I’d never listened to Blonde Redhead before very recently – can’t say why, just didn’t – but their new record 23 has been a revelation. The title track and first single had me hooked from the first bars – with its MBV-esque glide guitar and Kazu Makino’s dreamy, plaintive vocals, it was a sublime piece of dream-pop that I wasn’t surprised in to least to learn was mixed by shoegaze producer extraordinaire Alan Moulder.

The rest of the record follows closely in the same vein, though it never quite reaches the same lofty heights as the opening song. The music has a faint but consistent mechanical clang to it but remains fundamentally organic and utterly melodic throughout and is complimented by the vocals, which whether it’s Kazu or Amedeo Pace singing, create a vibe that’s foreboding yet inviting at the same time. One of most aurally compelling and engrossing records I’ve heard in ages, its dense and swirling textures are full of secrets and surprises, like the Beatle-esque orchestral breakdown in “Spring And By Summer Fall” – I didn’t see that coming at all and yet it fits perfectly. One of those rare records that impresses immediately and yet is enigmatic enough to be able to reveal a little bit more of itself with each listen.

Everything I’ve been reading about this record references their last record, Misery Is A Butterfly as the watershed album in their career thus far (though the reviews for the new one are tough to beat). Is it safe to say that if I’m liking 23, which obviously I am, then Misery is the next logical acquisition? I’m wary of going too far back into their back catalog as I understand it gets noisier and more discordant the earlier you get and that sort of runs contrary to everything I like about them in the here and now. But recommendations are always welcome. Blonde Redhead are in town May 11 for a show at the Opera House. Normally I’d plan to hit that up, but I kind of think that I should probably be doing something else – anything else – for my 32nd birthday. And I already saw them play a disappointingly truncated set at SxSW last month. Check out the comments on that post – things get nasty in all sorts of directions. Pretty entertaining.

MP3: Blonde Redhead – “23”
Video: Blonde Redhead – “23” (YouTube)
Stream: Blonde Redhead / 23
MySpace: Blonde Redhead

Chart reports on the second album from Eisley, still untitled but due out on July 10.

The AV Club discusses Drums And Guns, mental health and cake with Low. The Chicago Sun-Times also talks to the band. They’re in town opening for Wilco at Massey Hall on June 30 – regular ticket sales begin today at noon via Ticketmaster.

Some show announcements – The Faint will be at the Opera House on May 23, tickets $18.50, and The Broken West will be opening up for Fountains Of Wayne at Lee’s Palace June 10. Hope they bring extra guitar strings this time.

Hey, new MP3 and video from The Shins. James Mercer talks to Sign On San Diego about the same old same old.

MP3: The Shins – “Australia”
Video: The Shins – “Australia” (YouTube)

Hey, new Feist video. More MGM-style dance numbers! I love it. No really, I do. The Times talks to Feist about her road from growing up in Nova Scotia and Calgary to The Reminder, out May 1, and her two shows at Massey Hall on May 25 and 26.

Video: Feist – “1234” (Flash)

Know what it took to get me officially excited about the Iron Man movie? Not the excellent casting of Robert Downey Jr and Terrance Howard, but this first look at how they’re rendering the original Iron Man armour in the film. That looks badass – can’t wait to see how the modern armour looks.

The official lineup for Lollapalooza 2007 wasn’t supposed to be announced till this morning, but like all things on the internet, it leaked early yesterday afternoon and though everyone’s got it, I’ll direct you to Muzzle Of Bees’ nicely-formatted list to have a boo. The big names are Pearl Jam, Daft Punk, Iggy & The Stooges, Modest Mouse, Interpol, etc etc. Billboard talks to the Lollapalooza organizers about assembling the talent for the festival.

It’s an undeniably massive lineup with a blend of veteran acts (some might say TOO veteran) and up-and-comers but as I scan the list, I don’t see a lot of names that get me especially excited. Lots of acts that, were I already there or if I lived in the midwest I’d happily check out, but to actually plan a trip around? Lollapalooza 2006 was easily the best music festival experience I’ve ever had and I was looking forward to this year’s edition from pretty much the minute I got back last year, but now that I’m weighing who I’d get to see versus what it’d cost me, I’m uncertain if I’ll be in Chicago this August after all.

