Frank YangYou might think the novelty of seeing Phoenix (the band) at the Phoenix (the venue) might have worn off during the two months between the announcement and the actual show on Monday, but it really didn’t. But besides that, the prospect of seeing the French band perform their superb new album Wolfgang Amadeus Phoenix live was plenty of reason to be excited, and I wasn’t alone in that sentiment – the show was completely sold out.

Their tourmates for this jaunt were Amazing Baby, hailing from the slightly less glamorous locale of Brooklyn. Though the band had played our Hot Freaks showcase at SxSW back in March, I missed them on account of being terrorized by Peelander-Z – I had given their new album Rewild, out next week, a few spins so they weren’t a complete unknown. The album is a melting pot of rock styles, most prominently glam in the ’70s sense of the word, but in live presentation the band’s aesthetic was more garage/80s rock-correct than anything else – lots of hair whipping and even some two-handed guitar tapping. You don’t see that every day. Their set barely clocked in at 25 minutes and didn’t make as much of an impression as their album was beginning to – I’ll spend more time with that before firming up any opinions.

I required no such critical faculties for Phoenix – just set endorphin receptors to 10, wait for them to kick off with “Lisztomania” and let go. If you’ve only heard their studio albums, or even just their latest as I’ve already said I have, you might think that their pristine production and absurdly precise musicianship is a studio creation. Live, however, they expand from a four-piece to six and are every bit as tight and even more dynamic. The massive pop hooks were recreated impeccably but the also demonstrated their ability to get far heavier and funkier than their recorded works had ever implied. It’s easy to think of Phoenix as a breezy pop band but they can get down and dirty – yet remain sonically immaculate – when they choose to.

Watching the band run through a set naturally heavy on Wolfgang but still drawing from their other three albums, you couldn’t help but be impressed with how hard they worked to make it sound so effortless. Singer Thomas Mars frequently looked winded and got progressively sweatier after each song, unsurprising considering how much physicality he put into his performance, roaming around the stage, climbing monitors and generally working the crowd like a pro. It was thus understandable that during the instrumental interlude of “Love Like A Sunset”, he simply lay down on the stage, back against a floor monitor, to recover for a few minutes. And the breather did him well as the band managed to take a show that had run pretty much full-tilt from the word go and take it to another level for the end, whipping the crowd into a frenzy.

All through the night Mars and his bandmates had a sort of incredulous look on their faces, perhaps not quite believing the breadth and intensity of the audience’s enthusiasm. After all, Phoenix were supposed to be one of those bands that no one could understand why they didn’t break out big – they weren’t actually supposed to break out big. But for this night, at least, they were greeted like conquering heroes and no one wanted it to end. So with the final number of the encore, the irresistible “1901”, the band thought they were finished – instruments were unstrapped and amplifiers turned off – but guitarist Laurent Brancowitz kept playing the staccato riff, unwilling to admit it was over – and quickly instruments and amps went back on and they played the outro again, Mars taking the opportunity to leap into the audience and commune properly with their fans. After that euphoric finish, it was finally over and one of the better albums of the year so far had begot one of the best shows of the year so far.

The AV Club has an interview with Phoenix’s Thomas Mars and The Boston Herald with Laurent Brancowitz, while Daytrotter recently posted a session with Amazing Baby recorded back at SxSW.

Photos: Phoenix, Amazing Baby @ The Phoenix – June 15, 2009
MP3: Amazing Baby – “Bayonets”
Video: Phoenix – “1901”
Video: Phoenix – “1901” (acoustic)
Video: Phoenix – “Lisztomania”
Video: Phoenix – “Consolation Prize”
Video: Phoenix – “If I Ever Feel Better”
Video: Phoenix – “Long Distance Call”
Video: Phoenix – “Twenty-One One Zero”
Video: Phoenix – “Run Run Run”
Video: Amazing Baby – “Headdress”
MySpace: Phoenix
MySpace: Amazing Baby

Austin instrumentalists The Octopus Project are at Lee’s Palace on July 28, tickets $8.50.

MP3: The Octopus Project – “I Saw The Bright Shinies”
MP3: The Octopus Project – “Music Is Happiness”

Cursive have a date at The Horseshoe on August 1 in support of their latest album, the horribly-titled Mama, I’m Swollen. Tickets for that one are $15.50.

MP3: Cursive – “From The Hips”
MP3: Cursive – “Mama, I’m Swollen”

Apparently a new 7″ is all the excuse that Modest Mouse need to hit the road. They’ll release a new single on June 23 – Spinner is streaming the a-side right now – and traverse North America in August. The Toronto date is August 21 at the Sound Academy and tickets are $30.

