Frank YangA glance at the sandwich board outside the Silver Dollar on Saturday night would shown a bill of bands with largely vague and generic names, yet if one were to have stepped inside and takn in the bill, they’d have found the appellations remarkably descriptive and appropriate.

I’d seen locals Dilly Dally a few years ago at Halifax Pop Explosion 2010, and despite the rough edges – or maybe because of them – I liked what I heard and was happy to have the opportunity to check in with them again, what with their not having especially blown up in the interim. What had transpired between then and now, however, was a dialing down of the early ’00s garage rock snottiness in favour of a heavier, jerkier Pixies-esque sound and songwriting style. So while still rather on the nose with their influences, their material was definitely more distinctive and, should a record finally emerge, it should be interesting and an aural salve for anyone who feared sullenly tuneful indifference was a thing of the past.

I don’t know if Toronto really had a former great shoegazing hope amongst all the bands operating, but they’ve certainly got a next one in Breeze. Looking and sounding the part of the first wave of the genre – Jazzmasters, check; shaggy curly hair and striped shirts, check – their songs were simply structured, unfailingly melodic, and struck the right balance of soft, dreamy vocals and churning guitars that wisely saved their really noisy moments for the instrumental breaks. There wasn’t any specific aspect of them that marked them as burgeoning superstars but as a unit they were really strong on fundamentals, their drummer as solid as he wasn’t flashy. Signed to local label Hand Drawn Dracula, they’ve only got a couple singles out at the moment but a debut album is forthcoming and for fans of the genre, worth keep an eye out for.

Philadelphia’s Nothing were the front half of the touring bill that was anchoring this show, and though I hadn’t heard them before, their name was a pretty good indicator of where they were coming from. While you could technically argue they were in keeping with the shoegazing theme of the evening, they were less about having sound wash over you than hit you like a brickbat. Though punishingly loud, they avoided sonic incoherence and if you paid close attention, were fundamentally tuneful under it all – a trait which became clearer the few times they turned the distortion down. I’m kind of amazed how different they sound on their last release, the Downward Years To Come 12″ EP, which is much more classically shoegaze in conceit and execution. Though as it turned out, that Jekyll and Hyde phenomenon wasn’t isolated to them.

The first sign that this Whirr set might not be what I was expecting was that as Nothing tore down and they set up, the grinding feedback that closed the former’s performance continued to reverberate through the club until they began playing. The second was that there was no sign of singers Alexandra Morte, who appeared on their Pipe Dreams and Distressor albums, or Kristina Esfandiari who appeared on this year’s Around mini-LP. Considering the female vocals are a huge part of the band on record – their being the softness that buttresses against the band’s waves of sound – it was a pretty big absence. Not that they’d have necessarily been heard anyways, since the guitars and drums were so loud that the vocals were rendered completely inaudible. Seriously, they could have been lip-synching or singing “Bohemian Rhapsody” and you wouldn’t have known; given this, that Nothing’s singer jumped on stage to sing one song was kind of hilarious.

This is not to suggest the show lacked presence or impact; Whirr had a physicality onstage not often seen at shows of this ilk, with all five moving as though jerked by marionette strings or being impacted by the notes they were playing, but given that their ability to capture on record that My Bloody Valentine-esque dichotomy of sonic brutality and aural beauty is a huge part of the band’s appeal, that they’d choose not to indulge that at all was rather frustrating. An guitar line would occasionally surface that gave some indication of what song it was they were playing, but the live renditions were so far removed from the recordings – if the album versions were watercolours, live they were huge swathes of jet-black paint – that experiencing the show on anything but a purely visceral level was largely futile. And while that approach was satisfying in its way, it also got tedious after a while. I found it curious that the band would go through the trouble of writing, recording, releasing, and touring these songs only to opt to bludgeon them to death every night, but I suppose that’s their prerogative. I do hope, however, that some of the people who were impressed enough to buy records after their set take them home, put them on, and are confused by all the actual songs.

The Aquarian has a short interview with Whirr.

Photos: Whirr, Nothing, Breeze, Dilly Dally @ The Silver Dollar – August 17, 2013
MP3: Dilly Dally – “Helen Hunt”
MP3: Dilly Dally – “Pretty Pretty Pictures”
Stream: Whirr – “Drain”
Stream: Whirr – “Swoon”
Stream: Nothing / Downward Years To Come
Stream: Breeze – “Paradise (In a While)”
Stream: Breeze – “Repent”
Stream: Dilly Dally – “Tip Toes”
Stream: Dilly Dally – “Green”
Stream: Dilly Dally – “Killing Time”
Stream: Dilly Dally – “Candy Mountain”

Grantland, The AV Club, and The Fly talk to Superchunk’s Mac McCaughan, whose new album I Hate Music is out this week.

The Minneapolis Star-Tribune has the low-down on the players replacing the missing Replacements at Paul Westerberg and Tommy Stinson’s side at Riot Fest at Garrison Commons on August 25.

Neko Case has made her new album The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You available to stream a full two weeks ahead of its September 3 release via NPR.

Stream: Neko Case / The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You

USA Today has premiered the next performance video from Okkervil River’s forthcoming The Silver Gymnasium, this one of which finds Will Sheff playing in the titular gymnasium of his old grade school. The record comes out September 3 and they play The Phoenix on September 28.

Video: Okkervil River – “Lido Pier Suicide Car” (live in the Silver Gymnasium)

Consequence Of Sound have a stream of another track from the new of Montreal album lousy with sylvianbriar, out October 8.

Stream: of Montreal – “She Ain’t Speakin’ Now”

Matablog has details on Lee Ranaldo’s new solo record; credited to Lee Ranaldo & The Dust, Last Night On Earth will be out on October 8 and you can stream the first track from it below. This offers some context to Ranaldo’s previously-announced date at The Horseshoe on October 11.

