I’m guessing some of you were wondering why I and a number of commenters were so excited last month when it was discovered that Twitch City was unexpectedly out on DVD. This is reasonable. The show only lasted twelve episodes over two seasons and even those were broadcast two years apart, but in that time managed to establish itself, in my mind at least, as the best Canadian sitcom ever. Of course, this is not a difficult title to win since even though we produce some of the funniest actors and writers on the planet, we paradoxically produce some of the very worst television comedy around.

Created by and starring Don McKellar (Last Night), the show featured a fairly star-studded cast (again, by Canadian standards) with Molly Parker (Deadwood) and Callum Keith Rennie (Battlestar Galactica) along for the ride. It’s set in Toronto’s Kensington Market and documents the life of agoraphobic TV addict Curtis (McKellar), his co-dependent roommate/girlfriend Hope (Parker) and his convenience store clerk/college buddy Newbie (Rennie). Season one is more rooted to the plotline of Curtis’ roommate (and Hope’s boyfriend at the time) being jailed for killing a homeless man with a can of cat food and how that plays out with Curtis and Hope’s burgeoning relationship and roommate search, but season two is the real gem as it plays much faster and looser and gets positively surreal at points. I especially loved their swapping one Kid In The Hall for another (Bruce McCulloch for Mark McKinney) in the role of talk show host Rex Reilly between seasons, a move initially forced by scheduling conflicts but working perfectly in the TV-centric context of the show (shades of Darrin). Seeing Sloan guesting as white supremacists or Jennifer Jason Leigh’s Single White Female-reprising guest turn were also high points.

I never got to see all the episodes when they originally ran in 1998 and 2000, so this DVD set – which I admit I never thought I’d see – was a real treat. Bonus features are slim but the three commentaries by McKellar and some random call-in guests is suitably daffy. For example, Mark McKinney calls in and ends up commenting on an episode he’s not even in. I powered through the whole series over the holidays and I definitely enjoyed them even more than I did the first time around (the eps I had seen, anyways). Probably because I’m now at age closer to the characters in the show and can properly appreciate their level of dysfunction. I’m also particularly fond of it because it’s set in Toronto. There’s actually very few shows, decent or otherwise, that are set here – the CBC seems to prefer setting things in remote northern/prairie/maritime communities because, well, I don’t know really. But Twitch City feels like our own perfect little BBC series, brief but wonderful. The first episode is archived in three parts on YouTube – it’s good but the series gets so much better as it progresses. So worth seeing.

Video: Twitch City pilot – part 1 (YouTube)
Video: Twitch City pilot – part 2 (YouTube)
Video: Twitch City pilot – part 3 (YouTube)

Chart brings word that Ongiara, the third album from Toronto’s Great Lake Swimmers will be out on March 24 via Nettwerk. In the meantime their new 12″ EP, Hands In The Dirty Ground is available at Rotate This, a bit before the formal February 7 release date. It’s limited to 500 copies so move fast if you want one – that’s a note to myself as much as anyone else. And finally, to promote both new releases, the band are touring through March and April (dates on their website) and will wrap things up April 14 with two shows at the Church Of The Redeemer in Toronto.

Paste steps up and reviews eleven of the new albums Ryan Adams was streaming off his website at the time. They get a collective 16.75 stars, if you were wondering.

Emily Haines tells The Winnipeg Sun that she’s a nerd. Really. Also – more interviews with Westender, Vue and The Detroit Metro Times.

PopMatters ponders the mysterious and elusive Mountain Goat, aka John Darnielle.

You may remember my incredulousness that Explosions In The Sky were playing a venue the size of the Opera House. Well it turns out they knew their business better than I – they’ve not only sold it out but added a second show on March 25. Tickets for that one are $15.00.

And adding further to your post-rock diet, Red Sparowes are at the El Mocambo on March 10 for a CMW show. Tickets are $12.50 for the non-wristbanded.

And holding a mini Canadian music week of their own, the double-bill of The Constantines and Jon-Rae & The River are at Lee’s Palace for two nights, March 30 and 31. Tickets are $18.50, on sale next Wednesday. Jon-Rae & The River are also playing Nathan Phillips Square on January 28 as part of the WinterCity concerts. Update: In addition, Shotgun & Jaybird are on the bill for the first night, Ladyhawk the second. Nice. Thanks to Alan for the info.

PopMatters talks Pan’s Labyrinth with director Guillermo del Toro.

