New York City’s Ambulance Ltd are one of those bands that, on paper, I should love. They draw on a slew of excellent influences from early-90s British rock and graft them onto solid pop tunes. At various points on their debut LP album, you can hear Blur-type guitar riffage, Spiritualized drones and atmospherics and My Bloody Valentine-esque whammy bar bends. Good stuff, right? So why does it sound like I’m going to follow this up with a “but”? Because I am. But it’s just a little but.

BUT. While they wear their influences on their sleeves, which is fine, they’re not entirely successful in absorbing them all and combining them into something cohesive. You can pick out the Blur song, and the Spiritualized song, and the MBV song… it’s not slavish imitation, but it’s pretty overt. What this means is that what you like about one song may be entirely absent from another song – everyone I’ve talked to about LP has commented on how they like a certain percentage of it. “I like maybe half the songs,” “There’s seven or eight great songs,” and so forth – it’s that easy to decide which ones you do and don’t like. And that’s fine if you’re a singles-centric person, just focus on the songs you like, ignore the rest. Me, I’m an album guy, and I would prefer to enjoy the entire effort. Don’t get me wrong, I don’t dislike any of it (though the first single, “Primitive”, is for my money the worst song on the record and a large part of the reason I have only gotten around to discovering the band now), but I definitely play favourites, which is unusual.

Those mild reservations aside, I’ve grown to quite enjoy LP and expect bigger and better things from them in the future. I’m also pleased to see that they’ll be in town at the Mod Club on March 2, tickets $12.50 on sale now. They played here at least four times last year, but I didn’t catch any of them. Hey, win some, lose some. Their website has the usual media on offer – samples of the whole record, a couple videos and a couple downloadable MP3s and there’s a little bit more here. This interview with VH1 is interesting in that they don’t recognize The House Of Love’s “Shine On”, even though they seem to have done a pretty good job of borrowing from many of their contemporaries.

Speaking of the House of Love, check out the cover artwork and lyrics from Days Run Away, out February 28. You can also hear the first single, “Love You Too Much”, on BBC’s Roundtable. Listen to last Friday’s show and wait through the news report and commentator introductions – it’s the first track played. My opinion is about the same as Bradley’s – not overwhelmed. I was hoping for something a little more… epic. This one sounds like a bit of a throwaway, to be honest. The panelists are similarly underwhelmed.

Straight from the horse’s mouth – the horse in this case being Britt Daniel at the Arcade Fire show in Austin this past Friday – Spoon’s new one is coming out in early May and the most current title is still The Beast And Dragon Are Adored. The band will also be playing SXSW.

Stream the entirety of Low’s The Great Destroyer here – or wait till Tuesday and buy the thing. From Donewaiting.

Brooklynvegan brings us photos of the final Sea Ray show in New York this past Friday. Sob.

The Telegraph interviews Rilo Kiley, preparing to release More Adventurous in the UK on Monday. From Largehearted Boy.

Zoilus drafts an interesting essay on the ongoing game of chicken between indie culture and pop culture for The Globe & Mail.

np – Spacemen 3 / The Perfect Prescription

Curious time at the Bright Eyes show last night. The transportation gods were with me as I managed to get to the Phoenix with an absolute minimum of time spent outdoors in the -19 cold. Unfortunately, the band had requested that cameras not be allowed in so I had to check mine – a completely futile gesture, judging from the stroborific light show all the camera flashes in the audience created when the headliners took the stage. Y’know Conor, I don’t use a flash… but I’m getting ahead of myself.

What this meant, besides the fact that the photo accompanying this post is NOT from last night or taken by me, is that I spent a rare show somewhere besides right up front (which is good, as I hear Conor is a spitter…). Instead, I was up on the balcony in the licensed section, overlooking the teeming sea of Livejournals, asymmetrical haircuts and black-framed glasses down below.

Tilly & The Wall had just gotten started when I arrived at 5:30 sharp. Punctual, nice. The crowds were still filtering in while they played their typically bubbly tap-pop, but those in attendance were quick to get into the spirit of the show. Their performance didn’t translate quite as well in a large concert hall as it did when they played the Horseshoe last Fall – the mix was excessively boomy, making Jamie’s tap dancing sound like a John Bonham kick drum and Kianna and Neely’s vocals were kinda raspy – but their exuberance and energy helped make up for that. Judging from the number of Tilly & The Wall shirts and tote bags I saw being bought up after the show, I’d say they made some fans.