Loney Dear, who had to cancel their May Toronto date on account of a busted-up van, will make that up on October 13 with a show at the Horseshoe – and as a bonus, they’re bringing Asobi Seksu along with them. Actually, Asobi might headline – they’re a much larger draw hereabouts. Full tour dates at Pitchfork.

MP3: Loney Dear – “Airport Surroundings”
MP3: Asobi Seksu – “Familiar Light”

The Fiery Furnaces have a new album in the can called I’m Going Away and will release it on July 1.

MP3: The Fiery Furnaces – “The End Is Near”

Black Book and The Aquarian profile School Of Seven Bells.

Interview interviews TV On The Radio.

Muzzle Of Bees asks five questions of Handsome Furs.

MP3: Handsome Furs – “Radio Kaliningrad”

Mason HastieIf there’s one thing I learned from being on the Grand Jury for last year’s Polaris Prize, it’s that the duties of being a regular jurist are far, far, far, far less stressful. There’s a real burden of responsibility when you’re one of the 11 whose duty it is to choose Canada’s “best album of the year”, forcing you to consider each nominee on the short list objectively, checking as much as possible personal biases towards genre, personality, history, whatever. It’s a lot of work.

And while in theory, the regular jury is supposed to apply that same criteria to their ballots, but it’s more of a free-for-all, some choosing to vote strategically to try and get lesser-known acts some exposure, others opting to ignore more commercially successful artists (though that’s probably the same thing). I took the same approach as in past years – essentially a combination of 85% personal favourites and 15% critical merit – and went with the following picks and rationale:

1) Woodpigeon / Treasury Library Canada & Houndstooth Europa
– one of my favourite albums of 2008, it hasn’t lost any of its winsome charm in the subsequent months. Expansive in scope yet exceedingly intimate-sounding, it’s simple and heartfelt and just beautiful. Dose.ca has an interview with bandleader Mark Hamilton.

MP3: Woodpigeon – “Knock Knock”
MP3: Woodpigeon – “Love In The Time Of Hopscotch”
MP3: Woodpigeon – “Oberkampf”
MP3: Woodpigeon – “Lay All Your Love On Me”
Video: Woodpigeon – “A Moment’s Peace for Mary Christa O’Keefe”
MySpace: Woodpigeon

2) Land Of Talk / Some Are Lakes
– I’d originally pegged this as a bit of a disappointment as it didn’t have the same buzzsaw intensity as their debut EP, but in time I’ve realized that the restraint and nuance of the full-length reveals them to be a much more sophisticated band than you might have originally expected. And it still kicks hard when it needs to.

MP3: Land Of Talk – “Some Are Lakes”
MP3: Land Of Talk – “Corner Phone”
Video: Land Of Talk – “Some Are Lakes”
MySpace: Land Of Talk

3) Rae Spoon / Superioryouareinferior
– The latecomer, dark horse, call it what you will, I’ve explained how this record from an artist completely unknown to me prior to a few months ago quickly became one whose melodies and emotional content would come to haunt the corners of my brain.

MP3: Rae Spoon – “Come On Forest Fire Burn The Disco Down”
Stream: Rae Spoon / Superioryouareinferior
MySpace: Rae Spoon

4) Bruce Peninsula / A Mountain Is A Mouth
– That the recorded artifact even comes close to capturing the intensity of the live Bruce Peninsula experience should earn it some sort of prize. That it dropped a couple of spots where I might have placed it a few months ago is more testament to the quality of the competition than a slight on the record itself.

MP3: Bruce Peninsula – “Crabapples”
MySpace: Bruce Peninsula

5) Metric / Fantasies
– This one might surprise some people who know I’m not even remotely a rabid Metric fan, but I’d be lying if I said that Fantasies didn’t have some of the best hooks and choruses of any record from any country this year. Spinner.ca, North Country Times and Decider have features.

Video: Metric – “Sick Muse”
Video: Metric – “Gimme Sympathy”
MySpace: Metric

And to my surprise, all five of my picks made the official long list, announced yesterday, which means that not only can I rest easy knowing that my tastes broadly align with the rest of Canada’s music critics (or maybe I should despair of that?) but that I now no longer need to do anything between now and the official ceremony in late September, when I will have to help myself to cheese and crackers. The short list of ten finalists will be unveiled on July 7, and I’m not going to speculate as to how many of the above choices will still be standing when the dust settles there. Hopefully at least a couple, so I have someone to root for.

