Following up on the brilliant shitstorm success of Information Leafblower’s “Top 40 Bands In America” poll, Matthew over at I Heart Music thought it’d be splendid idea to conduct a similar poll, but of the best acts rocking the Canadian passport – and here are the results.

I’m looking at the discrepencies between my list below and the final standings, and am trying to figure out the disconnect. First, I think I was still operating on Leafblower’s more subjective “favourite acts of the year” criteria rather than Matthew’s more objective, “acts that were hot in 2005”. For example – even though I haven’t fallen under their thrall yet, I’d be an idiot to deny that Wolf Parade were hot this year. But I (mostly) stand by my picks, though I sort of wish – as I did for Leafblower’s list – that I actually gave more thought to my selections. Maybe for next year I’ll actually think about this more than an hour before sending my list off. But anyway, here’s the list, followed by some rationales, followed by some more contemplation.

1. Broken Social Scene (2)
Broken Social Scene responded to huge expectations by releasing an album confounding, initially impenetrable but still inexplicably engaging. It started as a grower and it hasn’t stopped. It’s like kudzu. Related – Pitchfork talks to the Broken Social brain trust, aka Kevin Drew, Brendan Canning and Dave Newfeld.

2. The New Pornographers (6)
Though Twin Cinema seemed to put off some people, it’s the album that really made me love the New Pornographers. All-out pop is great, but the fact that they were able to make something as beautiful and downbeat as “The Bleeding Heart Show” put them in another league completely, as far as I’m concerned.

3. Feist (5)
I still listen to Feist’s Let It Die. A lot. And her Canada Day show this Summer? One of the best nights ever. Cha Cha Charming has an interview (via For The Records).

4. Stars (7)
I’m inclined to agree with the esteemed Mr Wherry in saying that Stars have the potential to out-sell both Arcade Fire and BSS – and to do it, they wouldn’t have to change a single blessed thing. Sublime pop with just a hint of teeth. Baby teeth, but teeth nonetheless. At SxSW, they were one of the acts that everyone I met was talking about.

5. Metric (8)
I’m going to admit something here – I slotted Metric in here without a) having heard Live It Out or b) having seen them live in over two years. Their rank was based mainly on past accomplishments and expectation of a constant upward trajectory. Well I got their new album this past weekend and am thinking maybe I expected a little much. Live It Out goes a little too hard for the throat and occasionally stumbles on the way, but it’s not bad at all… But I’m sure their live show still kicks – and speaking of which, they’ve just announced a show at the Kool Haus on February 24. Tickets $22.50, on sale Saturday at 10AM, presale today.

6. Arcade Fire (1)
I’m surprised that Arcade Fire topped the list overall – I didn’t consider rereleasing the EP to be all that big a deal and while yeah, the live show still astounds, for me 2005 was a less AF-saturated year than the last four months of 2004, and it’ll surely get taken up a few dozen notches next year when the sophomore album comes out. See, I’m just thinking relatively.

7. Neil Young (-)
Neil Young just turned 60 a couple weeks ago, and dammit, listen to On The Beach and I defy you to give me one reason he shouldn’t be number one on this list, no matter what the year.

8. The Hidden Cameras (-)
The Hidden Cameras are a bit of a left field pick for me, as I’m not really that big a fan, but I’m going to see their “In The Boneyard” show with the Toronto Dance Theatre tonight at Harbourfront, and I suspect that I’ll be converted after that.

9. The Airfields (-)
10. The Empires (-)
My last two picks are local Toronto acts which, while they don’t have too much profile yet, actually caught my ear, and for whatever reason there’s not too many local up-and-coming acts that do that. While not as groundbreaking as the bands that did make the list, they make the sort of music that the nostalgist in me wishes people still made (C86 indie pop and space rock, respectively) and probably live just down the street from me.

Getting back to the list now, I’m seeing a lot of acts there I’ve never heard (or even heard of) while other am familiar with and happily stand by my excluding them. But it did get me thinking – it’s undeniably a unique and exciting time for Canadian music, and I’ll be the first to admit that I’ve been neglecting some of the homegrown talent on account of pressing my nose up against the window of the neighbours’ houses. In my defense, I find there’s a definite trend in Canadian music that leans a little too much to the arty or ironic for my personal tastes, but it’s probable that’s making me overly prejudiced when it comes to stuff spawned locally. And so, that is something I aim to remedy in the new year with – get ready for it – increased Chromewaves Can-Con! Yay. Ideally I’ll be able to do this without letting great music from beyond borders slip under my radar. How? Sleep even less. Great.

np – Wheat / Per Second Per Second Per Second Every Second (Nude recordings) (Thanks Bill!)