Stream: Lee Ranaldo & The Dust – “Lecce, Leaving”

Magnet spends some (a lot) of time with Josh Tillman of Father John Misty. You can do the same when he plays the Queen Elizabeth Theatre solo on October 15.

Pitchfork has a new sort-of performance video from Fiona Apple and Blake Mills, whose co-tour comes to the Queen Elizabeth Theatre on October 17.

We Talk You Die interviews new Midlake frontman Eric Pulido about their new record Antiphon, coming November 5.

The Alternate Side has a session and interview with Yo La Tengo.

KCRW is streaming an acoustic studio session with The National.

NPR welcomes Mikal Cronin for a World Cafe session; Spoonfed also has an interview.

MTV Hive and Glamour talk to Katie Crutchfield of Waxahatchee.

Frank YangThere’s been a narrative this Summer about Toronto’s music festival scene going through a sort of Renaissance, with events like Field Trip, TURF, Mad Decent’s Block Party, and Riot Fest establishing both the city’s niche in the greater festival hierarchy – solid second-tier, not-quite-destination events for under 10,000 people – as well as affirming Garrison Common at Fort York as the perfect venue for said events in terms of size and location (unless you live in one of the condos next door in which case too bad). This past Saturday’s The Grove Fest wasn’t originally part of this narrative when it was first announced back in March, being set an hour away in Niagara-On-The-Lake, but it was certainly of interest to festival-goers from the 416 what with an eclectic lineup drafting off those acts commuting between Lollapalooza in Chicago and Osheaga in Montreal, boasting acts like Phoenix and Hot Chip.

But while the multi-genre/demographic randomness of the performers was reminiscent of the Rogers Picnics of the mid-’00s – The Roots with the New Pornographers and Bad Brains? Animal Collective with City & Colour and Dizzee Rascal? – the Grove Fest quickly began to feel more like the chronically snakebit Virgin Fests of the same era. Barely a month after being announced, the festival was moved from Niagara to the aforementioned Garrison Common in downtown Toronto – no official reason was given though soft sales and local opposition are reasonable suspects – and three acts dropped off the bill, with Macklemore & Ryan Lewis, Pretty Lights, and Bob Mould presumably taking advantages of out clauses in their contracts to book their own, more lucrative shows or just not bother. And just when it seemed the dust had settled, Swedish electro-party duo Icona Pop dropped off the bill earlier this week for their own unannounced reasons. Disappointing? Definitely. Disastrous? Not necessarily; the remaining lineup was still solid and guaranteed to put on a good show, and if enough people still showed up – and one would think the number of complimentary tickets circulating would more than make up for those who demanded refunds – it would still be a fun time.

Arriving a couple acts into the day – apologies Nightbox and Young Empires, had things to do – it was heartening to see that there was already a solid turnout, less concerned with the drama leading up to the day than the entertainment to follow. But things still weren’t quite clockwork – I thought I had arrived just in time to catch Wavves, as per the schedule on the festival website, but instead it was brash Brit newcomers Palma Violets who took the stage – the only thing more head-scratching than the switch was that hardly anyone seemed to notice or care.

This was Palma Violets’ third visit to Toronto since January, and it was good to see that their heavy touring schedule between then and now – to say nothing of actually releasing an album in 180 – had produced solid returns. Ironically, the rough-and-tumble pub rock persona that seemed a bit put-on in an actual bar came across much better on a large festival stage. Bassist “Chilli” Jesson had the moves for getting the audience engaged and the girls shrieking down pat, making up for guitarist Sam Fryer’s distraction at having to play through an amp that was buzzing louder than his actual guitar signal. As their set closer, they invited local political pundit and former punk rocker Warren Kinsella to contribute vocals on a cover by his old band, The Hot Nasties. Pretty sure no one knew who he was.

Photos: Palma Violets @ Garrison Common – August 3, 2013
Video: Palma Violets – “We Found Love”
Video: Palma Violets – “Step Up For The Cool Cats”
Video: Palma Violets – “Last Of The Summer Wine”
Video: Palma Violets – “Best Of Friends

I’d pretty much confirmed that Wavves and their stoner-garage-surf-pop wasn’t really my thing after seeing the at NXNE 2010, but that doesn’t mean I couldn’t still be impressed at how they’ve improved as an outfit since then. Now a four-piece, with a second guitarist backing up frontman Nathan Williams, the material from their just-out third album Afraid Of Heights sounded more polished and sophisticated than their older stuff, but without sacrificing any of their stoned/snotty attitude – the melodies that had always been there were just moved more to the surface, and the songs benefitted for it. Their set was probably too short for some – it was just right for me – but those who want more should be pleased that Wavves are back for a headlining show at the Opera House on September 29 and Williams will probably be happy to be back with better on-stage sound.

Photos: Wavves @ Garrison Common – August 3, 2013
MP3: Wavves – “Hippies Is Punks”
MP3: Wavves – “I Wanna Meet Dave Grohl”
MP3: Wavves – “Cool Jumper”
MP3: Wavves – “TV Luv Song”
MP3: Wavves – “Horse Shoes”
MP3: Wavves – “Mutant”
Video: Wavves – “That’s On Me”
Video: Wavves – “Afraid Of Heights”
Video: Wavves – “Demon To Lean On”
Video: Wavves – “Sail To The Sun”
Video: Wavves – “No Waves”
Video: Wavves – “Post Acid”
Video: Wavves – “Bug”
Video: Wavves – “King Of The Beach”
Video: Wavves – “So Bored”
Video: Wavves – “No Hope Kids”

