Frank YangIt’s quite possible that people headed out to the Horseshoe on Wednesday night because both halves of the touring bill consisted of New York-based bands with a good head of steam and impressive record label behind them – Caveman, having just signed to Fat Possum and Hospitality preparing to release their debut record very shortly on Merge. Either or both could reasonably emerge as one of the year’s rookie success stories, and who wouldn’t want the bragging rights to say they saw them early on at a little club show? Or it could have been that this was one of the first tours of the young year and folks wanted to take advantage of the unseasonably warm weather to take in a little live music. In any case, there were a surprising number of folks were out to see a couple of mostly-unknown acts.

Locals Volcano Playground opened things up and some may recall that I’ve felt the space-rock outfit had potential based on a couple live shows. I was pleased to see that their rate of growth as a band between those two shows had continued on – though it had apparently cost them a guitarist at some point along the line – and the style-hopping that marked my earlier impressions had settled into a rhythmically strong and ominously atmospheric aesthetic. Unfortunately, refining their strengths put their weaknesses into starker contrast and their distracted, mumbled vocals and general lack of any kind of stage presence felt more frustrating than they’d been in the past – especially when they prove they can do better, evidenced by the set highlight wherein guitarist/bassist Jackie Game managed to channel Rachel Goswell in a decidedly Souvlaki-esque number. A full-length debut is due out this Spring; fingers are still crossed that it’s a good one.

I went on a bit about Hospitality back in December and as one of the perks of doing what I do, have been enjoying the sprightly, ’80s-echoing but freshly-brewed guitar pop of their self-titled debut for a while even though it’s not out until January 31; had they not been playing, I’d have probably stayed home and slept. What with Amber Papini’s sweetly quirky vocals being such a key facet of their sound, it was a little dismaying that they were buried for the first bit of their set but on the bright side, it did allow one to appreciate the intricacies of their musical arrangements and the twisty guitar interplay between Papini and Nathan Michel as well as bassist Brian Betancourt’s Clean t-shirt – talk about wearing one’s influences. In any case, the mix was sorted out within a few songs, Papini’s voice was again front and centre and balance was restored to the universe and the rest of their spirited set.

My first impressions of Caveman in a live setting was that the complaints I’d had about their debut Coco Beware had been alleviated thanks to the judicious application of volume – it’s hard to fault something for being overly floaty when it’s pounding your eardrums. But while their combination of heavy percussion and echo-driven blooms of guitar were impressive at first, it quickly became formulaic and didn’t do as good a job of distracting from the largely mid-tempo monotony of their material and overall shallowness of their sonic stylings. As with on the record, a few of the songs managed to stand out from their peers, but many of the subtle touches were overpowered by the loud and all told it wasn’t enough to keep me interested. It should be noted that my opinion seemed to be in the minority – the band clearly already had a fanbase hereabouts – but by the time their hour-long set was done, I was mostly just patting myself on the back for having enough self-restraint to not jump onstage and turn off the guitarist’s delay pedal, if only for a moment.

BlogTO was also on hand and has some thoughts.

Photos: Caveman, Hospitality, Volcano Playground @ The Horseshoe – January 11, 2012
MP3: Caveman – “Thankful”
MP3: Caveman – “Easy Water”
MP3: Caveman – “Old Friend”
MP3: Caveman – “Decide”
MP3: Caveman – “My Room”
MP3: Hospitality – “Betty Wang”
MP3: Hospitality – “Friends Of Friends”
MP3: Volcano Playground – “Waiting”
MP3: Volcano Playground – “Anywhere”
Video: Caveman – “Easy Water”

It’s in support of Adam Cohen, sure, but it’s worth noting that Rachael Yamagata will be in town on February 11 for a show at the Mod Club. Her new record Chesapeake came out last Fall and Spinner had an interview in December.

MP3: Rachael Yamagata – “Starlight”

Sleigh Bells may have pushed back the release of Reign Of Terror a week to February 21, but they’re still going ahead with the tour in support of it, and that now includes a February 18 date at The Phoenix, tickets $25 in advance.

MP3: Sleigh Bells – “Infinity Guitars”

YACHT have set course for a North American tour that brings them and last year’s Shangri-La to Wrongbar on February 23.

MP3: YACHT – “Dystopia (The Earth is on Fire)”

Another new song from Craig Finn’s solo debut Clear Heart Full Eyes is available to stream at Stereogum; the record is out January 24. He also talks food with eater.com.

