This past long weekend? It was a Matt Damon weekend. Or more accuraely, a Matt Damon sequel weekend. It just happened that both Ocean’s Thirteen and The Bourne Ultimatum – both films I wanted to see – were playing and so, with the rest of the world at Lollapalooza, I was at the movies.

We’ll start with Ocean’s. Like most, I found Ocean’s Twelve to be something of a disappointment. It was arguably as funny as the first but as a caper film, it was weak. Sure, watching attractive, well-dressed people pal around and generally have a good time goofing off one another is fun in its own right, but they managed to accomplish that AND assemble a pretty decent heist flick in the first one so anything less was a let down. Thankfully, director Steven Soderbergh seems to have realized this and gotten his game back together for the latest (and last?) installment.

Instead of a string of minor jobs told in flashback, Thirteen dives right into the thick of things with the gang taking on Al Pacino’s Willie Bank – a casino tycoon who screwed over Elliott Gould. The film plays up the ensemble cast more than I remember the first ones doing, with George Clooney not doing much besides playing business liason and looking dapper. In this one, everyone has a larger role – even the guys who you don’t know who they are. The plot barely manages to stay on the right side of absurd but is given a considerable amount of breathing room thanks to the fun and breezy performances from all involved… including Matt Damon.

As for The Bourne Ultimatum, following two top-notch action/espionage flicks like Identity and Supremacy it didn’t have anything to make up so much as to live up to. But with director Paul Greengrass, who helmed the second film, back on board there was no reason to think that the latest (and last?) film wouldn’t live up to the standards set by its predecessors – and boy, did it.

Think of any overused, hyperbolic pull-quote you’ve seen for an action film – for Ultimatum, they apply. It really was a both a white-knuckle rollercoaster ride and edge-of-the-seat thriller that, if I were to see only one film this year, it should have been this one. Okay, maybe not, but it really was an excellent action film that absolutely whizzed through two hours of intense fights, chases, espionage and exotic locales. A fitting cap to a terrific but still somehow underappreciated film franchise – I’m sorry there probably won’t be any more, but on the plus side there won’t be any more wondering if Julia Stiles is actually being directed to act like a zombie or if it just comes naturally.

Trailer: Ocean’s Thirteen (YouTube)
Trailer: The Bourne Ultimatum (YouTube)

Pitchfork interviews and alternately punchy and defensive Paul Banks about Interpol’s album art aesthetic, canine mascot and hip-hop influences.

Stylus is offering an extensive review of last weekend’s Hillside Festival, currently updated through the Saturday, Sunday recap presumably up tomorrow.

Obviously, it was something of a quiet weekend with most of the world being at Lollapalooza while I sat around the apartment and contemplated renting The Legend Of Bagger Vance. Seeing all the hoo-hah coming out of Chicago did make me a little envious, but I did all that last year and my feet hurt far less this year, propped up on the coffee table as they were. But if I am going to experience the fest vicariously through anyone, I choose The AV Club.

Hey look, I started a Facebook group. Why? I… I don’t know.

Going into Thursday night, I’d seen approximately 176 bands live this year. Give or take (this is based on my Flickr set which has one shot of each act, if you’re curious). Despite the volume, most of whom I’ve seen was at least sort of familiar to me either by reputation or by pre-show research. The point of this is that it’s fairly rare that I see a band without knowing at least something about them or with some idea of what to expect, and even rarer that one of the unknown quantities really manages to impress me. There’s a word for this – jaded.

But even so, it can happen still that I’m taken completely off guard and totally floored by a band. Case in point, Thursday night and an outfit called Ryuichi. Hailing from right here in Toronto but unlike most acts, not seeming to share members with a dozen other bands or a side project of a side project. They may not even be within six degrees of Broken Social Scene – I can’t say for sure since the band’s MySpace uses nicknames and pseudonyms for the members and offers only a vague bio. But the tracks available to stream were promising if rather rough so I made a point of showing up at the Tiger Bar in time to catch their set. Good call.