Almost all the bands that will be in attendance that I’d want to see, I’ve already seen and the ones I haven’t are almost certain to come through town sooner or later. Sure, that’s dismissing the fun of the rock’n’roll road trip and festival experience, but I’ve done it. On the one hand, I’m pretty sure I’d be able to get media access again and I’ve already got a hotel room booked not five minutes from Grant Park (told you I was anticipating this year’s fest) but on the other hand, I’m already in the hole for vacation days from work and would just as happily keep the cash I would have been spending for other frivolousness and my festival joneses can probably be satiated closer to home with Hillside, Virgin Fest and Pop Montreal, even if it means giving up the chance to see the inevitable Clap Your Hands Say Yeah Yeah Yeahs supergroup. Now my mind isn’t made up yet, but I’m definitely reconsidering.

And it’s also raised the question in my mind, who WOULD have to be in the lineup to make the trek worthwhile? Who’s out there that I haven’t seen that I want to? Is there a reunion that would be so improbable and so unbelievable that I would get on a plane to anywhere to witness it? You know, I don’t think there is. And that kinda makes me sad.

Almost certainly timed to coincide with the announcement of this year’s lineup, eMusic is now offering many of the sets from last year’s Lolla for download – I grabbed The Hold Steady set – Craig Finn’s voice sounds wrecked, moreso than I remember from being in the audience (and from where the photo above was taken), but the sound quality is great. They’re one of the few acts to be back from last year’s lineup.

It’s also a shame that Wilco isn’t in the lineup – not just because I’m always excited to see them live, but because with Son Volt in the lineup, rumours of an Uncle Tupelo reunion/street fight would be RAMPANT. But alas, not to be. But I did do pretty well at the Massey Hall presale yesterday – fourth row seats for their June 30 Toronto show. Nice. Australia’s X-Press talked to Glenn Kotche, The Herald Sun to Jeff Tweedy and Beat to John Stirratt about Sky Blue Sky, out May 20 and City Pages and Express talked to Low, who are opening the show and the whole tour. You can also download their recent show in DC, along with that of Loney, Dear (who are themselves at Lee’s Palace on June 3) at NPR. As for Son Volt, they’re at the Mod Club tonight. NOW asks five questions of Jay Farrar.

Nashville Scene talks to TV On The Radio’s David Sitek.

The Riverfront Times and Houston Chronicle ask Yo La Tengo about their fountain of youth.

USA Today, JAM!, The Georgia Straight and City Pages introduce their readers to Elvis Perkins. He’s at the Kool Haus opening for Clap Your Hands Say Yeah on Saturday night.

And to maintain my Lolla meme today, I should note that one of the bands I was able to cross off my “must see” list at last year’s fest, Built To Spill, are FINALLY coming to Toronto. I have no idea when the last time they were here was, but it’s been at least a half decade and almost certainly longer. But at long last, they’re coming and for two nights, no less. Lee’s Palace is the place to be on July 10 and 11, tickets are $26.50 and go on sale April 19.

Ted Leo & The Pharmacists had originally been mentioned as very probable on the Lolla lineup rumour mill, but lo and behold – he’s not there. Update: According to the official website, Ted Leo & The Pharmacists are indeed playing Lollapalooza. Glad I’ll be seeing him May 2 at the Mod Club. Seattle Weekly talked to Leo about some of the background that went into Living With The Living.

And finally, sadly, Kurt Vonnegut, RIP.

Pitchfork reports that one of those bands who are all buzzy in the UK will get a chance to try and conquer the Americas this Summer when The Long Blondes’ debut record, Someone To Drive You Home, will be getting a domestic release courtesy of Beggars Banquet on June 5. It’s been out in the UK since last October and I’m pretty sure that import copies can be found in local stores for about the same price as a domestic anyway, but the new version will have four bonus tracks. Score one for the procrastinators.

I’ve sort of liked what I’ve heard from them – not instantly smitten but not repelled either. I’ll likely check out the album eventually and if the “brief North American tour in June” includes Toronto, which I have to think it will, I’ll certainly hit the show. Those of you who have been living with this record since last Fall – for real? Long Blondes singer Kate Jackson answers the equivalent of a MySpace survey for The Independent.