Stream: Craig Finn – “New Friend Jesus”

A second song from School Of Seven Bells’ third record Ghoststory is available to hear ahead of the record’s February 28 release date.

MP3: School Of Seven Bells – “Lafaye”

The first taste of The Magnetic Fields’ return to synthesizers – Love At The Bottom Of The Sea, out March 6 – is now available to stream. They’re at The Sound Academy on March 30.

Stream: The Magnetic Fields – “Andrew In Drag”

Black Cab Sessions takes Chairlift for a ride while Pitchfork sits them down for a chat. Their Something is out January 24 and they’re at The Horseshoe on March 28.

I-D has a video session with Sharon Van Etten. Her new record Tramp is in stores February 7 and she’s at Lee’s Palace on February 14.

Exclaim reports that The Kills will release a new EP led with Blood Pressures track “Last Goodbye” – for which they’ve just released a video – and b-sided with a trio of covers. The EP is out February 14 and the band is at The Kool Haus on February 7.

Video: The Kills – “Last Goodbye”

LCD Soundsystem hasn’t been in the past tense for very long now, but long enough for there to be a documentary film on the band that will be premiering at Sundance in a couple weeks. It’s called Shut Up And Play The Hits and there’s a trailer.

Trailer: Shut Up And Play The Hits

Frank YangI like a break as much as the next guy – believe me – but coming up on two and a half weeks since I’d been to a live show and with the January concert calendar looking pretty sparse by any measure, I was getting pretty anxious to go and see something. Happily, it was Wavelength to the rescue. I hadn’t been to a showcase in almost two years – certainly not since they wrapped the weekly series and went to the intermittent schedule – but their first presentation of the year was just about what I was looking for, with a good blend of the familiar, unknown and intriguing.

On paper, there was a fair bit going against RLMDL (pronounced “role model”), the stage name of one Jordan Allen of London, Ontario – self-identifying as “chillwave” chief among them, the vowel-less stage name and trying to make a compelling live show out of the one-guy-with-a -table-full-of-samplers-and-effects-pedals not far behind – but to his credit, especially considering this was one of his first live shows (if I heard correctly), he did pretty well. Sure, he had an aesthetic of loops and synths that may age badly and an inherently uninteresting visual presentation, but those were secondary to the fact that he had solid melodies, confident vocals, and added a reasonable amount of physicality to the proceedings. In short, he had songs, and if you’ve got songs you’re doing alright. Not every electro-tinkerer artists deserve to leave their bedroom studios; Allen does.

I’d seen Persian Rugs back in October and while I’d been pleased to see the former Airfields/Diableros back in action, they didn’t seem to have fully cohered and while their jangly indie-pop was certainly friendly enough, it mostly just made me remember how much I liked their former outfits. Happily, the months since seem to have done the unit a world of good as they had a much better foot to put forward this time out. The formula remains the same – classic pop with hooks made of jangly guitars and vintage-y organs – but rotating through their three lead vocalists emphasized their individual and collective strengths and just coming across much more assuredly than that Parts & Labour show made for a much better performance. There’s still room to improve but it would seem the hardest part – the coming together and sounding like a cohesive band rather than echoes of their past projects – seems to be behind them.

How new a band is The Hollow Earth? So much so that a short feature in this week’s issue of a local alt-weekly is now the top online reference about them. But while they’ve got no Facebook/Soundcloud/Bandcamp presence, the folks in the band have been operating in local bands for many years (Pony Da Look, Beethoven Frieze, Blood Ceremony) now and the sound they’ve come together to create is hardly new, either. As one might discern from their name, they work an unabashedly ’70s-influenced mine of inspiration which you could reasonably describe as any or all of stoner, prog, psych, or metal with a bit of goth or folk thrown in for good measure. It wasn’t quite heavy enough for headbanging but plenty of nodding and being entertained by Gaven Dianda’s extended guitar solos and Amy Bowles’ interpretive dance moves.

Relatively new Toronto collective Del Bel came to my attention late last year when The Toronto Star included “Beltone” from their debut album Oneiric in their year-end mix of some of the best in Canadian music for 2011. High praise, and a few listens to Oneiric confirmed that it was deserved; it’s moody and atmospheric, yet very raw and real in its way largely thanks to singer Lisa Conway, whose vocals can come across as ethereal or bruised depending on where one stands in the combination caberet/carnival/antique shop run by David Lynch that seems to define their musical world. Live, they were a nine-piece which in this town typically means some sort of racket, but instead all the horns, strings, keys, and percussion that filled the stage were unified in their mission to set the scene, sonically speaking. That said, they sounded more ramshackle live than on record – deliberately, I should point out, in a Tom Waits sort of way – but still compelling in their balance of discomfort and beauty.

