I did not have a good Tuesday. Already stressed from having twice as many days worth of things to do before I left on vacation than I had days to do them, it was one of those days at work – not one those days, one of THOSE days. Sufficed to say, by the time I got home I had half a mind to just go down to Massey Hall, sell my Arcade Fire ticket to the first scalper I saw who didn’t look to have any communicable diseases and just go back home, watch the now-canceled Veronica Mars and go to sleep. I mean, I didn’t even like Neon Bible all that much and my seat was kind of crap. But, of course, I didn’t do any of that because it would have been overdramatic and silly. But it should give you some idea of my spirits going into the show.

I’d give Plague Park, the debut from openers Handsome Furs a quick listen earlier in the day and was reminded that Dan Boeckner was the vocalist in Wolf Parade that I didn’t mind so much. And despite not having much affection for his main band (though I mean to give them another shot), I rather enjoyed the Handsome Furs stuff, both on record and live – though dressed up in some rather raw synth/blues clothing, there were some classic rock songs underneath that reminded me, though the reference point is way overused these days, of Springsteen. And while this is the part where I’d usually say that the two-piece (guitar and keys) band configuration is unnecessarily limiting, for Handsome Furs I think it actually works just right. Nice stuff.

The Arcade Fire stage setup was an interesting one, with a number of circular screens set up around the back perimeter of the stage, vertical neon lights around the front and a mountain of amps, organs, drums and equipment in the middle of it all. When the lights dimmed at around 8:40 (early shows!), a short film of what looked to be a televangelist-type rambling on was shown on the screens until the band took the stage and opening with a massive church organ swell, it was “Black Mirror” and we were off. Arcade Fire have always been a wholly impressive live band – I’ll wager many of their fans were converted at a show as opposed to by the album – but watching them on the legendary Massey Hall stage, they seemed far more assured than I’d ever seen before. In the past, it seemed like they were attempting to harness an energy that was always within their grasp but also had them at its mercy – this time, they were in full command and were electrifying from start to finish.

Some may yearn for the days when the band played loft parties and tiny clubs, but seeing them in a hall as massive and packed as Massey was an experience that I wouldn’t give up for any of those (except maybe bragging rights). Arcade Fire aren’t about intimacy, they’re about grandiosity. Maybe that’s why their records leave me a little cold, they just can’t contain everything the band is trying to convey. In fact, a live Arcade Fire show is probably more like musical theatre than a typical concert in terms of spectacle, even though the band doesn’t really do anything overtly actorly in the course of the show. But the stage dressings for the current show – the fisheye cameras placed around the stage and projected onto the screens, the projections onto the stage curtains, all certainly felt very theatrical.

It’s probably a bit hackneyed to say, but if I were a religious person this was a day that would have driven me to find some solace in church. And while much of Arcade Fire’s themes are overtly religious (the did dedicate “(Antichrist Television Blues)” to the late Jerry Fallwell), that’s not what made the show feel so spiritually vibrant – it was the sense of celebration and musical communion between the band and the congregation, 2700 strong, the fact that Massey Hall was, for an hour and a half changed from a concert hall into a cathedral. Maybe a bit effusive but I can say that while I didn’t find God in the Arcade Fire nor did I become any bigger a fan of the band than I was before, on that night, after that day, this show was exactly what I needed.

Naturally the local media was also in attendance – the show got thumbs up from The Toronto Star, Toronto Sun, Torontoist and Chart while The Globe & Mail was rather less impressed. eye was in attendance for the Wednesday night show and Michael Barclay has posted the source interviews for this AOL piece from January in three parts at Radio Free Canuckistan.

Photos: Arcade Fire, Handsome Furs @ Massey Hall – May 15, 2007
MP3: Arcade Fire – “Black Mirror”
MP3: Handsome Furs – “What We Had”
Video: Handsome Furs – “Dumb Animals” (MOV)
MySpace: Arcade Fire

The Village Voice talks to Matt Berninger and Aaron Dessner of The National and MusicOmh to Berninger alone.

The AV Club has now posted that promised interview with Jeff Tweedy.

Filter gets to know Band Of Horses.

Salt Lake City Weekly chats with Craig and Tad of The Hold Steady.

Sad news from Land Of Talk – in an interview with Gen Art Pulse, Liz Powell revealed that drummer Bucky Wheaton had left the band and was being replaced by a friend by name of Eric (no surname given). While I’m obviously disappointed to see the wicked chemistry of the band disrupted, I assume Wheaton will still appear on the majority of the forthcoming full-length album. Help welcome Eric to the band when they play the Horseshoe on May 28 opening for The Rosebuds.