Video: The Long Blondes – “Weekend Without Makeup” (YouTube)
Video: The Long Blondes – “Giddy Stratospheres” (YouTube)
Video: The Long Blondes – “Separated By Motorways” (YouTube)
Video: The Long Blondes – “Once And Never Again” (YouTube)
MySpace: The Long Blondes

But one female-fronted UK band that I was immediately smitten with is Lucky Soul, who have just released their debut full-length The Great Unwanted. I don’t know if I would have discovered this act if not for this gushing PopMatters review, which prompted me to hit up their MySpace while getting ready for work the other morning. I’m not sure if the ensuing sugar buzz was really healthy or not, nor do I know if this is just infatuation or the start of something genuine, but for now it’s giving me quite a buzz. I can’t find anywhere remotely affordable to get the CD yet but eMusic has four of their singles available, and with the b-sides that’s almost album length. It’ll do for now, but expect a proper post when I do get my hands on the album and if it lives up to expectations.

Video: Lucky Soul – “Lips Are Unhappy” (YouTube)
Video: Lucky Soul – “Add Your Light To Mine, Baby” (YouTube)
MySpace: Lucky Soul

PopMatters also offers up this interview with Jarvis Cocker, who just happens to share a hometown (Sheffield) with the Long Blondes above and whose old band (Pulp, of course) the Blondes are sometimes compared to (and who Cocker “can’t listen to more than about three songs”). I think Jarvis is just jealous that Kate Jackson has much better legs than he. Sorry Jarv, it’s true.

NME reports on some of the artists taking part in an upcoming Pixies tribute album, including Mogwai (tackling “Gouge Away”), J Mascis and British Sea Power. Dig For Fire: A Pixies Tribute will be out… sometime.

TBO.com gets literary with Colin Meloy of The Decemberists. Word is there will be a new EP from the Decemberists on July 17 – specifics unavailable at the moment.

John Roderick of The Long Winters talks to The Salt Lake Tribune and The Riverfront Times (a piece which comes with outtakes). What can you say, Roderick gives good interview.

Chart talks to Calla’s Aurelio Valle. They’re at the Horseshoe tonight.

And if you didn’t note in yesterday’s comments, Wilco tickets go on sale today at MusicToday and Friday at noon at Massey Hall and Ticketmaster. Due to a computer error yesterday, Massey Hall actually began selling tickets starting from the eighth row, so it’s probably safe to assume that the presale allotment will be eight rows deep.

Also sure to be a hot ticket, the Voxtrot show at Sneaky Dee’s on June 8 – tickets are available online at Ticketweb right now and likely at Rotate and Soundscapes very soon.

Noteworthy – the May 9 Silversun Pickups show is now 100% less intimate, having been moved from Lee’s Palace to The Phoenix. And Brakes Brakes Brakes, aka Brakes, are at Lee’s Palace on June 12. Tickets $10.50. Did The Beatific Visions ever get released over here?

So how was your Saturday night? Mine was spent at Neutral in Kensington Market getting reacquainted with an old favourite band and being introduced to a new one.

The Airfields have been on a sort of hiatus since last Spring, posting new song demos to their MySpace one minute and then offering cryptic messages raising questions about the band’s future another. Thankfully, it seems the magic eight ball has decided they will carry on and they’ve been getting back into gigging game shape with shows like this one. And though it’s been over a year since I saw them last, it didn’t sound to me like they’d lost a step. David Lush’s voice was starting to go by the end of their set due to a throat infection but their janglesome pop still evokes the ghosts of the C86 era but with an extra bit of modern oomph thanks to the punchy rhythm section. Material ranged from their earliest City-State EP through last year’s excellent Laneways and some new material, including the aforementioned demos now recast as full band numbers. So good to have them back.

I mentioned last week that Dublin’s Butterfly Explosion demonstrated some impressive growth between their first EP and their new Turn The Sky release – well if their live show was any indication, their next release, whenever it comes, will be a quantum leap ahead and surely be something special. Coming into the show, it was easy to call them shoegaze revivalists of equal parts MBV, Slowdive and Spiritualized but somewhere along the line, they’ve managed to perform some alchemy and create a sound that, while still not groundbreaking, is certainly much more distinctive and exciting.

Most notable is their use of the instrumental, which is to say that a lot of their set is such and quite refershingly, not post-rock at all. I’d forgotten that that was possible. Instead, they start with a strong melody and build the sonic equivalents of Summer showers around them – warm, sudden and lasting just long enough to soak you through. And lest you think they let their instruments do all the talking, the two rather ridiculously photogenic and awesomely named frontpersons – Gazz Carr and Sorcha Brennan – also sing wonderfully alone and together, when called for. From listening to their recordings, it was evident to me that they had the tools and potential to create something remarkable. From seeing them live, it’s evident to me that they’re just about there. Can’t wait to hear what they do next.