As mentioned, the original Grove lineup was a commendably diverse one and it’s a unfortunate that when the dust settled, it was basically split into half guitar rawk acts and half electro-dance acts, and sandwiched in the middle was Earl Sweatshirt. For those not up on their hip-hop who’s whos, Thebe Kgositsile was claimed to be the most talented of the Odd Future crew and after releasing his debut Earl mixtape in 2010, was sent to a boarding school in Samoa until his 18th birthday and basically disappeared from sight… until he didn’t. At any rate, Sweatshirt is now firmly back in the public eye with a new album in Doris ready for release in a couple weeks on August 20. If his mother was intending to deter him from a music career, she clearly failed. And if you thought that an act whose setup should have only required a live mic and a laptop plugged into the PA would have had the easiest setup of the fest, you’d have been wrong. Technical issues delayed the start of Sweatshirt’s set by a good 10 minutes, or a third of his allotted time. They eventually got things going and Sweatshirt delivered a set from the edge of the stage, his delivery low-key but intense and his short songs wrapped in a fair bit of conversational banter. It felt more like an introduction than a proper set, but if there was one thing the Grove was getting right, it was keeping on schedule, so on things went.

The Los Angeles Times and MTV have feature pieces on Earl.

Photos: Earl Sweatshirt @ Garrison Common – August 3, 2013
MP3: Earl Sweatshirt – “Between Friends”
MP3: Earl Sweatshirt – “Chum”
Video: Earl Sweatshirt – “Hive”
Video: Earl Sweatshirt – “Whoa”
Video: Earl Sweatshirt – “Chum”
Video: Earl Sweatshirt – “Earl”

It was easy to tell who the Gaslight Anthem fans were, because of all the acts they were the ones whose fans proudly wore their t-shirts, no doubt purchased at the many previous Gaslight Anthem shows they’d attended, including their show at the Sound Academy just last December. All of which is to say that the New Jersey outfit has clearly garnered a loyal fanbase over its seven-year, four-album existence. That said, this would be my first time seeing them and it’s kind of a shame that frontman Brian Fallon appears to be wearying of the E-Street allusions because likening them to a punk rock Springsteen is neither insult nor inaccurate, at least from a superficial, first-impression perspective. It was easy to see how the big, riff-fueld anthems of resolutely meat-and-potato rock’n’roll could engender such fan loyalty; it’s designed for rebellion, disaffection, and just being young. So while being an old person I didn’t necessarily feel it, I totally understood it. Kids, I was once like you.

Photos: The Gaslight Anthem @ Garrison Common – August 3, 2013
Video: The Gaslight Anthem – “Here Comes My Man”
Video: The Gaslight Anthem – “Handwritten”
Video: The Gaslight Anthem – “45”
Video: The Gaslight Anthem – “Bring It On”
Video: The Gaslight Anthem – “American Slang”
Video: The Gaslight Anthem – “Great Expectations”
Video: The Gaslight Anthem – “Old White Lincoln”
Video: The Gaslight Anthem – “The ’59 Sound”
Video: The Gaslight Anthem – “I’da Called You Woody, Joe”
Video: The Gaslight Anthem – “Drive”

The setting for my previous and only Girl Talk experience couldn’t have been more different from this one, but even if there’s no comparing a 4AM set on the shores of the Mediterranean to a 7PM set in the shadow of the Gardiner Expressway, one thing was certain – it’d be a whole lot of fun. Bringing dancers from the crowd to fill out the stage while he kept the top 40/classic rock/hip-hop mash-up machine going, Gregg Gillis and company doused the audience in confetti, toilet paper, balloons, and good vibes. What’s to say? If you’ve seen/been to a Girl Talk show, you know exactly what it was. If you haven’t seen/been to a Girl Talk show, you should really see/go to a Girl Talk show.

The Stranger talks to Gillis about the art of the mash-up.

Photos: Girl Talk @ Garrison Common – August 3, 2013
MP3: Girl Talk & Jim Jones – “Believe In Magic”
Video: Girl Talk – “All Day”

Some would argue that it was an injustice giving Hot Chip just a 40-minute set; surely with five albums of fantastic electro-pop to their name and a reputation for stellar live shows, they should have gotten a little more time in? Perhaps, in the original Grove configuration of two stages tag-teaming sets it could have happened, but as it was, they – like everyone else playing – was up against the clock. But if there was a positive side to this, it was that they opted to fill every minute of the time they were given with the hits – less the ballads – and nothing but. I’d last seen them in April 2010 behind One Life Stand – I missed last Summer’s tour for In Our Heads – so my data points aren’t complete, but I daresay I’d not seen the band be so energized and into the performance before – it was like they were more into putting on a show than just soundtracking the party. And so despite sound complaints – prevalent throughout the day but especially critical for Hot Chip’s set – partying did occur.

Tom Tom has an interview with Hot Chip’s (relatively) new drummer, Sarah Jones, formerly of New Young Pony Club. If you were wondering. I was.

Photos: Hot Chip @ Garrison Common – August 3, 2013
Video: Hot Chip – “Don’t Deny Your Heart”
Video: Hot Chip – “Night & Day”
Video: Hot Chip – “Look At Where We Are”
Video: Hot Chip – “How Do You Do”
Video: Hot Chip – “Flutes”
Video: Hot Chip – “I Feel Better”
Video: Hot Chip – “One Life Stand”
Video: Hot Chip – “One Pure Thought”
Video: Hot Chip – “Ready For The Floor”
Video: Hot Chip – “The Warning”
Video: Hot Chip – “Over And Over”
Video: Hot Chip – “Colours”
Video: Hot Chip – “And I Was A Boy From School”
Video: Hot Chip – “Playboy”

The rise of Phoenix from likeable but hardly beloved indie-pop band to massive worldwide stars post-Wolfgang Amadeus Phoenix and, with the release of this year’s Bankrupt!, top-tier festival headliners, has been fascinating to watch. There’s those who don’t believe the band deserve it and are akin to one-hit wonders hanging out at the rock’n’roll hall of fame – and it’s true, with their ascent built largely on the back of one massive album or, more specifically, a couple of massive songs, their path to the biggest poster font is markedly different from those legacy acts with decades-long careers, even if their best work is inarguably behind them. But what that also means is that Phoenix’s fans are young and thus far less jaded or weary of festivals – so yeah, with the band having been off the road and out of sight for more than a couple years, their base is excited and sure as heck buying tickets to see them. The onus, really, is on the band to prove that they belong there. And based on their pulverizing one-hour, Grove-closing set, Phoenix belong.