Pitchfork has release details for the solo debut of former Concretes singer Victoria Bergsman under the name of Taken By Trees. Open Field will be out June 18 worldwide except for the US, which will have a release date announced eventually.

…And that’s everything. That’s all I’ve got before departing this godforsaken continent. I’ve queued up some little daily blips while I’m away so you don’t get too lonesome, but I’ll be back properly and (hopefully) refreshed in some way first weekend of June. Thanks, and see you later.

What was supposed to be a nice bonus show Monday night from Fields, who had just played here on Friday opening for Blonde Redhead, ended up turning into a bit of an ordeal though with a happy ending. First, for reasons unknown, the show was moved from the Amp’d Mobile Studio where it was originally scheduled to the Drake Underground where the band was shoehorned into an Elvis Mondays showcase. Then it turned out keyboardist/vocalist Thorunn Antonia had come down with food poisoning and was very iffy to be able to perform. Great.

Needless to say, the evening was running a bit behind schedule so I arrived in time to catch the act preceding Fields, and it was… interesting to say the least. Fronted by what looked like the bastard offspring of Brandon Flowers and Freddie Mercury, they were all classic rock riffs and new wave synths, studded wristbands, dubious moustache and cheese-rock poses. Initially I was aghast, but when I began to pick up snippets of lyrics – “there is Autobots on the autobahn” and “boobies – I like them very very much” – that I realized that there was the distinctive whiff of irony in the air and then Erick Von Erick & The Raving Psychos – yes, that’s right – went from being one of the worst things I’d ever seen to one of the best. It’s funny, they were all obviously quite good musicians but had opted to use their powers for cheese and hey, that’s cool. Their set was short so as not to belabour the punchline and damn if it didn’t make for some great photos.

I talked last week about my likes and dislikes about Fields’ full-length debut Everything Last Winter but while it earns a qualified seal of approval, I heartily endorse their live show with no such reservations. Thankfully joined by Antonia, the band tore through most of the high-energy numbers from both the album and their 7 From The Village EP and not to belabour the point, but the songs sounded so much more vibrant live, with the rough edges that got polished out in the studio.

One of the smart moves in the making of the record, however, was turning up Antonia’s vocals so that instead of backing Nick Peill, as was her role on the EP, she was harmonizing with him. Though she looked a bit paler than usual from being ill – and she’s plenty pale to begin with – she sounded terrific and really has remarkable pitch. On the record, you’d swear she was being auto-tuned but I’ll bet dollars and doughnuts it’s just her. And it wasn’t just her, the whole band sounded terrific and with great tightness and energy, obviously benefiting from all the recent touring.

I speculated after their first show in Toronto last October that next time through town, they’d be playing to much larger crowds. Not counting Blonde Redhead’s audience, it seems my predictions still haven’t quite come true as the Drake audience was decent, but also made up of friends/fans of the the other bands playing. I think if they’d played the Amp’d Studio as originally intended it’d have been a better measure of their fanbase in Toronto though surely a smaller one. But whether it grows (as it deserves to) or not, it’s a good bet that whenever they come through town again, I’ll be there again.

Photos: Fields, Erick Von Erick & The Raving Psychos @ The Drake Underground – May 14, 2007
MP3: Fields – “Song For The Fields” (Everything Last Winter version)
MP3: Fields – “If You Fail, We All Fail”
MP3: Fields – “Brittlesticks”
MP3: Fields – “Song For The Fields” (7 From The Village version)
Video: Fields – “If You Fail, We All Fail” (MySpace)
Video: Fields – “Brittlesticks” (MySpace)
Video: Fields – “Song For The Fields” (MySpace)
Video: Fields – “Charming The Flames” (MySpace)
MySpace: Fields
MySpace: Erick Von Erick & The Raving Psychos

Thanks to For The Records for pointing out that the NxNE 2007 schedule is now up. Only had time to give it a once-over, but a lot of names are jumping out at me. Some I can endorse whole-heartedly, others tepidly and some just sound familiar. I’ll do more research before things actually get underway but for now, here’s some random selections of what caught my eye:

Thursday, June 7

Future Clouds & Radar @ The Horseshoe – 9PM
Sea Wolf @ The Horseshoe – 10PM
Kathleen Edwards @ Lee’s Palace – 10PM
Buffalo Tom @ The Horseshoe – 12AM
Jason Falkner @ The Reverb – 12AM
Adam Franklin @ The Reverb – 1AM

