is being re-released this week. But there is one Futureheads interview at Philadelphia Weekly.

Stream: Tapes ‘N Tapes – The Loon

Sad news from The Concretes – in the week of an aborted, somewhat disastrous North American tour (though one that started well enough), frontwoman Victoria Bergsman has left the band to pursue a solo career. While Maria Eriksson and Lisa Milberg are both perfectly capable vocalists, the appeal of the Concretes was definitely in the sum of the parts and though the band intends to continue, I have my doubts as to how well either party will fare on their own. It’s hard to replace Bergsman’s peculiar brand of anti-charisma.

Happier news from defunct bands – Goldenfiddle points us to this, which confirms that the Pavement reissues will continue this Fall with a double-disc redo of Wowee Zowee. Looks to be the same deal as the first two – remastered album, loads of demos, b-sides and live stuff. Look for old copies of Wowee Zowee in your local used CD bins soon.

np – Golden Smog / Another Fine Day

We are awash in a sea of hyphen-rock. Alt-rock, indie-rock, math-rock, punk-rock, classic-rock, you name it. Which is all well and good – as loathe as some are to buy into labels and pigeonholes, it helps making navigating the musical oceans just a little bit easier. So when I call Vancouver’s Ladyhawk simply a “rock” band, no adjectives or descriptors, what does that mean? Good question.

Based on Friday night’s show at the Rivoli, it means irony-free, soulful, tear-it-up and burn-it-down know-it-when-you-see-it rock. Plain and simple. It’s hard not to like Ladyhawk for all the reasons stated above – their set was raw, tight and blue-collar perfect with a wilder delivery than their self-titled debut captured. And the record is a pretty rocking document in and of itself, so when I say their live show brings a little something extra… well dang. They continue to tour through July and August, so check them out if you are seeking some rock. Check the genre at the door.

Openers on Friday night were twofold. First was The D’Urbervilles from Guelph, and even if I didn’t know they were local I’d have guessed it within a second of their opening song, which began with the two guitarists in the middle of the club yelling at the top of their lungs before running onstage to continue the song. See, that’s what bands in this town do. Act out. Their sound was also pretty in-line with what I’d expect – high-energy, kinda shouty and more than a little post-punky. Zen question – if a bunch of bands are eccentric and quirky in the same way, are they still eccentric and quirky?

The middle slot went to Now Yr Taken, a sometimes one-man band (one Mikey Crichton) based largely around the effective and inspired use of guitar looping. These sorts of acts are becoming more and more common as the equipment to do so becomes more accessible, but when it’s done right and well – as Now Yr Taken did – the results can be spectacular. Pity about the singing, though. Crichton’s rasp isn’t anything to write home about for good or ill, but his talents definitely lie with the guitar orchestration and not in lyrics-writing. Thankfully, there was a lot more guitarplay than singing in the set but Crichton may want to consider handing off the mic to someone else in the future.

Photos were taken and The Montreal Mirror has an interview with the headliners of the evening.

MP3: Ladyhawk – “The Dugout”
MySpace: Ladyhawk
MySpace: The D’Urbervilles

That remix album of Stars’ Set Yourself On Fire that no one’s said boo about for months? It’s still happening – BrooklynVegan has some info, including the title – Do You Trust Your Friends. It’s out this Fall sometime. They’ve also got a new video up:

Video: Stars – “Sleep Tonight” (MOV)

Rolling Stone delves into Yo La Tengo’s I Am Not Afraid Of You And I Will Beat Your Ass, out September 12, and it sounds like as eclectic a set as their magnificent I Can Hear The Heart Beating As One, which is surely good news for everyone who’s been waiting for the Hobokenites to break out of the mostly narcoleptic groove they’ve been in for the last couple records. And based on the ten-minute guitar freak of “Pass the Hatchet, I Think I’m Goodkind”, which Stereogum has as an exclusive right now, Ira’s found his distortion pedals. Hallelujah.

Craig Finn of The Hold Steady discusses their new album Boys And Girls In America with Billboard. The album is out October 3 and they’re at Lee’s next Monday. I’m a latecomer to the Hold Steady party but I am really looking forward to this show. I hear they bring it live. Whatever it may be.

M Ward talks a bit about his new one Post-War to AOL’s Music Blog. It’s out August 22 and he’s at the Mod Club on September 11.

Wayne Coyne of The Flaming Lips tells The LA Daily News he’s not sure they’ll be able to land a flying saucer in the Hollywood Bowl.

And oh yeah, I’m looking for a new band/musical project in the Toronto area. I play guitar. I like Coverdale/Page, Enuff Z’Nuff, Ugly Kid Joe and Toto. I’ve got a bitching doubleneck SG and leather pants. I want to rock (dramatic pause) with you.

But seriously, I am.

np – Six By Seven / The Things We Make

Guster / Ganging Up On The Sun (Reprise) Massachusettsians (is that a word?) Guster have built up a tidy national fanbase over the course of over ten years and five albums, but before this record I’d never heard them. Heard of, yes, heard, no. But now that I have, the fact that they’ve managed to achieve the success that they have is somewhat perplexing to me – they play catchy, shimmering, harmony-laden and acoustically-rooted pop music that’s not vacuous or over-produced. And to top it off, they’re on a major label and yet seem to be plugging along without a “hit” (or has there been one that I don’t know about?). So how on earth has this found an audience in the greater public consciousness? I have no idea, but it challenges everything I thought I knew about music while getting my head nodding. Sunny, fun stuff. Video: Guster – “One Man Wrecking Machine” (MOV) ECard: Guster – Ganging Up On The Sun MySpace: Guster

