Wednesday, May 4th, 2011
Low and Memoryhouse at The Mod Club in Toronto
Frank YangYou’re not wrong, it really had been forever since Low last headlined a show in Toronto – well over five years, to be exact. It may not have seemed that long, what with them having been here supporting Wilco at Massey Hall in July 2007 and Alan Sparhawk having brought his Retribution Gospel Choir through town a number of times in the interim, but yes. Low sightings in Toronto have been, well, low.
The drought finally ended on Monday night at the Mod Club, however, with Duluth’s finest in town to support their latest effort C’Mon, their first in four years and that, I suppose, is all the explanation you’d need for why they haven’t visited. And as a return, it feels like a “where we’ve been” over the last decade or so. It predominantly resembles 2002’s Trust, with its warm, organic tones and relatively unadorned production, but you don’t have to dig too deep to uncover some of The Great Destroyer‘s overt rock moves or Drums And Guns‘ dark and crushing paranoia. It’s noteworthy that while that sequence of records confused and alienated much of their long-time fanbase – but won new devotees – blended together as they are on C’Mon they actually make a lot of sense and as such, it might be their most broadly satisfying record in some time.
Support for the evening were local dreampop ensemble and recent Sub Pop signees Memoryhouse. I first saw them back in December and while I liked much of what they were doing musically, those who criticized their live performances as being rather sleepy had a point. Perhaps in response, the Memoryhouse who took the stage on this evening were a full and proper band, with a rhythm section joining principals Evan Abeele and Denise Nouvion and made for a still low key but more confident band up there than the one I saw a few months ago. Nouvion, in particular, was clearly more comfortable in the role of frontwoman, even working some dance steps into the show. And while this configuration certainly did what one would hope, filled out the sound and gave it some weight, it also made them more conventional-sounding; not necessarily a bad thing, but when there was all that space, it left more to the imagination. But even so, as a preview of their debut full-length due out before the end of the year, it ably demonstrated why one of the premier record labels around would be so keen to get them under contract. I look forward to seeing and hearing them grow.
Ask people what they’d expect a Low show to sound like and they’d probably respond with one or all of: slow, solemn, with beautiful harmonies from Alan Sparhawk and Mimi Parker and maybe a guitar freakout or ten. But handclaps and drum machines? Maybe not so much. So that their show opened exactly so with “Breaker” would serve as notice that the evening might not be so predictable. Okay, it was still all of the things noted above, but still surprising in a number of respects, not least of all that they were here as a quartet with Sparhawk’s compatriots from the Retribution Gospel Choir on bass on keys. But most significant was that despite having released their warmest-sounding record in years and playing just about all of it over the course of the show, live it took on a decidedly different character. It was slower, starker and aside from a few moments of lightness, if you hadn’t heard the record you might have thought the band was continuing on with the grim Drums And Guns aesthetic.
Perhaps the tension was just reflecting on the unspoken mood of the crowd, what with this being federal election night and the returns coming in over the course of their set not reflecting what the presumably left-leaning audience would have liked to see. Adding to the atmosphere was the fact that Sparhawk didn’t speak a word to the audience through the entire show, and only then because he flubbed the intro to their final song. At that point he chastised his own country for taking to the streets to celebrate an assassination and lauded ours, only to be informed that we might not be far behind – at which point they closed out, perhaps appropriately given the topics of conversation, with “Murderer”. The encore offered a bit of uplift, with Sparhawk not so subtly inquiring as to where one might acquire some pot and dedicating to us “Canada” before closing things out with a grand reading of “When I Go Deaf”, offering a most welcome bit of a catharsis and making the next four years – whether until the next election or when Low finally return again – seem just a bit more bearable.
The National Post has a review of the show, while The Boston Globe and New Haven Advocate have interviews. The Alternate Side has an interview and session.
