Got way too much to do right now so no full post today – just this contest but trust me, I’ve got some good stuff on the way before I take off for vacation.

Said contest is for this month’s Exclaim! cover boys, Joel Plaskett and Peter Elkas. Both are formerly of much-beloved Canadian indie bands (Plaskett fronted Haligonian heroes Thrush Hermit while Elkas was a member of Montreal’s Local Rabbits) and are carving out solo careers, Plaskett with quintessentially Canadian singer-songerwriter roots-rock and Elkas with sweet and deep blue-eyed soul.

Both have also got new CDs out, Plaskett’s Ashtray Rock and Elkas’ Wall Of Fire, and as such they’re playing a show at the Opera House on May 25 and courtesy of Against The Grain, I’ve got two pairs of passes to give away. To enter, email me at contests AT chromewaves.net with “I want to see Plaskett and Elkas” in the subject line and your full name in the email body. Contest closes at midnight, May 17 – getting this taken care of will be the last thing I do before departing this continent.

MP3: Peter Elkas – “Wall Of Fire”
MySpace: Joel Plaskett
MySpace: Peter Elkas

It’s not overreaching to say that Alligator, the 2005 album from The National, was everything I was looking for in a record at the time with its dark, rich poetry, its blend of dignity and desperation, its irresistibly alcohol-soaked nocturnes. A hard act to follow? You might say so. But two years hence, they have and Boxer succeeds in capturing all that was special about Alligator by not trying to do so at all.

While Alligator ranged from heart-breaking delicacy (“Daughters Of The Soho Riots”) to throat-ripping catharsis (“Mr November”), Boxer stays in more of a mid-tempo groove throughout, cultivating and sustaining a distinct, thoughtful mood throughout. It’s as though the protagonist of Alligator – if you’re inclined as I am to view the album as a sort of metaphorical night in the life of a barfly-type, beaten down but defiant – has been able to step into the past to a time when hope lived somewhere besides the bottom of a bottle, when romance hadn’t yet turned into regret, when there were sepias to go with the blacks and greys. A time, if I may play off the album title, when he could have been a contender. The wistfulness and tenderness, which you could hear the remains of on Alligator though crusted with cynicism, are on full display on Boxer.

In more concrete terms, though much will be written of Matt Berninger’s lyricism and smoky vocals, I have to say the star of this record is indisputably drummer Bryan Devendorf. Almost every song is built on a rhythms that are rock-solid yet so creative and complex that even non-drummers like myself can’t help but listen in awe. And on this foundation The National build compositions that are towering, yet intimate, spare yet with just the right amount of adornment in the form of perfectly placed horns and piano on top of the guitars, bass and drums. Some have and more will complain that there is no rocker – nothing like Alligator‘s “Abel” or Sad Songs For Dirty Lovers‘ “Murder Me Rachael” and it’s true, there is no fist-pumping anthem. But this is not a record for fists, it is a record for hands laid open, palms up.

Through some freak chance, I got my promo CD of Boxer back in March, before the album had even leaked thus making me, amongst the music geeks, the coolest kid on the block for a couple of weeks at least (until it did leak and then I was no one again). I was headed to a high school friend’s stag and doe that night so I loaded it on the iPod and resisted listening to it until I was on the train and was sure to be able to listen to it closely and uninterrupted. For forty-five minutes, I listened, watching the scenery blur by as the dusk gave way to night and when closer “Gospel” came on, and the train whizzed through the town I grew up in yet hardly recognized anymore, it was, as they say, a moment.

The National talk to Drowned In Sound about Boxer, out next week. They’re touring North America through June and are at the Opera House in Toronto on June 5.