They were playing only their second gig but despite a few flubbed notes – the bassist was playing from crib notes – Ryuichi demonstrated a confidence, tightness and even some showmanship way beyond what you’d expect from a rookie act. And the songs, musn’t forget the songs. Take the restless creativity of To La Tengo and replace the jazz odysseys with danceable rhythms and a good dose of adrenaline and you’re in the ballpark. Their osund ran a gamut of styles from synth-pop, shoegaze and post-punk and distilled it into delectable power pop-sized servings garnished with melodic boy-girl vocals of a calibre that the MySpace recordings only hinted at. I can’t remember the last time I was so blindsidedly impressed by a band and am eagerly awaiting proper recordings and more shows. Their next gig (their fourth, if I’m counting right) is August 14 at the Reverb.

So with that as a first course, Barrie’s Fox Jaws – the act I’d actually come to see – had a bit of a tough act to follow. I’d Sunday Cleaned their debut album Goodbye Doris last month and really enjoyed it so it was time to see if the live show – which I’d heard good things about elsewhere – measured up. Happily, they measured up just fine to the album if not the openers, but those “who the hell are these guys?” bonus points scored by Ryuichi would have been tough to make up.

As on record, the centrepiece of the show was singer Carleigh Aikens’ wonderfully raw and expressive vocals with just the right balance of reined in and belted out. Co-vocalist Daniel Allen also did a fine job when called to step up and in harmony, but it’s Aikens’ presence that elevates Fox Jaws’ game and injects a healthy dose of soul to their rootsy indie rock, giving them a unique and distinctive angle. The intensity of the show took a hit when they lost several minutes trying to sort out a malfunctioning guitar amp but they got mostly back on track and turned in a solid performance. I mentioned in my initial review of the record that big things were inevitable – I stand by that but want to expand that sentiment out to include both bands I saw that night. I left before headliner One Heart Many Hands but hey – big things could be inevitable for them/him too. Three for three, why not?

Photos: Fox Jaws, Ryuichi @ Tiger Bar – August 2, 2007
MP3: Fox Jaws – “Karmonica”
MP3: Fox Jaws – “Quarantine Girl”
MySpace: Fox Jaws

The Toronto Star talks to Tad Kubler of The Hold Steady, in town for a show at the Opera House tonight.

Pitchfork finds out what’s going on with Cat Power these days, including news about her forthcoming The Covers Record 2, currently slated for a January 2008 release.

BrooklynVegan has got Fall tour dates from Jens Lekman and while the gaps between October 29 and November 1 originally gave me hope that there’d be some local dates scheduled between Boston and Cleveland, the dates on Lekman’s website have him in Purchase, NY on the 30th. I suppose a Hallowe’en date is still feasible but I’m not so optimistic. This is the second or third time in the last couple years that Lekman has been in the area and skipped Hogtown. Why no love, Jens? But on the plus side, you can pre-order his forthcoming album Night Falls Over Kortadela from his Swedish label for $18 USD (including shipping) and not only receive a bonus CD but get it on the Swedish release date of September 5, rather than the North American one of October 9. Via Sixty Watt, via Mark.

JamBase chats with Explosions In The Sky drummer Christopher Hratsky. They’re in town on September 9 playing V Fest.

Some show announcements – Mark Olson will be playing an in-store at Soundscapes on August 28 starting at 6PM before heading off for his show at the El Mocambo that night. Marissa Nadler will be in town September 7 for an early PWYC show (7PM) at the Tranzac with with Picastro and Klaxons return October 10 for a show at the Opera House.

Lee Hazlewood, RIP. More at Pitchfork.

A confession? I really wanted to dislike the new Editors record. As a faux music critic, it would make my life much easier if I were able to, in good conscience, dismiss them as Interpol knock-offs and go on with my day… but I can’t. There’s something about An End Has A Start that appeals to my inner mopey Brit-rock kid – the one for whom any amount of over-the-top melodrama is acceptable if its delivered in the correct accent and overtop huge, churningly anthemic guitar rock arrangements (it’s this same inner child that will go to bat for the new Bloc Party no matter what reason says). It’s not that I believe that Tom Smith’s howling declarations of angst and anguish are sincere… but I want to believe him. And sometimes that’s good enough.

But to the point. Courtesy of Cornerstone Promotions, I’ve got some Editors swag to give away – a grab bag of sorts. There’s one copy of the new album, An End Has A Start on CD, a copy of the first album The Back Room on LP and a copy of a limited edition, fancy-pants lyrics book for An End Has A Start. To enter, email me at contests A T chromewaves.net with “I Want To Have Tom Smith’s Brilliant Poetry In Hardbound Format” in the subject line… or just “I Want The Editors Stuff”. Whichever. I also need your mailing address in the body. This contest will run till… oh, let’s say Friday night. August 10. Midnight. The witching hour. And sorry, this contest is open only to folks in North America.

