Photo by Steve Gullick

To build up anticipation for the release of The Stand-Ins on September 9, Okkervil River have set up a YouTube channel wherein they’ll be posting videos of various artists covering songs from the new record. Two are up so far – one featuring New Pornograper Carl Newman handling Jonathan Meiburg’s parts in a duet of “Lost Coastlines” with Will Sheff, and one with David Vandervelde tacking “Singer Songwriter. Look for nine more of these to roll out over the next two weeks. Okkervil River are at the Phoenix on October 12.

MP3: Okkervil River – “Lost Coastlines”
Video: Will Sheff & Carl Newman – “Lost Coastlines”
Video: David Vandervelde – “Singer Songwriter”

And speaking of Meiburg, An Aquarium Drunkard has an interview with the now full-time Shearwater frontman.

Pitchfork and The Other Paper interview David Berman of Silver Jews, who are at Lee’s Palace on September 2. Hallelujah The Hills support.

Lucinda Williams is at Massey Hall on October 11 in support of her new record Little Honey, due out three days later on October 14. She talks to Rolling Stone a bit about it.

Filter and The Age get to know Beach House, who recently filmed a performance for the Black Cab Sessions.

The Secret Machines are offering a download of a new song not appearing on their new self-titled album, due out October 14.

MP3: The Secret Machines – “Dreaming Of Dreaming”

Muzzle Of Bees reports that the new studio record from Neko Case will be entitled Middle Cyclone and due out in March 2009.

The Skinny talks to Mercury Rev’s Jeff Marcel about their new album(s) Snowflake Midnight and Strange Attractor, both out September 30. Spin is offering a download of one of the tracks from the former.

MP3: Mercury Rev – “Snowflake In A Hot World”

The Village Voice finds out what the members of Rainer Maria have been up to since the band called it quits two years ago. Singer Caithlin De Marrais will release her first solo record My Magic City in October.

North Country Times talks to Matthew Sweet about his new record Sunshine Lies, out next Tuesday.

The Quietus asks Grizzly Bear’s Ed Droste how it feels to be Radiohead guitarist Jonny Greenwood’s favourite band, as declared at the Toronto show last week. Droste has a final tour blog entry at Rolling Stone.

The follow-up to The Crane Wife is still forthcoming, but Pitchfork reports that The Decemberists will release Always the Bridesmaid: A Singles Series throughout the Fall as three singles available digitally or on vinyl, and I expect as a compilation CD at some point in the future.

Time Out Chicago talks to Joanna Newsom about performing her music backed by an orchestra.

Patterson Hood of Drive-By Truckers gives Independent Mail a list of his top ten albums of all time. The Truckers are at the Phoenix on November 11.

Stereogum has a new, unreleased track from Centro-Matic available to download.

Jay Reatard returns to Toronto on October 16 for a show at Sneaky Dee’s, just down the street from the rather infamous Silver Dollar scuffle went down in April. Here’s hoping everyone is on their best behaviour this time around… yeah, not likely. Reatard has a compilation of his 2008 7″ singles series cleverly entitled Matador Singles ’08 coming out on October 7. Via Matablog.

MP3: Jay Reatard – “See Saw”

There’s now a second MP3 available from The Broken West’s new record Now Or Heaven, out September 9. I must say the new album is a quantum leap ahead of their debut, and that record was no slouch. Check them out at the Horseshoe on September 17 when they play with The French Kicks.

MP3: The Broken West – “Auctioneer”

You can currently stream The Rhumb Line, the debut full-length from Syracuse’s Ra Ra Riot. They’re at the Horseshoe on September 4.

Stream: Ra Ra Riot / The Rhumb Line

And now let’s hop across the pond to check in with some Scandinavian acts – Lykke Li released her debut full-length Youth Novels this week and it’s streamable over at Spinner. She’s featured in the pages of Paste and the Wall Street Journal, guest lists for Pitchfork and will be at the Mod Club on October 24.

Stream: Lykke Li / Youth Novels

Frida Hyvonen will release her new record Silence Is Wild on November 4, and has made available an MP3 to give a taste.

MP3: Frida Hyvonen – “Enemy Within”

Sigur Ros have released a second, considerably less naked video from Med sud I eyrum vid spilum endalaust. CurrentTV also has their show at the MoMA in New York in June available to watch, while Deaf Indie Elephants has the show in MP3 form. They’re at Massey Hall on September 22.

