Frank YangA little time off can be nice, but as much as I was enjoying the very unusual but welcome two-week break from show leading up to SXSW this week, it was also making me a bit antsy. Thank goodness for the Young Prisms in-store at the new Kensington Market location of Sonic Boom, in advance of their show that evening at The Drake. It would give me a quick, convenient way of scratching the live music itch and also let me pick up some LP sleeves. Everybody wins.

I saw the San Francisco outfit last February opening up for The Radio Dept., and while their dream-pop tended more to the murkier side than I’d like, they were a charming crew and so young that they could have grown plenty in the elapsed time. After all, In Between – the follow-up to their 2011 debut Friends For Now – was already done and coming out in a few weeks; it seemed highly unlikely that they would still be the same band as they were a year ago.

Turns out that was true in the literal sense – they were now a five-piece with the addition of guitarist/vocalist Ashley Thomas to the mix, and while her presence didn’t totally invert their sound, it made a difference. They still sounded very much like My Blood Valentine mixed with morphine – the opiate, not the band – being loud and fuzzy yet not especially aggressive, but the tunefulness that they previously seemed to prefer buried was now being allowed to surface. The second guitar was able to pick out melodies overtop of the churning bed of glider guitar and pounding rhythm section and when Thomas and lead vocalist Steph Hodapp harmonized as they did on new song, “Four Hours (Away)”, well it was clear that Young Prisms had a potent new instrument at their disposal.

Based on a few songs, it’s hard to say too definitively how far Young Prisms have come – the new record isn’t out until March 27 – but it sounds as though they’re mixing some Slowdive romanticism into their MBV sonic stew, and that can only be a good thing. And if these reference points have no meaning or interest to you, then you’d best just move along.

NYCTaper is sharing a recording of the band’s show in New York last week.

Photos: Young Prisms @ Sonic Boom (Kensington) – March 10, 2012
MP3: Young Prisms – “Floating In Blue”
MP3: Young Prisms – “Sugar”
MP3: Young Prisms – “Weekends And Treehouses”
Video: Young Prisms – “Floating In Blue”
Video: Young Prisms – “These Daze”
Video: Young Prisms – “Breathless”
Video: Young Prisms – “Sugar”

Rot Gut, Domestic – the new album from Margot & The Nuclear So & So’s – is out March 20 and a new MP3 is available to download. They play The Garrison on April 5.

MP3: Margot & The Nuclear So And So’s – “Shannon”

NPR is streaming a complete Shins concert in New York last week while JAM and The Line Of Best Fit share interviews with James Mercer; their new record Port Of Morrow is out March 20 and they’re at The Molson Amphitheatre August 4.

eMusic talks to Bowerbirds. They play The Garrison on March 27.

Le Blogotheque has posted a Take-Away Show with Perfume Genius; he plays The Drake Underground on April 8.

Billboard and Rolling Stone talk to M. Ward about his new record A Wasteland Companion, due out April 10.

J Tillman has released a new video from Fear Fun, his debut under the Father John Misty marque. It’s out May 1 and he is at The Horseshoe on May 14.

Video: Father John Misty – “Nancy From Now On”

Ramona Falls, aka the side-project of Menomena’s Brent Knopf, will release their second album Prophet on May 1 and follow it with a show at The Drake Underground on June 8.

MP3: Ramona Falls – “Spore”

Hey, remember Garbage? They certainly hope so. They’ve got a new album called Not Your Kind Of People coming out May 15 and will be embarking on a short tour that ends at The Phoenix in Toronto on May 28.

Video: Garbage – “Vow”

Class Clown Spots A UFO – the second album of the reunited Guided By Voices era is coming in June and the first sample is available to stream. It’s gorgeous. Details on the release and Bob Pollards new solo record – of course there’s another new Bob record – are available at Pitchfork.

Stream: Guided By Voices – “Keep It In Motion”

Pitchfork reports that Bob Mould has signed to Merge records for his next solo record, due out this Fall.

Greg Dulli talks to Rolling Stone about rediscovering The Afghan Whigs – just in time for their reunion this year.