NOW has the interview with The Hollow Earth mentioned above, while BlogTO has an interview with Del Bel and Southern Souls has a beautifully-staged and shot session in a Hamilton church.

Photos: Del Bel, The Hollow Earth, Persian Rugs, RLMDL @ The Garrison – January 7, 2012
MP3: Persian Rugs – “Always All”
MP3: RLMDL – “Just My Luck”
Stream: Del Bel – “Beltone”
Stream: Del Bel / Oneiric
Stream: RLMDL / Just My Luck

Weakerthans frontman John K Samson could spend January 24, the day his solo debut solo album Provincial comes out, anywhere – his beloved Winnipeg comes to mind – but instead he’ll be hanging out at Soundscapes around 7PM playing some songs for anyone who might care to listen. That should be you. Yes, it’s free. He also plays The Great Hall on March 22, but that’s not free.

Stream: John K. Samson – “Letter In Icelandic From The Ninette San”
Stream: John K Samson – “When I Write My Master’s Thesis”

Trust may currently be best known as the extra-cirricular project of Austra drummer Maya Postepski, but with the February 28 release of their debut album TRST they should be able to stand on their own merits as another impressive Toronto-based electro-dance act. They’ll play a record release show at Wrongbar on March 3.

Video: Trust – “Bulbform”
Video: Trust – “Candy Walls”

Also out on February 28 is The End Of That, the new record from Montreal’s Plants & Animals. A first MP3 from the record is available now to download.

MP3: Plants & Animals – “Lightshow”

Great Lake Swimmers have revealed details about their next album via Exclaim. Their fifth album New Wild Everywhere will be out April 3 and a cross-Canada Spring tour will follow, including a June 2 date at The Music Hall in Toronto.

Stream: Great Lake Swimmers – “Easy Come Easy Go”

Snowblink have premiered a new video from Long Live.

Video: Snowblink – “The Tired Bees”

Frank YangIt may have sounded like Tuesday night’s grand Fucked Up throwdown at The Great Hall was going to be an untoppable finale to the 2011 concert season in Toronto, but remember – that was just the first of a two-night event and if you were going to try and top a recital of one of 2011’s best albums (that’s David Comes To Life, for the record) then a front-to-back performance of one of the best Canadian albums of the past 15 years is a pretty good place to start. That would be Sloan, by the way, and 1996’s One Chord To Another.

But that’s not why I was there, if we’re being honest. Though 2011 has been a fantastic year for remembering why Sloan were/are great, thanks in large part to their excellent The Double Cross and the attendant 20th band anniversary reminiscences, I figured my Sloan needs had been met by the marathon-length, career-spanning set at Echo Beach in August and anticipating that the Fucked Up show would verily kick my ass (which it did), a night off to recover would be well-advised. But then it was announced that The Rural Alberta Advantage would be added to the bill that already included Ohbijou and Bonjay, and it occurred to me that though The RAA and Ohbijou are acts I’ve loved and followed since their humble local beginnings, I hadn’t seen either live in over two years – a consequence, I guess, of having seen them so much in their salad days that now that they were filling much larger rooms, the experience would just feel odd. But to catch both of them, plus Bonjay, plus Sloan, for just $20 in support of worthy causes and in a cozy setting the likes of which they’ll rarely if ever play again? Duh. Tickets were purchased, and THEN came the One Chord announcement and any remaining tickets vanished lickety-split. And I may have high-fived myself just a little.

I can’t be sure I’ve ever seen Bonjay live. Certainly I’d seen singer Alana Stuart’s other band (or one of them) – the electro-poppy Everything All The Time, but what’s presumably her main gig and I had yet to cross paths. I had heard them before, though, so had a sense of what to expect even though their set opening up the night would essentially be a first impression. Though formally a singer-DJ duo, they had a live drummer with them for most of this performance helping make their electro-reggae/soul concoction even funkier and heavier than I expected, and an ideal backdrop for Stuart’s dynamic stage presence; something that her EATT performances didn’t do justice. Amidst their own compositions they dropped a couple of covers – Feist’s “Honey Honey” and Caribou’s “Jamelia” that they managed to deconstruct completely and make their own in impressive fashion. They’ve currently only got the Broughtupsy EP to their name as far as releases go, but are putting the finishing touches on their full-length debut for next year. Expect to hear much more of them in 2012.