Video: Sigur Ros – “Inni Mer Syngur Vitleysingur”

Photo via MySpace

So how about that new Bloc Party record? You know, Intimacy, they one they sneak-announced on Monday and is available digitally as of today to anyone who pre-orders the CD for when it comes out on October 28? A wholly unexpected announcement, but a logical one considering they’ve got a load of North American touring coming up including an appearance at day one of V Fest here in Toronto on September 6.

I can’t say I especially cared for their “Flux” single, which doesn’t appear on the new record, but I liked it more than current single “Mercury”, which does appear on the new record. I do like the new other new song they’ve got streaming at their MySpace though – “Trojan Horse”. Either way, it seems that “energy” is the word of the day in Bloc Party-land, which may not bode well for those of us who loved the melancholic anthemicism of last year’s A Weekend In The City but would be good news to those who preferred the more breakneck pace of their debut Silent Alarm. Or, considering that production duties on the record were split evenly between the producers who worked with the band on their first two records – Paul Epworth and Jacknife Lee – maybe it’ll be both. We’ll have to wait till… well, right now to find out.

Kele Okerke talks to Rolling Stone about where the album came from and how the band “didn’t want to go the whole In Rainbows route” – well no, In Rainbows was a helluva lot cheaper. The Intimacy CD/MP3 bundle would have cost $27 after shipping. I realize that paying $10 for just the MP3s, as I did, doesn’t necessarily come out to much less overall depending on how much you find the CD for but it made me feel a bit better. Just a bit. Pitchfork also has an interview with Gordon Moakes and This Is Fake DIY has first listen impressions of the record.

Video: Bloc Party – “Mercury”
Video: Bloc Party – “Flux”
MySpace: Bloc Party

The new video from Oasis has been posted and pulled from YouTube so many times in the past few days that I have no idea whether this link will still work… but it did at the time I write this so we’ll go with it. Forgiving the horrible audio quality, that’s two tracks from Dig Out Your Soul, out October 7, that I think are actually pretty good. Unprecedented. Oasis headline day two of V Fest and NME has some words from Noel Gallagher about the album’s title.

Video: Oasis – “Shock Of The Lightning”

NME points to a blog entry from Nicky Wire that states Manic Street Preachers are going to start recording their follow-up to last year’s surprisingly decent Send Away The Tigers.

London’s Rumble Strips, who’ve had my ear for a little while now, will be bringing their not-that-new but just-released-domestically album Girls & Weather to the El Mocambo on October 29 with San Francisco’s Birdmonster. A proper writeup on the band/album will be forthcoming but if you like jaunty, ska-inflected rock with horns and even if you don’t – I certainly don’t, normally – give a listen.

MP3: The Rumble Strips – “Time”
MP3: The Rumble Strips – “Motorcycle”
Video: The Rumble Strips – “Girls And Boys In Love”
Video: The Rumble Strips – “Alarm Clock”
Video: The Rumble Strips – “Motorcycle”
Video: The Rumble Strips – “Oh Creole”
Video: The Rumble Strips – “Time”
MySpace: The Rumble Strips

PopMatters interviews Los Campesinos!, who will release their second album of the year We Are Beautiful, We Are Doomed on November 11. The Quietus, meanwhile, declares war on twee and wants Los Camps to be the first to fall.

MP3: Los Campesinos! – “How I Taught Myself To Scream”

Laura Marling’s Mercury-nominated album Alas, I Cannot Swim is out domestically this week and you can stream the whole thing at Spinner. She’s at the Rivoli on October 4 and The Independent has an interview about her current cultural picks.

Stream: Laura Marling / Alas I Cannot Swim

Also out this week, steaming in whole and coming to town soon are Stereolab and Chemical Chords and a show at the Phoenix on October 8. Tim Gane assembles a playlist, with annotations, for Complex.

Stream: Stereolab / Chemical Chords

And for more hot streaming action, head over to their MySpace to hear the whole of The Verve’s Forth, out next week. Billboard reports that the band is intending to soldier on after the release of this record and not keep with their tradition of breaking up following every release.

Stream: The Verve / Forth

The Interface has a session with Billy Bragg.

Maximo Park’s Paul Smith discusses the progress of album number three with NME.

IGN talks to Reuben Wu of Ladytron about video games.

Photo by Frank Yang

I’m very much an urban soul, but that doesn’t mean I don’t like to get back to the country every now and again – at least once a year, at least, for the Dog Day Afternoon mini-fest that takes place annually at a small farm just outside Guelph, Ontario. Sure, I’ve only been going two years now, but it’s such a comfortable setting I have no problem making it a tradition.

