Frank YangThere’s a scene in the Danny Boyle film Sunshine (a fantastic movie, by the way) wherein the spaceship’s psych officer is in the observation deck and asks the ship’s computer to open up the shades blocking out most of the Sun’s intensity, even though he knows that doing so would be almost instantly fatal (the computer refuses and he settles for the minimum safe amount, don’t worry, no spoiler – it’s the opening scene). The point being that same urge, the one that compels you to do what is obviously unsafe in order to experience something huge and awesome and terrible in a direct, unfiltered form, is what overtook me a couple times on Monday night at the Phoenix when I slipped one of my earplugs out, just for a moment, during sets by both Mogwai and The Twilight Sad.

I hadn’t originally intended to attend this show. I certainly wasn’t going to go to the one it was making up for, a September 2008 cancelled on account of Mogwai drummer’s Martin Bulloch’s pacemaker malfunctioning – not for lack of interest, really, but because I’d seen them when they’d swung through town back in July. And there’s not a lot of bands that I want/need to see twice in the span of three months. But when this tour was announced, it had been long enough since last time that I was considering it and when The Twilight Sad were slated as support, that sealed it – there was no way I was going to miss out.

It’s been a couple years since they released their debut Fourteen Autumns, Fifteen Winters and as long since their one and only visit and even though you could never say that the band had a surplus of conventional stage presence, they still made a hell of an impression with the sheer aural intensity of their performance, and I’ve been waiting a long while for them to return. Though still formally a four-piece, they had with them an extra touring player covering keyboard duties and also second guitar for those moments where a zillion decibels apparently wasn’t quite enough.

With a new album almost done and set for an Autumn release, the set featured no shortage of new material and while I loved Autumns for its ability to essentially take one trick – huge, sustained guitar-driven crescendo and bellowed Scottish angst – and extend it out over an entire record without getting samey, but rehashing that on a second album simply wouldn’t have done. And to their credit, the new material doesn’t follow the formula but as such existed so far outside of my Twilight Sad frame of reference that offering an opinion with further listens wouldn’t be of any value – but I can say that they’re still decidedly dark and morose in tone, so any fears that they’ve lightened up can be put to rest. But it was still the old material that delivered the goods, huge and epic and like a sonic body massage. No, they still don’t do much on stage visually though singer James Graham does wander around a bit more than he did before, but looking is beside the point – it’s about the hearing. And the destruction of your ability to do so.

Going over my review of Mogwai’s show from last year, I find that I’ve already said much of what I’m inclined to say about this one – which is fitting because the general gist of it was that even though one Mogwai show isn’t too different from the next, they’re still always memorable experiences. It’s funny that most discussion of Mogwai focuses on the LOUD part of their dynamic – and make no mistake, when they get loud, it’s loud – but they spend so much more of their time exploring the quiet. And with the night’s set list leaning heavily on the last three records and their slower, more expansive and cinematic qualities, it was the perfect opportunity to listen – really listen – to how marvelously they do the little things. The intricate guitar picking, the gentle taps on the high-hat, the whirring textures of the keyboards – it’s simply gorgeous.

But of course there was the loud. Volume spiked throughout the show but it was the closing triumvirate that reminded, as if it was necessary, that Mogwai remained one of the absolute loudest bands around. First there was the extended apocalypse of “Mogwai Fear Satan”, still as unrelentingly potent as it was when it was released a decade ago and then just as the audience was picking itself off the floor, the thundering main set closer of “Glasgow Mega Snake” featuring one of the nastiest guitar riffs from anywhere, by anyone. And for the encore, a scorched earth “My Father, My King” that left nothing standing. I ducked out as things descended into feedback and even outside the venue, I could still hear it throb. Epic.

Chart also has a review of the show and there’s interviews with Mogwai at The Enterprise News, Metro and Pulse Niagara.

