Alex John BeckI headed into SxSW last week with a list of artists I wanted to see at the festival and I actually did quite well at crossing names off of it – the only two really notable misses were Los Angeles’ Local Natives and Norwegian ragna-rockers Serena-Maneesh. I had experienced the Norwegians in Austin before – their gleefully insane set was one of the highlights of the 2006 festival – but this time out, their schedules and mine just didn’t gel.

Though our last encounter was four years ago at a short but destructive (see a trend?) show at Lee’s Palace in September 2006, I haven’t missed much with the band in the interim. It’s taken them that long to follow up their self-titled debut, which they finally did this week with the release of S-M 2: Abyss In B Minor, and if you think they’ve spent the time away learning new tricks… think again.

Quantitatively, Abyss is probably more sophisticated and melodic than its predecessor, but the underlying template remains very much the same, and it’s easily summed up as My Bloody Velvet Underground, all dreamy vocals overtop unrelenting rhythms and swirling aural chaos, divided into concise pop jewels and sprawling jams. And while the potency of the formula isn’t necessarily diminished on a visceral level – that’d be like saying that being punched in the face doesn’t hurt as much the second time – it doesn’t feel as fresh this time out, even if it may well be a better record.

It certainly contains their finest moment to date in “I Just Want To See Your Face”, a divine-sounding lost MBV track if ever there was one with vocalist Lina Wallinder channeling Belinda Butcher more than a little. And perhaps it’s telling that they’re at their best when sounding their most derivative? These, however, are considerations that are only likely to arise when you’re not actually listening to the album and have time to think objectively. When immersed in it, you’ll likely be too busy exalting in the sonic bedlam to worry if it’s really bringing anything new to the table – and that goes double for their live show, which though I haven’t seen it in some years I can’t imagine being any less chaotic.

To prove that point, Serena-Maneesh returns to Toronto on April 2 for a show at the Great Hall; tickets are $14 in advance but courtesy of Union Events, I’ve got five pairs of passes to give away for the show. To enter, email me at contests AT chromewaves.net with “I want to see Serena-Maneesh” in the subject line and your full name in the body. Obviously this giveaway is only good for folks in the Toronto area – to all residents of North America, including locals who enter the concert giveaway, and courtesy of 4AD, I’ve also got a limited-edition 12″ single of “Ayisha Abyss” up for grabs. If you’d like that, email me again at contests AT chromewaves.net with “I want 12″ of Serena-Maneesh” in the subject line and your full name and mailing address in the body. Contest for both closes at midnight, March 31.

The Georgia Straight interviews Serena-Maneesh frontman Emil Nikolaisen.

MP3: Serena Maneesh – “I Just Want To See Your Face”
MP3: Serena-Maneesh – “Ayisha Abyss”
Video: Serena-Maneesh – “I Just Want To See Your Face”
Stream: Serena-Maneesh / S-M 2: Abyss In B Minor
MySpace: Serena-Maneesh

Exclaim talks to Jonsi, who has released a new video from his solo record Go, originally supposed to be out this week but now pushed back until April 6. He still plays the Sound Academy on April 30 and May 1.

Video: Jonsi – “Kolnidur”

NPR’s World Cafe doubles up on the Swedes with one session featuring El Perro Del Mar and another with Taken By Trees. AndPop and Smile At Your Sister also have interviews with El Perro Del Mar’s Sarah Assbring.

The AV Club, hour.ca and The Boston Herald talk to The Big Pink.

Paste and Express Night Out talk to The xx. They are at the Phoenix on April 4 and the Kool Haus on April 20. Both shows are sold out.

Arctic Monkeys have rolled out a new video from Humbug.

Video: Arctic Monkeys – “My Propeller”

The Quietus revisits Suede circa Coming Up.

Elbow frontman Guy Garvey discusses the importance of the album with BBC6.

Let’s Wrestle make a mixtape for Magnet. They’ll be at the Horseshoe on April 18 with Quasi, who’ve just released a new video from American Gong.

Video: Quasi – “Laissez Les Bon Temps Rouler”

Carrie Brownstein tells Pitchfork that a Sleater-Kinney reunion could happen in the next three to five years.