This year’s edition on Sunday marked the party’s tenth anniversary and to mark the occasion… well, they pretty much did the same thing as always. Why mess with a good thing? As always, the incomparable Sadies would be on hand to close things out and the rest of the bill was made up of talent mainly from the Toronto and K-W/Guelph region as well as from further afield. Though there had been vague threats of rain the day before, we were treated to a beautifully sunny day, perhaps feeling a bit more early Fall than late Summer, but splendid nonetheless for the couple hundred (maybe) guests lounging around in lawn chairs and on blankets, working hard at doing nothing.

Kitchener’s One Heart Many Hands was originally slated to kick things off, but had to withdraw and was replaced with a couple of Guelph artists. One Kevin Barnhorst got the opening slot and playing solo on electric guitar, offered a short set of singer-songwritery pop that probably sounded fuller in the context of his band, Elbow Beach Surf Club.

He was followed by Jessy Bell Smith, who impressed armed only with her Gretsch and a big voice. Though naturally inclined to country-soul stylings, she showed she was more versatile than just that with a set peppered with covers ranging from Nina Simone to Bruce Springsteen to a hilarious, rapid-fire version of Akon’s “Smack That”. Folkified rap covers are a bit cliche, but when they’re done as well as this one was, they’re still tremendously entertaining.

I’d seen Toronto one-man space-rock act Now YR Taken a few times before and always felt that while his instrumental compositions, built on guitar loops and drum machine samples, were quite impressive, his songwriting and vocal work really didn’t measure up and diminished the overall experience. This time out, he stuck largely to the instrumentals and despite some technical glitches managed to create an interesting and hypnotic electronic-y atmosphere that contrasted but didn’t conflict with the decidedly rural setting. Unfortunately, he opted to end his set with an almost completely non sequiter, a capella version of G’N’R’s “Don’t Cry” – not just a quote, but an entire verse and chorus. Odd and unnecessary.

It was nice to see Guelph native Gentleman Reg perform live again – it’d been a while. And while he hasn’t released a record since 2004’s Darby & Joan, he hasn’t been idle – he was now sporting a pretty impressive beard. Accompanied by a drummer and thus breaking the solo act trend so far, he played a set of angelically-voiced pop comprised of old favourites as well as some new material from his next album Jet Black, which is unfortunately no longer coming out in October but has been pushed back until the new year. There will still be some touring in the Fall, however, so at least there’s that.

The D’Urbervilles marked the start of the “rock” portion of the day, and the four-piece brought in in fine style, playing tight, taut and lightly funky new wave from their fine new album We Are The Hunters. While the open-air setting probably made it feel a bit less impactful than if it’d had been experienced in closed quarters, it was still a rousing set that raised the bar as far as energy went. Still, I expect their set to be much more punch-in-the-facelike when they open up for Land Of Talk at Lee’s Palace on September 27.

Where The D’Urbervilles were ultra-tight, Halifax’s Dog Day were a decidedly shambolic, but charmingly so. Like the band before them, the effect of their grunge-friendly, melodic pop was mitigated somewhat by the pastoral setting – the blasts of fuzz guitar seemed a bit at odds with the bales of hay and fields of sunflowers behind the band – but I still enjoyed their set though neither time I’ve seen them live has been as satisfying as the recordings that make up last year’s Night Group LP.

Up to this point, the lineup had been largely of the alt.rock variety, whereas last year there was more of a prevalent roots vibe to things. Penultimate act The Shovels certainly made up the twang quotient, the five-piece coming off like a very proficient country-western house band. There was certainly nothing revolutionary about the band’s output – male/female vocals, pedal steel, hot lick guitar solos – but it was friendly and well-played.

Also unlike last year, the Sadies weren’t stuck in traffic and were able to take the stage on time, just as the sun was setting, and put on one of their trademark amazing shows. I’ve seen the band maybe a half-dozen times now, and they’ve never given anything less than 100%, it’s remarkable. Spinning a set of psychedelic country/surf/punk-and-roll, the brothers Good and compatriots Sean Dean and Mike Belitsky again made a case for themselves as one of the most talented bands in the country today.