Starting a bit late on account of setting up their massive light show gear, their set opened with a blazing “Entertainment” and, perhaps wanting to prove they didn’t need to hold their biggest songs back, were onto “Lisztomania” by the third number. What’s interesting is that fundamentally, Phoenix’s live show hadn’t really changed since I last saw them in June 2009 – Thomas Mars still climbs the monitors, gladhands the audience, and basically gives it his all while his five bandmates are as tight as tight gets – but the scale of the presentation has been necessarily amped up and what impresses is how naturally they’ve grown with it. They don’t seem at all out of place in the big spotlight, on the big stage, and if anything, they look as though they’ve been there all along and were just waiting for everyone to catch up with them. Even with just an hour to work with, they crammed in a baker’s dozen songs – including “Sunskrupt!”, their amalgam of instrumental “Love Like A Sunset” and mostly-instrumental “Bankrupt!” – as well as a huge finale/reprise of “Entertainment” to close the show. Phoenix skeptics may have a point in the long term; Bankrupt! is a solid record but hasn’t reached Wolfgang-level heights, so come their next album, it’s no sure thing that Coachella, Lollapalooza, et al will be calling, but for now, in 2013, this is where they belong.

The Grid grabbed an interview with Phoenix prior to the festival.

Photos: Phoenix @ Garrison Common – August 3, 2013
Video: Phoenix – “Trying To Be Cool”
Video: Phoenix – “Entertainment”
Video: Phoenix – “1901”
Video: Phoenix – “Lisztomania”
Video: Phoenix – “Consolation Prize”
Video: Phoenix – “If I Ever Feel Better”
Video: Phoenix – “Long Distance Call”
Video: Phoenix – “Twenty-One One Zero”
Video: Phoenix – “Run Run Run”

NOW, BlogTO, and The National Post also have reviews of the fest.

And so The Grove. While many aspects of the fest were well-conceived and seemed to be undone by pure bad luck, although that doesn’t excuse other issues with the event – poor communication, dodgy sound, expensive concessions – that promoters with the experience that Goldenvoice have (they do Coachella) should have avoided. It seemed that by show time, the organizers were just trying to keep their heads down and get it over with without anyone dying or losing more money and even if much of the audience weren’t actual paying attendees, they still deserved better. There’s no question that there exists an opportunity for a festival in Toronto on the same weekend as Lollapalooza and Osheaga – pretty much every band playing both will be driving down the 401 that August long weekend – but it’s hardly the no-brainer it might appear. Any event would be at the scheduling mercy of those two big players, and considering that both – especially Osheaga – counts a strong Toronto demographic in their attendees, there’s not a lot of incentive to make it easy for acts to play all three cities, not that it’s necessarily easy in the first place – logistics are a bitch. Still, I hope/believe that something will rise up to fill this niche – whether it’s The Grove, valuable lessons learned and ready for another round, or someone else who thinks they can get it right, we shall see. And if someone does try, they’d be well advised to consult The Grid‘s helpful roundup of some of the music festivals that have tried – and failed – to make it work in the 416. Man, this town.

Lucia GracaWhile no one would argue that Björk has always done exactly what she wanted from an artistic point of view, the broader audience that met her first three solo releases and made her one of the unlikeliest stars of the Alternative Nation in the ’90s – as well as probably the most famous Icelander in the world – has waned somewhat in the 21st century. But regardless of the muted response to 2011’s Biophilia, she still counts her fans by the thousands and they were out in force at Echo Beach on Tuesday night for her first local show in almost six years, since headlining the first night of V Fest 2007.

That show – also on the water, albeit across the harbour from this one on Olympic Island – was a confetti-and-laser-and-brass-powered extravaganza fitting the tone of her previous album Volta, but given the relatively inward-looking tone of Biophilia – the first tours in support of it were performed in intimate theatres in the round – it’s not surprising that the stage setup was rather more austere. Or so it seemed, at first. As far as players went, Björk was traveling with only a percussionist and keyboardist/programmer, but the fourteen members of female Icelandic choir Graduale Nobili would prove to be more than the equal to a conventional band.

It’s hard to take the spotlight off of Björk, especially in an electric blue sparkly dress and huge orange Biophilia wig, but Graduale Nobili were the perfect backdrop/accompaniment for her, both aurally and visually as the stage setup was more akin to a theatre space than a concert stage and they were called on to perform as dancers as well as singers. Their parts meticulously and brilliantly arranged, they were by turns mysteriously foreboding or giddily celebratory and offered their matriarchal leader support or cover as the show demanded, their presence energized the show and especially gave extra life to the Biophilia material, with the presentation of “Crystalline” in particular coming across as revelatory compared to the recorded version.

