Merge Records had a very solid 2006 and they start of ’07 with on a good foot with the January 23 release of I Can’t Go On, I’ll Go On, the debut full-length from the Los Angeles outfit formerly known as The Brokedown but now handing out business cards reading The Broken West.

These days, the term “power-pop” brings to mind – for me, at least – tunes that are as smart alecky as they are hooky, possibly with unnecessarily clean production. Not an inherently bad thing, but it can get a little samey after a while. Thankfully, The Broken West recall a time when the term meant big, ragged and swaggering sounds – huge debts are owed to Big Star and The Kinks and the eras they represent. These are names that get dropped a lot, but in this case the influence is true and paid proper respect. Guitars jangle and harmonies are stacked high and it all comes with a appealing amount of roughness and blue-collar grit. Some of the rootsiness more evident in their earlier incarnation still comes through, but mostly this is a fine, no frills rock album of the sort you don’t get enough of these days. Always welcome in my house.

Their Spring tour doesn’t bring them any closer to Toronto than Cleveland (which is to say not very close at all) but I’m sure they’ll make their way up here at some point. The New Pollution has an interview with Broken Westerner Dan Iead about how they ended up on one of the most respected indie labels in America.

MP3: The Broken West – “Down In The Valley”
MySpace: The Broken West

There’s a new video for M Ward’s “Requiem”, taken from Post-War. and intended to accompany the release of the EP for said song next month. An EP for “To Go Home”, also from Post-War, is due out next month and Ward is at the Mod Club next Saturday.

Video: M Ward – “Requiem” (YouTube)

The Washington Times talks to Matthew I Heart Music in its piece about how government funding helps/affects independent musicians in Canada. And speaking of I Heart Music, Matt’s got a recent Asobi Seksu radio session ripped for your listening pleasure.

Rocky Mountain News and The Denver Post show My Morning Jacket some love, Colorado-style.

The Globe & Mail and The Gateway discuss the solo life with Emily Haines.

Seattle’s one-man studio project Aqueduct will be rounding up a full band when they stop in town on April 3 for a free show at the Horseshoe. Their/his new album Or Give Me Death is out February 20. Check out a couple songs from it below.

MP3: Aqueduct – “Living A Lie”
MP3: Aqueduct – “As You Wish”

24: First the small bits – when Morris and Milo go head to head, I just stare at their facial hair, trying to decide whose is more dubious. I think Milo wins, though considering that they were fighting over Chloe, they both sort of lose. I love how Jack’s learning to get his badass side back by manhandling yuppies. Maybe by hour eight he’ll be ready to handle a girl scout troop. And you know, you could give dress him up like some Alien/Predator hybrid with Darth Vader’s voicebox, but Kumar’s not threatening. He’s just not. A moot point now, though.

Like I mentioned yesterday, a lot of today’s two hours were standard 24 convention, but more like a whole season’s worth of the usual crammed into the first sixth of the season, almost like they were forcing themselves to get their usual fallbacks out of the way so they could (hopefully) spend the rest of the season trying something new. Like the shock ending which wasn’t really a shock – it was really the only thing they could do, right? It’s like one of the producers suddenly realized, “hey – these aren’t REAL people we’re killing. Let’s take em all out”. But the extra threat of the fallout certainly makes the rest of this season more interesting, though I dunno about those four other bombs. Look at all the hassle they went through to get this one hooked up, and everyone involved is now dust. Are we supposed to believe that a) the other four are in Los Angeles and b) they’re all plug-and-play? But Jack’s having to take down Curtis was definitely pretty rough. And nice touch with the vomit. That’s going the extra mile. And some bonus content – Cracked lists off four thisngs that 24 would have you believe (only four? Via Largehearted Boy) while the Jack Bauer Kill Count is dutifully logging every kill Jack makes this season (as they did the past five).

For the past three seasons, I’ve done a weekly commentary on each episode of 24. Why? I’ve really no idea. Just something to do, I guess. And even when the show got ridiculous, I stuck it out because, well, I’m compulsive like that. But every season, I wonder if I’m going to start it up again – it’d really make my life easier if I just stopped… and yet, here I am again. Damn you, Jack Bauer! Damn you! So here we go again, in SpoilerVision:

Random observations from the first two hours – Is it me or is this the first time they’ve come right out and called the terrorists “Muslims”, and not the slightly vaguer and less inflammatory “Arabs”? Hmm. We’ve also got Chloe in a suit with quite the neckline for a day at the office. I get the impression that the President paid a high price for Jack’s release. Just a hunch. And man, Jack’s looking all “Passion of the Bauer”. Though apparently he only grew that beard for one scene. What a waste. Somehow the idea of Bill and Karen bumping uglies just… unsettles me. But not as much as the fact that Jack buttoned his shirt up to the top button. Man, what’d the Chinese do to him? It’s kind of nice to see Kal Penn isn’t being typecast as “Indian guy”. He can do all types of “brown-skinned guy”. And “evil henchman”. I have to think that telling Jack “You will die for nothing” is probably the wrong thing to say… and he’s going to regret not cutting off his shootin’ finger when he had the chance. And that new sneak-vampire attack thing has to go down as Jack’s most gruesome kill in the past five/six years. For now anyways.