One new (to me) addition to their repertoire was a cover of Love’s “A House Is Not A Motel”, which fit them so perfectly that I hope they somehow become the spiritual keepers of the song, in the same way that Calexico have essentially adopted “Alone Again Or”. Their version was just sublime. When they closed out their encore with a call for requests, they sadly declined to give the Judas Priest song a go, instead opting for Pink Floyd’s “Astronomy Domine”, but I have a feeling that if they’d gone with the Priest, they’d have a) actually known exactly how to play it and b) absolutely killed it. If you go to either of their shows at the Horseshoe on October 3 or 4, I suggest you demand they play Judas Priest. Don’t take no for an answer.

Sun, straw, Sadies. Cheers, Dog Day Afternoon. See you next year.

Chart was also in attendance and has a review.

Photos: Dog Day Afternoon 2008 – August 17, 2008
MP3: The Sadies – “Anna Leigh”
MP3: The D’Urbervilles – “Hot Tips”
Video: Dog Day – “Oh Dead Life”
Video: Gentleman Reg – “The Boyfriend Song”
Video: Jessy Bell Smith – “Archie”
MySpace: The Sadies
MySpace: Dog Day
MySpace: The D’Urbervilles
MySpace: Gentleman Reg

Final Fantasian Owen Pallett talks to New York Magazine about his forthcoming EPs – Spectrum, 14th Century and Plays To Please – which are due out this Fall. No word on the Heartland full-length, so presumably that’s been pushed back until 2009. Final Fantasy plays the Danforth Music Hall on August 27.

Pitchfork talks to Carl Newman about putting away the New Pornograper overcoat for a bit and putting the A.C. name tag back on in order to turn out his second solo record Get Guilty, tentatively due out in January of next year.

BrookylnVegan has an interview with Wolf Parader/Handsome Furrier Dan Boeckner. The Handsome Furs are at Lee’s Palace on Friday night.

Young & Sexy have a date at the Drake Underground on October 11.

Blast and Filter have features on Constantines. They’re playing day one of V Fest on the Toronto Islands on September 6.

Photos by Frank Yang

Know how I was complaining last week that blog fodder was lean? And I promised this week would be better? Well damn, was I prescient or what. It’s been a whirlwind of newsworthy material in the last day, so much so that I don’t really know where to begin. I guess today will be the show announcements – either of these first couple of these are “stop the presses”-worthy, but I’ll go with the one that gave the post its title.

I was told about the co-headline “Rock And Roll Means Well” tour of The Hold Steady and Drive-By Truckers last week but had to keep it hushed up, but thanks to the Truckers’ website, the dates are out of the bag and the double-barreled rock’n’roll assault will hit the Phoenix on November 11. Expect beer, beer and more beer, equal quantities of sweat and guitar solos that don’t want to end. The bands have chosen to alternate headlining slots from night to night, and for our show it’s the Truckers who’ll close things out. Tickets are $27.50 and go on sale Friday.

That was the one I knew about. This one – which came courtesy of the comments yesterday – took me completely off guard. December 4 at the Air Canada Centre – Neil Young and Wilco. And a band called Everest who deserve a salute just because it’s on their web site that the tour dates were revealed. It’s not accurate to call this a co-headline tour – no one “co-” headlines with Neil – but it’s a pretty amazing one-two punch though after being spoiled by seeing Wilco at Massey Hall so many times, I do worry about how the acoustics of the ACC will treat them. Thrasher’s Wheat has some general ticket info about the tour, including the fact that the floors will be general admission and coming in around the $75 mark while the stands are reserved seating, ranging in price from $45 to $250. Tickets for Toronto go on sale Friday. And finally, Thrasher’s Wheat is also floating November 3 as a release date for the first volume of Neil’s Archives – believe it when you see it but it’s a reasonable target – and Billboard reports that Wilco are hoping to have a new record out in the Spring of next year. I’m sure we’ll be hearing the new songs that have begun cropping up in recent shows.

On a much smaller but still scale, The Acorn and Ohbijou are teaming up for a tour this Fall – dates are coming today, but it kicks off October 4 in Kingston, weaves its way right across Canada, down the US west coast and back through the midwest, wrapping up in Chicago on November 1. Then after a breather, southern Ontario gets a string of dates in late November including a stop at Lee’s Palace on the 27th, tickets $10. I’m not sure who will close that one out, but Ohbijou technically has home field advantage. The pairing will also be releasing a 12″ split-single this Fall which will contain a new song from each band as well as a cover of each other’s songs. The Acorn are also releasing an album of live/session material and rarities called Heron Act – look for it September 30. Update: Full tour dates now available.

And also doing the co-headline thing are Attack In Black and Ladyhawk, who will be alternating closing out the Horseshoe on November 14 and 15. Tickets $12.50.