I don’t know if the timing of the Polaris long list announcement was deliberately set to coincide with the start of NXNE this week, but it certainly makes my segue easier. I took an early pass at the lineup a while back, and now that the schedule has mostly worked itself out, my picks for the week are becoming somewhat clearer. Each night would seem to have what I’ll call an “anchor” act for me to either plan around or use as a starting point for the evening. Thursday night at 10PM at Neutral for Austin’s Ume, Friday at the Dakota at 8PM for Coeur De Pirate, with whom Singing Lamb has an interview, and Saturday at the Horseshoe, 9PM, for the aforementioned Woodpigeon.

Options for the Thursday night include Kensington Prairie at C’est What or The Balconies at the Drake for 9PM, Kittens Ablaze at the Rivoli or Natalie Portman’s Shaved Head at the El Mocambo at 11 and probably The Darcys at midnight.

With Coeur De Pirate being an early show, Friday is kind of wide open. Will almost certainly hit up Parlovr at Supermarket at 9, hope Swedes via Ireland Kill Krinkle Club are better than their name at Holy Joe’s for 10 and if not, there’s The Superstitions playing just downstairs at the Reverb. The UK’s Koogaphone have piqued my interest for 11PM – they’re upstairs at the El Mocambo – and seeing as how I’ve meant to see Provincial Parks for some time now, midnight at Rancho Relaxo seems as good an opportunity as any. 1AM will probably send me back to the Reverb for Parallels, though having The Sadies at the El Mocambo at the same time is about as sure a bet as you can get.

Saturday starts at the Horseshoe for Woodpigeon, and while staying at the ‘Shoe for NXNE for the stacked CBC-sponsored lineups is always an option, I will likely head to Bread & Circus to see Caledonia – though they didn’t make the long list, they got some substantial last-minute Polaris nomination buzz. Speaking of buzz, Band Of Skulls is getting enough that I’ll likely check them out at the El Mocambo but staying at Bread & Circus – with their lovely bright lights – for Olenka & The Autumn Lovers is also an option. Post-midnight is still entirely up in the air – suggestions are welcome, though they’d have to compete against the “go home and go to sleep” option, which is always a compelling one.

And if the official showcases aren’t enough to keep you busy, there’s always the unofficial ones, which generally take the form of in-stores. I haven’t seen anything slated for Sonic Boom, which is a bit unusual, but Criminal Records has a nice little lineup this week – Apostle Of Hustle at 7PM tonight, Said The Whale and The Daredevil Christopher Wright on the 19th, starting at 6PM.

As mentioned before, Ohbijou are doing an in-store at Soundscapes on Wednesday, June 17 at 7PM to mark the release of Beacons, a record you can probably expect to see me talking about when I do my Polaris Prize writeup for 2010. They talk to CBC Radio 3 and The National Post about the new album. They’ll also do a full show at the Opera House on June 25 – still have passes and prizes to give away for that.

The National Post has a Soundcheck video feature on Dog Day.

Someone obviously thinks I need to visit Montreal again. Today, Pop Montreal, taking place September 30 to October 4, revealed their initial lineup and as rumoured, the list includes the likes of Dinosaur Jr, Chairlift, Destroyer and the Dalai Lama (what?) – all fine acts, but their presence in Montreal almost certainly augurs a trip down the 401 to Toronto within a day or two. But more compelling is the addition to Osheaga (August 1 and 2) of Yeah Yeah Yeahs. When the initial lineup was announced and it was obvious they were importing chunks of All Points West’s roster wholesale, I bemoaned the fact that the Yeah Yeah Yeahs weren’t among them. Well apparently it was just a matter of time, because now with them and Elbow performing along with The Decemberists and Lykke Li amongst a host of others – and the fact that until V gets their act together and gives me a reason to head up to Orillia – 2009 is looking festival-free and that simply will not do.

Frank YangIt wasn’t technically a secret show – when the announcement was made, it was very clear as to what was going on – but considering the announcement came less than 36 hours before gig time, it was most definitely a surprise. The occasion was a show by The Dead Weather, a band whose existence was only revealed three months ago, but who by virtue of their pedigree were already one of the most talked-about new acts of the Summer. And it’s not hard to see why – their lineup features Jack White of White Stripes and Raconteurs fame, Alison Mosshart of The Kills, Dean Fertita of Queens Of The Stone Age and Jack Lawrence, also of The Raconteurs.

Though their album Horehound wasn’t set for release until July 14, coinciding with a large North American tour, they were opting to play a couple of hugely undersized club shows to warm up and build excitement – last Friday night at the Magic Stick in White’s hometown of Detroit and on this night, at the Horseshoe Tavern in Toronto, a room with a generously-rated capacity of 400 heads that’s hosted more than its share of massive bills, both surprise and secret.