I found the second hour kind of settled into a standard 24 routine – Jack working against the government, scheming government toadie undermining the President, Jack teaming up with an unlikely ally, the drama unfolding in the suburbs. Honestly, the thing that struck me the most was on the subway – is that really how the LA Metro checks tickets? Seems really inefficient. Also, the bomber boarded from the middle of the platform and yet he and Jack were on the last car… hmm. I do like the fact that as all this going down, that terror attacks are happening all over the US. Definitely adds some tension and pressure right out of the gate, and really – why should LA have all the fun? I’m definitely curious to see what the huge twist that they’ve got planned for tonight is. It’s going to have to be something pretty spectacular to shock your typically jaded veteran 24 watcher. But I’ll be watching.

So how about that Friends In Bellwoods CD release show on Friday? Really, how was it? I had no idea that there were advance tickets available at Soundscapes so as a result I, along with a lineup of people stretched around the block from the Tranzac (a small block, but still) were shut out of the festivities when they announced that the show was completely sold out. Disappointing, sure, but at least it undoubtedly succeeded as a fundraiser for the Daily Bread Food Bank. I did pick up a copy of the CD on Saturday and it’s a really fine collection. Radio Free Canuckistan has an interview with Ohbijou’s Casey Mecija.

And also softening the blow is the fact that Ohbijou has been added to the bill with Under Byen and Frida Hyvonen at the Mod Club on March 8. There’s really no way this can’t be an amazing show.

And one to file under “wha?”, The Pipettes – surely one of the buzzier things out of the UK last year – are going to make their Toronto debut on March 10… at the tiny Rivoli which holds around 100 people. Though they’re not the last band on the bill – that’d be fellow Anglos The Smoke Fairies – the midnight slot tends the be the choicest one so I think it’d be fair to call that the Pipettes’ show. But what’s with the venue? Anyway, most of the CMW schedule is now up, save for some of the big venues/shows like at Lee’s, the ‘Shoe, etc. Via For The Records

British Sea Power fans would do well to head over to the band’s MySpace page as they’ve got a cover of Pavement’s “We Dance” a-streaming. Nice. They’ve just returned to Montreal to mix the new record which should be due out in late Spring/early Summer. Via The Tripwire.

This is Simon. He is my new cat. Today is his seven month birthday. Say happy birthday to Simon.

I’m guessing some of you were wondering why I and a number of commenters were so excited last month when it was discovered that Twitch City was unexpectedly out on DVD. This is reasonable. The show only lasted twelve episodes over two seasons and even those were broadcast two years apart, but in that time managed to establish itself, in my mind at least, as the best Canadian sitcom ever. Of course, this is not a difficult title to win since even though we produce some of the funniest actors and writers on the planet, we paradoxically produce some of the very worst television comedy around.

Created by and starring Don McKellar (Last Night), the show featured a fairly star-studded cast (again, by Canadian standards) with Molly Parker (Deadwood) and Callum Keith Rennie (Battlestar Galactica) along for the ride. It’s set in Toronto’s Kensington Market and documents the life of agoraphobic TV addict Curtis (McKellar), his co-dependent roommate/girlfriend Hope (Parker) and his convenience store clerk/college buddy Newbie (Rennie). Season one is more rooted to the plotline of Curtis’ roommate (and Hope’s boyfriend at the time) being jailed for killing a homeless man with a can of cat food and how that plays out with Curtis and Hope’s burgeoning relationship and roommate search, but season two is the real gem as it plays much faster and looser and gets positively surreal at points. I especially loved their swapping one Kid In The Hall for another (Bruce McCulloch for Mark McKinney) in the role of talk show host Rex Reilly between seasons, a move initially forced by scheduling conflicts but working perfectly in the TV-centric context of the show (shades of Darrin). Seeing Sloan guesting as white supremacists or Jennifer Jason Leigh’s Single White Female-reprising guest turn were also high points.

I never got to see all the episodes when they originally ran in 1998 and 2000, so this DVD set – which I admit I never thought I’d see – was a real treat. Bonus features are slim but the three commentaries by McKellar and some random call-in guests is suitably daffy. For example, Mark McKinney calls in and ends up commenting on an episode he’s not even in. I powered through the whole series over the holidays and I definitely enjoyed them even more than I did the first time around (the eps I had seen, anyways). Probably because I’m now at age closer to the characters in the show and can properly appreciate their level of dysfunction. I’m also particularly fond of it because it’s set in Toronto. There’s actually very few shows, decent or otherwise, that are set here – the CBC seems to prefer setting things in remote northern/prairie/maritime communities because, well, I don’t know really. But Twitch City feels like our own perfect little BBC series, brief but wonderful. The first episode is archived in three parts on YouTube – it’s good but the series gets so much better as it progresses. So worth seeing.