Photos: Low, Memoryhouse @ The Mod Club – May 2, 2011
MP3: Low – “Especially Me”
MP3: Low – “Try To Sleep”
MP3: Low – “Silver Rider”
MP3: Low – “Murderer”
MP3: Low – “Breaker”
MP3: Low – “California”
MP3: Low – “Monkey”
MP3: Low – “In Metal”
MP3: Low – “Sunflower”
MP3: Memoryhouse – “Lately (Deuxieme)”
MP3: Memoryhouse – “Lately (Troisieme)”
MP3: Memoryhouse – “Gian Lorenzo Bernini”
Video: Low – “Try To Sleep”
Video: Low – “Belarus”
Video: Low – “In Silence”
Video: Low – “Breaker”
Video: Low – “California”
Video: Low – “Death Of A Salesman”
Video: Low – “Monkey”
Video: Low – “Hatchet”
Video: Memoryhouse – “Heirloom”
Video: Memoryhouse – “Bonfire”
Video: Memoryhouse – “Lately (Deuxieme)”
The disappointment at there not being any local dates for the Archers Of Loaf reunion has been mitigated somewhat by the fact that Eric Bachmann is still coming to town this Summer – he is bringing Crooked Fingers to the Horseshoe on July 3, tickets $13.50. Who knows what they’ll be playing – a new record is due out sometime this year – or even who’s in the band, but happiness is still the correct response. Update: The new record is called Breaks in the Armor and it’s out in October.
MP3: Crooked Fingers – “Angelina”
Urge Overkill are readying their first new record in pretty much forever with Rock & Roll Submarine, out next week, and are coming to town for the first time since NXNE 2007. Look for them and their medallions at The Horseshoe on July 7, tickets $15.50. Illinois Entertainer and Music Radar have feature pieces on the band’s return.
Video: Urge Overkill – “Positive Bleeding”
Cold Cave – last seen (or not seen given their fondness for playing in the dark) opening up for The Kills this past weekend – have scheduled a headlining date at The Horseshoe on July 14 as part of a Summer tour, tickets $15.
MP3: Cold Cave – “Villains Of The Moon”
MP3: Cold Cave – “The Great Pan Is Dead”
Video: Cold Cave – “Villains Of the Moon”
Sonny & The Sunsets bring their new record Hit After Hit to Sneaky Dee’s on July 24.
MP3: Sonny & The Sunsets – “I Wanna Do It”
Video: Sonny & The Sunsets – “Reflections On Youth”
Acknowledging that making people choose between themselves and The Pains Of Being Pure At Heart show at The Opera House on the same evening, Beirut and Owen Pallett & Les Mouches have added an August 4 show at the Phoenix to go along with the previously announced and sold out August 2 show at the same venue. Tickets are again $32.50 and will again surely sell out.
MP3: Beirut – “Postcards From Italy”
MP3: Owen Pallett – “Lewis Takes Off His Shirt”
Continuing their mandate of only playing with other bands who are nonsensical clubs, Two Door Cinema Club are teaming up with Bombay Bicycle Club for a Fall North American tour that includes a September 17 stop at The Phoenix. Joining them will be The Lonely Forest, who have apparently convinced the other two that they are also a club. Or maybe just have a clubhouse.
MP3: The Lonely Forest – “Coyote”
Video: Two Door Cinema Club – “What You Know”
Video: Bombay Bicycle Club – “My God”
Kings Of Leon have made an October 11 date at the Air Canada Centre with Band Of Horses supporting.
MP3: Band Of Horses – “Factory”
Video: Kings Of Leon – “Sex On Fire”
Tuesday, May 3rd, 2011
Tame Impala and Yuck at The Phoenix in Toronto
Frank YangThe city’s music critics had to be a little disappointed upon arriving at the Phoenix on Sunday night and seeing signs informing them that Chicago’s Yawn had cancelled their appearance because of car trouble in Montreal – after all, had their set been anything less than impressive, the review would have written itself. But the opportunity to be simultaneously succinct and lazy still presented itself with London’s Yuck, not that it was needed.