Interview has an interview and NPR a World Cafe session with Sharon Van Etten.

Billboard and Spinner talk to Jay Farrar about the New Multitudes Woody Guthrie project; the project also stopped in at Daytrotter for a session.

Patterson Hood reflects on the making of Drive-By Truckers’ 2001 masterpiece Southern Rock Opera to Boulder Weekly.

Frank YangAs I understand it, conventional wisdom is that Leap Day should be taken as an opportunity to try something new. But seeing as how prior to this year I’ve never thought of February 29 as anything more than an extra day of Winter every four years, I don’t feel bad that I spent it seeing a band I’ve seen many times before – Scotland’s The Twilight Sad, in town in support of their third album No One Can Ever Know.

“Trying something new” points should still be award for showing up early for opening act Odonis Odonis, who despite hailing from Toronto I’d not heard before the took the stage. A little research revealed that they were in fact labelmates with The Twilight Sad, being signed to the UK’s esteemed Fat Cat imprint for their debut album Hollandaze; this would normally be a good indicator of quality, but I recall another Toronto outfit signed to Fat Cat – Ten Kens – whom I was totally unimpressed with. And as it turns out, Odonis Odonis is the project of a former Ten Kens member. So. It’s probably just as well that I didn’t know that beforehand because I likely wouldn’t have given them a shot, and as it turned out, I liked them better. Relatively, at least. The trio either took a garage/surf-rock thing and buried it under noise layers or art-rock or took a noisy, art-rock thing and gave it a garagey/surfy friendly vibe – the coin flipped a few times over the course of their set. It was pretty loud and heavy, either way, and by the time it was over, I think the scorecard tipped in favour of tuneful over discordant, but just barely.

As noted in my review, No One Can Ever Know certainly found The Twilight Sad trying something new – synth-rock. An unexpected move given their signature sound to this point had been James Graham’s inconsolable bellow over Andy Macfarlane’s massive guitars, but one that works surprisingly well. So while I had a pretty good idea of what to expect of the band live by this point, I was curious to see how this new dimension would be incorporated into the show.

Taking the stage to a slow, pulsing synth tone that could well have been a fire alarm, they opened with No One‘s “Kill It In The Morning” – about half the set was comprised of new material, the rest split evenly between Fourteen Autumns & Fifteen Winters and Forget The Night Ahead – and made it clear that though they had the same five-piece lineup that opened for Mono last time through, Martin Doherty’s keyboard responsibilities – while certainly more important this time out – were not going to supplant Macfarlane’s six-string duties anytime soon. The synthetic sheen of the new material was given a proper steel wool scrub courtesy of Macfarlane’s Fender Jaguar and Marshall stack and made loud, fuzzy and loud. Did I mention loud?

The combination of their old sound and new was quite a potent one, the resultant chaotic squall with a mechanical pulse coming across as more urgent and menacing than ever before and proving the new direction did not come at the expense of old strengths. At some points, the mix fell out of balance and Graham’s vocals – no wallflower of an instrument – were buried under the tumult but it always managed to right itself before becoming an issue. It was also interesting to see how far Graham has come as a frontman, his lurch-dance moves providing a welcome bit of onstage activity relative to his bandmates.

The show moved with a steady but unrelenting momentum for just over an hour, Graham taking the time to sincerely thank everyone for coming out to see them and promising a return visit soon before finishing with a scorched-earth double-shot of “And She Would Darken The Memory” from Fourteen Autumns and “At The Burnside” from Forget The Night Ahead. There was no encore, but there didn’t need to be; that was the proper finish.

Exclaim also has a review of the show.