But as improved as the newer material sounded live, it was still the older songs that proved the show-stoppers, and not just because they were the most familiar. “One Day” – the only nod to Debut despite marking its 20th anniversary this month – was stripped down to a gorgeous and haunting vocal and steel hand drum, and if Graduale Nobili had been brought along only to provide the call-and-response chorus to “Pagan Poetry”, it’d have been worth the price of the airfare. If there’s a moment everyone will remember, however, it’d be “Army Of Me” wherein a pair of Tesla coils in a cage descended from the stage ceiling, their electrical arcs synched to the synths while over a dozen girls danced like mad on the stage. Simply amazing. And ranked right alongside as show highlights would be “Hyperballad” transforming midway into a strobe-powered rave up cover of LFO’s “Freak” (so I’m told, I wouldn’t know an LFO song if I heard one) and the massive walls of flame and sparks that backlit set closer “Náttúra”. After that breathtaking peak, the banging one-song, Trayvon Martin-dedicated encore of “Declare Independence” seemed almost unnecessary – the preceding highs were not to be topped – but considering how rarely Björk finds her way here and how spectacular her shows are, if you’re doing anything less than savouring every minute of it, you’re quite simply doing it wrong.

The Toronto Star, Exclaim, BlogTO, The National Post, The Huffington Post, and NOW also have reviews of the show. Noisey reflects on Björk’s 20-year solo career in terms of both music and visual style.

MP3: Björk – “Verandi”
MP3: Björk – “It’s In Our Hands”
MP3: Björk – “Cosmogony”
Video: Björk – “Hollow”
Video: Björk – “Mutual Core”
Video: Björk – “Moon”
Video: Björk – “Crystalline”
Video: Björk – “Innocence”
Video: Björk – “Declare Independence”
Video: Björk – “Wanderlust”
Video: Björk – “Dull Flame Of Desire”
Video: Björk – “Earth Intruders”
Video: Björk – “Where Is The Line”
Video: Björk – “Triumph Of A Heart”
Video: Björk – “Who Is It”
Video: Björk – “Oceania”
Video: Björk – “Hidden Place”
Video: Björk – “Cocoon”
Video: Björk – “Pagan Poetry”
Video: Björk – “Joga”
Video: Björk – “Bachelorette”
Video: Björk – “Hunter”
Video: Björk – “Alarm Call”
Video: Björk – “All Is Full Of Love”
Video: Björk – “Isobel”
Video: Björk – “Possibly Maybe”
Video: Björk – “I Miss You”
Video: Björk – “Army Of Me”
Video: Björk – “Hyperballad”
Video: Björk – “It’s Oh So Quiet”
Video: Björk – “Human Behaviour”
Video: Björk – “Venus As A Boy”
Video: Björk – “Big Time Sensuality”
Video: Björk – “Violently Happy”
Video: Björk – “Play Dead”

The Village Voice has an interview with Icelandic composer Ólafur Arnalds and Altsounds asks him what kind of gear he’s brought along for his current US tour.

Exclaim reports that Icelandic pop singer Emiliana Torrini has set a September 9 release for her new record Tookah, and the first single from it is available to stream now.

Stream: Emiliana Torrini – “Speed Of Dark”

Norwegian singer/producer/pop star Annie tells Noisey that the break that followed 2009’s Don’t Stop is over and to prove it, a song from her new release The A&R EP, out August 5, is available to stream.

Stream: Annie – “Hold On”

Indians have rolled out a new video from their/his debut Somewhere Else.

Video: Indians – “Magic Kids”

The Independent talks to Jose González of Junip.

Frank YangAs mentioned when this show was originally announced in May, I was quite pleased to see that New York’s Chairlift were coming back to town as part of Harbourfront Centre’s Soundclash festival because I didn’t realize how much I liked their second album Something until they had finished touring it. And that’s largely because I found their 2008 debut Does You Inspire You? intermittently entertaining but largely uninteresting, the overall quality not matching their iTunes advert-elevated profile. I didn’t appreciate how much better they got after founding member Aaron Pfenning left, leaving the duo of Caroline Polachek and Patrick Wimberly to regroup and realize ditching the cutesy/goofy songwriting o the debut for an approach that understood Polachek’s remarkable vocals were better cast in a more soulful, yet more synthesized context, would produce much stronger work.

So of course they opened up with an opera number. Or operatic, at the least. I’m not sure if it was an original composition, but if the intention was to grab the attention of passers-by out for walk along the waterfront with a riveting vocal performance, it did the job. “Sidewalk Safari” immediately followed to reassure fans they weren’t, in fact, at the wrong show, and the next song, a slinky slow-burner, was one of a few new songs in that vein. Compared to the recent and new material, the simple singalong pop of “Bruises” sounded almost quaint and emphasized how much more sophisticated of a band they had become, but there was no disputing its crowd-pleasingess, hence its inclusion though rather earlier in the show than one might have thought. And though they cited “I Belong In Your Arms” as a request, I can’t believe it’d have been omitted from the show otherwise – surely there’s consensus that it’s one of the best songs in their repertoire?

Chairlift on this evening were a three-piece, with a guitarist/keyboardist/multi-instrumentalist augmenting the core duo. Apparently they’ve toured as a larger live band in the past, allowing Polachek to focus on frontwoman duties rather than anchor herself to a keyboard for parts of the set, but even so she was still a presence on stage, all tassels and shampoo commercial hair – to say nothing of her remarkable vocals, even rangier and more expressive live than on record – as she roamed the stage and danced. The audience, in typically polite Toronto fashion, was appreciative but it took a direct invitation from Polachek to dance to get up out of their seats. I’d like to think, however, that they’d have done so on their own by the time the show closed with “Amanaemonesia”. A terrific way to spend a Summer’s evening, and cement my appreciation for the band, if somewhat late to the party.

Photos: Chairlift @ Harbourfront Centre – July 12, 2013
MP3: Chairlift – “I Belong In Your Arms”
MP3: Chairlift – “Lift Cool As A Fire”
MP3: Chairlift – “Garbage”
Video: Chairlift – “Met Before”
Video: Chairlift – “Amanaemonesia”
Video: Chairlift – “Bruises”
Video: Chairlift – “Evident Utensil”

American experi-folk collective Akron/Family are coming to southern Ontario for some Hillside Festival action, but aren’t forgetting their Toronto fans – they’ll play a free in-store at Sonic Boom on July 26 at 8PM.