It’s often been said (well, mostly by me) that logistics are right up there with “creative differences” for being a band’s undoing. Someone has to work when rehearsals are scheduled, someone moves away, that sort of thing. Unavoidable, right? Not for The Earlies. Half their members reside in west Texas, the others in Northern England and they had recorded and released several singles worth of material before even meeting for the first time in 2004. Their first five releases are compiled on the critically well-received These Are The Earlies, and to their credit, it’s a surprisingly cohesive collection.

It sounds like the dreamy psychedelia you’d expect from Mercury Rev or The Flaming Lips blended with wispy Beach Boys-ish harmonies and Morr-approved electronic flourishes. The ingredients are all quite agreeable but the hooks of the final product are a little too ephemeral to really catch my ear. I’ll be very curious to see what they come up with when they start thinking in terms of a proper album rather than singles and EPs. The band are currently on tour in North America and will stop in Toronto at the El Mocambo on December 12, towards the end of the schedule. And, if this review is any indication, that’s probably for the best – sounds like they’ll need a little time to figure out this whole playing together on the same continent thing.

MP3: The Earlies – “Morning Wonder”
MP3: The Earlies – “Secret Broadcast #!”
Video: The Earlies – “Bring It Back Again” (.mov)

Joel Gibb of The Hidden Cameras tells Chart how excited he is about “In The Boneyard”, this year’s collaboration with The Toronto Dance Theatre. The five-night stand begins tonight at the Premier Dance Theatre down at Harbourfront. My old school rag (which I used to write for many moons ago), Imprint, also has an interview with Gibb and last week’s eye also got a couple quotes.

Idlewild have left their label. Probably a wise move since EMI never seemed to have the slightest idea how to promote them, but I don’t suppose this bodes well for any sort of North American tour next year.

It seems like everyone wants to recognize the artists they consider under-recognized these days. There was the now-defunct Shortlist of Music, the from-the-ashes-of-Shortlist New Pantheon prize and what is now the old boy on the block, The Plug Awards (which debuted last year). It boasts a pretty impressive advisory panel as well as a pleasantly proletarian attitude – winners will be voted on by the hoi polloi right here. Nice, though I can’t help but notice they misspelled “chromewaves.net” no less than twelve separate times in their “best music website” category. Tsk tsk.

Spacejunk has links to a bunch of recently released, indie kid-friendly music videos – and there’s even Canadian content! I can’t be bothered to itemize them all, so just click on over and see for yourself.

np – The Cardigans / Super Extra Gravity

So I’ve been doing the iPod thing for a while now, that’s going well, but I’m ready to dip my toes into the world of iTunes this week – assuming that the releases I want are going to be available in Canada. Now while I still have no interest in buying a regular album in electronic format when I can buy the physical media, their exclusive iTunes sessions do have my interest. Case in point – this Tuesday will see the release of the David Bowie/Arcade Fire single recorded at the Fashion Cares thingee this past September. I’ve heard the mp3s circulating online, but hope that the “official” release has a better mix. It came out in the UK last week but is slated for release over here tomorrow. There’s also an iTunes-exclusive live EP from Trespassers William out tomorrow, featuring two songs from the forthcoming Having (out February 28), “Weakening” and “Ledge”, and two from their last album, Different Stars (“Lie In The Sound” and “Love You More”). And looking ahead to next month, there’s that Belle & Sebastian live performance of If You’re Feeling Sinister in London this past September which goes on sale December 6. Again, I hope that there aren’t territory exclusives to this stuff – I’m perfectly happy to shell out for these tracks if given the opportunity.

And it figures that just as I’m prepared to dip my foot in the water, they’re talking about variable pricing for downloads – Coolfer reports. I wonder if Canadian prices will remain lockstep with the US? With the exchange rate, Canuck iTunes is actually cheaper than the Yankee version. I like that.

The Bangkok Post talks to Peter Svensson of The Cardigans about Super Extra Gravity. I got a copy of this on Monday, and while I was initially a little disappointed that there’s nothing else as instantly awesome as the first single “I Need Some Fine Wine…”, their promise of a more eclectic album actually does hold true. Compared to the polished alt.country style of Long Gone Before Daylight, SEG is all over the map but the melancholy undercurrent remains. Think of it as the downbeat cousin to First Band On The Moon. It took me a little while, but I’m liking it now.