Photos: Mogwai, The Twilight Sad @ The Phoenix – May 4, 2009
MP3: Mogwai – “Yes! I Am A Long Way From Home”
MP3: Mogwai – “Tracy”
MP3: Mogwai – “Dial: Revenge”
MP3: Mogwai – “Hunted By A Freak”
MP3: Mogwai – “7:25”
MP3: The Twilight Sad – “Cold Days From The Birdhouse”
MP3: The Twilight Sad – “That Summer, At Home I Had Become The Invisible Boy”
Video: Mogwai – “Travel Is Dangerous”
Video: Mogwai – “Friend Of The Night”
Video: Mogwai – “Hunted By A Freak”
Video: Mogwai – “Dial: Revenge”
MySpace: Mogwai
MySpace: The Twilight Sad

Drowned In Sound and Clash interview The Vaselines, whose Enter The Vaselines compilation is out now and who play Lee’s Palace next Friday night, May 15.

Patrick Wolf’s new album The Bachelor is still set for a June 1 release in the UK, but in North America, we’ll only be privvy to the digital release on that date (well, the 2nd). Those of us who still like physical media will have to wait for August 11 when his new label NYLON – as in the people behind NYLON – will make it available, details at Pitchfork. But they’re also sponsoring a tour in June – headlined by Wolf and also featuring Living Things and France’s Plasticines – so the delayed release is forgiven. I’d worried that with Wolf now without major label backing, he and his audacious live shows would have some difficulty coming back to North America. Only one date has been made public so far – June 14 in Minneapolis – but based on that we can (hopefully) expect to see Wolf hereabouts in mid-June. There’s interviews with Wolf at Arjan Writes, MusicOhm and NYLON.

The September 18 date at Lee’s Palace was already revealed, but Pitchfork has full Fall tour dates for Maximo Park in support of Quicken The Heart, out next week. They’re also offering up an MP3 from the album.

MP3: Maximo Park – “Let’s Get Clinical”

Drowned In Sound talks to The Horrors. They’re at the Phoenix tomorrow night opening up for The Kills.

Decider talks to Wye Oak’s Jenn Wasner. Their new album The Knot is out July 21.

A third Dears b-side MP3 is now available.

MP3: The Dears – “Meltdown In A Major” (OG Demo Version)

Wolfe Island Musicfest taking place August 8 on Wolfe Island in the Thousand Islands at Kingston. This year, the Marysville baseball diamond will be rocked by the sounds of Holy Fuck, Busdriver (this one? Dunno), Apostle Of Hustle, Attack In Black, Woodhands, The D’Urbervilles, Ohbijou, The Rural Alberta Advantage and Julie Fader. Solid? Definitely. Worth the drive to Kingston? Probably.

Frank YangRare is the occasion that I head into a show with little knowledge of a band or their output – I’m all about the due diligence for my evening activities, yo – but that was the case when I hit the Horseshoe in October 2007 for the The Thermals’ Toronto debut in support of their superb The Body, The Blood, The Machine and though I went in curious, I came out converted. Put succinctly, they rocked my face off.

Their awesomeness was confirmed by their Hot Freaks showcase at SxSW in March and their just-released new record Now We Can See. Whereas Blood was overtly political, forged by the fires of outrage over the Iraq war and outrage over the ideologies behind it, See welcomes the Obama era with a sort of cautious optimism that’s more polished, compact and melodic – more pop, essentially. But that doesn’t make it soft – it’s still loud and nervy, Hutch Harris’ twisted holler still finding plenty in the world to rage against and about. It doesn’t pack the same gut punch or focus of intent that Blood did, but it’s hard to imagine them being able to tap into that same vein of inspiration again and not self-immolate.

Even so, I expected no shortage of righteous fury on Sunday night when the Thermals once again rolled into The Horseshoe for their second-ever Toronto appearance with a couple of fellow Portland acts in tow. The first, Point Juncture WA, seriously impressed. It’s unclear to me whether there actually exists a Point Juncture in the great state of Washington, but if there was and this four-piece’s music were an accurate representation, it’d be a town made up of a noisy/garage-rock residences alongside high-tech electronic industrial districts with a downtown filled with concert halls built on top of jazz clubs, and a population who, despite their disparate influences and interests, all come together to make beautiful pop music. There was no shortage of talent on display – multiple lead vocalists, superb musicianship and deceptively complex song structures – but all of it was in service to their hooky, dreamy pop tunes. And the brought a vibraphone with them on the road for just one part in one song. That’s either dedication or insanity, or probably both. Their new album is Heart To Elk – do investigate.