MP3: Akron/Family – “So It Goes”

eMusic and Pitchfork have features on Northampton, Massachusetts’ Speedy Ortiz, who’ve been making a lot of noise – literal and figurative – with their wonderfully ’90s-vintage jagged-edge melodic rock on Major Arcana; they’ve just been confirmed as support for Thurston Moore’s Chelsea Light Moving at The Horseshoe on September 15 so that’s gone from can’t miss to CAN’T MISS.

MP3: Speedy Ortiz – “No Below”
MP3: Speedy Ortiz – “Tiger Tank”

Though they’re down a number of members since becoming band du jour in 2005, Philadelphia’s Clap Your Hands Say Yeah are still a going concern and will be at Lee’s Palace on September 28 to prove it. Tickets for the show are $22.50 in advance.

MP3: Clap Your Hands Say Yeah – “Same Mistake”

Brooklyn surf-punk-garage quartet Obits have readied a new long-player in Beds & Bugs, given it a September 10 release date and will be at The Horseshoe on October 4 as part of a North American tour, tickets $13.50. Hear one of the songs from the new record below.

MP3: Obits – “Taste The Diff”

Unclassifiable Ameri-Parisian sister act CocoRosie have assembled a North American tour behind their latest album Tales Of A GrassWidow and will be at The Phoenix on October 15. Exclaim has the full tour itinerary.

Video: CocoRosie – “Gravedigress”

If you were concerned because Ty Segall hasn’t been through town in a few months, don’t worry – he’s coming back as part of his psychedelic FUZZ project for a date at Parts & Labour on October 16 following the October 1 release of their self-titled debut album; Exclaim has all the dates. And don’t worry, the August 20 release of Sleeper, his next album under his own name, is still on track so expect some dates behind that sooner rather than later.

MP3: FUZZ – “Loose Sutres”

Brooklyn rock machine The Men have finally set a local date behind this year’s surprisingly Americana-ish but still fierce New Moon. They’ll be at The Horseshoe on October 20 and the rest of their Fall dates are up at Consequence Of Sound.

MP3: The Men – “Open Your Heart”

You don’t often see bands play support in rooms smaller than they headline, but with their date at Lee’s Palace opening for Wire in the books, NEVER MIND THAT PART. Minus The Bear have announced a show at The Opera House on October 20, tickets $25. This is partly but not really in support of their crowdfunded acoustic-versions record Acoustics II – they’re promising to play an acoustic mini-set as part of a fully-plugged in show.

MP3: Minus The Bear – “Hooray”

If you chose either Foals or The Breeders over Charles Bradley in this past May’s show-mageddon with the expectation that he’d be back before the others, congratulations – Bradley and his Extraordinaires are bringing No Time For Dreaming to The Kool Haus on December 12, tickets $25.50. As a bonus, you get this video session from NPR as well as a World Cafe session.

Video: Charles Bradley – “Strictly Reserved For You”

Superchunk are streaming a new tune from their new record, I Hate Music, due out August 20.

Stream: Superchunk – “Me & You & Jackie Mittoo”

Pitchfork have details of the new record from Of Montreal – lousy with sylvianbriar is out October 8, and the first single sounds like this.

Stream: Of Montreal – “fugitive air”

Widowspeak have announced the release of a new EP entitled The Swamps on October 29. Details at Pitchfork, lead track from said EP below.

Stream: Widowspeak – “True Believer”

NPR has premiered the new video from John Vanderslice’s latest album, Dagger Beach.

Video: John Vanderslice – “How The West Was Won”

Sterophile interviews Wayne Coyne of The Flaming Lips.

Frank YangWith the first three days of the inaugural Toronto Urban Roots Fest having gone swimmingly, certainly the fourth and final day – boasting inarguably the strongest lineup of them all – would be the best? Well it turns out “swimmingly” would be kind of the wrong word to use, but everything started out enough.

Though as per usual I missed the first few acts of the day, I was there in time to see Kurt Vile make his first local appearance in support of his new record Wakin’ On A Pretty Daze, which has garnered pretty much universal acclaim, though I only go as far as saying I like it more than his last one. I’ve always found Vile’s stuff to be pretty same-y in that lightly psychedelic laid-back drone-pop way – an impression confirmed and amplified when I saw him at Pitchfork 2010 – but if you’re in the right mindset, it’s pretty pleasantly trippy. As with that show, this performance mainly had Vile in two modes – huge rug of hair draped over the mic stand while he sang, or huge rug of hair draped over his guitar while he soloed. His bandmates in the Violators did mix things up somewhat by adding mandolins and 6-string basses into the mix, and Vile was equally comfortable ripping leads on electric or acoustic, but a few noisey bursts aside, Vile was pretty content to just let the set mosey along at its pace and his fans were content to mosey right alongside him.

Photos: Kurt Vile @ Garrison Commons, East Stage – July 7, 2013
MP3: Kurt Vile – “Never Run Away”
MP3: Kurt Vile – “Wakin’ On A Pretty Day”
MP3: Kurt Vile – “Jesus Fever”
MP3: Kurt Vile – “Baby’s Arms”
MP3: Kurt Vile – “In My Time”
MP3: Kurt Vile – “The Creature”
Video: Kurt Vile – “KV Crimes”
Video: Kurt Vile – “Never Run Away”
Video: Kurt Vile – “Jesus Fever”
Video: Kurt Vile – “Baby’s Arms”
Video: Kurt Vile – “Runner Ups”
Video: Kurt Vile – “Freak Train”

It was with some regret that I skipped Yo La Tengo’s stop at The Phoenix back in February in support of their latest Fade, but the confidence they’d put on a solid show couldn’t win out over the fact that I’d seen them play said solid show many times before – most recently in 2010 in Vegas at Matador at 21 – that I gave it a pass. Happily, their return for this festival meant that I’d still get to hear the new tunes, and not have to make any special effort to do so. Win! And as nice as it can be to hear Yo La Tengo stretch out live, there’s really something to be said for imposing strict time constraints on them; though they sounded quite the opposite of rushed, the blend of new songs – which sounded really terrific live, perfectly suited to the hazy afternoon – and old favourites done perfectly and without the excesses the band sometimes fall prey to, in some cases twice as “Autumn Sweater” came unravelled early on in the set with a blown amp fuse and had to be returned to later on.