Friday, June 8

The Pantones @ The Savannah – 9PM
Nicole Atkins & The Sea @ The Reverb – 10PM
Handsome Furs @ The Comfort Zone – 12AM
Jesse Malin @ The Reverb – 12AM
The Sadies @ Lee’s Palace – 12AM
Therapy? @ The El Mocambo – 12AM
Jenn Grant @ C’est What – 1AM
John Doe @ Lee’s Palace – 1AM

Saturday, June 9

Ohbijou @ The Horseshoe – 10PM
Schooner @ C’est What – 10PM
She Keeps Bees @ Holy Joe’s – 10PM
Great Northern @ Lee’s Palace – 12AM
The Silent Years @ Holy Joe’s – 12AM
Urge Overkill @ Lee’s Palace – 1AM

And that doesn’t even include the so-called “NXNeXtra” shows, which are basically all the big name touring bands in town that first week of June to which a limited number of badges and wristbands – like 50 to 100 – will be admitted. Included in that is the Voxtrot show at Sneaky Dee’s on the 8th, for which an early all-ages show has just been added. That’s a 6:30PM start and both touring openers, Favourite Sons and Au Revoir Simone, will be playing.

And NOT appearing at NxNE – Ride. Funnily, the denial made it out before the rumours did.

And some non-NxNE show news of note – Elvis Perkins has been added to the Hillside lineup on the Sunday July 29, Smoosh are opening for The Pipettes at Lee’s Palace on June 1 and latest Arts & Crafts signees Los Campesinos!, who sound pretty much exactly like how you’d expect an A&C band to sound – except Welsh – are in town August 7 at a venue to be announced.

The Hour has a video interview with Rob Dickinson.

Pitchfork announces that Trembling Blue Stars, who I thought had disbanded but I guess they just gave up touring, will release a new album – The Last Holy Writer – on June 4, their first in three years. I should dig out my copies of Broken By Whispers and Alive To Every Smile to see if I still dig them. I do know that the one single from the latter record, “The Ghost Of An Unkissed Kiss”, was and still is sublime. Heard it? No? You should.

MP3: Trembling Blue Stars – “The Ghost Of An Unkissed Kiss”

Spinner 3×3 takes on Bloc Party.

NME talks to Patrick Wolf about touring with Amy Winehouse.

Got way too much to do right now so no full post today – just this contest but trust me, I’ve got some good stuff on the way before I take off for vacation.

Said contest is for this month’s Exclaim! cover boys, Joel Plaskett and Peter Elkas. Both are formerly of much-beloved Canadian indie bands (Plaskett fronted Haligonian heroes Thrush Hermit while Elkas was a member of Montreal’s Local Rabbits) and are carving out solo careers, Plaskett with quintessentially Canadian singer-songerwriter roots-rock and Elkas with sweet and deep blue-eyed soul.

Both have also got new CDs out, Plaskett’s Ashtray Rock and Elkas’ Wall Of Fire, and as such they’re playing a show at the Opera House on May 25 and courtesy of Against The Grain, I’ve got two pairs of passes to give away. To enter, email me at contests AT chromewaves.net with “I want to see Plaskett and Elkas” in the subject line and your full name in the email body. Contest closes at midnight, May 17 – getting this taken care of will be the last thing I do before departing this continent.

MP3: Peter Elkas – “Wall Of Fire”
MySpace: Joel Plaskett
MySpace: Peter Elkas

It’s not overreaching to say that Alligator, the 2005 album from The National, was everything I was looking for in a record at the time with its dark, rich poetry, its blend of dignity and desperation, its irresistibly alcohol-soaked nocturnes. A hard act to follow? You might say so. But two years hence, they have and Boxer succeeds in capturing all that was special about Alligator by not trying to do so at all.

While Alligator ranged from heart-breaking delicacy (“Daughters Of The Soho Riots”) to throat-ripping catharsis (“Mr November”), Boxer stays in more of a mid-tempo groove throughout, cultivating and sustaining a distinct, thoughtful mood throughout. It’s as though the protagonist of Alligator – if you’re inclined as I am to view the album as a sort of metaphorical night in the life of a barfly-type, beaten down but defiant – has been able to step into the past to a time when hope lived somewhere besides the bottom of a bottle, when romance hadn’t yet turned into regret, when there were sepias to go with the blacks and greys. A time, if I may play off the album title, when he could have been a contender. The wistfulness and tenderness, which you could hear the remains of on Alligator though crusted with cynicism, are on full display on Boxer.