A strict wristband policy targeted at both foiling scalpers and getting genuine fans into the gig ensured that there were lineups of people along Queen West for goodly portions of Saturday afternoon and early evening, but while it meant long waits, it seemed to be effective – once inside, everyone seemed genuinely excited to be there and in great anticipation for the show. And they’d have probably happily waited the three hours from doors till show time, but there was also an opening band on the bill, hand-picked by Jack White from a list of local-ish suggestions via MySpace auditions.

The winners of this lottery were Ottawa’s Hollerado, who were in town for a show the previous night at Lee’s Palace, and while opening up for The Dead Weather would be a highlight for any young band’s resume, it could have been a mixed blessing – after all, it was a chance to play in front of a packed house, sure, but also a crowd that had no idea who they were nor potentially any interest in hearing them. Fortunately for everyone, Hollerado put on a winning set that combined collegiate smart-alecky lyrics with barroom-approved rock and served them up with an entertaining stage show – you have to give points to a band that’s willing to drink beer soaked into and wrung out of the drummer’s sock. No wait, you don’t. But they put on a great set, almost certainly won themselves some new fans and most importantly, helped pass the time.

By this point, The Horseshoe was absolutely packed and disgustingly sweaty as roadies set up for the show, and even then Jack White’s attention to visuals was very much evident. All crew members were nattily dressed in dark suits with blue ties and fedoras and the guitars were all stunning white Gretsches with gold hardware. You didn’t have to be a guitar geek to be impressed – that was some seriously nice gear. And then at 11:30 sharp, the lights went out.

In White and Mosshart, The Dead Weather have in their ranks two of the most charismatic frontpersons in rock, and put together on a stage as small as the Horseshoe’s in front of an audience as pent up with excitement as this one, the result was combustible. White’s role as drummer (and sometime vocalist) keeps him at the back and though his presence was most definitely felt – there were noticably no cymbal stands or any sort of hardware to obstruct the view of the biggest star onstage – it was hard to keep your eyes of Mosshart. Not just because she’s got that gloriously strung out sex appeal, but with her whipping hair, leopardskin coat and sheer rock goddess presence, it was impossible to look away. As good as she is with The Kills, hearing her equally sultry and sinister rasp front a massive-sounding, blues-soaked rock band staying to just the right side of sludgy is even better. It may not be as engagingly creative and catchy as her other gig with its punk and electro hybridism, but it sure as hell feels right.

To appreciate The Dead Weather, I had to get out of my pop-ist mindset because they are not about hooks or melodies or the other markers I usually look for in my music. This isn’t to say they’re not there, but they’re secondary to the mighty riff, be it on organ or guitar, the deep, muscular groove and the sheer attitude. And the volume. The Dead Weather may have been playing a small club but they blasted it like it was an arena. And while their songs certainly excelled in those departments, I didn’t find them individually to be especially memorable or exceptional – they were more just vehicles for the massive talents, musicianship and personalities of those delivering them and in that sense, they were triumphs.

With just an album’s worth of material, their show ran just over an hour long with the main set coming to its obvious but no less potent climax when White climbed out from behind the kit, strapped on a guitar and performed, “Will There Be Enough Water?” as a slow-burning duet with Mosshart punctuated by a searing solo the likes of which he’s more known for in his other bands. It was a finale that was tough to top, but that didn’t stop them from coming out with a two-song encore that wrapped with their current single, the snarling “Hang You From The Heavens”, and after gathering in front to acknowledge the rapturous applause, the four were gone, leaving their exhausted but utterly satisfied fans to recover at their own pace. They’ll be back for a full-sized gig at the Kool Haus on July 22 and while the vast majority of those there for that show will probably think it’ll be a great, wholly memorable performance, anyone amongst the few hundred who were able to catch one of the band’s very first gigs – I think this was their fourth or fifth-ever liver show – will know that however good that Kool Haus show is, it won’t have compared to this one.

Both The Globe & Mail and The Toronto Sun were in attendance on Saturday and have reviews. Black Book and The Times have interviews with the band, The Los Angeles Times, The Globe & Mail and Canadian Press talk to Jack White and The Courier-Journal chats with Jack Lawrence. The band are offering a download of album track “Treat Me Like Your Mother” in exchange for your email address.

Photos: The Dead Weather, Hollerado @ The Horseshoe – June 13, 2009
Video: The Dead Weather – “Hang You From The Heavens”
ZIP: Hollerado / Record In A Bag
MySpace: Hollerado

That’s it for today. I used up all my random linkage on Saturday.