NYC Taper has got the Yo La Tengo’s set from the Wilco-run Solid Sound fest a few weekends ago available to download. The Boston Globe, Metro, and Cincinnati CityBeat have interviews.

Photos: Yo La Tengo @ Garrison Commons, West Stage – July 7, 2013
MP3: Yo La Tengo – “Stupid Things”
MP3: Yo La Tengo – “Nuclear War”
MP3: Yo La Tengo – “Here To Fall”
MP3: Yo La Tengo – “Periodically Double Or Triple”
MP3: Yo La Tengo – “Don’t Have To Be So Sad”
Video: Yo La Tengo – “Ohm”
Video: Yo La Tengo – “Ohm” (tree)
Video: Yo La Tengo – “Before We Run”
Video: Yo La Tengo – “When It’s Dark”
Video: Yo La Tengo – “Nothing To Hide”
Video: Yo La Tengo – “Avalon Or Someone Very Similar”
Video: Yo La Tengo – “Periodically Double Or Triple”
Video: Yo La Tengo – “Here To Fall”
Video: Yo La Tengo – “Sugarcube”
Video: Yo La Tengo – “Tom Courtenay”

I’d never given either Luke Doucet or Melissa McClelland much concern with their solo careers, so when they came together as Whitehorse I still didn’t pay any attention, at least until their second album The Fate Of The World Depends On This Kiss made it onto this year’s Polaris Prize long list. And while the adult contemporary-skewing roots-rock that’s the foundation of their sound isn’t normally what I’d be into (even if, phrased like that, you think it might) I found the record pretty enjoyable in a Steve Earle “chick song” sort of way, though rather slicker in execution; that’s why I expected that their live setup would involve a polished band comprised of session player types, not just the two of them and a garage sale’s worth of instruments and microphones. Okay, so the setup was meticulously arranged for exactly that DIY effect with telephone handsets and old-school shockmounted mics installed just so, but there was no faking the way the two built up the structures of each song by sampling acoustic instruments and looking stylish while doing it. They spent the first part of their set entrenched in their fortress of gear, but eventually strutted out to the front of the stage and sang together into a single mic armed just with guitar and bass. Straight, simple, and to their strengths.

The Halifax Chronicle-Herald has a feature piece on the band.

Photos: Whitehorse @ Garrison Commons, East Stage – July 7, 2013
Video: Whitehorse – “Achilles’ Desire”

If you’re looking for writeups of either The Cat Empire or Xavier Rudd, I’m afraid you’ll have to look elsewhere. I spent their sets huddled under a leaky ATM tent hiding from the deluge that resulted when the skies opened up right around dinnertime. The rain eventually eased up, but not before turning the whole of the festival grounds into some manner of swamp. Not really an ideal setting for anything, let alone enjoying Neko Case’s set, but looked at another way, if there’s anything out there worth enduring this sort of weather for – after a short dry spell, the skies opened up even harder a couple songs in – it’s Neko Case.

When she was here last in December 2011 opening up for The National at the Air Canada Centre, the assumption seemed to be that if she was back on the road, then her new record – the long-awaited follow-up to 2009’s Middle Cyclone – must be close to being done. Not, as it turned out, so much. But nineteen months later, she was back and this time the new record – The Worse Things Get, the Harder I Fight, The Harder I Fight, The More I Love You – was done, locked, and loaded for a September 3 release. The set contained a few of those new songs, all of which sounded of the same high calibre of lead sample “Man”, and a solid tour of her repertoire – “Red Tide”, with its “I hate the rain” lyrics, was especially topical – and always-entertaining banter with backing singer Kelly Hogan. With the time she takes between records, it can be easy to forget just how amazing a talent Neko is; call her alt.country or folk-rock or jangle-pop or whatever you like, her voice and songwriting transcends all labels. And the only thing better than being reminded how good she is was the promise to return for another show sometime in the next six months. Ideally indoors.

Photos: Neko Case @ Garrison Commons, West Stage – July 7, 2013
MP3: Neko Case – “People Got A Lotta Nerve”
Video: Neko Case – “People Got A Lotta Nerve”
Video: Neko Case – “Maybe Sparrow”
Video: Neko Case – “Furnace Room Lullabye”

Finally, with the rain seemingly past though the resultant mud pits remained, it was time for Belle & Sebastian. It’s remarkable how the mysterious mystique the band cultivated in their early years still persists to some degree, and even though they’ve toured North America behind pretty much every album this century, their live shows are breathlessly anticipated like once-in-a-lifetime unicorn herd migrations. Of course, those studio albums are fewer and further between than most would like – their last visit was October 2010 behind Write About Love – so with no new record on the horizon, the fact that they were still coming to town to play a show apart from the usual promotional cycle was actually unicorn-rare, and as is often the case when the artist doesn’t have anything specific they need to push, offered the promise of being a much more unique show.