Middle act The Shaky Hands were somewhat disappointing conventional in comparison. College rock unafraid to let its roots show and with a whiff of jam-bandness about them, they reminded me of Blitzen Trapper but without the genre-hopping creative restlessness. By their set’s end I had come to appreciate them for what they were and not what they weren’t, but wasn’t especially disappointed to see them go. Their new album is Lunglight.

And for The Thermals, I really don’t want to use the word “disappointment” because it sounds overly and unnecessarily harsh, but relative to the two awesome performances they delivered the other two times I’d seen them, this one just paled. They got there and played hard – the sweat soaking Hutch Harris’ shirt by show’s end doesn’t lie – and sounded great, but there wasn’t the sense of glee that I’d basked in at the SxSW show in particular, where both Harris and bassist Kathy Foster were pogoing around the stage and leaping off of amps. Should those sorts of antics be expected nightly? I suppose not, because then it’d just be kind of contrived, but I couldn’t help feeling let down that they didn’t seem to be feeling it this night. But even a Thermals show running not quite full tilt is still a rock show and then some, and from the intensity and enthusiasm of the crowd, it was obvious my feelings were very much in the minority. Covering all albums in their repertoire, they barrelled through almost twenty songs in an hour and did it with aplomb and intensity. If the only complaint I can register is that Harris didn’t leap off of any equipment, then I should probably still file this one under the “W” column.

The Badger Herald and The Hartford Advocate have interviews with Hutch Harris while You Ain’t No Picasso talks to Kathy Foster.

Photos: The Thermals, The Shaky Hands, Point Juncture, WA @ The Horseshoe – May 3, 2009
MP3: The Thermals – “When We Were Alive”
MP3: The Thermals – “Now We Can See”
MP3: The Thermals – “Here’s Your Future”
MP3: The Thermals – “Pillar Of Salt”
MP3: The Thermals – “A Stare Like Yours”
MP3: The Thermals – “How We Know”
MP3: The Thermals – “No Culture Icons”
MP3: The Shaky Hands – “We Are Young”
MP3: Point Juncture WA – “Sioux Arrow”
MP3: Point Juncture WA – “Kings Part II”
MP3: Point Juncture WA – “Sick On Sugar”
Video: The Thermals – “A Pillar Of Salt”
Video: The Thermals – “Returning To The Fold”
Video: The Thermals – “How We Know”
Video: The Thermals – “No Culture Icons”
Video: The Shaky Hands – “We Are Young”
MySpace: The Thermals
MySpace: Point Juncture WA

A bunch of rather high-profile (and high price bracket) shows announced yesterday. First, Sonic Youth will bring their latest album The Eternal, out June 9, to a rather unexpected venue – Massey Hall. They will play the hallowed hall on June 30 with tickets priced at $36.50, $43.50 and $48.50. A limited presale goes Thursday at noon via www.atgconcerts.com and public on-sale is Saturday, May 9, at 1PM.

MP3: Sonic Youth – “Sacred Trickster”

This one I warned you about but it’s now official – Fleet Foxes at Massey Hall on August 4 with Swedes Dungen as support. Tickets for that will be $32.50, $35.50 and $39.50 and presales start at 10AM Wednesday (tomorrow) via www.atgconcerts.com and there’s another, same time, for “Friends Of Massey Hall”. Public on-sale is Friday at 3PM. You know, when I first heard about this band playing this venue, I thought there was no way they could sell it out. But after hearing how excited some people are for this show, I’m beginning to think that they will. And that’s just nuts.