MP3: The National – “Fake Empire”
Stream: The National / The Boxer
Video: The National – “Mistaken For Strangers” (YouTube)
Video: A Skin, A Night preview
MySpace: The National

But don’t think for a minute that I’ve forgotten about THIS week’s big new release, Wilco’s Sky Blue Sky… well I haven’t. I’ll be dashing out after work to pick up a hard copy (deluxe edition, natch – have to add to that massive pile of music DVDs I haven’t watched yet) and while I haven’t downloaded a leaked version, I have listened to the streams a few times and while I can sort of see where those are frustrated by the record’s laid-backness are coming from (I expect Metacritic to level off in the mid 70s), I’m perfectly content to let Wilco be Wilco and if they want to chill for an album, great. I’ll chill along with them. There’ll be more records to come and if anyone is willing to come out and predict what the next one will sound like based on this one, well more you the fool. The Chicago Sun-Times interviews (and tries to bait) Jeff Tweedy and The Globe & Mail has a chat while The AV Club prefaces an interview to be published later this week by detailing a life informed by Tweedy. And stop by the Wilco Roadcase where they’re currently streaming the show in Sydney from last month and have plans to do the same for the two upcoming shows at Shepherd’s Bush in London – one for those who’ve got the enhanced CD, one for everyone else.

Stream: Wilco / Sky Blue Sky

Muzzle Of Bees asks five questions of The Rosebuds. They’re at the Horseshoe on May 28 with Land Of Talk.

Beulahmania offers an update on the status of Mile Kurosky’s solo album as well as a recap of his recent adventures in surgery. Ouch.

3:AM talks to John Darnielle of The Mountain Goats about literature while CokeMachineGlow gets a look at where his headspace is for the next record, which he’ll begin recording later this Summer.

Couple show announcements – The Polyphonic Spree hit the Phoenix on July 5 to support their new album The Fragile Army, due out June 19 (full dates at Pitchfork) while the reunited Crowded House will crowd Massey Hall on August 13. Pete Yorn opens, Billboard has details and full tour dates.

Radio Free Canuckistan has posted a number of the raw interviews that went into his piece this week in eye about the independent concert promoters in Toronto. As someone who (obviously) goes to a lot of shows in town and knows a lot of the folks interviewed but don’t really know much about what they do or how they do it, I found both the article and interviews fascinating reading. The inevitable thread that followed at Stille Post is, typically, a giant mess of name-calling and complaining but there’s a some really good ancillary information amidst it all, as well.

From this day forward, my benchmark for a successful birthday will require glitter, streamers and someone – anyone – stripping down to gold lamé hot pants. Friday evening, I forwent my usual b-day ritual of pizza and pinball at Chuck-E-Cheese to line up hours in advance of the Patrick Wolf show at the El Mocambo. Considering that he’d been the recipient of no small amount of media attention lately, getting there early to avoid the theoretical mad rush of people seemed prudent.

Though doors weren’t opening until 7, the lineup outside the ElMo had started early with people arriving as early as 4PM and by the time they did begin letting people in, it was stretched around the corner onto College St. Now while that may sound impressive, I did a quick head count and that amounted to around 80 people or so and after everyone who had been waiting outside was admitted, the crowd seemed surprisingly sparse (I’d guess maybe a couple hundred in attendance by show’s end). Perhaps many of those who would have otherwise wanted to see the show had assumed that with tickets only available at the door, it’d have been sold out before they got there? Or maybe, and more likely, people just didn’t know about the show (announced only a week prior) or didn’t care. Either way, for those who opted to stay home, it was their loss.

Cuff The Duke frontman Wayne Petti got the last-minute call to open up after originally scheduled support act Bishi canceled. His country troubadour stylings were a strange fit for Wolf’s audience and Petti knew it – I doubt he’s ever played to a front row wearing that much glitter before. Playing songs from his solo debut City Lights Align as well as a cover of Big Star’s “Thirteen” which he probably hoped no one noticed he flubbed the lyrics on, Petti kept things short and sweet and reminded me that I should give his record another spin.