Behold – the cutest thing ever.

np – Suede / Dog Man Star

The Tranzac is the place to be this Friday night as it will play host to the CD release party for the new Friends In Bellwoods compilation. The double-disc set brings together some of the top up-and-comers and already-arriveds from around Toronto and Ontario, collecting new and rare tracks with all proceeds benefiting the Daily Bread Food Bank.

The project was organized by Casey Mecija of Ohbijou and named for her house which has become something of a creative hub for many of the artists in the city and on the compilation, which could serve as an excellent document of an exceptionally creative and exciting time in the Toronto music scene. Her band and the project rate the cover story in this week’s eye and she discusses the project with The Globe & Mail, The Waterloo Record and NOW.

Ohbijou will be performing at Friday’s show along with The D’Urbervilles, Sebastian Grainger (formerly of DFA1979), and Paramedics, featuring Bry Webb of The Constantines. Tickets are $10 at the door and the show starts at 9:30 sharp. Torontoist and blogTO also encourage your attendance. And for those rocking the 519, note that there’s CD release shows tonight and Saturday night February 10 in Guelph and Waterloo respectively – details on the Friends In Bellwoods website.

CMJ introduces their readers to Malajube. They’re heading out on a US tour through February and March that will swing through Austin for SxSW. Prefix has the dates.

Radio Free Canuckistan does his bit to keep people interested in the Arcade Fire by posting full transcripts of interviews with the band circa 2004 with Win and Regine and another with Tim and Richard. Neon Bible is out March 6. (note: edited to correct interview dates).

The Edmonton Journal talks to The Sadies about their hectic but memorable 2006 and gets an update on their next album, due out in September. The band also talks to a reporter from Kamloops This Week who admits right off that she doesn’t know the band at all.

More show announcements! Wolfmother return March 6 for a show at the Kool Haus, tickets on sale now for a stupefying $35.75. Wolfmother are a $40 band now? Seriously? Blonde Redhead will be at the Opera House on May 11 to promote their new album 23, out April 10 – Pitchfork has full album and tour details. Norway’s 120 Days will be on the bill with Shout Out Out Out Out at Lee’s Palace on March 3 and finally, les Apples In Stereo are at Lee’s Palace on February 20 (via For The Records).

Billboard reports that British label Rough Trade has once again got a foothold in North America thanks to a distribution deal with World’s Fair. The first “five marquee releases” to take advantage of this new deal will include Jarvis Cocker’s Jarvis and The Beatific Visions, the new one from BrakesBrakesBrakes (just Brakes in the UK) as well as the new British Sea Power album, whenever it comes out.

And while we’re talking record company news, congrats to Absolutely Kosher and Misra for proving that it’s not just the majors that can play the merger game. Though it’s technically a “strategic partnership” – the two stalwart indies will retain their own names and rosters – the pooling of resources should prove beneficial for both labels. Good luck!

Everyone knows that I love the shoegaze and also have a deep appreciation for power pop, and I expect I’m not the only one. So it’s little surprise that I’ve fallen head over heels for Waiting For The Time To Be Right, the second album from Rhode Island’s The Brother Kite.

As much as I appreciate the aforementioned styles, I can get more than a little frustrated with current practitioners as they’re frequently too faithful and respectful of the classics of the genre and seem perfectly happy to rehash that what’s gone before. But by filling the sonic cathedrals of shoegazing with the teenage symphonies to God of pop classicism, The Brother Kite have made a record that rises far, far above those respective pigeonholes. Imagine the sound of looking across a verdant English countryside into a blazing California sunset. Epic in scale and bolstered by waves of organ and chiming guitars, Patrick Boutwell’s vocals soar on wings of reverb and harmony but maintain a raspy edge that gives the record a distinct sense of plaintiveness and yearning.

Rare is the album that is as deep as it is hooky, but Waiting For The Time To Be Right simply really is and with every listen, I love it more and more. It’s a bit tragic that I only got this record at the very end of last year because it would have gotten some year-end accolades for certain. But as it is, it gets my highest recommendation – you don’t necessarily have to like shoegaze or power pop, just great music.

They’re currently on tour around the midwest – definitely see them if you get the opportunity, you will have my eternal envy.

MP3: The Brother Kite – “I’m Not The Only One”
MySpace: The Brother Kite

Chart talks to the boys from Wheat about their return from the brink of extinction and the crafting of their new record Everyday I Said A Prayer For Kathy And Made A One Inch Square, due out March 6. And if you (like me) ordered the That’s Exactly What I Wanted…Exactly That mini-album expecting it to arrive around the December 15 release date, note that it was delayed due to a manufacturing issue but will hopefully be arriving soon. Really soon.