MP3: Fleet Foxes – “Mykonos”
MP3: Fleet Foxes – “White Winter Hymnal”

Pearl Jam will be at the Molson Amphitheatre on August 21. Tickets range from $39.50 to $79.50 and go on sale Friday at 2PM.

And finally, Elvis Costello & The Sugarcanes – that’s the band he’s assembled for his forthcoming countrified album Secret, Profane And Sugarcane, out June 2 – will be at Massey Hall on August 28.

Video: Elvis Costello – “From Sulfur To Sugarcane” (live on Spectacle)

10KLFYou can be forgiven for thinking that Detroit Lake was somewhere in Michigan. I certainly did. But as it turns out, it’s in Minnesota and it’s surrounded by some 9,999 other lakes – give or take a few – and that’s where the 10,000 Lakes Festival gets its namesake.

The 7th annual event will take place from July 22 to 25 on Soo Pass Ranch in Detroit Lakes, Minnesota and feature headliners Dave Matthews Band, Widespread Panic and Wilco… so yes, you could say they have a particular target audience. But that’s not to say it’s all jammy goodness – also performing are Gomez, Sharon Jones & The Dap Kings, Kathleen Edwards, Akron/Family and scads more, all in what would appear to be a stunning natural setting.

So if you were trying to decide this Summer between going camping and getting in touch with nature or hitting up a music festival, you can do both. Courtesy of Music Allies, I’ve got a pair of tickets to the festival to give away (for Canadian reference, Detroit Lakes is a scenic (?) four-and-one-half hour drive from Winnipeg). If you want to throw your hat in the ring, email me at contests AT chromewaves.net with “I want to go to 10,000 Lakes” in the subject line and your full mailing address in the body. Contest will close at midnight, June 23, giving the winner time to dig their tent out of the crawl space and air it out.

MySpace: 10,000 Lakes Festival

thekills.tvWhile I’m very much on record as believing The Kills’ 2008 release Midnight Boom to be a superb album, I’m sure part of that was due to the fact that it was the first Kills record I’d heard. Their reputation to that point was as a garage-blues-scuzz-punk rock duo and that’s not generally my thing, so discovering them to be – at least on that record – all those things but also exceedingly pop was a most pleasant surprise. But this shift in direction, while garnering new fans like myself, probably cost them some as well. Such is the karmic balance of the universe. And with the reissue tomorrow of their debut album Keep On Your Mean Side, The Kills that those long-time fans fell in sleazy lust with is fully on display.

Whereas Boom had me wondering how the duo would recreate all the sounds and textures in a live setting (answer: quite well), there’d have been almost no such question circa Mean Side. Besides some basic drums, Mean Side is all about VV, Hotel, two guitars and a healthy dose of sneering attitude. The prevailing aesthetic is loose and raw, like delta blues by way of The Velvet Underground, and made noteworthy by Jamie Hince and Alison Mosshart’s remarkable presence. The songs aren’t all that memorable individually, but collectively they create a definite atmosphere – gritty, grimy and driving – and while what they’re doing isn’t exactly fresh, their execution and charisma commands attention.

Or it did, circa 2003. Since then, The Kills have taken their sound and gone downtown, less juke joint and more nightclub but most importantly, still seedy. I’m not sure what the impetus for this reissue is, and according to this interview with hour.ca neither does Hince, but the most obvious answer is to capitalize on the success of Boom and perhaps get new fans to pick up the old stuff and use the five bonus tracks to reel in some of the older ones. To the former, it’s far enough removed from where they are now to offer another fix while waiting for album four and to the latter, five extra tracks – one new song, one dictaphone piece and three covers – probably isn’t enough to justify the expenditure but either way, there it is.

The Kills are at The Phoenix on Thursday night, May 7, and courtesy of Against The Grain and Outside Music, I’ve got one prize pack to give away consisting of a pair of passes to the show and copies of both Midnight Boom and the Keep On Your Mean Side reissue on CD to give away. To enter, email me at contests AT chromewaves.net with “I want The Kills” in the subject line and your full name and mailing address in the body. Contest closes at midnight tomorrow night, May 5.