Much of the narrative around Ohbijou’s Metal Meets revolved around how working with producer Jace Lasek of The Besnard Lakes helped them grow their orch-pop roots into something bigger and more electric for their third album. I don’t know if that was it, or if it was just a result of the endless touring and simply getting better as a live act but in the time since I last saw Ohbijou in June 2009, they’ve become a much more impressive live act. This isn’t to suggest they weren’t before, but in the past much of their appeal came from the delicacy of their sound, even though they were usually plugged in on stage even then. But there was undeniably something more to them this time out, and it primarily came from frontwoman Casey Mecija. She was exceptionally charismatic on stage, singing and playing with heretofore unseen fervor – the intensity of the set-closing guitar solo and attendant noise squalls quite suited her – and perhaps taking her lead, the band played with more weight and conviction than I’d could recall. It was grand to hear the new material and old favourites rendered in a way that reminded that expressing emotion and demonstrating strength are hardly cross-purposes; after all, the heart is a muscle.

What I said earlier about not having seen The RAA since November 2009 isn’t technically true – they played the Tranzac New Year’s Eve thingie I went to last year, but since that was a personal and non-blog event and thus wasn’t covered, it didn’t actually happen. In any case, contrary to the Ohbijou experience, The Rural Alberta Advantage show was still largely and comfortingly the same as I remembered. Not entirely surprising considering how distinct and deliberately bare-bones their aesthetic is, but the combination of Nils Edenloff and Amy Cole’s sandpaper-and-sugar vocals is as potent as ever over top acoustic guitar and keys – I think the Moog pedals were new, though – and of course Paul Banwatt’s madman virtuoso drumming. Months on the road had made them tighter, certainly, but more polished? Not so much, and that was a good thing – it’s their rough edges that endear. This was my first time hearing much of the Departing material live – plus their seasonal cover of “Little Drummer Boy” – and yeah, I loved that record. And I love this band.

The full album recital thing isn’t a new phenomenon, but not a lot of Canadian bands have taken up the trend because, I imagine, not a lot have the combination of longevity and catalog of classics that could make such an effort feel like a genuine occasion. So that Sloan were able to do this for not one but two of their albums – Twice Removed got a few performances last year – is a real testament to how impressive their career has been. Someday, after they’ve finally called it a day, the country and the world will probably come to appreciate just what a musical treasure they’ve been but until then? We get to savour shows like this one.

If we had a national archive of audio clips, then I would submit the “Will you please… welcome to the stage… SLOAN!” intro from “Good In Everyone” for inclusion. Indelibly familiar to an entire generation of music fans, it’d have been unthinkable that it wouldn’t also kick of this night’s performance and while it was unlikely that they’d have dug up one-time CFNY DJ Brother Bill (I believe it was him on the album) to do the honours, surely someone would. And of course that someone was the MC of the past two nights, Fucked Up’s Damian Abraham. He did a fine job of recreating the cadence of the original and as for the screaming crowd noises – the audience had that covered.

With the obvious exceptions, I don’t think I’d ever heard a lot of these songs live before thanks to more than a decade-long gap in Sloan experiences, dating from a Twice Removed-era show in first year university (I found the set list!) to one in early 2007 for Never Hear The End Of It. And I suspect that it had been some time since the band had played most of the as well; in this piece about prepping for the show at The Grid, Patrick Pentland confirmed that “Junior Panthers” had never been played live and it had been at least ages for many other songs. So yeah, expecting perfection wasn’t realistically on the table, but then this was a Sloan show so technical perfection wouldn’t ever have been on the table anyways. For example, Pentland’s guitar crapping out during his solo for “Can’t Face Up”. It was just gonna happen.

But like for Fucked Up’s show, what we got was arguably better than a perfect performance. Sloan, rocking out like young(er) men again and seemingly having a blast of it, once again making a case that they truly were Canada’s Beatles. Melodies and hooks for miles, equal facility with doing it hard or soft and always more creative and all-around weird than you’d expect from initial listens. Interestingly, much of the audience – particularly those up front – looked like they hadn’t been out of grade school when One Chord originally came out a decade and a half ago, but they sang along with every song just as well as those of us who’d lived with it since the day it was released. Also interesting was being reminded that once upon a time, it was Pentland who was the band’s sharpest popsmith; this was before he decided he wanted to be the hard rock guy and handed that title over to Jay Ferguson, but hearing him step up on the likes of “Good” and “Everything You’ve Done Wrong” – complete with horn section, of course – in the context of the album as a whole, you had to tip your hat. Going through the main set seems pointless – they played One Chord To Another, people, and somehow needed a set list to do it – sufficed to say that it was everything that we could have wanted, and if that had been the end of the evening, there’d have been nary a disappointed face in the house. But it wasn’t.