I saw the quartet back at SXSW, where they were one of the festival’s buzz bands thanks to the made-in-a-world-where-Bandwagonesque-trumped-Nevermind melodic fuzz pop of their self-titled debut and, perhaps looking a little too firmly through the lens of a photographer, wasn’t impressed. For an outfit riding a surge of interest that most bands would give a limb for, they seemed exceedingly bored with the whole thing – and this was on the very first night of a week packed with shows. But that didn’t give them enough credit for how they sounded, which was pretty great – any perceived indifference didn’t apply to their playing, which mitigated any disappointment in their lack of stage diving.
In any case, it seems that the time on the road has done the band a lot of good in pretty much every department. They still seem to have a running contest amongst themselves to see who can look the most expressionless but there were a few earnest if awkward attempts at audience banter and in performance, they weren’t inanimate, allowing themselves to bob up and down with the beat or wander around the stage – singer Daniel Blumberg even contributing a few convincing screams where called for. Musically, the songs have evolved some from their recorded versions, incorporating extended musical segues or in the case of set closer “Rubber”, devolving into a sludgy dirge (meant in a mostly positive sense). But it’s the songs that are Yuck’s greatest strengths, so filled with hooks and melodies that owe much to the ’90s but are also timelessly pop. And unlike some of their distortion pedal fetishist contemporaries who use the noise to bury rather than buoy, Yuck sound almost hi-fi in their sonic clarity. Almost. But still plenty fuzzy.
Australian headliners Tame Impala also know their way around a pedalboard, as evidenced by last year’s psych-rock standout debut Innerspeaker, but clarity is not at the top of their mission statement. In wrapping frontman Kevin Parker’s voice in a distinctive echo-reverb, they effectively conjure up the ghosts of Barrett-era Pink Floyd but grafted onto big guitar and synth riffs and propelled by massive, grooving rhythms, Tame Impala are very much their own beast. Most importantly, though, they brings songs to the table – something that’s too often overlooked by acts in this particular niche of rock’n’roll, more concerned they are with sonic mayhem than actual substance. But armed with well-crafted, melodic and memorable songs, Tame Impala are the complete psych-rock package and even with just one album to their name, they set the standard.
And they put on a pretty terrific show, too. Their hour-fifteen long, encore-less set showcased their ability to marry hooks with grooves and jam without sounding jammy, always keeping focus and never losing the plot. A particular highlight was their cover of Massive Attack’s “Angel”, which introduced some darkness to their sound by maintaining the mystery and menace of the original. I’m also used to bands of their ilk performing in the dark and aloofly preferring to let their music speak for them and while they hardly busted out a light show, the oscilloscope on acid projected behind them offered some extra visual interest. The set was also punctuated with friendly banter, though it got a touch odd when they announced that Osama Bin Laden had been killed (to confused applause) and dedicated buoyant instrumental “Jeremy’s Storm” to him, which they apologized for afterwards, lest anyone think it was in tribute. An odd and memorable moment in a show that was plenty memorable enough already.
Exclaim and NOW have reviews of the show and The Globe & Mail an interview with Tame Impala. The Boston Herald and Philly.com have features on Yuck.
Photos: Tame Impala, Yuck @ The Phoenix – May 1, 2011
MP3: Tame Impala – “Runway, Houses, City, Clouds”
MP3: Yuck – “Get Away”
MP3: Yuck – “Georgia”
MP3: Yuck – “Automatic”
MP3: Yuck – “Daughter”
MP3: Yuck – “Coconut Bible”
Video: Tame Impala – “Expectation”
Video: Tame Impala – “Lucidity”
Video: Tame Impala – “Solitude Is Bliss”
Video: Yuck – “Get Away”
Video: Yuck – “Holing Out”
An Horse have just released their second album Walls and will be playing a free in-store at Criminal Records on May 15 at a time TBD in advance of their show at Mod Club the following evening opening up for Manchester Orchestra.