If your interest is at all piqued, you’ve got one more chance to see them before they head back to Ireland – they’re playing a free show at the Horseshoe tonight, starting at midnight. A bit late, I know, but I’m quite comfortable in saying that it’ll be worth the bleary eyes tomorrow morning. I may even take my own advice and go see them again. But if you can’t make it, take heart – they said they hoped to return for more shows in the late Summer or early Fall.

Photos: The Butterfly Explosion, The Airfields @ Neutral – April 7, 2007
MP3: The Butterfly Explosion – “Sophia”
MP3: The Butterfly Explosion – “Chemistry”
MP3: The Airfields – “Nowhere Left To Go”
MP3: The Airfields – “Lonely Halls”
Video: The Airfields – “Red Fox” (YouTube)
MySpace: The Buttefly Explosion

Roland from Uberdrivel interviews Mahogany for The Washington Square News.

The New Pollution talks to Grizzly Bear about honing their live show and life after getting all their gear ripped off.

Hey look, Spinner is streaming some of this week’s new CD releases. How novel.

Stream: Grinderman / Grinderman
Stream: The Hold Steady / Live at Fingerprints EP
Stream: Bright Eyes / Cassadaga

Pitchfork interviews Ted Leo. Ted admits to liking Phil Collins. Ted & The Pharmacists are at the Mod Club on May 2. Genesis are at BMO Field on September 7.

Laura Veirs is at the El Mocambo on May 12 (via For The Records). Her new record Saltbreakers is out today.

Heavy Trash are camping out at the Horseshoe on Victoria Day weekend with two shows on May 18 and 19. The Sadies will be playing the parts of both opening band and backing band. Tickets are $15 and go on sale Thursday.

Shout Out Out Out Out will be at Harbourfront on July 7 as part of this year’s edition of the Beats, Breaks and Culture Festival. Don’t bother looking for more Summer fest info – the Harbourfront website is still trying to push their Fall 2006 programming on us.

Chart talks to Jay Farrar of Son Volt, in town on Thursday at the Mod Club. Congrats to Thierry and Terry (really) who won passes to the show and Matt, who won the copy of The Search. Yay you.

24: It figures that the week after I rip the show for hitting a new low in absurdity, they follow it up with what can only be described as a pretty damn satisfying ep, if for no other reason than the beaten, crippled, barely on life support plot line of this season is finally over. It was also nice they let Jack off the leash he’s been on most of this season and allowed him to indulge his inner action hero, complete with finishing move quippiness. It must have been satisfying to finally turn in a proper Bond-ian finale… But wait! Finale? There’s still seven more hours? What to do? Oh wait, who’s that waaaaay out there in left field? It’s Audrey! And the Chinese! And their impeccable timing! The question now is will the producers try to concoct some cockamamie angle by which the Chinese are involved with all this season’s nonsense, or will they just let this play out as some miniature season within a season? Trying to figure out which scenario is more plausible is a waste of time – just go with the one that offers the highest body count. And if for whatever reason you’ve been keeping up with my posts, you owe it to yourself to check out New York Magazine‘s 24 Absurd-O-Meter.

While it’s certainly unfortunate that visa issues forced Aereogramme to bow out of the first leg of their tour with The Twilight Sad and A Northern Chorus, it has to be said that based on Friday night’s show at the El Mocambo, the dynamic with just the two tourmates worked really well – I don’t know that I would have wanted another act to follow the de facto headliners in The Twilight Sad.

There were still three bands on the bill, as The Rest from Hamilton/Burlington (or somewhere thereabouts) were brought in at the last minute as pinch hit openers. They were an interesting outfit, seven members strong and each traveling with an arsenal of gear making the stage look like a musical instrument rummage sale (of really nice gear, mind you). And they used every piece of it in executing their rather expansive prog-pop pieces. The musicianship and song orchestrations were impressive – arranging four guitars such that no one is redundant is no mean feat – but Adam Bentley’s Alec Ounsworth-aping vocals planted them into the “not my thing” department. If he gets that under control I’d be interested to hear what else they can do.

A Northern Chorus’ latest album The Millions Too Many was a bit of a revelation in how good the band could sound with drier production and without the aural soft focus lens that had defined their sound till now. The same can also be said for their live show – there was a lean, upfront quality to the performance that I really enjoyed. Hearing them with both string players was also a treat (last time, two years ago, they were cello-less) – ANC are typically classed as dream-pop or shoegaze or what have you, but there’s an orchestral and even folk/country-ish angle to their sound that sounds new to me but I suspect has always been there. It’s always nice to have a band you thought you had pegged turn around and surprise you, and in the positive sense.