The encore started with Twice Removed‘s “Snowsuit Sound”, which besides being just a great song also gave Ferguson another opportunity to step up to the mic, but it took a few chords for my brain to register that the second song was, in fact, what I thought I was hearing. “500 Up”. Quite possibly my favourite song from Smeared, I’d never heard it live before, assuming that there was some logistical issue with the rotating vocals that made it too much trouble to play. Which there may well have been but they did it anyways and again – not perfect, but arguably better for the sloppiness in it. “500 Up”. Man. And then – THEN – Damian Abraham retook the stage and duetted – if that’s the right word – on a cover of Black Flag’s “Nervous Breakdown” that featured, among other things, plenty of horseplay, hip-hop posing, and Abraham picking Murphy right up off the stage and just… I don’t even know. Let’s just say it was bananas. And if that wasn’t quite enough, one Can-rock star tagged in another with Feist coming out onstage and getting back in touch with her inner rocker by playing guitar on a gloriously pounding “She Means What She Says”. Amazing.

I mentioned as much in the writeup of night one, but it’s worth noting again: those who know me have probably heard me complain about the state of all kinds of things in Toronto, be it political or personal or all points in between – come on, who doesn’t have a complicated relationship with their hometown? – but nights like these ones, where the people, the community, the art, the everything that makes it special, comes together so perfectly? Yeah, I love this town.

Mechanical Forest Sound was on hand with audio recorder in hand and has “Everything You’ve Done Wrong” available to download. NOW, BlogTO, Exclaim and Panic Manual have also got reviews of the show.

Photos: Sloan, The Rural Alberta Advantage, Ohbijou, Bonjay @ The Great Hall – December 21, 2011
MP3: Sloan – “Follow The Leader”
MP3: Sloan – “The Answer Was You”
MP3: Sloan – “Unkind”
MP3: Sloan – “I’m Not A Kid Anymore”
MP3: The Rural Alberta Advantage – “North Star”
MP3: The Rural Alberta Advantage – “Stamp”
MP3: The Rural Alberta Advantage – “Frank, AB”
MP3: The Rural Alberta Advantage – “Don’t Haunt This Place”
MP3: Ohbijou – “Anser”
MP3: Ohbijou – “Niagara”
MP3: Ohbijou – “Black Ice”
Video: Sloan – “Unkind”
Video: Sloan – “Witch’s Wand”
Video: Sloan – “Emergency 911”
Video: Sloan – “All Used Up”
Video: Sloan – “The Rest Of My Life”
Video: Sloan – “The Other Man”
Video: Sloan – “Friendship”
Video: Sloan – “Losing California”
Video: Sloan – “She Says What She Means”
Video: Sloan – “Money City Maniacs”
Video: Sloan – “The Lines You Amend”
Video: Sloan – “Everything You’ve Done Wrong”
Video: Sloan – “The Good In Everyone”
Video: Sloan – “People Of The Sky”
Video: Sloan – “Coax Me”
Video: Sloan – “500 Up”
Video: Sloan – “Underwhelmed”
Video: The Rural Alberta Advantage – “Tornado 87”
Video: The Rural Alberta Advantage – “Muscle Relaxants”
Video: The Rural Alberta Advantage – “Stamp”
Video: Ohbijou – “Niagara”
Video: Ohbijou – “New Years”
Video: Ohbijou – “The Woods”
Video: Bonjay – “Stumble”

And to wrap up with some stuff that’s a bit time-sensitive for the season…

As previously mentioned, Cat Power will mark Christmas Eve with the release of a new charity single/video – details on the what are now up on her website.

Summer Camp love them some holiday tunes – they’ve made a new, grammatically questionable Christmas song available to stream.

Stream: Summer Camp – “All I Wonderful Christmas Is You”

Emmy The Great and Tim Wheeler tell The Guardian how they wrote “Home For The Holidays” from their This Is Christmas album and also offer a video performance of said tune. Clash also interviews Emmy about the project.

The AV Club has wrapped up this year’s edition of Holiday Undercover, wherein acts like The Mountain Goats, Wye Oak and Little Scream record their takes on holiday tunes.

And on that note, happy holidays, y’all. I’ll be in and out through next week, but posting will be light. This year, more than most, I need some time to defrag the brain. Enjoy whatever time off you have.