Video: An Horse – “Dressed Sharply”
Their commitments opening up for Foals completed as of this past weekend, Kiwis The Naked & Famous have set their own headlining date at Lee’s Palace for August 9, tickets $15 in advance. Blast has an interview with the band.
Video: The Naked & Famous – “Girls Like You”
Australia’s Sia and Denmark’s Oh Land are teaming up for a tour that brings them to The Phoenix on July 24, tickets $24.50 in advance. Sia’s latest We Are Born came out last year while Oh Land’s self-titled debut came out in March. The Los Angeles Times talks to Oh Land’s Nanna Øland Fabricius about her work.
Video: Sia – “Clap Your Hands”
Video: Oh Land – “Son Of A Gun”
Spin reports that Ida Maria is done with album number two and is even sharing a new tune from the record – look for Katla on June 7.
MP3: Ida Maria – “Cherry Red”
Italian radio show Maps has a downloadable radio session from Allo Darlin’, who will be at The El Mocambo on June 11.
MP3: Allo Darlin’ – “If Loneliness Was Art” (live on Maps)
Under The Radar is streaming the whole of the new Wild Beasts record Smother a week ahead of its May 10 release. Interview has an interview.
Stream: Wild Beasts / Smother
Mogwai talk to aux.tv about their plans to release a new EP this Fall, tentatively titled Earth Division. The AV Club also has an interview with Stuart Braithwaite.
Rolling Stone declares Anna Calvi an artist to watch, and you can do just that as a recent show in Paris is available to watch in its entirety at ARTE. It should give you an idea of what you will see – and what I’ll be missing – when she’s at the El Mocambo on May 27.
Pitchfork talks to Stanley Donwood, the artist responsible for the artwork and packaging for Radiohead’s The King Of Limbs.
Aquarium Drunkard chats with Norman Blake of Jonny, who kick off their North American tour with two nights at The Drake Underground on June 3 and 4.
Monday, May 2nd, 2011
Wildlife, The Darcys and Freedom Or Death at Steam Whistle Brewing in Toronto
Frank YangI will be the first to admit I don’t do nearly as good a job of keeping track of worthy up and coming local and/or Canadian bands as I’d like, generally taking an “if they’re worth hearing I’ll hear them eventually” approach and deferring to great local and national sites with a homegrown focus like I Heart Music, The Take, Singing Lamb and Herohill to do the legwork and put worthy new Canuck talent on my radar. Showcasing said talent is the mandate of the Unsigned series which periodically puts on shows at the Steam Whistle brewery and checking out said talent was what I was doing there on Friday night along with a pretty packed roundhouse.
Leading things off were Freedom Or Death, who were marking the release of their debut mini-album Ego earlier in the week. The duo in the studio/quartet on stage craft what would best be described as a sort of synth-rock-soul amalgam, though not nearly as left field-sounding as that might imply. Most of their material is built around frontman Sway C in R&B croon mode overtop keyboard patches lifted from the ’80s and given a ’90s-ish production sheen, but its relative safeness is offset by the fact that a lot of their songs are instantly memorable and expertly crafted. It’s the sort of thing that if alt.rock radio or MuchMusic still held the cultural hegemony they once did, could become huge but as things stand today, would have to settle – for now at least – for impressing a roomful of punters in a brewhouse. Like their music, their performance was a bit slick and calculated but certainly effective; those watching might well have walked away thinking they’d seen one of the city’s next big things and who knows, they might be right.
Goodness knows that’s a title that’s been hanging around The Darcys for years now, and clearly no guarantee of anything. The circumstances around their delayed ascent to greatness were pretty well-documented back in March by The Toronto Star – but with the self-titled sophomore effort that’s really more of a debut hopefully finally ready to see the light of day after being stalled for more than a year, the band may finally be ready to move forwards. For the as yet unacquainted, my best description of The Darcys would a balance of prog and pop somewhere between the tension of mid-era Radiohead and the grand presentation of early Elbow, though I don’t think it’s any slight to add the caveat that they’re not as brilliant as either, at least not right now if ever, but it does give a sense of where they’re pointed creatively as well as their potential. And so while there’s still no definite timetable for when their recorded selves will finally be let loose, though it seems inconceivable that no label in the city will have the good sense to put it out before the year is out, The Darcys are making do venting their energies onstage.