The Listener and Aquarium Drunkard talk to Dean Wareham. The new set of Galaxie 500 reissues came out this week.

Each Note Secure interviews A Place To Bury Strangers, who’ve just released a new video from Exploding Head.

Video: A Place To Bury Strangers – “Ego Death”

MGMT, whose second album Congratulations arrives April 13, will be at the Mod Club on April 29 for an intimate-type show. Not as intimate as their surprise gig at Captain John’s Seafood Restaurant a couple weeks ago, but the Mod Club probably smells better. Tickets are $30 and go on sale Saturday at 10AM.

Though not currently listed on their tour itinerary, CocoRosie will be at the Phoenix on June 15 in support of their new album Grey Oceans, out May 11.

Whilst killing time during my accidental time off in Austin earlier this week, I happened up on the Yard Dog art gallery on South Congress where they were selling pieces by one Jon Langford, whom as it happens is in town tonight at the Horseshoe with The Sadies and in addition to the regular sort of merch, will have some of his artwork available for sale – this stuff is cool and better than a t-shirt. Check it – and the show – out tonight.

Spinner, JAM and NOW have features on the Thrush Hermit reunion which rolls into Lee’s Palace this weekend for shows on Friday, Saturday and Sunday.

And oh yeah, the official trailer for Scott Pilgrim Vs. The World is now out and it’s onomatopoeiariffic. The film is released August 13 while the sixth and final book of the series, recently revealed to have the titled of Scott Pilgrim’s Finest Hour, will be out July 20.

Trailer: Scott Pilgrim Vs. The World

MergeSo much to catch up on. Where to begin? How about Scotland? That Teenage Fanclub had completed a new record in the last while is no secret. Even the title has been kicking around since last year. But the lack of news on the actual release of the record has been tough to find, at least until now. Merge, who put out their last album Man-Made in 2005, will release Shadows on June 8 to the delight of power pop connoisseurs everywhere.

To stir up anticipation, they’ve released the first MP3 from the record. It’s a Norman Blake composition but like most everything they’ve done since 1997’s Songs From Northern Britain, regardless of who the specific songwriter is, it’s a master class in mid-tempo, ultra-melodic jangle-pop. One of the wonderful things about this band – besides the music, of course – is how each of the three principals has their own distinct songwriting personality, and yet they fit together seamlessly. I’ll admit that in the past half decade, I hadn’t really been chomping at the bit for a new Fannies record but knowing that one is coming and that it’s almost certain to be of the same high level of quality as they’ve maintained pretty much forever is a comforting thought. The Fannies will never really surprise, but they’ll never disappoint either.

Also worth looking forward to is the fact that there are plans for North American touring this Fall. Their last tour was also five years ago so another visit is long overdue. Tracklisting and cover art for Shadows can be had over at Pitchfork.

MP3: Teenage Fanclub – “Baby Lee”

After a goodly amount of teasing, the first official taste of High Violet, the new record from The National, is available to download and it is, in a word, amazing. I’d been joking that this was going to be my album of the year before I heard a note, but I don’t think I’m joking anymore. The National are at Massey Hall on June 8 and 9.

MP3: The National – “Blood Buzz Ohio”

The Acorn have set a June 1 release date for their new album No Ghost – details on the release at Exclaim.

Exclaim talks to Wolf Parade about their still-untitled new album, which has a release date of June 29. They’ll preview it at the Phoenix on April 7.

BBC6 talks to Thomas Mars of Phoenix, who are celebrating a pretty good year by giving away a free live album. Go and get it.

ZIP: Phoenix / Live In Sydney

And speaking of live, let’s talk show announcements. With their new album The Five Ghosts set to come out on June 22, Stars are looking to get back into game shape with a short Canadian tour that will find the band playing rooms much smaller than they normally would, including the Mod Club in Toronto on May 5. And you’ll be paying for the privilege of pretending its December 2004… tickets are a rather dear $34.75, on sale Friday morning. But you know that even at that price, they’ll be gone lickety split.

They entertained the hell out of me just a few days ago, and now Man Man are coming to do the same to you – they’ve got a date at Lee’s Palace on May 9 as part of a short tour, tickets $15.