The Guardian talks to the #1 artist in America, Sufjan Stevens. Illinois has sold over 100,000 copies? Holy smoke.

Gemma Hayes talkst to Billboard about making The Roads Don’t Love You, which will get a North American release next Spring, probably May. While that’s a longer delay than I’d like, I will still wait for the domestic issue. I want to hear the album, but not $30 worth of badly.

Bradley’s Almanac has photos and a complete recording of American Analog Set’s final Boston show last Wednesday.

New York Magazine talks to Brian K Vaughan about Ex Machina.

Robocop will be joining the cast of 24 next season! Peter Weller will play Jack Bauer’s mentor while Julian Sands will step into the role of villain Vladamir Bierko – I guess it’s time for the villain pendulum to swing back to Euro-trash. Also new will be everyone’s fattest hobbit Sean Astin as a new addition to the CTU staff (presumably as the donut delivery boy). More details at StarPulse. Season five kicks off with four hours over two nights, starting January 15 and 16.

Odd question – I saw a pretty significant traffic spike this weekend for no reason I can identify. Um, was there a print media mention somewhere or something? Just curious.

np – Wilco / Kicking Television – Live In Chicago

The Magic Numbers / The Magic Numbers (EMI) I like pop music as much as the next guy, and Britain’s Magic Numbers are about as pop as you get – actually, too much. There’s no denying the Magic Numbers have gorgeous, note-perfect harmonies and a keen ear for chirpy, sing-song melodies and jangly guitars that has garnered them no small amount of success both home and now abroad. What they don’t understand quite so well is brevity – their debut record boasts a running time of over an hour, and what starts out as a rather delightful sugary treat turns into a diabetic coma by the end of it all. Musically and lyrically, there’s little variety in their musical recipe and it really does end up being a textbook case of being killed with kindness. It would have all been lot more palatable if it had been trimmed to a pop music-approved 40 minutes. But still, they have some killer infectious numbers including “Forever Lost”, the not-surprisingly ultra-twee video for which I’ve linked below, and they’re on tour in North America right now, the final show of which will be at Lee’s Palace in Toronto on December 1. Video: The Magic Numbers – “Forver Lost” (.mov) The Magic Numbers @ MySpace

The Weather Machines / The Sounds Of Pseudoscience (Tigers Against Crime) The Magic Numbers could learn something about brevity from The Weather Machines. On their debut album The Sound Of Pseudoscience, this South Dakotan outfit crams 12 sharp slices of new wave-y power pop into just over 34 minutes. This album could be filed quite comfortably alongside the earlier works of Elvis Costello and anything by Ted Leo, with its stripped-down sonics, irresistable hooks and brainy lyricism. The intellectualism comes honestly, too – primary Weather Machine Jason Ward sports a masters in electrical engineering and works at a college (and I do have a affection for engineers who want to grow up to be rock stars). Punchy, pogo-ey and recommended. MP3: The Weather Machines – “Last Stop” MP3: The Weather Machines – “Modern Text On Love” Interview: Rapid City Journal

The Cartels / E.P. (independent) The Cartels are a new 4-piece hailing from the self-admitted “most un rock n roll town in the country” (Ipswich, Suffolk, UK) but are doing what they can to mitigate that title just a little bit. They cite acts like the Stone Roses, Doves and Charlatans as influences (amongst many others) and their “now listening to” section on the website backs up their diverse tastes, but their recorded output sounds to my ears like they’re a little too concerned, whether deliberately or not, with what’s currently fashionable back home – namely snottily-delievered garage rock (or some narrow variant thereof). Despite this, there’s still some definite potential there – they can play and sing, there’s good musical ideas in the mix and there’s an innate melodicism that can’t be denied. They’re offering the whole of their debut EP for free download off their website right now, including artwork (though they should know that the PDF link for the insert is broken), but if they keep growing and developing, they won’t have to be giving their music away for much longer. MP3: The Cartels – “Mockingbird” The Cartels @ MySpace

np – Metric / Live It Out

So just what kind of person ends up at the midnight screening of Harry Potter & The Goblet Of Fire? Excellent question. Let’s just say I’ve only recently been, um, encouraged to read the books and while I was looking forward to seeing the film, being one of the first in Eastern Standard Time to do so wasn’t MY idea. Anyway.