Frank YangThe baseline for any Fucked Up show is glorious mayhem. Add in factors like a hometown show, a full-album recital of their ridiculously ambitious and critically-acclaimed, concept rock opera David Comes To Life, the last gig of an insanely busy year in support of said album that took the band around the world from bars to festivals to arenas, a fundraising benefit for Barriere Lake Solidarity, and a lineup made up of some of the band’s favourite acts from Toronto (and outlying regions), and expectations will not unreasonably be increased to ludicrous heights.

Things opened with Quest For Fire, the only act of this two-night mini-festival that I’d never seen despite them having been around for some time. And though I’d been briefed on what they were about, musically, I could have guessed from their pedalboards – any band with that many Big Muffs on stage is likely to be stoner-rock inclined, and indeed they were inclined to the big lumbering riffs, but their brief set showed they were also able to move with some velocity when needed. First band of the night and our daily recommended dose of head banging and guitar solos were well covered.

It’d been a while since I’d last seen PS I Love You, and apparently in the interim they’ve decided the two-man band thing wasn’t cutting it. For this show, at least, they’d expanded to a three-piece with Tim Bruton of Matters and countless other local acts helping out on guitar and keys. Not that Paul Saulnier necessarily needed the help – he’d also acquired a double-neck guitar to beef up his already massive sound, and on this night PS I Love You were easily the loudest I’d ever heard them. And also the proggiest – it’s interesting how when they first emerged, all the reference points were ’80s and ’90s college rock because now there’s little chance you’d peg their influences any more recent than the ’70s. There are still plenty of fret-shredding solos, but now you couldn’t ignore the sophistication in the ideas and arrangements – that Rush cover they released a little while back wasn’t ironic, I’ll tell you that.

I don’t think it’s a slight to say that The Sadies are always The Sadies, because if you’ve seen The Sadies live before, you know that means they’re always awesome. As with when I saw them last, opening up for another not-immediately obvious act in Godspeed You! Black Emperor back in April, their set skewed a little more to the rock side of things than the country – Travis Good’s fiddle did not make an appearance – and it may have felt a little looser than they normally are – at one point Dallas Good dedicated a song to everybody in the whole world – but favourites like “Ridge Runner Rell” and “Tiger Tiger” were givens for the set and as jaw-dropping as ever. That there was a mic set up in the centre of the stage but unattended for most of the set was clear sign that a guest would be joining them, but it really could been anyone since the band have worked with pretty much everyone. Who it ended up being was Andre Ethier – the former Deadly Snake, not the current Los Angeles Dodger – who led the band through a couple of tunes reminiscent of Rolling Thunder-era Dylan, this ensuring that the ’70s theme that had been running through the night remained unbroken.

And then it was time for Fucked Up. Speaking objectively, it was hard to ignore that Damian Abraham’s mic sounded either broken or deliberately distorted beyond reasoning, or that the mix wasn’t nearly as balanced as it should have been to allow a work as sonically complex as David to really shine (though standing right in front of Ben Cook’s amp probably didn’t help my perspective), or that at a few points in the set I heard the band’s usual uber-tightness waver some. But none of that mattered one whit. This was the band that had improbably become this city’s musical ambassadors to the world over the last few years celebrating an amazing year with their friends and family for a worthy cause, and any nit-picking about the technical details – which were mostly minor – were rendered completely invalid by the spirit and energy of the show.

For his traditional foray into the audience early in the show, Abraham climbed right up off the stage into the balcony and traversed the entire perimeter of the venue while his bandmates churned through “Turn The Season”. Beneath him, as they did from note one and would through the duration of the show, a relatively small but unquestionably determined mosh pit did what they do; Abraham would encourage the horseplay but also clearly kept a watchful eye on his charges. And though he’s the indisputable focal point of the band, enough can’t be said about the rest of the band and their ability to keep up the exhausting and unrelenting pace that the material demands, be it unloading massive riff after riff or providing the melodic backing vocals so essential to tempering Abraham’s gruff roar. I can’t imagine the endurance necessary to pull off a show like this, but they did it.

Surprisingly, the show seemed to go by quicker than the album itself seems to and with the set finale of “Lights Go Out”, you couldn’t help but feel a huge swell of hometown pride for what had just gone down. Arguably the city’s best band right now, for whom epithets like “punk” or “hardcore” are now so stylistically inadequate, gave us a fantastic gift and reminded us that in a year when so much seems to have gone wrong civically, there was still so much to love about this city. Toronto the good, Toronto the Fucked Up.