MP3: Man Man – “Top Drawer”

UK electro outfit Fuck Buttons have made a date at the Horseshoe for May 19.

MP3: Fuck Buttons – “Bright Tomorrow”

Holly Miranda will finally be bringing her solo effort The Magician’s Private Library to town for a show at the El Mocambo on May 20.

MP3: Holly Miranda – “Waves”

The Avett Brothers will bring their latest album I And Love And You back to town for a show at The Phoenix on June 1. Tickets are $25.50 and on sale now.

MP3: The Avett Brothers – “I And Love And You”

Though they were just here in October, The Psychedelic Furs are back for a much cozier show at Lee’s Palace on June 8.

Video: The Psychedelic Furs – “Love My Way”

His date at the Mod Club last April was cancelled due to illness, but Robyn Hitchcock is finally making that up in intimate style with two shows at the Drake Underground on June 11 and 12. Of course that show was supposed to be with the Venus 3 – no word yet what the touring configuration for these appearances are going to be, but it’ll be entertaining regardless.

MP3: Robyn Hitchcock & The Venus 3 – “Goodnight Oslo” (live)

The New Pornographers have announced their extensive North American touring plans in support of Together, out May 4. For their June 15 date at the Sound Academy, they’ll be joined by The Dodos and The Dutchess & The Duke – tickets $26.50 general admission and $40 VIP balcony, on sale Friday. And since it’s a question that always gets asked when tour dates are announced, yes – Dan and Neko are going to be there.

MP3: The New Pornographers – “Your Hands (Together)”
MP3: The Dodos – “Fables”
MP3: The Dutchess & The Duke – “Living This Life”

And if you like your west coast pop a little more bent, Frog Eyes will be at the Music Gallery that same evening, June 15, accompanied by Seattle’s Pearly Gate Music.

MP3: Frog Eyes – “Bushels”
MP3: Pearly Gate Music – “Big Escape”

And oh yeah, Montreal’s Osheaga festival announced their lineup this week and it’s a pretty big pile of holy shit. With a top-five bill of Arcade Fire, Weezer, Pavement, Metric and The National and a pretty solid undercard, it’s pretty much a must-attend for any indie-rocking type who isn’t averse to standing around in a field for two days. The fest goes July 31 and August 1 in Parc Jean-Drapeau in Montreal; weekend passes go for $110/$120 depending on how soon you’re willing to commit.

Frank YangWhile most festivals save their biggest names for the final night, recent years have seen SxSW kind of stagger to the finish line. Everyone is exhausted, bands want to get the hell out of town ASAP and most just want it to all be over. There was supposed to be an exception to this rule in the Big Star show at Antone’s, but with the tragic passing of Alex Chilton earlier this week, that showcase became a tribute concert and if possible, an even bigger draw. So much so that festival organizers decided to make it a badge-only event, meaning that lowly wristbanders like myself were going to be shut out. But on the upside, plan B didn’t have be standing out in the cold in line waiting/hoping to get in, so at least there was that.

I did still spend a good part of the evening near Antone’s in Austin’s warehouse district, which appears to becoming the city’s fancy club district, all bouncers in suits with earpieces and velvet ropes. Perhaps the swankiest was Phoenix, where Leeds’ Grammatics were slated to open up the evening programme. I was pleasantly surprised they were at the festival, as I hadn’t thought that breaking into the US was on their agenda but perhaps with the success of acts like Muse over here, they see an opportunity. Not that Grammatics are overtly Muse-like; they shared a penchant for dramatic delivery, yes, and singer/guitarist Owen Brinley does have a similarly theatrical voice and a tendency towards Matt Bellamy-ish facial expressions, but their sound is more post-punk than prog and the inclusion of cello as a full-time instrument sets them apart. The set drew both from last year’s self-titled debut and songs to be included in the follow-up later this year, and delivered with an assuredness that belied their young ages. Their album was a grower but eventually won me over – their live set cemented that.