That this wouldn’t be a typical show was confirmed from the opening number, as instead of one of their obvious (but still beloved) songs, it was the electronic instrumental b-side “Judy Is A Dick Slap”. Anyone who says they had that in the “what’ll be the first song?” pool without consulting previous set lists is lying. “I’m A Cuckoo” then let Stuart Murdoch properly take centre stage and show off his dance moves, slippery stage be damned, “Another Sunny Day” was rolled out as a musical anodyne to the weather, and Andy Murray’s Wimbledon win earlier in the day saluted with “Stars Of Track And Field”. The catalog-hopping trajectory of that first salvo of selections delightfully carried on through the show, and while hardcore fans might suggest they could have gone for deeper cuts, I was more than happy to hear “The Model” and “Loneliness Of A Middle Distance Runner” dug out of the archives.

If it wasn’t quite a greatest hits set song-wise, it certainly was with their audience participation exercises. There was the girl brought onstage to read Isobel Campbell’s spoken word outro overtop “Dirty Dream Number Two” (she sang it, but whatever), the other girl who managed to fit a dance routine amidst playing Scrabble against the band onstage during “The Model”, the girl (sensing a trend? Oh, Stuart) who applied makeup to his face during “Lord Anthony”, the bevy of dancers brought onstage for “The Boy With The Arab Strap”… there was no lobbing of autographed footballs into the audience this time, but the rain probably would have washed the signatures off anyways. The between-song shenanigans might have taken up time that could have gone to another song or two, but you’d have had to be a serious grump to complain about the love-in vibe that they generated. And we should all count ourselves lucky that no one brought onstage insisted on singing one of her own songs. No, what we got was a joyous show that felt like a gift, wrapped a terrific inaugural TURF, and just about made you forget that you probably had trench foot. No mean feat.

The Huffington Post and Pittsburgh CityPaper have interviews with keyboardist Chris Geddes about the current tour and their plans to write their next record when it’s wrapped. The band’s new collection of b-sides and rarities, The Third Eye Centre, comes out August 27.

Photos: Belle & Sebastian @ Garrison Commons, East Stage – July 7, 2013
MP3: Belle & Sebastian – “Write About Love”
MP3: Belle & Sebastian – “Another Sunny Day”
Video: Belle & Sebastian – “I Want The World To Stop”
Video: Belle & Sebastian – “White Collar Boy”
Video: Belle & Sebastian – “The Blues Are Still Blue”
Video: Belle & Sebastian – “Funny Little Frog”
Video: Belle & Sebastian – “Wrapped Up In Books”
Video: Belle & Sebastian – “I’m A Cuckoo”
Video: Belle & Sebastian – “Step Into My Office Baby”
Video: Belle & Sebastian – “Jonathan David”
Video: Belle & Sebastian – “Jonathan David” (70s version)
Video: Belle & Sebastian – “The Wrong Girl”
Video: Belle & Sebastian – “Legal Man”
Video: Belle & Sebastian – “This Is Just A Modern Rock Song”
Video: Belle & Sebastian – “A Century Of Fakers”
Video: Belle & Sebastian – “Is It Wicked Not To Care?”
Video: Belle & Sebastian – “Dirty Dream #2”
Video: Belle & Sebastian – “Lazy Line Painter Jane”
Video: Belle & Sebastian – “Dog On Wheels”

CBC Music have got the Canada-only stream of the new Pet Shop Boys album Electric, out July 16. Americans can hit Pandora and Brits can use Rdio via The Guardian. They play The Sony Centre on September 25, and Spin, Huffington Post, and Metro have interviews with Neil Tennant about going indie on their latest record.

Stream: Pet Shop Boys / Electric

Fashion retailer Mr. Porter has an interview and fashion shoot with Kele Okereke of Bloc Party; their Nextwave Sessions EP is due out August 13.

Mumford & Sons have released a video for the title track of last year’s Babel. They’re at The Molson Amphitheatre on August 24.

Video: Mumford & Sons – “Babel”

Hot on the heels of those advance streams, Franz Ferdinand have released the video for the sort-of title track of their new album Right Thoughts, Right Words, Right Action. It’s out August 27 and they play The Kool Haus October 24.

Video: Franz Ferdinand – “Right Action”

Exclaim and The Daily Beast interview CHVRCHES about their forthcoming debut album The Bones of What You Believe, out September 24. They play The Danforth Music Hall on September 15, and if you need something new and CHVRCH-y to listen to before then, there’s this Haim cover they recorded for BBC.

Stream: CHVRCHES – “Falling” (Haim cover)

Manic Street Preachers have announced details of one of the two new records they’ve got in the can. Based on the title track, largely sung by the inimitable Richard Hawley, Rewind The Film is the largely acoustic album that had been previously mentioned; it’s out September 16 and more specifics on it can be had at DIY. James Dean Bradfield also talks to NME about the other album that’s been recorded alongside it, due out in Spring of next year.

Video: Manic Street Preachers w Richard Hawley – “Rewind The Film”

Veteran British folk-rock outfit The Waterboys are making their first return to town in some years to kick off a major North American tour; they’ll be here on September 17 at a venue to be announced, but last time through in 2007 it was at The Danforth, so presumably it’ll be somewhere similar.

Video: The Waterboys – “The Whole Of The Moon”

With their self-titled debut due out in September, up-and-coming UK outfit The 1975 will be at The Mod Club on October 13 as part of their first major North American tour.

Video: The 1975 – “Sex”

Belfast post-rock firebrands And So I Watch You From Afar and Oxford math-rock trio TTNG – formerly This Town Needs Guns before they thought better of it – are teaming up for a co-headlining tour that hits The Horseshoe on November 9, tickets $15.50. ASIWYFA released their third album All Hail Bright Futures this past Spring, TTNG’s second long-player 13.0.0.0.0 came out in January.

Stream: And So I Watch You From Afar / All Hail Bright Futures
Stream: TTNG / 13.0.0.0.0

The Skinny talks to Yannis Philipakkis of Foals.

Tone Deaf and Clash have interviews with Primal Scream frontman Bobby Gillespie.

DIY wonders aloud something I’ve periodically wondered to myself – whither The Rumble Strips?