By this point, much of the audience had been waiting for Mr Wolf for going on five hours and were getting extremely excited and agitated for his appearance. Me, my back was starting to hurt. I’m an old man now, after all. But shortly before 9PM, Wolf and his band took the stage and for the next hour were nothing short of fabulous. Wolf was a dervish on stage whether on ukelele, violin, piano or just singing in his wonderfully rich and dramatic baritone, performing material from all three of his albums though the only one I was really familiar with was his latest, The Magic Position and its technicolour orchestral pop. He also made his way through a series of costume changes that started out with knickerbockers and suspenders that made him look not a little like an overgrown Von Trapp Family Singer, then into an ensemble that looked a bit like Aladdin Sane as a court jester. From this he eventually stripped down to just his skivvies (the aforementioned gold lamé undies) before covering up again somewhat and returning for the encore in a sort of toy soldier outfit.

Reporting on what he was wearing may not seem important, but the visual presentation was as much a part of the show as the music – Wolf is mesmerizing to watch when he performs, and it’s unthinkable that he could have considered retiring from live performance. It’s obvious that he thrives on the stage and has charisma to spare. And while he’s surely getting more exposure than ever opening for the likes of Arcade Fire and Amy Winehouse (did he keep his pants on at Mod this weekend?), I suspect that playing a small club show like this one where everyone was there to see him, whether already fans or waiting to be converted, was extra fun for him as well. I, for one, was definitely won over by his show though The Magic Position had already been doing its thing on me in the week since I initially posted about it. The only downside of the whole show was due to time constraints, he wasn’t able to finish off the intended set – I think three songs got cut – though we in the audience were able to convince the house to let him come out for one quick a capella encore.

I’d initially been reluctant to spend my birthday at a show but this turned out to be one of the best evenings I’ve had, turning a year older or not, in recent memory. The music, the performance, the vibe from the audience, were all terrific. I don’t know when Wolf will come back to town – even if he’s not retiring it doesn’t sound like he’ll be hitting the road for a while after this Fall – but when he does, I’ll be back, front row, and maybe I’ll bring streamers.

Blacking Out The Friction also has a review and some pics.

Photos: Patrick Wolf, Wayne Petti @ The El Mocambo – May 11, 2007
MP3: Patrick Wolf – “The Magic Position”
MP3: Wayne Petti – “Moment By Moment”
Video: Patrick Wolf – “Accident And Emergency” (YouTube)
Video: Patrick Wolf – “The Magic Position” (YouTube)
Video: Patrick Wolf – “Bluebells” (YouTube)
MySpace: Patrick Wolf

Pitchfork interviews Win Butler of Arcade Fire while The Montreal Mirror talks to Jeremy Gara and NOW asks Richard Reed Perry about his favourite things in Toronto. He’ll get the chance to scarf down some street meat before their shows at Massey Hall this Tuesday and Wednesday.

And if you don’t have tickets for the Arcade Fire Tuesday, might I suggest heading to The Boat in Kensington instead to catch Miracle Fortress? I saw him playing solo at Pop Montreal last year but now he’s got a band behind him and a very good new record in Five Roses. It sounds a bit like a cross between The Beach Boys and My Bloody Valentine though a lot less formulaic than that might sound to the musically jaded (those being the #1 and #2 over-used indie-pop reference points these days). Don’t think about the noise and walls of sound usually associated with MBV, instead think of the delicacy and melodicism. It’s good stuff and you should check it out because you’re only going to be hearing about it more and more as time goes on so you may as well get on board now. NOW asks Graham Van Pelt how much he loves Toronto while Hour goes out in left field and talks to him about his music.

MP3: Miracle Fortress – “Have You Seen In Your Dreams”

The Georgia Straight and Victoria Times-Colonist talk to Feist.

Conversations with Bjork from Rocky Mountain News, The Denver Post, The Age and Billboard.

The Ex are at Lee’s Palace on June 23 while Benjy Feree opens for Mirah there on July 13.