And in the meantime, check out their new video for the title track of the album below, some behind-the-scenes footage from the making of said vid at Tripwire and Chart has got an interview with Smith online. Editors play day two of Virgin Fest on September 9.

Video: Editors – “An End Has A Start” (YouTube)
Video: Editors – “Smokers Outside the Hospital Doors” (YouTube)
MySpace: Editors

So I’m still trying to get on some sort of schedule after losing the weekend to Hillside, so no great meme to today’s post. Just some link clearing as I try to crawl into the long weekend. And while normally I’d be thrilled about having Monday off – and I am, don’t get me wrong – I’m also a bit frustrated because that means one day that I won’t be getting mail delivery and thus one day that my copy of Okkervil River’s The Stage Names remains in some sweltering Canada Post warehouse and not in my CD player (unless, of course, it shows up today in which case I shall be as happy as a little girl).

The album is officially out on Tuesday and technically, I – and you – can hear it right now, as the band is streaming the whole thing off their MySpace but that’s not how I want to hear the record, one of two that had the inside track on January 1 for title of “album of the year”, for the first time. I want that thing busting out my speakers like the Kool-Aid Man. Oh yeah. But just because I’m all picky about that stuff doesn’t mean you should be – go listen now to an album that eye just gave five out of five to. Or join me in my mailbox vigil over the weekend with the one officially-released MP3 on repeat. They’re in town at Lee’s Palace on September 21 and then in Hamilton at the Pepper Jack Cafe on September 22. See you at both.

MP3: Okkervil River / The Stage Names

Mr Jason Isbell has been getting a lot of press while on tour for Sirens Of The Ditch – witness interviews with The Georgia Straight, Seattle Weekly, The Portland Mercury and The Arizona Star. And yes, they almost all certainly cover the same ground. What can you do.

The Vancouver Sun talks to Ryan Adams and finds him “rambling — and at times, incoherent”. Good ol’ Ryan – still crazy. Westword also has an extensive interview.

Tunde Adebimpe tells The Pittsburgh Post-Gazette the long and winding story of TV On The Radio.

The Age chats with Britt Daniel of Spoon.

Rogue Wave will be at the Mod Club on October 26 in support of their new record Asleep At Heaven’s Gate, out September 18.

A couple of high-profile Canadian bands are trying novel new ways to combat pre-release leaks of their upcoming albums. Stars’ Torquil Campbell discusses with MTV their decision to release their new record In Our Bedroom After The War two and a half months before the CD release date of September 25. There’s also an EPK movie available to watch below.

Video: Stars / In Our Bedroom After The War electronic press kit

The New Pornographers, on the other hand, opted to give fans who pre-ordered Challengers before its street date of August 21 access to a stream of the album and a slew of bonus materials including some non-album MP3s. That was the carrot – Carl Newman tells JAM about having to wield the stick when some of those bonus MP3s began appearing on blogs. Congratulations, by the way, to Newman who’s getting hitched this weekend. The New Pornographers are at the Phoenix on October 21.

And while on the subject of leaks, Spin has an interesting piece on just where, when and how albums leak to the internet. Via Idolator.

SpaceLab profiles indie label Secretly Canadian as well as sister labels Jagjaguwar and Dead Oceans.

And finally, thanks to Muzzle Of Bees for tipping me off that registration for SxSW 2008 is open – and I’m already registered and have a hotel booked. Sure, it’s seven months early but it’s not going to get any cheaper. I’m going whole hog next year – badge, downtown hotel, swag bag, the whole nine yards. Past years I’ve tried to do it on the cheap and it’s just never been all that cheap and certainly not worth the stress. So it might be costing me a few bucks more, but come next March you WON’T see me begging anyone for a wristband. For a change.

The title of John Vanderslice’s new album, Emerald City, doesn’t refer to his Tiny Telephone studios in San Francisco, wherein he’s worked sonic magic on records by the likes of The Mountain Goats, Spoon and Beulah whilst wearing his pointed producer’s hat. Instead, it’s in reference to the Green Zone in Baghdad and it’s from this war zone that underscores that Vanderslice the singer-songwriter draws the themes of his latest song cycle.