Exclaim and BlogTO also have reviews of the show and The AV Club has an interview with drummer Josh Zucker. Pitchfork has the whole of the Fucked Up performance of David in New York City available to watch.

Photos: Fucked Up, The Sadies, PS I Love You, Quest For Fire @ The Great Hall – December 20, 2011
MP3: Fucked Up – “The Other Shoe”
MP3: Fucked Up – “Ship Of Fools”
MP3: Fucked Up – “A Little Death”
MP3: Fucked Up – “Queen Of Hearts”
MP3: Fucked Up – “Neat Parts”
MP3: The Sadies – “Another Year Again”
MP3: The Sadies – “Anna Leigh”
MP3: PS I Love You – “Subdivisions”
MP3: PS I Love You (featuring Diamond Rings) – “Leftovers”
MP3: PS I Love You – “Get Over”
MP3: PS I Love You – “2012”
MP3: PS I Love You – “Butterflies & Boners”
MP3: PS I Love You – “Facelove”
Video: Fucked Up – “Turn The Season”
Video: Fucked Up – “The Other Shoe”
Video: Fucked Up – “Queen Of Hearts”
Video: Fucked Up – “Black Albino Bones”
Video: Fucked Up – “Crooked Head”
Video: The Sadies – “Another Day Again”
Video: The Sadies – “Cut Corners”
Video: The Sadies – “Postcards”
Video: The Sadies – “The Horseshoe”
Video: The Sadies – “Flash”
Video: PS I Love You (featuring Diamond Rings) – “Leftovers”
Video: PS I Love You – “Get Over”
Video: PS I Love You – “Facelove”
Video: Quest For Fire – “I’ve Been Trying To Leave”

Kathryn Calder has released a new video from Bright & Vivid.

Video: Kathryn Calder – “Turn A Light On”

Exclaim has details of the new Woodpigeon EP For Paolo, which will be released digitally on January 24. There’s also a new video for the title track.

Video: Woodpigeon – “For Paolo”

Colin Stetson also has a new video for his new 10″ single for “Those Who Didn’t Run”.

Video: Colin Stetson – “Those Who Didn’t Run”

Amos The Transparent have released a video from their forthcoming album Goodnight My Dear… Im Falling Apart, which compiles a pair of previously-released EPs and will be out on February 14. They play a release show for the record at The Horseshoe on February 25.

Video: Amos The Transparent – “Sure As The Weather”

It’s a two-night stand of the in sound from out west at Lee’s Palace on April 12 and 13 when Yukon Blonde and Library Voices roll into town.

MP3: Yukon Blonde – “Fire”
Video: Yukon Blonde – “Water”
Video: Library Voices – “Generation Handclap”

The first official taste of Memoryhouse’s debut full-length The Slideshow Effect is available and it’s very… awake. The album is out February 28.

MP3: Memoryhouse – “The Kids Were Wrong”

Frank YangIn discussing the latest St. Vincent album Strange Mercy, I mentioned that Annie Clark’s greatest strength as a songwriter was her creative restlessness; a trait which has over the course of her relatively short career already taken her to more interesting places than some artists even conceive of visiting. If we turn our attention to her live show, that title of “most appropriate single adjective” would probably have to be “control”.

Just as she has a very specific idea of how her compositions should sound on record, she hits the road with a very specific idea of how they should be presented on stage, such that each time I’ve seen her its been not only with a different set of musicians, but a different configuration of instruments and sounds. Not that you need much more than Clark, her voice and her guitar to spellbind; that’s all she brought on her first visit back in February 2007 before her debut Marry Me was released and it was far more memorable than Midlake’s headlining set. Her last time through Toronto in August 2009, the more complex orchestration of Actor necessitated a multi-instrumentalist, multi-tasking five-piece St. Vincent. So who and what would they be for the leaner and more snarling Strange Mercy?

First, opening up were Cold Specks who had to make waves in Europe with her debut 7″ release before getting some attention back home; though Cold Specks is now based in London, Al Spx originally hails from the borough of Etobicoke. Performing seated as a two-piece with an accompanying guitarist/vocalist, Cold Specks tried to win over the packed, talkative room without a lot of success. Her meditative gospel-folk songs and their low-key deliver was designed more to haunt than command, and this wasn’t really the environment for that approach to succeed. Those of us up front were able to appreciate its subtleties and the way the weight of the material built slowly as the set progressed, but even from in close it was very gradual. Getting the opportunity to make her debut on a big stage like this may have been an impressive achievement, but Cold Specks is probably better suited to smaller rooms and more attentive audiences for now.