Amazon.comThat Patrick Wolf is a bit of a unique character isn’t really up for debate, his unique personality apparent to anyone who’s ever read an interview or followed his Twitter and his music also refusing to submit to easy categorization. So thematically, having him cover The Beach Boys’ “I Just Wasn’t Made For These Times” for the 2006 Pet Sounds tribute album Do It Again made good sense, but stylistically you had to wonder if pairing such a dramatically inclined singer with one of Brian Wilson’s most vulnerable and wistful compositions was a good idea. Happily, Wolf is able to dial it down enough to keep its poignancy yet still impart his personality on it.

“Dialed down” are not words you’d use in conjunction with Wolf’s latest album The Bachelor, but the grandiosity why his fans love him. He’s at the Mod Club in Toronto this Wednesday night, June 17, to support. PopMatters has a feature piece and Clash the second part of their interview with Wolf. Brian Wilson released a new solo record in That Lucky Old Sun in late 2008 and more recently, Summer Love Songs was the umpteenth Beach Boys compilation to hit the market, seeking to set itself apart by offering new stereo mixes of a half-dozen songs as well as a previously unreleased Dennis Wilson composition.

MP3: Patrick Wolf – “I Just Wasn’t Made For These Times”
Video: Brian Wilson – “I Just Wasn’t Made For These Times”

Jeremy BaldersonBlog? Don’t blog? Blog? Don’t blog? Fuck it. Blog.

Brooklyn’s Jealous Girlfriends have been good to their word of taking 2009 off, but their individual components have hardly been idle. As reported back in January, singer Holly Miranda was working on a solo project and that’s now manifested itself as a five-song EP entitled Sleep On Fire. You can download an acoustic version of one of the tracks on her website, and she’s playing some US dates through June with AA Bondy. She was also recently featured in a Takeaway Show from director Vincent Moon.

Two of Miranda’s bandmates – singer/guitarist Josh Abbott and drummer Michael Fadem – have also been busy, assembling a new band they’ve dubbed New Numbers. They’ve also completed a new EP entitled Islands which they’re giving away digitally for free, and are also touring behind, starting with a June 22 show at the Horseshoe in Toronto. Like Miranda’s work, New Numbers aren’t far removed sonically from the Jealous Girlfriends’ sound, focusing on the more pop-rock side of things whereas Miranda is exploring the atmospheric. Both augur well for the Jealous Girlfriends’ future works, though.

MP3: New Numbers – “Hinterlands”
MP3: New Numbers – “Islands”
ZIP: New Numbers / Islands
MySpace: Holly Miranda
MySpace: New Numbers

Laundromatinee welcomes Chairlift to their studios for a session.

Japan Times and Newsweek have feature pieces on Sonic Youth, whom it was just announced this week will be receiving their own line of Fender signature guitars. Gotta say, those things are pretty sexy. Sonic Youth are at Massey Hall on June 30.

NPR is streaming their World Cafe session with Grizzly Bear.

Drowned In Sound talks to Yo La Tengo’s Ira Kaplan. Their new record Popular Songs will be out September 8.

The Scotsman talks to The Thermals’ Kathy Foster.

Wilco’s Glenn Kotche tells Cincinnati.com that he likes Cincinnati. Wilco (The Album) is out June 30.

The Guardian welcomes Blur back to active duty with feature interviewing all four members and including rehearsal footage.

Stuart Murdoch talks to The Guardian about assembling his “ultimate girl group” for God Help The Girl, the album for which is out June 23. The List also has a feature on the project.

For Folk’s Sake confabs Fanfarlo.

SubPop is previewing some of their upcoming late Summer collection, releasing MP3s from the new albums from Grand Archives and Fruit Bats. Their new records Mind Frankenstein and The Ruminant Band are out September 8 and August 4, respectively.

MP3: Grand Archives – “Silver Among the Gold”
MP3: Fruit Bats – “My Unusual Friend”

She didn’t particularly impress or disappoint in her Toronto debut back in April, but La Roux is coming back to town following the release of her self-titled debut on June 29 with a date at the El Mocambo on July 31, tickets $12.

Video: La Roux – “Bulletproof”

The Pains Of Being Pure Of Heart have apparently found a favourite restaurant or something here in the big smoke because they’re returning for their third show of the year on September 7 at the Horseshoe. Accompanying them will be The Depreciation Guild, who opened up in their T.O. debut back in February, and Cymbals Eat Guitars. Tickets for the show are $12. Drowned In Sound has an interview with the Pains crew.

MP3: The Pains Of Being Pure At Heart – “Everything With You”
MP3: The Depreciation Guild – “Darklooming”

Regina Spektor has a date at the Sound Academy on September 16, Little Joy support. Her new album Far is out June 23.

MP3: Little Joy – “No One’s Better Sake”
Video: Regina Spektor – “Laughing With”