Photos: The Twilight Sad, Odonis Odonis @ Lee’s Palace – February 29, 2012
MP3: The Twilight Sad – “Another Bed”
MP3: The Twilight Sad – “Kill It In The Morning”
MP3: The Twilight Sad – “Reflection Of The Television”
MP3: The Twilight Sad – “Cold Days From The Birdhouse”
MP3: The Twilight Sad – “That Summer, At Home I Had Become The Invisible Boy”
MP3: Odonis Odonis – “Ledged Up”
Video: The Twilight Sad – “Another Bed”
Video: The Twilight Sad – “Sick”
Video: The Twilight Sad – “The Room”
Video: The Twilight Sad – “Seven Years Of Letters”
Video: The Twilight Sad – “I Became A Prostitute”
Video: The Twilight Sad – “And She Would Darken The Memory”
Video: Odonis Odonis – “Ledged Up”
Video: Odonis Odonis – “Blood Feast”
Video: Odonis Odonis – “Mr. Smith”

Nick Lowe returns to town with a full band for a show at The Phoenix on April 23, tickets $34 in advance and there will be limited seating available. It’s in support of last year’s The Old Magic, from which Lowe has released his first music video in almost two decades – NPR premiered it alongside a conversation with Lowe about the tune.

Video: Nick Lowe – “Sensitive Man”

Finally apparently getting over her fear of playing venues appropriately sized to her fanbase, Laura Marling has announced a June 17 visit to The Phoenix, the final date of a Summer tour. Tickets will be $25 in advance.

Video: Laura Marling – “All My Rage”

Daytrotter has posted a session with Noah & The Whale.

Interview and The Quietus interviews Beth Jeans Houghton, whose Yours Truly, Cellophane Nose is up to stream in whole at Spinner; I wrote this record up a month ago – but the North American release was just this week. But to make up for the delay, there’s a new video!

MP3: Beth Jeans Houghton – “Dodecahedron”
Video: Beth Jeans Houghton & The Hooves Of Destiny – “Atlas”
Stream: Beth Jeans Houghton & The Hooves Of Destiny / Yours Truly, Cellophane Nose

Arctic Monkeys have released a new video for a non-album track. They’re at the Air Canada Centre opening for The Black Keys on March 14.

Video: Arctic Monkeys – “R U Mine?”

The lead single from The Wedding Present’s new album Valentina is now available to download. The record is out March 20 – North Americans can preorder the LP version over here – and they play The Horseshoe on March 25.

MP3: The Wedding Present – “You’re Dead”

The most appealing part of the new Belle & Sebastian-curated Late Night Tales compilation coming on March 26 – the band’s cover of The Primitives’ “Crash” – is now available to stream.

Stream: Belle & Sebastian – “Crash”

Also out March 26 is In Time To Voices, the new record from Blood Red Shoes; Artrocker talks to drummer Steve Ansell about the new album.

Allo Darlin’ have released a new video from their forthcoming album Europe, which will be out on April 17.

Video: Allo Darlin’ – “Capricornia”

In conversation with producer Stephen Street, Louder Than War learns that the Blur back catalog is in the process of being remastered for reissue in the near future. And the video from Graham Coxon’s new solo record A+E for which he was soliciting dance audition clips is now live; the album is out April 26.

Video: Graham Coxon – “What’ll It Take”

Pitchfork reports that Hot Chip have completed work on their new album and will release it under the title of In Our Heads on June 12.

Summer Camp has released a new video from their debut album Welcome To Condale.

Video: Summer Camp – “Losing My Mind”

Le Blogotheque has posted a Take-Away Show with Anna Calvi, while Time Out talks to her about her forays into the fashion world and The Music Network inquires about her music.

The Quietus talks to Stuart Staples and David Boulter of Tindersticks about their new record The Something Rain.

DIY talks dating with Charles and Rebecca of Slow Club.

aux.tv gets Los Campesinos! to provide a running commentary of their video for “By Your Hand”.

The Quietus checks in with British Sea Power, presumably working away at their next album.

The Line Of Best Fit salues Black Cab Sessions on the occasion of their 100th episode, and we (I) salute The Line Of Best Fit on the occasion of their fifth anniversary. The Guardian also marks the occasion by picking their five favourite performances.