Vanderslice (does anyone else call him “The ‘Slice”?) has a tremulous voice that’s well-suited to the melacholic melodies that suffuse Emerald City. He sounds infused with a sense of anxiety, trepidation and apprehension that reflects the lyrical themes on the record – in particular the trials he’s had to go through to try and get his French girlfriend a US visa. A distinctly personal struggle but considering that it can be tied rather directly to the post-9/11 Homeland Security policies, it’s a personal struggle that speaks to the broader issues affecting his country.

And as befits a recording by as accomplished a producer as he, Emerald City is a sonic jewel. It’s seems spare on the surface but further and closer listens reveal it to be suffused with little aural details and flourishes that sound simultaneously lo-fi, yet shimmering – like a banged-up chrome tailpipe rescued from a junkyard and polished to a gleaming shine. From the gentle beauty of “Kookaburra” through the relatively rocking “White Dove” to the slight electronic stutter of “Tablespoon Of Codeine”, Emerald City is a treat for the headphone set and anyone who likes superb, slightly downtrodden pop songwriting.

Vanderslice is touring Emerald City hard, both on the information superhighway (does anyone still call it that?) and the real, paved one. For the former, he’s engaging in a blog tour with video performances of a track from the album at each of Stereogum, Gorilla Vs Bear, BrooklynVegan, You Ain’t No Picasso and My Old Kentucky Blog so far. Still to come are stops at An Aquarium Drunkard, Sixeyes, Catbirdseat and right here, sometime next week. As for the real world tour, he’s all over North America in late September and early October, including a stop at the Horseshoe in Toronto on October 1.

Aversion,Daytrotter and PopMatters talk to Vanderslice about the record while The AV Club puts his iPod on shuffle. Bradley’s Alamanac is sharing MP3s from a show in Boston from this past Spring, for those looking to get a taste of how he sounds live. I’ve seen him twice in the past and can testify he puts on a great live show without losing any of the quirks you’d think could only be captured in a studio setting.

MP3: John Vanderslice – “White Dove”
Video: John Vanderslice – “Time To Go” (MOV)
Stream: John Vanderslice / Emerald City
MySpace: John Vanderslice

Canada.com, The Arizona Star and The Phoenix New Times profile Vanderslice’s tourmate from this past Spring St Vincent while Tiny Mix Tapes talked to Vanderslice clients The Mountain Goats at the benefit show for the ZOOP! animal sanctuary. And Express has a conversation with Spoon, who’ve also put tunes to tape at Tiny Telephone.

Scotland On Sunday has an interview with James Mercer of The Shins.

The Age Q&As with Karen O of The Yeah Yeah Yeahs about their new old EP, Is Is and rumours of her posing for Playboy.

The National have a sit-down with PopMatters and talk about paying their dues on the road, long before finding success and acclaim with their last two records. The band are in town on October 8 at the Phoenix and, presumably, will not be sleeping in any wet beds in hostels on the way. Support on this tour looks to be Doveman, who will surely be joining the band on piano as well.

Coming to Lee’s Palace on September 22, The Aliens, risen from the ashes of The Beta Band, and Augie March, visiting from Australia.

AOL Music Canada does a compare and contrast of two of last weekend’s music festivals, Hillside and The Rogers Picnic.

Newsarama reports that Neil Young’s 2003 album/movie/stage play Greendale will come to life in yet another medium – the comic book. Vertigo will publish the graphic novel, written by Josh Dysart and illustrated by Sean Murphy, which instead of adapting the narrative of the film will instead tell a new story set in the fictional northern California town.

Time has a conversation with Neil Gaiman, who will see the first big-screen Hollywood adaptation of one of his works next week with the release of Stardust. I wasn’t a huge fan of the graphic novel – it was pleasant but not especially inspiring – and the film looks about the same. But, as a matter of principle, I hope it does well. And I hope they never make a Sandman film.

Video: Stardust

But the ARE making a Watchmen film. Finally and perhaps unwisely, but it’s happening. The cast has been announced and they unveiled a poster by original series artist Dave Gibbons at Comic-Con this week. The principals involved seem alright and director Zack Snyder isn’t a hack, but still. AMBIVALENCE. GREAT AMBIVALENCE.