I couldn’t help comparing the stage setup for The Twilight Sad and that for The Rest – whereas the latter’s gear was practically falling off the stage, the headliners’ setup was as austere as a four-piece could get. One guitar, one bass, one amp for each, a few pedals, drum kit and a microphone for the singer. But even so, they were able to make one enormous sound – coming after A Northern Chorus’ glistening set, The Twilight Sad were like storm clouds gathering and then unleashing a steady, sustained thunderclap. Some bands excel at creating musical tension, The Twilight Sad are all about that moment where musical tension becomes release. You might think that could get repetitive over the course of a set, but just as their record Fourteen Autumns & Fifteen Winters somehow remains engaging start to finish, so did their live show. Frontman James Graham has a curious but compelling onstage charisma as he communes with his microphone, seemingly oblivious to the audience and as I said before, his Scottish accent is simply marvelous and perfectly suited for their melancholic anthems. Everything sounds 50% more despairing in a Scottish brogue. The only misstep of the night was with the set closer of “I’m Taking The Train Home” – they were sadly out of synch and I’m convinced that the volume levels finally took their toll and the band were no longer capable of hearing each other. But on the plus side, they probably didn’t even know it and that made for a fittingly ragged finale to a wholly impressive show. If I were Aereogramme, I’d be very wary of having to follow this band.

Marathonpacks is all agog about The Twilight Sad and Hour talked briefly to the band, who have a few remaining tour dates out west. Catch them if you get a chance, and bring earplugs. Two pairs.

Photos: The Twilight Sad, A Northern Chorus, The Rest @ The El Mocambo – April 6, 2007
MP3: The Twilight Sad – “Cold Days from the Birdhouse”
MP3: The Twilight Sad – “That Summer, At Home I Had Become The Invisible Boy”
MP3: The Twilight Sad – “And She Would Darken The Memory”
MP3: A Northern Chorus – “The Millions Too Many”
MP3: The Rest – “Memories Like Photographs (An Icelandiguese Fable)”
MP3: The Rest – “Innocent Fools”
MySpace: A Northern Chorus
MySpace: The Rest

The Scotsman profiles Scotswoman Tracyanne Campbell of Scotsband Camera Obscura.

Filter features Fields.

It’s probably the furthest thing from sensible to plan on seeing Loney, Dear at Lee’s Palace on June 3 the day after I get back from two weeks in Europe, but you know what? I’m planning on it anyways. Hook me up to a caffeine IV, I’m good to go. Check out all tour dates here and take my word for it – they’re marvelous live.

Fantastic news – Low has been chosen to open all the dates on Wilco’s upcoming North American tour including the June 30 finale at Massey Hall in Toronto.

Sad news – The Drive-By Truckers have confirmed that Jason Isbell has officially left the band to pursue his solo career. Isbell followed up a terse post on his MySpace blog with a more diplomatic one, saying that the post from Patterson Hood on the DBT MySpace blog says everything that needs to be said, though it certainly sounds more like a push than a jump from Isbell’s POV. Disappointing for sure, especially since his songs have been my favourites on the last couple Truckers records. But in hindsight, it’s amazing that three such strong songwriting talents were able to co-exist for as long as they did. Interesting to see how the next Truckers record, being recorded this Summer with original guitarist John Neff back in the fold, sounds without Isbell’s contributions. For his part, he’s living the solo artist life on the road with Son Volt and stopping at the Mod Club on Thursday. I wonder how he’ll manage to do press to promote the tour and his solo record Sirens Of The Ditch, out July 10, while maintaining his pledge to “not answer questions about” the split?

The Chicago Sun-Times talks to Jay Farrar about the new Son Volt record and also his other project, Gob Iron while The Telegram discusses the making of The Search.

Chart reports on forthcoming records from both Centro-Matic and South San Gabriel, hopefully both this year. C-M’s Operation Motorcide EP is out on Tuesday.

Billboard talks to Bill Janovitz about Three Easy Pieces, the first new album from Buffalo Tom in nine years. It’s in stores July 10.

Preview a few songs from Golden Smog’s new EP Blood On The Slacks, out April 24, on their MySpace.