Frank YangEven in this age of band reunions run amuck, the returns of some outfits to active duty seem highly unlikely. Maybe the animosity between the principals is too deep for even the biggest prospective paydays to put aside, or the prospect of being regarded as a nostalgia act rather than active, vital artist is too unpalatable, or maybe the band’s audience wasn’t all that big the first time around and their legend hasn’t necessarily grown enough in the interim to make it seem worthwhile.

Any and all of these could reasonably have applied to early ’90s alt.country outfit Scud Mountain Boys. A falling out, the specifics of which have grown vague, left it so that singer-guitarist Joe Pernice hadn’t spoken to the other three in some fourteen years, Pernice had since established himself as a successful bandleader via Pernice Brothers and solo artist, and though the Scuds certainly had their devotees, their name wasn’t exactly topping anyone’s list of dream Coachella headliner reunions. And yet last Summer, following the death of a close mutual friend, Pernice decided to reach out to his former bandmates and revisit the old material – net result, a string of live dates along the east coast in early 2012 that wrapped up, for the moment, this past Saturday night at Lee’s Palace in Pernice’s adopted hometown of Toronto.

Any question about the vibe of the night was answered with the band’s stage setup, carried over from their original incarnation – a kitchen table set up in the middle of the stage, adorned with a small lamp and surrounded with comfortable chairs. It was both symbolic, hearkening to the band’s beginnings sitting around a kitchen table playing music together, and practical, giving them a place to put their drinks. And with regards to my earlier comments that no one was waiting for this reunion – that’s not to say that it wasn’t welcome; a few hundred locals were out for the occasion, and some were louder and rowdier than the band themselves.

Being more a fan of the Pernice Brothers’ ornate pop than the Scuds’ country leanings – relatively speaking, just to be clear – I’ve always preferred the more produced third album Massachusetts to their sparser, earlier records Pine Box and Dance The Night Away (collected and rereleased as The Early Year) but hearing the earlier material was a great reminder that those simpler recordings still contained some great, great songs. And also that as much as history has framed the Scuds as Pernice’s old band – and he was great, having shaved for the occasion and looking a lot like Elvis Costello, and still a hilarious onstage personality who despite planning to become a Canadian citizen this year, hadn’t forgotten his Boston roots (“Pogge or Rask?”) – the others were far more than just a supporting cast. Drummer Tom Shea was deft on mandolin for the front half of the show before taking up behind the drum kit, bassist Stephen Desaulniers’ voice has more of an innate twang than Pernice’s honeyed vocals and guitarist Bruce Tull’s leads offered a great balance of emotion and melody.

The 90-minute set was actually more dynamic than a show anchored around a kitchen table might have implied, the Massachusetts material almost rocking out (thought still seated) and main set closer “Cigarette Sandwich” coming across particularly rollicking. But perhaps most importantly, given the history of the band, everyone onstage seemed to be having a grand time of it and that spirit carried over into the audience, including former Pernice Brothers and current Sadies drummer Mike Belitsky. He was texting taunts at Pernice during the encore, causing him to crack up whilst trying to sing the somber Cher cover of “Gypsies, Tramps and Thieves” (the table was also good for holding mobile phones). A hilarious end to a wholly entertaining show, and if that ends up being it for the Scuds reunion – there are no more dates on the sched and Joe will be turning his attention to the new Pernice Brothers record due out this year – then it went out on a high note.

The Washington Post has an interview with Pernice about getting the band back together.

Photos: Scud Mountain Boys @ Lee’s Palace – February 25, 2012
MP3: Scud Mountain Boys – “Grudge Fuck”
Stream: Scud Mountain Boys – “In A Ditch”
Stream: Scud Mountain Boys – “Sangre de Cristo”

Both The Line Of Best Fit and DIY crash Stephin Merritt’s hotel room to record Magnetic Fields video sessions, while NPR has new album Love At The Bottom Of The Sea streaming in full before it emerges next Tuesday. They’re at the Sound Academy on March 30.

Stream: The Magnetic Fields / Love At The Bottom Of The Sea

Spin solicits a list of Sharon Van Etten’s favourite things; The Ottawa Citizen also has a chat.