Paris-based CocoRosie had a tougher time winning over the crowd. Most didn’t seem to know how to take the band’s peculiar circus-folk sound, and the applause was mostly polite. I couldn’t get into them either, I confess – maybe in a different environment they might have come across a little more effectively, but last night I just wasn’t interested.

And then Bright Eyes. From the sound of crowd when they took the stage, you’d think it was the second coming – and for some, it possibly was. It took a couple songs to get the mix sorted out but once it was, the next hour and a half consisted of a very solid set of moderately energetic and nicely arranged folk and country-rock – I can’t get into set specifics because I didn’t actually know most of the material. They played only one song from Lifted and I think one from Fevers And Mirrors – the rest were all new and technically unreleased since I’m Wide Awake, It’s Morning, from which the rest of the set was taken, isn’t technically out till Tuesday (though they were selling copies of it and Digital Ash at the show). I bought a copy of the record there and while I liked the show alright, the songs definitely impress more on record – probably because Conor Oberst’s lyrics are easier to understand. But my point is is that limited my ability to get into the show somewhat. But seeing Conor fall over a couple times did add to the entertainment value.

But that’s not the curious thing about the show. I went down onto the floor between the main set and the encore to retrieve my camera from the coat check, and some of the audience down there were behaving like they’d just witnessed the rapture (the Biblical event, not the band). There was one girl I saw crying through the whole encore, and others who looked on the verge of tears or ecstasy. It was as if they were experiencing a completely different show than me – they were taking it in on another level entirely… It’s sort of hard to explain, but it was strange. I felt like a tourist.

Anyway. Bright Eyes. Yeah.

Jack Rabid of The Big Takeover has confirmed (though a contact at Capitol) that Idlewild’s Promises/Warnings has NO North American release date, despite what I’ve read and reported. Apologies to anyone who had March 8 circled on their calendars to camp out at their local record store. Hopefully it won’t be too long in coming after the UK release, or Capitol’s Canadian division will import a bunch of copies for our consumption before a proper domestic version is released, as frequently happens. Sometimes there are perks to being a colony! But as some small compensation, here’s the video for the first single “Love Steals Us From Loneliness”. Link from Torr.

The video for Charlotte Hatherley’s new single “Bastardo” is one of the most fun things I’ve seen in ages. But I’ve always had a soft spot for cute girls with Fender Jaguars.

The Independent talks to Mercury Rev about their new album, The Secret Migration, which is out in the UK on Monday but not over here (in CD format, anyway) till April. Boo.

Aimee Mann’s The Forgotten Arm is out May 3.

I’m waiting for The Wedding Present to announce a Toronto date – My money is on April 26, seeing as how they’re in Montreal the 27th and Boston the 28th. Probably Lee’s?

So my apartment decided to celebrate the one-year anniversary of my flood with – get ready for it – another flood. Not nearly as bad this time, it was a pipe in the laundry room, not my apartment proper, but still a real mess and the timing – 12:30 AM – was just gravy. It was almost an hour and a half before the plumber showed up and was able to shut off the water, and I didn’t get to bed till almost 4. FUN. Nothing I like better than being up for 20 hours under significant stress. I don’t know how Jack Bauer does it.

How was YOUR Friday night?

np – Bright Eyes / I’m Wide Awake, It’s Morning

I owe Mystery & Misery a big heapum thanks for introducing me to The Radio Dept (XL Recordings artist page). I was hankering for something new and his post on these Swedes was just what the doctor ordered. To my ears, they’re the perfect mix of Belle & Sebastian folksy tweeness, eclectic Boo Radleys-ish pop, the gentle electronic flourishes of Trembling Blue Stars and a healthy dollop of Jesus & Mary Chain-approved fuzztones – a perfect mix of grit and delicacy.

It’s like being wrapped in a warm, static-y blanket with soft boy-girl vocals. Bassist Lisa Carlberg only takes lead vocals on one track, but hopefully there’ll be more of her on future recordings. Despite being wonderfully poppy, it took a little time for it to properly sink into my consciousness but now it’s definitely in heavy rotation – highly recommended. Their debut, Lesser Matters, came out in North America last November and they released the This Past Week EP consisting of five all-new songs, uh, this past week. I expect to have a helluva time getting a copy.

I’m not the only one who’s discovered the joys of The Radio Dept., either – Bradley’s Almanac has just twigged onto them and Bob Mould describes one of their b-sides, “You And Me Then”, as “one of the most haunting pieces of music I’ve heard in a while” – he’s got the track available to download from his site. If you want to hear more, check out Labrador Records for mp3s, streams and videos, or this BBC interview.