Ill Lit / Tom Cruise (independent) Though their MySpace page namechecks quite a diverse list of influences – Mobb Deep, Rimbaud, Randy Newman and Liszt all helped shape their creative muse – Los Angeles’ Ill Lit aren’t nearly as eclectic or horrific as that particular cocktail might suggest. Instead, they’re almost laser-focused on their blend of countryish tunes and squelchy electronic textures. Singer-songwriter Daniel Ahearn’s voice is pure and plaintive and the musical backing tasteful and restrained though overall the effort might be a little too polite. And no, I’ve no idea what’s with the album title. More MP3s and an interview at Cloak & Dagger – click through to Features and then D. Ahearn. MP3: Ill Lit – “The Bridge In Tracy”

National Eye / Roomful Of Lions (Park The Van) But if you’re looking for a technicolour pastiche of styles and sounds, look no further than Philadelphia’s National Eye. It’s got a folk heart but a psychedelic soul and is almost certainly unshaven and barefoot. There’s no shortage of sonic experimentation as befits a band as obviously enamoured with the recording process as National Eye, but the songs are solid and stand up no matter how they’re dressed up. Recommended for those who like a little more hippie in their Olivia Tremor Control. MP3: National Eye – “Bird & Sword” MP3: National Eye – “Lights” Stream: National Eye – Roomful Of Lions MySpace: National Eye

np – DeVotchKa / How It Ends

Everyone who complains about the lack of plot coherence, character development or general heart in Summer blockbuster films, consider Superman Returns, which features all of the above and as a result, runs a solid two and a half hours. And unlike most films of this length that can suffer for having so much crammed into the running time (Lord Of The Rings, Harry Potter), Superman Returns feels a little too uncompressed. Director Bryan Singer is so determined to make this film weighty and momentous that it moves at a bit of snail’s pace as a result. Or maybe it just felt like that because I saw it in a theatre with no working air conditioning or ventilation.

But when it steps up the action, it’s spectacular. Superman’s rescue of an out-of-control airliner in the Earth’s outer atmosphere is a truly stunning piece of FX-ery and action filmmaking and while the other action sequences scattered throughout the film are also impressive – hell, anytime Superman flies it looks amazing – they don’t really compare to that first salvo. But what was pointed out in another review that I concur with is that Superman doesn’t fight anyone. In Singer’s world, there are nogiant robots or alien invasions or super-villains, there’s just Superman. Even Lex Luthor, for all his genius, is just a man (at least without his stylish power suit). The only true challenges for Supes are disasters, either natural or man-made. I’m not suggesting that we need another Nuclear Man in future films or even a General Zod, but surely there’s someone in the rogues gallery that’s filmable and could offer Superman a decent throw-down? As much as I hate Bizarro… Bizarro? Nah, probably not.

The cast is pretty much uniformly excellent, to my surprise. Even though compared to their counterparts in the original film they look like kids playing dress-up, both Brandon Routh and Kate Bosworth are very good in their roles, even though Routh’s channelling of Christopher Reeve only proves how iconic Reeve was in the role. And even though she barely looks as old as her 23 years and far too young to have accomplished as much as Lois Lane has, Bosworth brings a real strength and sense of experience to the part. As Lex Luthor, Kevin Spacey is excellent. While Gene Hackman’s portrayal was more used car salesman than criminal mastermind, Spacey gives him a real sense of evil – he hates Superman on a level far deeper than a costumed dogoodnik who interferes with his plans. Interesting that over the whole film, the two arch-enemies only actually share a few minutes of screen time.

Above all though, Superman Returns is a character piece. Singer seems like he’d be perfectly content to have spent the whole time examining the relationships between Superman, Clark Kent and Lois Lane or just hanging out in the Daily Planet newsroom. Which I can understand – it’s no secret that this is the film that Singer has wanted to make pretty much all his life, of course he’s going to milk it. And as slow as it is at (many) points, I never found it to really really drag and enjoyed being along for the trip as much as anyone. As disposable as many critics regard them as, I’m always pleased to see comic book adaptations given serious film treatment but not at the cost of the wonder and whimsy of the source material. Superman Returns strikes a good balance there, even if it’d be nice if he’d have been able to punch something/someone…

Harp talks to (almost) everyone’s Superman impersonator Sufjan Stevens about Illinois and The Avalanche.

And I somehow missed this Harp feature on Golden Smog in my writeup on them earlier this week, which is weird since the piece is pretty damn big. Minnesota Public Radio also has a radio session with Kraig Johnson and Gary Louris.

Broken Social Scene’s Brendan Canning tells The Japan Times that he’d have no problem with winning the inaugural Polaris Music Prize.

Pitchfork has some info on the new Decemberists record The Crane Wife, out October 3, including tracklisting and tour dates. They’re in Toronto on November 4 6 at the Kool Haus. Yeah, the Kool Haus. Come on, you knew that was coming.

Mates Of State’s September 16 show at Lee’s Palace will also have Starlight Mints on the bill, tickets are $13.50. And Art Brut, We Are Scientists and The Spinto Band are scheduled to play the Opera House October 14.

Stylus spent the week counting down their 100 greatest music videos of all time. Like Pitchfork’s recent “100 Awesome Music Videos” feature, it’s YouTube-d to death.

PopWatch has some spoilers about the upcoming season of 24, namely who the new President is. Hint – he’s got a familiar surname. My question is what does this news reveal about the timeline for season six? If they’ve had time to elect a new President, does that mean that Jack will have been in Chinese custody for at least that long? I can’t imagine that he’ll have found his way to freedom in the off-season, that would be a waste of a truly interesting plot line and a chance for James Hong to cement his place as the only Asian actor in Hollywood.

np – Greg Laswell / Through Toledo