Plants & Animals have a date at the Horseshoe on September 18, tickets $10 in advance.

Nashville’s Lambchop will release their new record OH (ohio) on October 7 and frontman Kurt Wagner will be setting out on a solo tour to support. Seek him out at the Drake Underground on October 6 – tickets $15.

MP3: Lambchop – “Slipped Dissolved and Loosed”

Angela Desveaux is now listed as support for The New Year at Lee’s Palace on October 15. Both acts have new albums out September 9 – Desveaux with The Mighty Ship and The New Year with a self-titled affair. Desveaux is also at The Boat on September 4.

MP3: The New Year – “The Company I Can Get”
MP3: Angela Desveaux – “Sure Enough”

We Are Wolves are at the El Mocambo on October 17.

New York City shoegazers Asobi Seksu will be at the Horseshoe on October 20 previewing material from their third album, due out in early 2009 courtesy of their new home at Polyvinyl. Tickets are $10.

Great Lake Swimmers return home for their first headlining show in a while on October 25 at Lee’s Palace. There’s a video of them playing “Moving Pictures, Silent Films” in a studio over at Toro.

Sharon Jones & The Dap Kings have a date at the Kool Haus on October 29, tickets $21.50.

And via For The Records – Toronto’s Fucked Up, newly signed to Matador, will cap off a two-week tour in support of their new record , out October 7, with a three-night stand at Sneaky Dee’s from October 30 to November 1. While trying to pick out which night of a multi-night engagement will be the best can be a crapshoot, in this case I’m wagering that the middle night will be the one to aim for. Hallowe’en. Yes.

MP3: Fucked Up – “No Epiphany”

Photo by Frank Yang

The one enduring memory I have of Radiohead’s show at the SkyDome in October 2003 is of Thom Yorke’s face on the Jumbotron. He’s seated at the keyboard, to which they’ve attached a little webcam/fisheye thing and he’s leaning into it and making faces whilst playing and his visage – equal parts comical and grotesque – is there in front of me, 110 feet high. Yes, it made an impression.

But that show was most memorable to me not for the performance but for marking what was, essentially, the end of an almost ten-year relationship with the band. History has shown that the Oxford quintet have so far had two very clearly marked phases in their career: their ascension from one-hit grunge contemporaries to arguably the most innovative and important rock band in the world – we’ll call those the ’90s – and their subsequent deconstruction of all that and reinvention as an electronic-rock hybrid.

Being very much from the old school, I found the recent years increasingly difficult to follow and though it seems that others had no problem making the shift with the band and I’ve met many who only began to find the band interesting from Kid A on, I basically gave up on my once-favourite band in the world after Hail To The Thief, which even managed to make their much-ballyhooed return to guitars sound cold and inorganic. They’d been so successful in trading in themes of alienation and paranoia that they’d succeeded in alienating me and that last show was the perfect example. From my vantage point, the band were tiny figures on a stage and what I could see up on the screen offered no sort of connection with the band.

And so it was that post-Thief and post-Skydome show, I went on with life post-Radiohead fandom. It certainly wasn’t difficult – this blog and the new musical discoveries that came with it began to get into full swing thereabouts as well so it’s not like there wasn’t plenty to fill the Yorke-shaped hole in my life. Of course, it was easy enough to not pay attention when they didn’t release a new record in the interim (save for Yorke’s solo record) and I think I only had to not worry about getting tickets to one local show. But then came that whole In Rainbows stunt/event and like pretty much everyone else, I figured that a couple quid or whatever I ended up deciding to pay wasn’t much of an investment to see if THIS “return to roots” claim had any legs.

And amazingly, it did. As I said in my review, it sounded like the band had stopped being so self-conscious about being a rock band and that sense of ease allowed them to make their most natural and, for my money, best record in a decade. I wasn’t going to dust off the fan club membership card or anything – no I never had one – but the idea that there might be a second act for my relationship with the band was genuinely exciting to me.

Which, after a lengthy but sort of necessary-for-context preamble, brings us to Friday night at the Molson Amphitheatre. Five years less a day on from their show scheduled at that same venue, the band were wrapping up the eastern leg of a mammoth North American tour that mixed festivals and headlining shows. And while there was nothing as catastrophic as the blackout that forced the 2003 show to be postponed for two months, it wasn’t necessarily smooth sailing as a steady downpour drenched those on the lawns – but it also conjured up at least two rainbows.