The Fiery Furnaces tell Billboard their master plan for 2005 – release as many albums as humanly possible.

The House Of Love message board recently conducted a brief interview with Guy Chadwick about the reunion and the new album Days Run Away, out February 28. Read it here, thanks to Joyce for the link.

That Donnas show at the ACC I mentioned yesterday on April 12? Don’t quote me, but it could be opening for U2… Interesting that the date has disappeared from Pollstar’s listings – mayhap someone in Camp Donna jumped the gun in announcing the dates? Conjecture! Hearsay! Shazam! I blame Tori Spelling, or “evil Donna”. Update: So all the press is saying that Kings of Leon are opening the U2 tour… so who’s at the ACC on April 12?

Watch Feist’s new video for “Inside & Out” – very stylish and sexy, a shame about the stream quality. If anyone finds a better one, let me know s’il vous plait. From Brooklynvegan.

Thanks to More Cowbell for bringing the Lawrence.com Turnpike to my attention – there’s a tremendous archive of video interviews and live performances with a slew of great artists, like Arcade Fire, The Shins, Spoon and Neko Case dating back over the past couple years. Great stuff.

Tonight’s Bright Eyes show is early to a ridiculous degree. Doors are at 5pm, Tilly & The Wall start things off at 5:30 and I expect the whole to-do to be over by 9/9:30. The curfew is on account of the fact that the Phoenix turns into a meat market discotheque later in the night, and they have to clear out all the sensitive and impressionable Conor-ites before the debauchery begins. But what this means, practically, is that even if I high-tail it outta work at 5 sharp, I will still probably not make it before things start (assuming they stick to schedule, which honestly is not likely). Never mind trying to get any dinner, either. Oh, and did I mention it’s ridiculously frigid out today? Yeah, that pretty much goes without saying.

Sympathies to Information Leafblower on the passing of his cat, Jarvis.

np – Trembling Blue Stars / Alive To Every Smile

Today’s post has been overrun with concert announcements. Do not be alarmed.

Major awesomeness in the form of Steve Earle & The Dukes accompanied by Allison Moorer will hit the Palais Royale on March 4, tickets $37.50 on sale tomorrow via Ticketmaster (or now, via Rotate This). And for those in the 519 who don’t want to travel to the 416, they’ll also be at Club Denim in Guelph on March 3. I’ve been waiting for this show for a year and a half, since I inexplicably missed his 2003 show at the Kool Haus. Thankfully, he’s not playing there again… I hear the Palais Royale is nice – I think it’s actually the last venue in Toronto I’ve never been to. One more thing to cross off my “things to do before I die” list. Hmm, the list is getting shorter and shorter. That may not be a good thing.

And if you’re not down with Mr Earle, Ireland’s Frames are at the Opera House on the 4th with Mark Geary, also on March 4. Or, if you’re looking for more rootsy twangy goodness, check out Nashville’s Bobby Bare Jr at Lee’s Palace this Monday the 24th ($7) or Memphis’ Lucero at a venue TBA on February 18. And neither rootsy nor twangy, New York’s Calla play with The French Kicks at the Horseshoe March 10, tickets $10.50. Meanwhile, local promoters Whacked Out Production celebrate their 6th anniversary with a show March 14 at Club Rockit featuring Bella Lea, the new band featuring Maura Davis, formerly of Virginian emo outift Denali.

Some big shows – Queens Of The Stone Age are at the Kool Haus March 30 promoting Lullabies To Paralyze, out March 22. The Donnas are at the Air Canada Centre on April 12 – this has to be supporting someone, there’s no way they’re headlining a show at the ACC.

Some odds and ends for the Anglophiles… a couple of this year’s “next big things” are coming to town – The Kaiser Chiefs (what an awful name) are at the El Mocambo on February 15 and Bloc Party are at the Mod Club Lee’s Palace April 2, tickets $13.50. One of 2003’s big things, who I guess now qualify only as “things”, British Sea Power, are at Lee’s Palace April 21. All three acts have new albums to shill for – The Kaiser Chiefs’ Employment is out March 15, Bloc Party’s Silent Alarm is out March 22, as is BSP’s Open Season.

On the veteran side, The Wedding Present begin their North American tour to support Take Fountain starting April 16 – I’m assuming there’ll be a Toronto date even though they passed us by when promoting Cinerama’s Torino. The rumour mill puts King Monkey Ian Brown at the Mod Club sometime in May, Idlewild could also be in town in May and it’s reasonable to expect a Doves date in T.O. during their mini-North American jaunt in March for SXSW or Coachella in May.