Identity Theory asks questions of Anna-Lynne Williams of Trespassers William. Williams has also been working on some solo material under the name of Lotte and hopes to have a record released sometime this Spring.

Billboard talks to Explosions In The Sky about Friday Night Lights and new album All Of A Sudden I Miss Everyone, out February 20. They’re at the Opera House on March 24.

Bright Eyes will preview material from their new album Cassadaga at the Opera House on February 27 well before the record’s April 10 release date. Pitchfork has full tour dates and an update on all things Oberst.

The new album from The National is due out in May of this year. Happy birthday to me!

Good news – Last Light, the new album from Matt Pond PA is due out this Spring. Bad news – guitarist Brian Pearl has left the band, giving up music in favour of a lifestyle where you can actually make some money or something. Wuss.

For The Records points out that The Pipettes have been added to the list of bands performing at Canadian Music Week, though specific dates and venues are still forthcoming. And since they’re on this continent in early March, I’d hazard that a SxSW appearance is also in the offing. There’s some other interesting stuff appearing in the CMW list but I’ll refrain from getting too into it until the actual schedule is released.

The Post-Intelligencer finds out why My Morning Jacket loves Seattle.

The Guardian talks to James Mercer while declaring The Shins one of ten bands it expects to break out big in 2007. They also declare the sun to be hot and water to be wet. Billboard rounds up the band’s promotional activities over the next little while, including the first leg of their US tour.

Drowned In Sound has also assembled a two–part feature on new faces to look out for in 2007.

The AV Club pays tribute to my favourite Elvis Costello album, King Of America.

So after having had two attempts in the past week foiled by sell-outs, I was third time’s the charm on Saturday evening and finally got to see Pan’s Labyrinth. Why on earth one of the best reviewed films in recent memory would only be playing on one screen in the whole city is beyond me, but there you go.

The latest film from Guillermo del Toro is a decidedly dark fantasy set in 1944 Spain, during the Spanish Civil War. A young girl and her mother travel to live with her new stepfather, a captain in the Spanish army at battle with insurgents in the countryside. Once there, she discovers that she is the incarnation of a fairy tale princess who must fulfill three tasks to reclaim her immortal birthright. Not based on any specific fairy tale, the film draws on numerous age-old conventions to craft its mythology. Somewhat surprisingly, far less of the film is set in the fantasy world than the real one. You would think that Ofelia, the young heroine, would be using the myths as an escape mechanism from the violence and cruelty that is her reality, but they’re almost as dark and dangerous.

I say “almost” because as menacing as creatures such as the Pale Man are, the greatest cruelties in the film are still those done by man. Ofelia’s stepfather, the Fascist Captain, is as cold and violent as they come though not entirely indiscriminately so (given his position and POV) – a testament to del Toro’s direction and Sergi Lopez’s execution. Ivana Baquero is also impressive as the young girl determined to escape her fate (or claim her destiny, as the case may be).

A fair bit has been made about the violence in the film, and while it’s definitely violent – this is not a film for children, not even close – I don’t really see the “gore” that some have commented on. If anything, the violence is exceedingly dispassionate. To me, gore implies excess or sensationalism and there’s none of that in Pan’s Labyrinth. Even the fantasy scenes are rather subdued, all things considered, though that’s not meant to take away from the imaginativeness and attention to detail that does appear.

I don’t know that Pan’s Labyrinth is the best film of 2006, as all the accolades being heaped upon it might imply, but it is a powerful one if more than a little depressing. But it’s undoubtedly one worth seeing and certainly deserving of more than one screen in all of Toronto.

USA Today has a piece with del Toro explaining the inspirations behind some of the fantastical elements of the film while The Boston Globe and The San Jose Mercury Nes get some insight on the making of the film.

Trailer: Pan’s Labyrinth
MySpace: Pan’s Labyrinth

AOL’s new 3×3 feature thingee has launched with live video features on TV On The Radio (watch) and The Hold Steady (watch). TVOTR are at the Kool Haus on March 4 and The Hold Steady are also the subject of an audio interview at NPR.

Concert news! To start, Toronto vibraphone fetishists The Hylozoists have been tapped to open up for the solo M Ward at the Mod Club on January 27.

Bloc Party will tour behind their new record A Weekend in the City, out February 6, will be at the Kool Haus on March 25. Full tour dates at Pitchfork, where they also note that frontman Kele Okereke has apparently come out in this interview with The Guardian.