I’ve alluded to the fact that I’m going to be MIA for a couple weeks at the end of this month over the last little while, and that’s because I’m going on vacation. Heading over to the old country next Friday for a fortnight with the parentals for a whirlwind of PG-rated fun in the chewy centre of Europe – locales that will be visited include Germany, Austria, the Czech Republic, Hungary, Croatia, Slovenia, Italy, Switzerland and maybe even a little Lichtenstein. It’s a bus tour dealie so there’ll be no backpacking/hosteling action, just watching lots of countryside whiz by as we hop from one photo op to the next. But it should be fun and more importantly, it’s getting me the hell away from here.

For you see, this will be the first extended blog hiatus I’ll have taken in almost five years. Since ending my enforced post-a-day regimen, I haven’t really taken advantage of the theoretical freedom that was supposed to allow. Now I will, and I really think it will do me – and this site – a world of good to get away and recharge the batteries a bit. Unless I discover that life in the cobblestone streets of Prague, blog-free, is more fun than hanging out in the Horseshoe every other night… but I can’t see how that’s possible.

ANYWAY, point is – I shall be absent in real-time for a while. I will have my laptop with me, but that’s mainly for saving down photos and watching The Wire on the bus. If I find an open wifi point, I may check in but more likely just wade through my mail or upload pics to my Flickr. No daily travelogues like the last time I was abroad in Fall 2005. Thanks to the marvels of modern science, however, there will be some automated updates while I’m away. Nothing heavy, just random bits of this and that so that the cobwebs don’t set in.

But that’s not till next week. And naturally, as I scramble to get myself organized for the trip, it’s also a mighty busy time in in terms of blog fodder, so come along while I indulge in a little link clearing in a roots-rock vein.

My Morning Jacket tell Billboard they’ve got something special planned for their set at Lollapalooza this year, namely a Marvel Team-Up with the Chicago Youth Symphony. MMJ were on of the highlights of Lolla last year, but it looks like they’re going to try and top that this year. Here’s hoping some orchestral types in Austin get in touch with the band for ACL.

Patterson Hood tells The Aspen Times the story of the Drive-By Truckers.

The AV Club talks to M Ward, who was in town last night at Massey Hall opening for Norah Jones.

Check out this minisite for Shearwater’s Palo Santo, comparing the original demos with the final versions of the songs they re-recorded for the album’s re-release as well as commentary from the band on the evolution of the songs.

Jay Farrar of Son Volt chats with The Free-Lance Post.

The Chicago Tribune and The Times talk to Jeff Tweedy in advance of the release of Wilco’s Sky Blue Sky on Tuesday.

Maria Taylor is featured in this week’s Spinner Interface.

Craig Finn of The Hold Steady tells The Guardian how rock’n’roll turned him from a 98-pound weakling into the hero of the beach. Metaphorically speaking. He also talks to The Portland Mercury about the band’s ties to baseball and guitarist Tad Kubler chats with the Detroit Free Press.

I was initially excited to hear about the double-disc Mendoza Line release, 30 Year Low, that’s been scheduled for release on August 21 – there had been talk around the end of last year about the band releasing an EP of new material as well as a compilation of rarities, and this release will be made up of both of those records. But the excitement was tempered with sadness when I saw this Catbirdseat dispatch implying that this release would essentially be the final word from the band.

I only just discovered the band with their last proper album, 2005’s Full Of Light And Full Of Fire, and as much as I enjoyed that release, I’ll fall in line with the others who declare its predecessor, Fortune, as the band’s high point. The last record with singer/songwriter Peter Hoffman in the fold, it was a masterful piece of folk rock that found Hoffman and fellow frontpersons Shannon McArdle and Tim Bracy at the top of their game. The variety in their songs and styles complimented and contrasted each other perfectly. Full Of Light put Bracy and McArdle’s dynamic front and centre and their chemistry as musical collaborators and husband-and-wife worked just as well. But now that their marriage is over and McArdle has left the band, Bracy’s intentions to continue to front the band on his own just don’t seem like a good idea. Even if he writes some amazing songs for the next record, it just won’t be The Mendoza Line to me.