And it looks like the lineup for the Broken Social Scene benefit show on Tuesday is as I have noted on my sidebar there. Apostle Of Hustle at 9:40, Jason Collett at 10:30 and BSS at 11:20. I think it seems horribly ungracious to feel disappointed at that lineup, so I won’t. It will be an excellent show regardless, and I still fully expect guests a-plenty. Like Charo!

Whew.

The new, as-yet-untitled studio album from The Strokes has been scheduled for release on June 14. It was pointed out to me recently that I’ve taken cheap shots at New York City’s poutiest in the past, and perhaps have been a little unfair in my mockery. So to make up for it, I’m going to try and say something nice about them… Ahem. To the best of my knowledge, no member of The Strokes – or their entourage – has ever intentionally and maliciously drowned a gunnysack full of kittens. Yet.

Check out the video for the new Delgados single, “Girls Of Valour”.

Realizing that the decade is now half over, Stylus has compiled their list of the top 50 albums from 2000 to 2004. Well, numbers 50 to 21, at least. The complete list is up. I have nineteen of these records.

One of my favourite times of the year is the end of January/start of February when the NAMM show goes down in California – it’s one of two huge annual music gear orgies wherein equipment manufacturers trot out their new wares for the next year, a veritable porn-fest for gear geeks like myself. As always, Harmony Central will have a day-by-day rundown of all the new toys that have been unveiled and make me lust for shiny gewgaws that I have no need for whatsoever.

np – Interpol / Turn On The Bright Lights

Buddyhead sits down for an expansive interview with Kevin Shields of My Bloody Valentine. It’s interesting to hear Kevin speak so frankly about the demise of MBV and the “lost years” between Loveless and his return to the public eye with Primal Scream and the Lost In Translation score. The piece quite rightly points out that he’d become a myth of Brian Wilson proportions, figuratively if not literally (though he is a bit heftier than he was…) – the bit of apocrypha that I latched onto in particular was that he’d given up music to raise chinchillas (Don’t believe me? Read this interview from last year). The idea of this architect of sonic cathedrals sharing a home with hordes of soft, furry rodents appeals to me somehow.

But what is exciting is to hear Shields talk about the forthcoming archival MBV releases matter-of-factly. I do think Loveless could benefit from a remastering, and unreleased tracks are always welcome. His comments on the artwork are interesting as well – the cover of Loveless is so iconic now, I wonder what it was originally intended to look like.

If you’re looking for more MBV love on the internet, the fansite I linked above and Tremolo are both excellent resources with loads of links and info. This site has a goodly number of live recordings available to download (quality’s not great, but I don’t think that the recording equipment exists to survive the live MBV experience and sound good doing it). Loveless is also the subject a forthcoming volume in the 33 1/3 series of books.

And if you don’t know who Kevin Shields or My Bloody Valentine were, well damn – I can’t talk to you. Go here and be enlightened.

Speaking of massively influential musical recluses, The BBC talks to Portishead’s Geoff Barrow and discovers that the band has not gone the way of the dodo after all. Besides playing a tsunami relief show in February, they are in the midst of recording their third album – their first in eight years. Coincidentally, I dusted off my Portishead records this week for the first time in ages – I’d forgotten how good and utterly unique they were and still are. A new record is good news.

The indie kids will be wetting themselves over the new video for The Postal Service’s “We Will Become Silhouettes”. It’s ironic! It’s profound! It’s kitschy! It’s directed by the guy who did Napoleon Dynamite! It’s got Jenny Lewis! It’s got that dreamy Ben Gibbard! See it here. The EP for the single is out February 8. From Largehearted Boy.

Possibly the best team-up since chocolate and peanut butter, Calexico and Iron & Wine got together for some recording sessions at the end of last year, the fruits of which will see the light of day in Fall of this year as a 7-song EP entitled Lays in the Reigns. And to pour gravy on that proverbial peanut butter cup, they’ll be touring to support.

Sleater-Kinney’s new album, and their first for SubPop, has been given the title of The Woods and the release date of May 24. Pitchfork has more deets.

South San Gabriel, the kinder, gentler side of Centro-Matic, will release The Carlton Chronicles: Not Until the Operation’s Through on April 5.

Bettie Serveert’s February 10 show will be at the Horseshoe, not Lee’s Palace.

Someone really hates Dave Lowery. Camper Van Beethoven’s gear was stolen. Again.

np – Saturday Looks Good To Me / Every Night