Frankie Rose – whose CV takes her through such acts as Crystal Stilts, Dum Dum Girls, Vivian Girls and The Outs – has released her acclaimed debut under her own name alone in Interstellar and will bring it to The Shop Under Parts & Labour on May 2.

MP3: Frankie Rose – “Little Brown Haired Girls”

Beirut has released a new video from last year’s delicious The Rip Tide. Hear it, and others like it, when the band are at The Sound Academy on July 19.

Video: Beirut – “Vagabond”

Baeble Music has premiered a new video from The Wooden Birds, taken from Two Matchsticks.

Video: The Wooden Birds – “Long Time To Lose It”

Drowned In Sound chats with Andrew Bird, whose new album Break It Yourself is out March 6 and now streaming in full at NPR.

Stream: Andrew Bird / Break It Yourself

NPR welcomes Nada Surf for a World Cafe session. They play The Opera House on April 4.

Spin interviews James Mercer of The Shins. Their new album Port Of Morrow comes out March 20.

Frank YangTwo records is not really a lot of data from which to plot a creative trajectory, but based on Sharon Van Etten’s first couple records, you could make some projections. Her 2009 debut Because I Was In Love was simple and spare, elevated above your standard singer-songwriter fare by Van Etten’s gorgeous bruise of a voice and her correspondingly confessional songwriting; 2010’s mini-album epic showed what she could do with backing players, offering a perfect set of songs that arced from the darkness, both in tone and theme, of “A Crime” to the aching and even hopeful “Love More” in just over half an hour. So when word came that she was working with The National’s Aaron Dessner on her third effort, one could reasonably assume that it would be even more polished – in the best sense of the word – than its predecessors.

Which is why, I think, that it’s taken me longer than expected to wrap my head around Tramp. It’s not immediately more focused than epic, instead retreating back into the sprawl and thematic shadows of Because I Was In Love; the album shifts gears from song to song, for instance bouncing from the rocking “Serpents” through the drifting “Kevin’s” into the sprightly “Leonard” and within the songs, she favours more elliptical than direct melodies. Anyone fearing that Van Etten would be going pop the third time out can rest easy. Once personal expectations are checked in favour of what’s actually been delivered, Tramp affirms itself as a solid showcase of Van Etten’s talents; muscular where strength is called for and gentle when all it needs is to softly support. As a record to break Van Etten out to a broader audience, I still think epic was better suited, but Tramp is clearly doing the job just fine. Lee’s Palace, where she played Tuesday night, is a good deal larger than The Drake which hosted her first/last headlining visit in April 2011, and it was well and truly sold out.

It was gratifying to see that the room was comfortably full for Shearwater, who despite having finally graduated to headliner status for their last visit in April 2010 and having just released their own exceptional record in Animal Joy, were back in the supporting role on this tour. Now I had seen Shearwater a dozen times or so in various incarnations over the years since first seeing them in this very room in May 2005, but had never seen them like this – quite literally. Despite having commented on how the rawness of Animal Joy could be attributed to stripping things down to the core trio of Jonathan Meiburg, Kim Burke and Thor Harris, neither Burke nor Harris were to be seen on this night – instead, Shearwater was Meiburg and four all-new faces; clearly, even long-time fans were going to have to check their expectations.

And even the longest-term Shearwater fan couldn’t have been prepared for what this incarnation of the band would be about. Past writeups of both their albums and live shows inevitably centered around the sense of mystery and atmosphere that they created, led by Meiburg’s soaring vocals. Now, that voice was more banshee than choirboy and the band – all electric guitars, keys and drums – was unrelentingly urgent and visceral. No two ways about it, Shearwater 2012 is a rock band and a great one – “You As You Were” was jaw-dropping and set-closer “Star Of The Age” was stirringly anthemic in a way that the album version only hinted at. The bulk of the nearly hour-long set drew from Animal Joy, but “Rooks” from Rook and “The Snow Leopard” and “Castaways” represented The Golden Archipelago well, coming even more alive with this band configuration. Make no mistake, both Harris and Burke were missed but at the same time, I couldn’t imagine wanting to hear the new songs played any other way than they had. If the night had ended here, it’d have been a triumph.