Video: Twitch City pilot – part 1 (YouTube)
Video: Twitch City pilot – part 2 (YouTube)
Video: Twitch City pilot – part 3 (YouTube)

Chart brings word that Ongiara, the third album from Toronto’s Great Lake Swimmers will be out on March 24 via Nettwerk. In the meantime their new 12″ EP, Hands In The Dirty Ground is available at Rotate This, a bit before the formal February 7 release date. It’s limited to 500 copies so move fast if you want one – that’s a note to myself as much as anyone else. And finally, to promote both new releases, the band are touring through March and April (dates on their website) and will wrap things up April 14 with two shows at the Church Of The Redeemer in Toronto.

Paste steps up and reviews eleven of the new albums Ryan Adams was streaming off his website at the time. They get a collective 16.75 stars, if you were wondering.

Emily Haines tells The Winnipeg Sun that she’s a nerd. Really. Also – more interviews with Westender, Vue and The Detroit Metro Times.

PopMatters ponders the mysterious and elusive Mountain Goat, aka John Darnielle.

You may remember my incredulousness that Explosions In The Sky were playing a venue the size of the Opera House. Well it turns out they knew their business better than I – they’ve not only sold it out but added a second show on March 25. Tickets for that one are $15.00.

And adding further to your post-rock diet, Red Sparowes are at the El Mocambo on March 10 for a CMW show. Tickets are $12.50 for the non-wristbanded.

And holding a mini Canadian music week of their own, the double-bill of The Constantines and Jon-Rae & The River are at Lee’s Palace for two nights, March 30 and 31. Tickets are $18.50, on sale next Wednesday. Jon-Rae & The River are also playing Nathan Phillips Square on January 28 as part of the WinterCity concerts. Update: In addition, Shotgun & Jaybird are on the bill for the first night, Ladyhawk the second. Nice. Thanks to Alan for the info.

PopMatters talks Pan’s Labyrinth with director Guillermo del Toro.

Behold – the cutest thing ever.

np – Suede / Dog Man Star

The Tranzac is the place to be this Friday night as it will play host to the CD release party for the new Friends In Bellwoods compilation. The double-disc set brings together some of the top up-and-comers and already-arriveds from around Toronto and Ontario, collecting new and rare tracks with all proceeds benefiting the Daily Bread Food Bank.

The project was organized by Casey Mecija of Ohbijou and named for her house which has become something of a creative hub for many of the artists in the city and on the compilation, which could serve as an excellent document of an exceptionally creative and exciting time in the Toronto music scene. Her band and the project rate the cover story in this week’s eye and she discusses the project with The Globe & Mail, The Waterloo Record and NOW.

Ohbijou will be performing at Friday’s show along with The D’Urbervilles, Sebastian Grainger (formerly of DFA1979), and Paramedics, featuring Bry Webb of The Constantines. Tickets are $10 at the door and the show starts at 9:30 sharp. Torontoist and blogTO also encourage your attendance. And for those rocking the 519, note that there’s CD release shows tonight and Saturday night February 10 in Guelph and Waterloo respectively – details on the Friends In Bellwoods website.

CMJ introduces their readers to Malajube. They’re heading out on a US tour through February and March that will swing through Austin for SxSW. Prefix has the dates.

Radio Free Canuckistan does his bit to keep people interested in the Arcade Fire by posting full transcripts of interviews with the band circa 2004 with Win and Regine and another with Tim and Richard. Neon Bible is out March 6. (note: edited to correct interview dates).

The Edmonton Journal talks to The Sadies about their hectic but memorable 2006 and gets an update on their next album, due out in September. The band also talks to a reporter from Kamloops This Week who admits right off that she doesn’t know the band at all.

More show announcements! Wolfmother return March 6 for a show at the Kool Haus, tickets on sale now for a stupefying $35.75. Wolfmother are a $40 band now? Seriously? Blonde Redhead will be at the Opera House on May 11 to promote their new album 23, out April 10 – Pitchfork has full album and tour details. Norway’s 120 Days will be on the bill with Shout Out Out Out Out at Lee’s Palace on March 3 and finally, les Apples In Stereo are at Lee’s Palace on February 20 (via For The Records).

Billboard reports that British label Rough Trade has once again got a foothold in North America thanks to a distribution deal with World’s Fair. The first “five marquee releases” to take advantage of this new deal will include Jarvis Cocker’s Jarvis and The Beatific Visions, the new one from BrakesBrakesBrakes (just Brakes in the UK) as well as the new British Sea Power album, whenever it comes out.

And while we’re talking record company news, congrats to Absolutely Kosher and Misra for proving that it’s not just the majors that can play the merger game. Though it’s technically a “strategic partnership” – the two stalwart indies will retain their own names and rosters – the pooling of resources should prove beneficial for both labels. Good luck!