Post-Grammatics, I popped down the block to the decidedly less-posh Tap Room, where London’s Gemma Ray would finally be making an appearance. I say finally because she had to cancel one of her Canadian Musicfest performances because of laryngitis and was also a no-show for her showcase the night before. She was indeed in the house this time, though, and treated the small but full house to her unique film noir-rockabilly stylings, rendered in twangy guitar, looping pedals and effected vocals. The lady knows how to create an atmosphere and her cover of Mudhoney’s “Touch Me I’m Sick” was an impressive bit of reinvention.

New York’s Class Actress brought me back to the Phoenix and when their set started, back to the ’80s. Purveyors of chilly, slinky electro-pop of that vintage, the trio showcased their debut EP Journal of Ardency, ably blending beats and hooks. Elizabeth Harper’s vocals are perfectly suited to the sound they’re going for, but her stage moves – while in the right ballpark – were a bit over the top for my tastes. I was probably in the minority there, though. But the tunes are solid and given the option of too much performance effort versus not enough, I’ll take too much.

Norway’s Eva & The Heartmaker were as last-minute an addition to my schedule as you could get, with me uploading their album Let’s Keep This Up Forever to my iPhone right before dashing out the door for the airport. I had been looking for something immediate and catchy for my Saturday night lineup and they fit the bill perfectly, all giddy, girly vocals and big guitars and playing Prague exactly when I had nothing else to go to. The band name refers to Eva Weel Skram (vox) and Thomas Stenersen (guitars) and each had more than their moments in the spotlight with her singing, obviously, and he taking a solo at every opportunity. But it fit and was entertaining, as was their saccharine if not especially deep Primitives-y power pop. Not really a meal, but a fun snack.

The temptation at this point was to call it a night/festival, but a double-bill of known and loved quantities at the cozy environs of the Ale House seemed an appropriate cap to this year’s SxSW. First up was the elegant orchestral pop of Athens, Georgia’s Venice Is Sinking, whom I’d seen last year at the bizarro burlesque club Ace’s Lounge. They seemed decidedly less confused by their surroundings this year – there was no moat around the stage or provisions for stripper poles, for starters – and turned in a more lively set than last time, with tunes from last year’s lovely Azar and their forthcoming Sand & Lines to go with their take on Galaxie 500’s “Tugboat”. They’ve also added some horns to the mix. The horns are good.

And while I’ve said that I don’t come down to Austin to see Canadian/Toronto bands, I did appreciate the synchronicity of having started things off by cheering for the home team – Basia Bulat at the Galaxy Room on Wednesday – and finishing it off the same way, taking in Forest City Lovers’ SxSW debut in the final show of the festival. Though a new record is pretty much in the can, their set stuck largely to the older tunes – familiar to me but new to most others in the bar, most of whom were heavily bearded (it was late, these are the things you notice when you’re tired), and it’s sensible to put your best foot forward in this sort of introductory show. I definitely felt the absence of newest member Tim Bruton, whose contributions on filling out their sound I’ve gotten used to in recent shows back home, but the Forest City charm was still very much in effect. A fine finish to a long, long week.

A week that got a bit longer after I missed my flight on Sunday morning and was stuck in Austin another couple days; I only got back home yesterday afternoon. But I digress – there’s worse places to be stuck than Homeslice Pizza on South Congress. I didn’t intend to stretch out the SxSW reviews so long, but the past week hasn’t gone exactly to plan and getting non-Sx stuff together is going to take a little longer. But believe it or not, stuff has continued to happen outside of Austin over the past week and I’ve got a big laundry list of it to sift through. But there’s going to be good stuff. And some free stuff. And whatnot.

Frank YangIf you’ve been following SxSW coverage anywhere else over the last few days, then you know that Saturday, the final day of the festival, was cold. Damn cold. Colder than Toronto on that same day cold, which was particularly galling. I had brought just enough clothes so as to be able to layer a reasonably suitable outfit, so the loss of approximately 15 degrees overnight wasn’t enough to stop me from going out, just make it a bit less fun.

That said, I got out and about a little later than usual, opting to hit up Flatstock at the convention center first (no purchases, just browsing). A quick stop at the Rachael Ray party at Stubb’s came to nothing as the lineups for free food were massive – I like quesadillas but not to the point of spending an hour in line for them – and the music was already running a half hour behind schedule, so I popped into Red-Eyed Fly next door for WXPN’s day show and basically stuck around the rest of the day.