But it wasn’t the end; this was still Sharon Van Etten’s night, even if her performance was more of a gentle, hour-long come-down following Shearwater’s bracing set. She also fronted a different band from the one she brought through last Spring; Doug Keith remained a fixture on bass but the drummer – whose name eluded me – was new, I think, and multi-instrumentalist/vocalist Heather Woods Broderick was definitely new. What remained the same was the disarming charm that Van Etten brought to the stage with her smile and light banter, which helped balance out the emotional weightiness of her material.

With the exception of “Save Yourself” early on, the main set was made up exclusively of Tramp material, with Van Etten resisting requests for “Tornado” to rep Because I Was In Love but she did offer up a searing “Serpents” as a dedication to one audience member, being sure to clarify that “this is not about you but for you”. It has to be said that live, the material hung together better for me than it did on record – the blend of omnichord and harmonium on “Magic Chords” was, well, magical and using a triple guitar setup not for aggression but atmosphere on “I’m Wrong” and allowing that to bloom and gently settle into the set-closing “Joke Or A Lie” was pretty special. For the encore, it as back to the harmonium for a reading of “Love More” that made you really grateful that Broderick and her harmonies were now part of the band and then, to close out on an up note, they invited Shearwater back onstage for a cover of The Soft Boys’ “I Wanna Destroy You” that was raucous, sloppy and a great if unexpected way to finish the night.

The National Post also has a review of the show and the Toronto media welcomed Van Etten to town with interviews in Chart, The Toronto Standard, The Grid, The National Post, The Globe & Mail, Toronto Star, Toro, and NOW and out of town, The Boston Phoenix says hello. Meanwhile, Blurt has a feature on Shearwater and Meiburg gives The Montreal Gazette a list of what he’s listening to these days and pens an essay on Talk Talk’s Laughing Stock for adequacy.net.

Photos: Sharon Van Etten, Shearwater @ Lee’s Palace – February 21, 2012
MP3: Sharon Van Etten – “Serpents”
MP3: Sharon Van Etten – “Love More”
MP3: Sharon Van Etten – “Don’t Do It”
MP3: Sharon Van Etten – “I Couldn’t Save You”
MP3: Sharon Van Etten – “For You”
MP3: Sharon Van Etten – “Consolation Prize”
MP3: Shearwater – “You As You Were”
MP3: Shearwater – “Breaking The Yearlings”
MP3: Shearwater – “Black Eyes”
MP3: Shearwater – “God Made Me”
MP3: Shearwater – “Castaways”
MP3: Shearwater – “South Col”
MP3: Shearwater – “The Snow Leopard”
MP3: Shearwater – “Rooks”
MP3: Shearwater – “Red Sea, Black Sea”
MP3: Shearwater – “Seventy-Four, Seventy-Five”
MP3: Shearwater – “White Waves”
MP3: Shearwater – “Whipping Boy”
Video: Sharon Van Etten – “For You”
Video: Shearwater – “Breaking The Yearlings”

Peppy Los Angeles soundtrack fodder outfit Grouplove have made a date at Wrongbar for May 9, tickets $18. It’s part of a Spring tourNever Trust A Happy Song.

Video: Grouplove – “Colours”

Mark Lanegan has taken a break from being a grim, gravelly voice for hire to release a new solo record in Blues Funeral that’s, well, probably grim and gravelly. He and band will be taking it on tour and stop in at The Mod Club on May 15, tickets $15 in advance, and there’s features at The Quietus and Exclaim.

MP3: Mark Lanegan Band – “The Gravedigger’s Song”
Video: Mark Lanegan Band – “The Gravedigger’s Song”

tUnE-yArDs is pretty sure people are still discovering and being wowed by last year’s WHOKILL, and so she’s going to give them another chance to hear it live – Toronto gets its third show for the album on August 1 at The Phoenix, tickets $20.