Most reviews will begin or end with something to the effect of, “The best Harry Potter film yet”. Which is both true, but also very relative – the first film wasn’t very good at all, so they really only had one way to go. But beyond that faint praise, Goblet Of Fire is not only the best of the Potter films so far, but it really satisfies in its own right. I was surprised at the selection of Mike Newell as director, after all – success with Four Weddings And A Funeral and Mona Lise Smile doesn’t necessarily guarantee results with a property as beloved and under as much scrutiny as the Potter franchise. But Newell pulls it off, and hats are off to him.

He succeeds where Chris Columbus and Alfonso Cuaron did not by not getting caught up in showing off how wonderful everything looks or leaving his personal stamp on things. He’s ruthlessly efficient in cutting subplots and superfluousness and demonstrates laser-like tunnel vision in telling the central story and letting that alone carry the film. There’s minimal exposition – it’s pretty much assumed that if you haven’t read the books or seen the earlier films, there’s no reason for you to be there – and the pace is breakneck. Unlike Rowling’s text, the film has no interest in documenting the entire Hogwarts school year. All that matters is the tournament (and the Yule ball) and the incidental detail that is excised really isn’t missed. Also, by removing some of the cutesiness that with each book seems increasingly at odds with the darker tones of the story, Goblet gives the series its first actual moments of drama and emotional heft. You could hear people all over the theatre crying…

It also helps that Goblet has by far the best special effects of any of the films, hell, they’re better effects than I’ve seen in almost any film in recent memory. Also, the young cast turn in their most natural performances yet. I don’t know that I’d go so far as to call them good actors, but they’ve definitely grown comfortable in and now pretty much define their roles. It helps that they’re also at the age where they’re simply more interesting people, though I think the whole “raging hormones” angle is a little overplayed in the media. Just wait till the next film… Ralph Fiennes is perfectly cast as the resurrected Voldemort – he demonstrates great restraint in a role that could have very easily descended into scenery chewing. Instead, he (and his serpentine snout) comes off every bit as sinister and evil as you’d hope. Gary Oldman, on the other hand, does his best in his only scene as a pile of cinder and though the Wyrd Sisters barely appear, Jarvis Cocker does get a good close-up.

So yes, I thoroughly enjoyed Harry Potter & The Goblet Of Fire. I note that the next film, Harry Potter & The Order Of The Phoenix, isn’t due out for two years – will that be before or after the final book? I’ve not really been keeping up. Also, the fifth film will also see yet another directorial change. Some guy named David Yates is currently attached to it. I see nothing on his resume that I can base his ability on, so I just hope that he’ll be able to pick up the baton and we’ll still be saying “this one is the best one yet” in 2007.

One thing about going to the midnight screening was that there were not trailers, which normally would suit me fine but the Superman Returns teaser was supposed to be attached to Harry Potter. Good thing it’s already online here.

The Stranger and Daily News talk to Laura Veirs. Also, check out the video for “Galaxies”.

And in the southern rock section of today’s post, The Pitch runs the standard Z questions by My Morning Jacket bassist Tommy Tu-Tone while Creative Loafing talks to Drive-By Trucker Jason Isbell, who reveals the working title for their new album as A Blessing And A Curse. Links via Largehearted Boy, a southern rocker himself.

The Guardian wonders aloud if the Arcade Fire have any hope for “success” in the absurdly charts-obsessed UK.

Stylus follows up their favourite b-sides feature by celebrating that format’s cousin, the EP.

iThe much-beloved CBC Radio 3 will be coming back to life in early December as a Sirius radio station, featuring around 85% Canadian content, and not the Bryan Adams, Celine Dion and Burton Cummings sort. The website will return early next year as some sort of amalgam of newmusiccanada.com, rootsmusiccanada.com, and justconcerts.com and feature a BLOG. Like the cool kids have.

Arrested Development’s Michael Cera (aka George Michael) tells JAM! he has no idea what’s going on with the show’s future while David Cross is a little more direct in his thoughts on the situation. And Prefix reports that the reduced episode order will be joke fodder in an upcoming episode… again. They took some jabs at that last season as well, when Fox decided to pass on the last four episodes of the season.

Had one hell of a time recovering from my little hacker attack yesterday. I eventually traced the point of ingress to a vulnerability in Nucleus. Not surprising, in hindsight, considering that I hadn’t upgraded the software in, um, three years? But everything is now rebuilt and patched up and that should hopefully be that. I’m still having some email issues though, so if you’ve written me, be patient.

np – My Bloody Valentine / Tremolo