I arrived in time to catch most of the set from Lissie Maurus, who simply goes by Lissie. She’s an old-school country-rock singer-songwriter who isn’t banking on being fresh or innovative to get attention, just good. And she’s pretty good. Her voice has a raw yet wistful twang and her songwriting evocative and melodic, and oh yeah, she can play a pretty mean guitar as well. People have gotten much further with less, and judging from the jam-packed inside room at the venue, she was well on her way. Or people were just trying to get indoors.

The crowd was only slightly leaner for Sharon Van Etten’s set, but she had to contend with the sound of Jukebox The Ghost making a racket outside. This didn’t make for the most sympathetic environment for her quiet, heart-rending tunes and while she gamely tried to keep up by turning up, I couldn’t help thinking how perfect a setting St David’s Historic Synagogue would have been for her official showcase two nights prior. Or at least I imagine it was more perfect – I didn’t make it out to that show. Here’s hoping things are quieter for her when she plays the Horseshoe on April 5.

Despite the chill, it was to the outside stage for the next couple acts, and though it was Winter that was reminding us it wasn’t quite finished, Philly’s Free Energy were ready to be champions of Summer, at least musically speaking. People may have been expecting Cheap Trick to be the flag-bearers for big, ’70s power pop at this year’s festival, but with all respect to the veterans, Free Energy were untouchable when it came to hugely hooky, ass-shakingly great guitar rock. After their set, they handed out free copies of their debut Stuck On Nothing to all in attendance even though it’s not due out until May 4. The only catch was that it was on cassette. Thanks, guys.

I’d never heard of Australian 7-piece The Middle East before SxSW began, but they were one of the acts whose name got mentioned more and more with each of their performances so by this, their second-last show of the festival, I was actually making an effort to see what the hubbub was all about. Apparently they used to be some odd hybrid of folk-rock and post-rock, but now had a sound that was much more the former, but with some of the scope and grandeur of the latter and a heart-on-sleeve emotionality that tied it all together. With a short set time that was eaten up with soundchecking of their many, many instruments, they probably didn’t have time to really deliver their A-game and I wasn’t as won over as many seemed to have been with previous appearances, but I could see how it could happen.

At this point I was done with Red-Eyed Fly and crossed the street to Barbarella, which I didn’t realize used to be Spiro’s. And while the name had changed, the fact that it’s an awful room hadn’t. But I didn’t want to miss the chance to see Slow Club again – their one appearance at Eastbound & Found on Thursday was not going to be enough, especially since there was no indication that there’d be further North American touring in support of the Stateside release of their debut Yeah, So?. And perhaps because that record is so old to the band, despite not being available over here till March 30, the set again didn’t seem to include many of my favourite songs from that record but instead fresh tunes that at least still adhered to the album’s recipe for success: simple, gleeful guitar-and-drums arrangements, and wicked (witty) sharp songwriting. Highlights of the set included inviting the sisters of First Aid Kit up to sing a song before picking up and heading into the audience to play a tune amidst their public. They went back onstage for one final tune, but I preferred to leave the final impression of the show as that one, and anyways there was an enchilada calling my name.

Frank YangSo where were we? Oh, yes, a somewhat artificial break between the afternoon and the evening. Immediately after leaving the Johnny Flynn hotel gig on Friday evening, I headed out towards the east side of downtown to the Mess With Texas grounds (which the day before had been the Eastbound & Found grounds) for what, of all the unofficial day parties running alongside/against SxSW, had become one of the largest and most must-see.

The three main stage closing acts for day one of the mini-fest included two very familiar faces and one that I hadn’t seen or heard before, but wouldn’t be forgetting. It was an interesting thing to be walking along 6th St and hear quietly at first, but increasingly loudly, the voice of one Billy Bragg exhorting the crowds to call their representatives and urge them to support the impending health care bill and resist giving in to cynicism. Not quite the usual, “hey Austin how ya doing!” you usually hear at these sorts of things, but it was exciting to hear the crowds responding positively to his message. I’d obviously heard him play (and preach) in Canada on numerous occasions, but to witness it in Texas – even in liberal Austin – was pretty cool. The portion of his set I caught was pretty standard Billy but tracks like “NPWA” and “I Keep Faith” tied in pretty well with his message of the evening and set closer “A New England” will always be welcome, anytime, anywhere.