MP3: tUnE-yArDs – “Powa”
MP3: tUnE-yArDs – “Bizness”

Bon Iver has released a full 25-minute video session recorded for their European label wherein Justin Vernon and Sean Carey do Bon Iver-y things. And incidentally, Carey will release a new EP entitled Hoyas on May 8; his 2010 solo debut All We Grow was a gem, so if you dig what he does in the session, check his work out.

Video: Bon Iver / 4AD Sessions

Paste talks to Beth and Philip of Bowerbirds while Eater has some food-talk with violinist Mark Paulson. Their new record The Clearing comes out March 6 and they’re at The Garrison on March 27.

Kurt Wagner of Lambchop discusses the song, “If Not I’ll Just Die” with NPR; he also talks Mr. M with No Depression and The Telegraph.

Rolling Stone reports that the long-rumoured Mermaid Avenue, Vol III from Billy Bragg and Wilco will finally be coming out this year, just in time for the centenary of Woody Guthrie’s birth. It’ll be available either as part of the four-disc Mermaid Avenue: The Complete Sessions with the first two albums and the Man In The Sand documentary film or on its own. More details on the release are available at Billy Bragg’s blog.

A second sample of M. Ward’s forthcoming A Wasteland Companion is now available to stream; it’s out April 10.

Stream: M. Ward – “Primitive Girl”

James Mercer of The Shins talks to Exclaim about their new album Port Of Morrow, due out March 20. The first video from said record was released a couple days ago and you can finally watch it online, after originally only being available as an iTunes download – free, sure, but annoying and I hope this isn’t a sign of things to come, PR-speaking.

Video: The Shins – “Simple Song”

Frank YangIt’s said that for bands seeking exposure, television is the new radio as far as reaching a mass audience is concerned. Sheffield’s Slow Club can probably speak a little to that, having done pretty well as far as advert and show soundtracking goes. Not having cable or watch much/any broadcast TV, I had no idea about this – I found the duo the old fashioned way by having their 2009 debut Yeah So show up in my mailbox – but it did explain why instead of finding The Rivoli a quarter-full with Anglophiles on Sunday night for their Toronto debut, it was instead jammed full with Chuck fans.

Geting taken on tour with a more popular band is also a good way to garner new fans, so Air Waves lucked out there. But getting put in front of an audience is only half of it – you still have to win them over, and on that count the Brookyln quartet didn’t do so well. Frontwoman Nicole Schneit started things off solo and her fumbled guitarwork and off-key singing set the tone for the rest of their show. Bringing on the rest of the band helped mask those shortcomings to a degree, but if you cared about things like melodies or being on pitch in your music, it was still pretty poor; the songs themselves might not have been so bad but the delivery was difficult to get past. They have their fans, that much is obvious – the members of Slow Club in the audience were their loudest cheerers and Rebecca Taylor joined them on backing vox for one song – but I simply couldn’t fathom it.

At the other side of the spectrum, Slow Club made the very best of first impressions with Taylor and Charles Watson opening with an acoustic cover of Pulp’s, “Disco 2000” – a bold move but they pulled it off masterfully and then, bringing out the rest of the band, went straight into the rollicking “Where I’m Waking” off second album Paradise. That’s right – they had a band with them. Though they pulled off the duo thing with great aplomb when I saw them at SXSW 2010 and the old-school purist in me would like to bemoan the format change, it’s impossible to argue that the extra hands didn’t really improve things. The guitar-and-drums thing fit the spirit of Yeah So perfectly, but the more fully-rendered Paradise really did need the extra manpower to do justice.

While Watson stuck to guitar and vocal duties and really proved himself the anchor of the group, Taylor was constantly shifting roles – singer, guitarist, second drummer, first drummer – but always the focal point and frontwoman. The hour-long set – the band’s first sellout in North America, Watson was pleased to announced – focused mainly on Paradise material and also previewed a couple of new songs which continued on in the more soulful direction of Paradise and according to Taylor would appear on a forthcoming EP. The band’s more manic folk-rock tendencies from their debut were nodded at via the Paradise singles but their more sophisticated – albeit still energetic – side was primarily on display. Still, it was nice to see it back down to Charles and Rebecca for the encore as they headed into the audience, unamplified as they do, for a lvely reading of “Gold Mountain” before heading back onstage for a rollicking, “Giving Up On Love” to close things out. I had kind of hoped/expected to have their first show here to be a cozier, more intimate affair but hey – a big party was pretty good as well.