In more concrete terms, though much will be written of Matt Berninger’s lyricism and smoky vocals, I have to say the star of this record is indisputably drummer Bryan Devendorf. Almost every song is built on a rhythms that are rock-solid yet so creative and complex that even non-drummers like myself can’t help but listen in awe. And on this foundation The National build compositions that are towering, yet intimate, spare yet with just the right amount of adornment in the form of perfectly placed horns and piano on top of the guitars, bass and drums. Some have and more will complain that there is no rocker – nothing like Alligator‘s “Abel” or Sad Songs For Dirty Lovers‘ “Murder Me Rachael” and it’s true, there is no fist-pumping anthem. But this is not a record for fists, it is a record for hands laid open, palms up.

Through some freak chance, I got my promo CD of Boxer back in March, before the album had even leaked thus making me, amongst the music geeks, the coolest kid on the block for a couple of weeks at least (until it did leak and then I was no one again). I was headed to a high school friend’s stag and doe that night so I loaded it on the iPod and resisted listening to it until I was on the train and was sure to be able to listen to it closely and uninterrupted. For forty-five minutes, I listened, watching the scenery blur by as the dusk gave way to night and when closer “Gospel” came on, and the train whizzed through the town I grew up in yet hardly recognized anymore, it was, as they say, a moment.

The National talk to Drowned In Sound about Boxer, out next week. They’re touring North America through June and are at the Opera House in Toronto on June 5.

MP3: The National – “Fake Empire”
Stream: The National / The Boxer
Video: The National – “Mistaken For Strangers” (YouTube)
Video: A Skin, A Night preview
MySpace: The National

But don’t think for a minute that I’ve forgotten about THIS week’s big new release, Wilco’s Sky Blue Sky… well I haven’t. I’ll be dashing out after work to pick up a hard copy (deluxe edition, natch – have to add to that massive pile of music DVDs I haven’t watched yet) and while I haven’t downloaded a leaked version, I have listened to the streams a few times and while I can sort of see where those are frustrated by the record’s laid-backness are coming from (I expect Metacritic to level off in the mid 70s), I’m perfectly content to let Wilco be Wilco and if they want to chill for an album, great. I’ll chill along with them. There’ll be more records to come and if anyone is willing to come out and predict what the next one will sound like based on this one, well more you the fool. The Chicago Sun-Times interviews (and tries to bait) Jeff Tweedy and The Globe & Mail has a chat while The AV Club prefaces an interview to be published later this week by detailing a life informed by Tweedy. And stop by the Wilco Roadcase where they’re currently streaming the show in Sydney from last month and have plans to do the same for the two upcoming shows at Shepherd’s Bush in London – one for those who’ve got the enhanced CD, one for everyone else.

Stream: Wilco / Sky Blue Sky

Muzzle Of Bees asks five questions of The Rosebuds. They’re at the Horseshoe on May 28 with Land Of Talk.

Beulahmania offers an update on the status of Mile Kurosky’s solo album as well as a recap of his recent adventures in surgery. Ouch.

3:AM talks to John Darnielle of The Mountain Goats about literature while CokeMachineGlow gets a look at where his headspace is for the next record, which he’ll begin recording later this Summer.

Couple show announcements – The Polyphonic Spree hit the Phoenix on July 5 to support their new album The Fragile Army, due out June 19 (full dates at Pitchfork) while the reunited Crowded House will crowd Massey Hall on August 13. Pete Yorn opens, Billboard has details and full tour dates.

Radio Free Canuckistan has posted a number of the raw interviews that went into his piece this week in eye about the independent concert promoters in Toronto. As someone who (obviously) goes to a lot of shows in town and knows a lot of the folks interviewed but don’t really know much about what they do or how they do it, I found both the article and interviews fascinating reading. The inevitable thread that followed at Stille Post is, typically, a giant mess of name-calling and complaining but there’s a some really good ancillary information amidst it all, as well.

From this day forward, my benchmark for a successful birthday will require glitter, streamers and someone – anyone – stripping down to gold lamé hot pants. Friday evening, I forwent my usual b-day ritual of pizza and pinball at Chuck-E-Cheese to line up hours in advance of the Patrick Wolf show at the El Mocambo. Considering that he’d been the recipient of no small amount of media attention lately, getting there early to avoid the theoretical mad rush of people seemed prudent.

Though doors weren’t opening until 7, the lineup outside the ElMo had started early with people arriving as early as 4PM and by the time they did begin letting people in, it was stretched around the corner onto College St. Now while that may sound impressive, I did a quick head count and that amounted to around 80 people or so and after everyone who had been waiting outside was admitted, the crowd seemed surprisingly sparse (I’d guess maybe a couple hundred in attendance by show’s end). Perhaps many of those who would have otherwise wanted to see the show had assumed that with tickets only available at the door, it’d have been sold out before they got there? Or maybe, and more likely, people just didn’t know about the show (announced only a week prior) or didn’t care. Either way, for those who opted to stay home, it was their loss.