This was commented on by openers Grizzly Bear, who were playing the last date of their stint as support for Radiohead. Though I’d seen them a few times before and was pretty familiar with their last full-length Yellow House, I’ve never been as enthralled with them as some I know. It’s curious, then, that in this setting – a big half-empty venue where no one is there to see you is about as unsympathetic as you can probably find – they made the most favourable impression on me yet. Perhaps the cavernous acoustics worked to their advantage, adding even more reverb to their sound and emphasizing the hazy, dreamlike qualities of their folk-rock. And perhaps their new songs, of which they played a few, are just pretty great. “Two Weeks”, which was premiered on Letterman a little while back, sounded more immediate and hooky than anything I’ve heard from them and, if it’s indicative of where they’re going on their next record – slated for a Spring 2009 release – then it may be that I’m just an album behind the curve with these guys than everyone else.

As for Radiohead, well as pretty much every report from this tour – or their career – and despite a few technical hiccups, they put on an amazing show. Under a stage setup of long, hanging LED pillars that looked like Superman’s Fortress of Solitude (circa Superman II), they were superbly tight yet not mechanical about it – I found the sight of Ed O’Brien grinningly shaking a tambourine to be a charming sight. They kicked off with “15 Step” and plowed through a set that ultimately included all of In Rainbows and drew heavily on their recent records. The 20th century wasn’t even acknowledged until a dozen songs in with “No Surprises” and only once more in the main set (“Climbing Up The Walls”), which finished after a surprisingly brief hour fifteen. But at shows like this, you know they’re playing till curfew and when they returned for a five-song encore, it reached further back with an “Airbag” that suffered for having Jonny Greenwood’s guitar too low in the mix, a surprise appearance of fan-fave b-side “Talk Show Host” and a glorious “Street Spirit”. Still not done, they returned for a second encore which got Bends-y with “Planet Telex” and concluded with “Everything In It’s Right Place”.

As you can probably tell from the above stated highlights, it was still the older material that got my juices flowing and as such, they didn’t get flowing until a good deal later in the set. With much of the more recent material necessarily reconfigured from their studio versions for live performance, I didn’t even recognize some of the Thief material at first – that’s just how much and how recently I’ve listened to that record. And while the second half of the show did redeem the whole for me, I confess I found myself getting a bit agitated earlier on as they seemed be working working from a set list designed to disappoint me. I think I’d gotten the idea that they were going to be drawing much more heavily on the past (and to be fair, some of the other set lists from the tour that I’ve seen seemed to go that way) and, by extension, I think I was hoping that they’d get me as excited about them as I was, oh, ten years ago. I wanted them to make me feel young again and that, obviously, is stupid.

Regardless of how much I like (or dislike) their recent output, the fact is Radiohead are far, far, far away from being a band who need to put together a “greatest hits”-type set and just because I was ready to feel nostalgic in getting back on board with what is still one of the most important bands in my life was no reason to think that they were going to be interested in soundtracking that particular trip. Net result, thanks to my own unrealistic expectations I didn’t enjoy the show as much as most everyone else there and I probably could/should have and that’s not a mistake I’ll be making again (I would hope). I’ve been spending more time with Hail To The Thief and Amnesiac in the past few days than I have in the past few years, trying to revisit them with fresh ears, and parts of them – not all – are coming into sharper focus to me than before. I don’t know that I’ll ever like them, but a better appreciation wouldn’t hurt. Next time Radiohead are back, I’ll be ready for them.

There’s a full set list and fan reaction over at At Ease while The National Post, The Globe & Mail, AOL Music Canada, eye, Chart and The Toronto Sun have reviews. eye also does their bit by celebrity spotting Thom Yorke in Parkdale the night before the show. Elsewhere, Grizzly Bear’s Ed Droste has been blogging their tour with Radiohead for Rolling Stone.

And a final question – did the bonus material that came in the deluxe edition of In Rainbows ever make itself available anywhere else? Is there anything especially worthy in those eight songs?

Photos: Radiohead, Grizzly Bear @ The Molson Amphitheatre – August 15, 2008
MP3: Grizzly Bear – “Two Weeks” (live on Letterman)
MP3: Grizzly Bear – “While You Wait For The Others” (live at KCRW)
MP3: Grizzly Bear – “On A Neck, On A Spit”
MP3: Grizzly Bear – “Knife”
Video: Radiohead – “Jigsaw Falling Into Place”
Video: Radiohead – “Nude”
Video: Radiohead – “House Of Cards”
Video: Grizzly Bear – “Knife”
MySpace: Radiohead
MySpace: Grizzly Bear