And for this week only, PitchforkTV is streaming the 2005 Kills tour documentary I Hate The Way You Love.

MP3: The Kills – “Black Rooster”
MP3: The Kills – “Cat Claw”
Video: The Kills – “Fried My Little Brains”
Video: The Kills: I Hate The Way You Love
MySpace: The Kills

Ear Farm and Billboard interview Thomas Mars of Phoenix, who will release Wolfgang Amadeus Phoenix on May 29 and follow that up with a show at The Phoenix on June 15.

Each Note Secure talks to Aaron Pfenning of Chairlift.

Blurt, Rolling Stone and Entertainment Weekly talk to Flaming Lip Wayne Coyne about the absurd controversy over their “Do You Realize?” being named the Oklahoma state song.

Beirut’s Zach Condon gives Filter a guide of Santa Fe, New Mexico. They have a date at the Phoenix on July 9.

If you didn’t know, the June 12 Malajube show at Lee’s Palace is free, tickets at Rotate This and Soundscapes and also at the door. Don’t ask why, just go.

The Brother Kite continue to work on the much-anticipated follow-up to Waiting For The Time To Be Right, and a sneak preview of some of the new material in progress can be heard at Bandcamp. And unsurprisingly, it sounds marvelous.

New York Magazine and Decider interview Natasha Khan of Bat For Lashes.

Deer Tick have a date at the Horseshoe for July 17. Their new album Born On Flag Day is due out June 23.

MP3: Deer Tick – “Easy”

This tweet from Labrador certainly seems to imply that we’ll see a new EP from The Radio Dept this Summer in advance of the release (fingers crossed) of Clinging To A Scheme this Fall. Alls I know is that in less than two weeks, I’m going to be in New York City to see the reclusive Swedes live for the first time and I am stoked. And also for Shake Shack. Stoked for Radio Dept and Shake Shack. And Coney Island. I think I’m going to go to Coney Island.

Still not sure if I’m going to make it out to see Thao With The Get Down Stay Down at the Bowery Ballroom the night I get in, though. Will play that one by ear. There’s an interview with her at the Idaho Statesman.

The National Post has an extensive feature piece on Scott Pilgrim, both the comic and the film, and gets creator Bryan Lee-O’Malley to identify and annotate various locales around Toronto that play roles in the comic and will, presumably, make appearances in the film. Filming is ongoing around the city right now and video blog entries on the film’s website now number four.

And a reminder that the Toronto Comic Arts Festival will take place this coming weekend at the Toronto Reference Library at Yonge and Bloor (another Pilgrim location!) and feature appearances from both Lee-O’Malley and Phonogram artist Jamie McKelvie. Issue two of The Singles Club finally came out last week, by the way, and was worth the wait though that shouldn’t be taken as permission for issue three to take another five months to put together, no sir.

Fat CatScots The Twilight Sad don’t come across as the cheeriest folks you’ll meet, at least not musically. Though subsequent releases have seen the band becoming a touch more interested in atmospherics and dialing down the sonic blitzkrieg a bit, their 2007 debut Fourteen Autumns, Fifteen Winters is still a towering example of angst made audible, in deafening fashion.

And it’s that aesthetic – massive, roaring guitars and James Graham’s thick Scottish brogue – that the band brings to this live Joy Division cover, taken from last year’s tour-only album of odds and sods, Killed My Parents And Hit The Road. Song and structure-wise, it’s done pretty faithfully, but sounds as if all that anxiety and tension that was wound up in Ian Curtis’ voice is let loose in a torrent of guitar. I approve.

The Twilight Sad are opening up for Mogwai on first leg of their North American tour, finishing up this week in Chicago but not before they play Toronto on Monday night at the Phoenix. Then it’s back to Scotland where they’re working on final mixes of their next album. In this interview with Citizen Dick a couple months ago, they said that they were looking at an October 2009 release with more North American touring to follow.

MP3: The Twilight Sad – “Twenty Four Hours”
Video: Joy Division – “Twenty Four Hours” (fan video)