The Ponys, fresh off releasing their first album for Matador – Turn The Lights Out is out March 20 – will be teaming up with Atlanta’s Black Lips for a tour that stops at Lee’s Palace on March 29.

Not entirely sure what the difference between Elvis Perkins and Elvis Perkins In Dearland is, but the latter is at the Mod Club on April 9 – tickets $12.50, on sale Friday. Inside Bay Area talks to this singer-songwriter who looks set to have a big 2007 with the release of his debut Ash Wednesday on February 20.

And an announcement for a Ted Leo & The Pharmacists show at the Mod Club on May 2 briefly appeared online today, but has since disappeared. Hopefully that’s just crossing t’s and dotting i’s because it’s been far too long since I’ve seen Ted live. His new record Living With The Living is out March 20.

I want a cat. Anyone have any thoughts/opinions/experiences with the various adoption agencies around town? The Humane Society, Toronto Cat Rescue, Abbey Cats, etc?

I need to go see a show somewhere besides the Drake. Thursday night was my third straight show there in the past 10 nights and while venues with padded benches are always a welcome destination, I could use a change of scenery. On this night, the draw was a sort of “best of the 519” bill with London, Ontario’s Basia Bulat headlining things, accompanied by Guelphies Barzin and Habitat.

Habitat are a co-ed duo including John O’Reagan from The D’Urbervilles, Sylvie Smith and a bunch of cheap and cheerful keyboards. Utilizing the sounds and rhythms pre-programmed in some far east electronics factory, they simultaneously embrace and transcend the inherent cheesiness of the sounds and turn out charming and heartfelt synth-pop that sounds not unlike a lower-budget Postal Service if Jen Wood was a full-time member of the band. A really pleasant discovery.

I saw Barzin in this very room almost a month ago opening for Jenn Grant. Unlike that show, this time he did play some material from My Life In Rooms (at least that I recognized) and seemed to be a bit jauntier and countrier – more Dylan than Kozelek. But that’s a fine distinction and more than anything, Barzin’s set remained slow, delicate and pretty.

I spent the better part of the weekend trying to figure out exactly how to do Bulat’s music justice with words. Using the most straightforward descriptors – jazz-inflected, orchestral folk pop with a dash of northern soul – make it sound more conventional than I’d like so instead, I’ll try this. Basia Bulat sounds like springtime smiling. Her music is rich yet breezy, with a melodic enthusiasm that’s nothing short of delightful. Obviously enthused by the solid turnout, Bulat was charming, self-effacing and otherwise radiant, previewing material from her forthcoming debut album Oh, My Darling, due out on Rough Trade in March in the UK and domestically on a label to be determined, hopefully thenabouts as well.

And though Bulat’s pen and voice are undeniably talented in their own right, full credit must be given to her band who are obviously far more than a collection of backing players. Besides having the chops and versatility to conceive and execute the musical arrangements that buoy and bolster the songs, the familial bonds between them (both literal and figurative – Bulat’s brother Bobby is her drummer) created a real warm and supportive vibe onstage that naturally spilled into the audience. Considering that this was likely her last Toronto show for a little while – at least until the album is out and she begins getting many well-deserved plaudits – it felt a bit like both a send-off and a coming-out party. Big things are coming.

Said The Gramophone has a couple songs for download and there’s more streaming on her MySpace. Check it out and get Oh, My Darling when it comes out.

Photos: Basia Bulat, Barzin, Habitat @ The Drake Underground – January 4, 2007
MP3: Habitat – “Snow Song”
MP3: Habitat – “Next Year”
MP3: Barzin – “Leaving Time”
MP3: Barzin – “Lets Go Driving”
Video: Barzin – “Leaving Time” (YouTube)
MySpace: Basia Bulat
MySpace: Barzin

Emily Haines tells The Boston Herald it’s a wonderful time to be a Canuck. Okay, their word – not hers. She also talks to Newsday, The Philadelphia Inquirer and The National Post as her Winter tour gets underway. Also note that NPR will be broadcasting her show in DC live this Wednesday night, starting at 9:30PM.

rbally offers up a healthy dose of live Feist. When IS that new album coming out?

Arcade Fire will release Neon Bible on March 6. Harp has more info and operators are standing by.

Bit of an odd double bill rolls into the Phoenix on March 5 – Ben Kweller and Gomez. Yeah.

The BBC, The Independent, The Toronto Star, The Age and The Mirror all wish David Bowie a happy 60th birthday today. As do I.

np – The Shins / Wincing The Night Away