The preview MP3 from this final release is an alternate version of the song featuring vocals from Bracy and McArdle but the version on the album will instead feature the velvet throat of Okkervil River’s Will Sheff.

MP3: The Mendoza Line – “Aspect Of An Old Maid” (alternate version)

And speaking of Okkervil, their next album has a name – look for The Stage Names on August 7. Pitchfork has the tracklisting and artwork for the new record.

Much Emily Haines and Metric info to dispense. Quiet Color has an interview with Emily while Pitchfork gets some info on the Grow Up And Blow Away reissue (can you call it a reissue if it was never released in the first place?) on June 28 as well as her new solo EP What Is Free To A Good Home on July 24. In addition to her Harbourfront show on July 25th, she’s been added to the lineup for the Hillside Festival on the Saturday, July 28. MuchMusic has a video interview with Emily from earlier this week and a two-track preview of the Grow Up album. And I’ve got one track from both the EP and reissue for you to save for your very own.

MP3: Emily Haines – “Rowboat”
MP3: Metric – “Grow Up”

Interesting note in the NxNE press release from earlier this week – they’re now associated with the Voxtrot show at Sneaky Dee’s on June 8th saying that 50 badges or wristbands will be admitted, but also note that the show is sold out and say a second one will be added. That’s all well and good, but with no open dates before or after the 8th, the only thing I can imagine is adding an early show, maybe without opening sets from Au Revoir Simone or Favourite Sons? Very curious to see how this shakes out since I’m planning on hitting that show after Dinosaur Jr at the Phoenix.

The National’s Boxer is out Tuesday after next. Stream the whole thing at their MySpace now. Tremble at its greatness.

Stream: The National / Boxer

Patrick Wolf plays the El Mocambo tonight and both eye and NOW have features on him. Remember, early show – doors at 7, tickets only at the door. And original opener Bishi is off the bill – Cuff The Duke’s Wayne Petti will open instead. Check out this Village Voice review of this week’s NYC show to get an idea of what we might be in store for tonight.

Incendiary talks to Low.

NME has details on the new Rilo Kiley album while Pitchfork has corrections to NME‘s details. But at least this much appears to be correct – Under The Blacklight will be out in the UK on August 20 and presumably August 21 in North America.

It figures that with every band and their mother reuniting these days, this is the one that has to be completely disavowed. Le sigh. But man, if that happened I would never say anything ill of NxNE again. NEXT YEAR, GUYS. MAKE IT HAPPEN.

NOW features Forest City Lovers, playing the Silver Dollar this coming Monday with Pony Up. My contest for passes to said show ends tonight! You should enter.

Also happening Monday night is the Fields show, but it’s now going to be at the Drake Underground rather than the Amp’d Mobile Studio. It’s free to all though if you went to the trouble of getting tickets to the Amp’d thing, those will still be honoured. What that exactly means, I don’t know. Doors are at 9, show at 10. Spinner talked to the band about drinking martinis at Frank Sinatra’s old Palm Springs pad. For serious.

Some shows of note – Hawksley Workman and Ohbijou will be playing a free show at Harbourfront Centre on June 4 as part of the Luminato arts festival, The Airfields have a show scheduled for The Silver Dollar on June 21 and Vancouverites The Awkward Stage are there a month later on July 21. And finally, looking waaaaay ahead, Do Make Say Think appear to have a date scheduled at the Phoenix for October 20. And if you’re looking to get out of the city the weekend of June 2 and 3, Track & Field out on Tantramar Farm near Guelph, could be just the ticket. The lineup is crazy solid and by all accounts past editions have been a great time. Admission hankerchiefs go on sale the week of the 24th starting at a launch party/fundraiser at the Tranzac. More info on their website.

And oh yeah, it’s my birthday. Yay me.