Photos: Slow Club, Air Waves @ The Rivoli – February 19, 2012
MP3: Air Waves – “Knockout”
MP3: Air Waves – “Keys”
Video: Slow Club – “If We’re Still Alive”
Video: Slow Club – “Where I’m Waking”
Video: Slow Club – “Two Cousins”
Video: Slow Club – “It Doesn’t Have To Be Beautiful”
Video: Slow Club – “Trophy Room”
Video: Slow Club – “Giving Up On Love”
Video: Slow Club – “Come On Youth”

I thought for sure they’d go for an arena date, but the Florence & The Machine date in support of Ceremonials for Toronto will be August 2 at the Molson Amphitheatre. Update: Tickets are $24.50, $39.50 and $49.50 plus fees, on sale Friday, The Walkmen are opening.

Video: Florence & The Machine – “No Light, No Light”

eMusic gets to know Veronica Falls.

The Quietus interviews Trailer Trash Tracys.

i-D talks to Greg Hughes of Still Corners, who’ve just debuted a new video from last year’s Creatures Of An Hour.

Video: Still Corners – “Endless Summer”

Clock Opera continue to pave the way to the April 9 release of Ways To Forget with videos; there’s a stripped-down performance clip of the current single and four-part “making of” series to watch at their YouTube channel.

Video: Clock Opera – “Once And For All” (under the floorboards session)

The Wedding Present have released the first video from their new album Valentina, out March 20. They’re at The Horseshoe on March 25.

Video: The Wedding Present – “You Jane”

Magnet kicks off a week of The Big Pink as guest editors with a band Q&A feature.

Field Music discusses the economics of being in a band with The Guardian.

Saint Etienne have released a video from their forthcoming album Words And Music By Saint Etienne, due out on May 21; full details on the album were just released and can be read over at The Line Of Best Fit.

Video: Saint Etienne – “Tonight”

Lightships – the new project from Teenage Fanclub’s Gerard Love – has released another video from their debut Electric Cables, coming April 3.

Video: Lightships – “Sweetness In Her Spark”

The Futureheads talk to NME about the process of recording their new a capella album Rant, out April 2.

NME has excerpted some choice passages from an upcoming feature interview with Noel Gallagher, and amongst other things the former Oasis songwriter says these days he’d rather collaborate with Damon Albarn of Blur than Radiohead.

Know who else is willing to collaborate with Albarn? Graham Coxon. The pair debuted a new Blur song the other night at a War Child benefit show, and while it’s a bit slower/ballad-y than anyone should hope a new Blur record would be, it’s unequivocally gorgeous. There’s a good quality video of the performance at Consequence Of Sound, NME antes up with a video of the full band doing a run-through of “Tender” before tonight’s appearance at The Brits and Alex James offers some thoughts on Blur as an ongoing proposition at The Sun. And oh yeah, the band is playing the closing ceremonies for the Olympics, says DIY.

Video: Blur – “Under The West Way” (live)

NPR is streaming the new Fanfarlo album Rooms Filled With Light ahead of its February 28 official release, and a third live session video has surfaced. The band are at The Mod Club on March 24.

Video: Fanfarlo – “Bones” (live session video)
Stream: Fanfarlo / Rooms Filled With Light

The Line Of Best Fit are streaming the whole of the new The Mary Onettes EP Love Forever, along with song-by-song annotations from the band. It’s out February 28.

MP3: The Mary Onettes – “Love’s Taking Strange Ways”
Stream: The Mary Onettes / Love Forever

Niki & The Dove’s debut album finally has a title and a release date, at least in Europe. Instinct will be out on May 14 on the eastern side of the Atlantic.