Cuff The Duke frontman Wayne Petti got the last-minute call to open up after originally scheduled support act Bishi canceled. His country troubadour stylings were a strange fit for Wolf’s audience and Petti knew it – I doubt he’s ever played to a front row wearing that much glitter before. Playing songs from his solo debut City Lights Align as well as a cover of Big Star’s “Thirteen” which he probably hoped no one noticed he flubbed the lyrics on, Petti kept things short and sweet and reminded me that I should give his record another spin.

By this point, much of the audience had been waiting for Mr Wolf for going on five hours and were getting extremely excited and agitated for his appearance. Me, my back was starting to hurt. I’m an old man now, after all. But shortly before 9PM, Wolf and his band took the stage and for the next hour were nothing short of fabulous. Wolf was a dervish on stage whether on ukelele, violin, piano or just singing in his wonderfully rich and dramatic baritone, performing material from all three of his albums though the only one I was really familiar with was his latest, The Magic Position and its technicolour orchestral pop. He also made his way through a series of costume changes that started out with knickerbockers and suspenders that made him look not a little like an overgrown Von Trapp Family Singer, then into an ensemble that looked a bit like Aladdin Sane as a court jester. From this he eventually stripped down to just his skivvies (the aforementioned gold lamé undies) before covering up again somewhat and returning for the encore in a sort of toy soldier outfit.

Reporting on what he was wearing may not seem important, but the visual presentation was as much a part of the show as the music – Wolf is mesmerizing to watch when he performs, and it’s unthinkable that he could have considered retiring from live performance. It’s obvious that he thrives on the stage and has charisma to spare. And while he’s surely getting more exposure than ever opening for the likes of Arcade Fire and Amy Winehouse (did he keep his pants on at Mod this weekend?), I suspect that playing a small club show like this one where everyone was there to see him, whether already fans or waiting to be converted, was extra fun for him as well. I, for one, was definitely won over by his show though The Magic Position had already been doing its thing on me in the week since I initially posted about it. The only downside of the whole show was due to time constraints, he wasn’t able to finish off the intended set – I think three songs got cut – though we in the audience were able to convince the house to let him come out for one quick a capella encore.

I’d initially been reluctant to spend my birthday at a show but this turned out to be one of the best evenings I’ve had, turning a year older or not, in recent memory. The music, the performance, the vibe from the audience, were all terrific. I don’t know when Wolf will come back to town – even if he’s not retiring it doesn’t sound like he’ll be hitting the road for a while after this Fall – but when he does, I’ll be back, front row, and maybe I’ll bring streamers.

Blacking Out The Friction also has a review and some pics.

Photos: Patrick Wolf, Wayne Petti @ The El Mocambo – May 11, 2007
MP3: Patrick Wolf – “The Magic Position”
MP3: Wayne Petti – “Moment By Moment”
Video: Patrick Wolf – “Accident And Emergency” (YouTube)
Video: Patrick Wolf – “The Magic Position” (YouTube)
Video: Patrick Wolf – “Bluebells” (YouTube)
MySpace: Patrick Wolf

Pitchfork interviews Win Butler of Arcade Fire while The Montreal Mirror talks to Jeremy Gara and NOW asks Richard Reed Perry about his favourite things in Toronto. He’ll get the chance to scarf down some street meat before their shows at Massey Hall this Tuesday and Wednesday.

And if you don’t have tickets for the Arcade Fire Tuesday, might I suggest heading to The Boat in Kensington instead to catch Miracle Fortress? I saw him playing solo at Pop Montreal last year but now he’s got a band behind him and a very good new record in Five Roses. It sounds a bit like a cross between The Beach Boys and My Bloody Valentine though a lot less formulaic than that might sound to the musically jaded (those being the #1 and #2 over-used indie-pop reference points these days). Don’t think about the noise and walls of sound usually associated with MBV, instead think of the delicacy and melodicism. It’s good stuff and you should check it out because you’re only going to be hearing about it more and more as time goes on so you may as well get on board now. NOW asks Graham Van Pelt how much he loves Toronto while Hour goes out in left field and talks to him about his music.

MP3: Miracle Fortress – “Have You Seen In Your Dreams”

The Georgia Straight and Victoria Times-Colonist talk to Feist.

Conversations with Bjork from Rocky Mountain News, The Denver Post, The Age and Billboard.

The Ex are at Lee’s Palace on June 23 while Benjy Feree opens for Mirah there on July 13.