I had said I felt lucky to have seen Frightened Rabbit play a somewhat stripped down set on Wednesday afternoon, and I do/did, but I was just as happy that they had sorted out their equipment issues in time for their next-to-closing set at Mess With Texas, because the rocking Rabbit is also pretty great. Fully plugged in and ready to give the crowd what for, Frightened Rabbit played a similar set to the one at the Paste party, split fairly evenly between the new The Winter Of Mixed Drinks and the older Midnight Organ Fight, all delivered with a fervor that it seemed Scott Hutchison was so pleased to have his electric guitar working again that he was going to strangle it in gratitude. Hearing Frightened Rabbit writ large, my reservations about the extroverted nature of Mixed Drinks is decidedly lessened, and I’m glad I was able to see them again in Austin so I don’t feel any regrets about missing their May 4 show in Toronto at the Opera House.

I am at a loss for how to describe Philadelphia’s Man Man. I’d never seen them before Friday night, and now that I think about it, those I know who are fans have never been able to describe them either beyond, “they’re fun to photograph”. Which they certainly are. The five-piece (or was it six?) are like a circus sideshow making their own soundtrack to wacky-ass antics AND shenanigans, all lurching rhythms, gutteral vocals and insane musicianship on keys and percussion and instruments that may or may not be proper instruments. It’s really something you have to see, and while I don’t know that I’d ever listen to their recorded works, the live spectacle is something to behold. I hadn’t really understood how they were large enough to headline something as large as MWTX (not major festival large but still reasonably large) but they did indeed pack the parking lot with people clearly in the know and stoked to be seeing them again. It was… something to behold.

By rights, that should have been the end of the night since chances of seeing anything top their show were slim to none, but it was still early. En route back to downtown, I got a text saying I needed to be at the Music Gym for Turbo Fruits and I was just across the street and with nothing better to do. So I went. I’d never had an interest in seeing said Nashville trio before, assuming they’d be all snotty and raggedy punk and while they certainly weren’t especially tight or polite, they were more melodic and enjoyable than expected. And points for moving their mics into the crowd with the second song to be closer to their people, though I did feel bad for the drummer stuck way back on the stage.

After a failed attempt to see Gemma Ray and instead catching part of a solo set from the guy from Cutting Crew – the part with “I Just Died In Your Arms Tonight” so not a total loss – I was surprised to see no lineup for Klub Krucial, where a couple acts I thought would be much hotter draws were playing. New Jersey’s Real Estate impressed with a set of jangly pop that was simultaneously peppy and laid back and certainly put them on my list of bands to check out further.

I didn’t need to put Memory Tapes on any such list since I’d been enjoying his Seek Magic mini-album for a few months now. Where the surprise came with them is how entertaining they were live. While much of the beats and arrangements were pre-recorded backing tracks, Dayve Hawk augmented them with a live drummer and his guitar playing had some serious big rock attitude to it. Whereas the recorded works have a hazy, daydreamy feel to them, live they were much more aggressive and dancey. And there was dancing. It may have even involved me. Maybe.

The final stop of the night was Latitude 30 for The Drums, whom besides hearing people talk about them, I hadn’t actually heard before. And if they weren’t playing en route to my hotel with room still available in the venue – at least when I got there, such was not the case around 10 minutes later – that’d have remained the case. In addition to the buzz, I was curious how and why an American band – they hail from New York – was closing out one of the nights at the SxSW British Music Embassy. Until they actually took the stage, at which point it became clear that Americans they may be, but their musical hearts lay squarely in the UK. The quartet, whose singer Jonathan Pierce has clearly spent many hours in front of the mirror practicing his arch and preening frontman poses, struck the right balance of dancey beats and jangly hooks to win the hearts of Anglophiles everywhere, or at least in the room. I wasn’t as swoony as some of those bearing witness, but I could definitely see the appeal – it held my attention for almost their entire set which, considering how wiped I was, was no mean feat.

And… scene.