St. Vincent, on the other hand, has well and properly graduated to rooms of this size. Backed by a drummer manning a kit the size of which seemed physically impossible for an individual to manage and two keyboard/synth players, Annie Clark delivered a set that was configured for and leaned heavily on Strange Mercy – no horns or second effected vocal mic this time – only dipping slightly into Actor and not even acknowledging Marry Me until the finale of the show. The new material was delivered with gusto, Clark shifting from siren to shredder with the shake of her head and unleashing the squalling guitar breaks that so happily punctuate the record, unleashing chaos but in a totally precise manner (though having the strobe lights continually synched with the solos seemed a bit on the nose over the course of the night). The intensity of her performance was an interesting counterpoint to her poise between songs, where she would graciously acknowledge the shouts of, “we love you!” and “you’re so pretty!” from the audience while tuning or offer up some charming anecdote to make everyone fall in love with her just a little bit more.

This isn’t to suggest that it was an operation of military precision; “Dilettante” took three tries to get right, with Clark having to stop herself twice on account of forgetting the lyrics though she made the exercise of soliciting cues from the audience one of the most endearing moments of the night. It was with the late-set cover of The Pop Group’s “She Is Beyond Good & Evil” – rendered far more aggressively than any of her own material – that the show seemed to allow more anarchy to seep in. Shortly thereafter, Clark appeared to break the theremin during its solo on “Northern Lights” and though the encore opened with a lovely keyboard-vocal arrangement of “The Party”, it closed with a riff-heavy, almost metal-derived version of “Your Lips Are Red” which saw Clark turn an edge-of-stage guitar solo into an impromptu crowd surf – while sustaining both the soloing and her perfect posture – before getting back on stage and basically attacking her roadie with her guitar (in what I presume was a playful manner). It was a fantastic finale to an impressive show and showed that maybe the best thing about Annie Clark’s being in control is her ability to lose it.

NOW, The National Post, and The Globe & Mail also have reviews of the show while The Grid has a quick interview. The Toronto Star has a profile of Cold Specks.

Photos: St. Vincent, Cold Specks @ The Phoenix – December 15, 2011
MP3: St. Vincent – “Surgeon”
MP3: St. Vincent – “Actor Out Of Work”
MP3: St. Vincent – “The Strangers”
MP3: St. Vincent – “Now Now”
Stream: Cold Specks – “Holland”
Video: St. Vincent – “Cruel”
Video: St. Vincent – “Laughing With A Mouth Of Blood”
Video: St. Vincent – “Actor Out Of Work”
Video: St. Vincent – “Jesus Saves I Spend”

NYC Taper has got one of The National’s homecoming High Violet finale shows available to download, including the two new songs – “Rylan” and “I Need My Girl” – that the band has been premiering on this tour.

Also at NYC Taper – My Morning Jacket’s Madison Square Garden show from last week.

Rolling Stone has premiered the new video from Nicole Atkins’ Mondo Amore.

Video: Nicole Atkins – “Hotel Plaster”

Exclaim reports that Cat Power will be releasing some new material in the form of a charity single on Christmas Eve. Details are still forthcoming but it’s confirmation that Chan Marshall has been doing stuff. Musical stuff.

That new Guided By Voices album, Let’s Go Eat The Factory? NPR has got that up to stream, two weeks before its January 1 digital release and a full month before its January 17 physical release.

Stream: Guided By Voices – “Let’s Go Eat The Factory”

Their visit in the Fall a casualty of the cancelled Vaccines tour, Tennis have made a date at The Horseshoe for February 29, just a couple weeks after their second album Young And Old is released on February 14.

MP3: Tennis – “Civic Halo”
MP3: Tennis – “Self-Seal Mishap”
Video: Tennis – “Deep In The Woods”

Youth Lagoon will bring his much year-ended debut album The Year Of Hibernation to Lee’s Palace on March 31. Blare has an interview.

MP3: Youth Lagoon – “July”

Memphis country-punk stalwarts Lucero are back at Lee’s Palace on April 14. Their new album Women & Work will be out in the Spring, presumably in time to sell at these shows.

Video: Lucero – “What Are You Willing To Lose?”

Spin has got the new Sleigh Bells single available to stream. Reign Of Terror is out February 14.

Stream: Sleigh Bells – “Born To Lose”

Paste has posted a video session with Centro-Matic.