As with the last couple times I’d seen them live, their show was an impressive exercise in musicianship and intensity though as I’ve mentioned in the past – and as also applies to their record – a couple of less-clenched songs would really help the dynamics of the experience. But considering they’ve been sitting on this record and these songs far longer than any band ever should, who knows where they’re actually at right now with respect to their songwriting. And that’s perhaps the biggest reason I hope they get the album out soon; not just so that the rest of the world can be let in on what Toronto’s known for so long, but so that the band can finally get on with it.
Though The Darcys were top billed on the show posters, they weren’t the closing act – that honour went to Wildlife, whose acquaintance I’d made only a day or two earlier via a copy of their debut album Strike Hard, Young Diamond which conveniently showed up in my mailbox. And the collection of uptempo rock, faintly Wolf Parade-ish without all the quirkiness and striking a good balance between heart-on-sleeve sensitivity and beer-in-hand boisterousness, made a good impression so though the option of heading home early was on the table, I opted to stick around. That the aforementioned balance wouldn’t be carried over to the stage was made clear pretty early on as frontman Dean Povinsky declared that the evening’s spirit animal would be Andrew WK and the theme would be partying. They did the party thing well, however, and while it didn’t really hold my attention for the duration, it did energize the crowd with the good time vibes. And props for the solid encore of The Who’s “Baba O’Reilly”.
NOW has a profile on Freedom Or Death and Toro a video session. Their next show is June 9 at The Drake while Wildlife’s next local performance will be May 26 at Sneaky Dee’s.
Photos: Wildlife, The Darcys, Freedom Or Death @ Steam Whistle Brewing – April 29, 2011
MP3: Wildlife – “Stand In The Water”
MP3: The Darcys – “The House Built Around Your Voice”
MP3: Freedom Or Death – “This Crowded Room”
Video: Freedom Or Death – “This Crowded Room”
Heartbeat Hotel, who are one of my personal picks for worthy unsigned bands in the city – as in worthy of being signed, not that they should remain without a label – have released a new video from last year’s free and excellent and free album Fetus Dreams.
Video: Heartbeat Hotel – “Windowsill #1”
Nashville’s Tristen will be in Toronto on July 16 for a show at the Drake in support of her debut album Charlatans At The Gate; a 7″ worth of MP3s is available at their website in exchange for an email.
Video: Tristen – “Baby Drugs”
Liz Phair defends the artistic merits of lat year’s Funstyle to Spinner.
Having just announced that they’ll be reissuing their 2004 EP Cherry Tree in limited edition on June 28, The National are giving away an MP3 of “About Today” from said release at their Bandcamp in exchange for an email. Also available to grab is the song they contributed to the soundtrack of Portal 2, which I’m led to understand is a video game of some kind.
MP3: The National – “Exile Vilify”
The Dallas Observer and Exclaim talk to Will Sheff of Okkervil River, whose new record I Am Very Far comes out next Tuesday, May 10 but is streaming in whole right now at Exclaim. They play The Phoenix on June 10.
Stream: Okkervil River / I Am Very Far
NYC Taper is sharing a recording of Low’s set at the Bowery Ballroom in New York last week. They’re at The Mod Club tonight.
DCist talks to Bill Janovitz of Buffalo Tom.
The New York Times profiles the people behind the up-and-coming live music resource Songkick.
Sunday, May 1st, 2011
Of Montreal cover Neil Young
AbsolutelyricsThough they started out as repping the twee-er than twee end of the Elephant 6 spectrum, Of Montreal have since made their name as purveyors of boundary-pushing, sexed-up psychedelic soul-pop of the sort whose only constant is being outrageous.
So it was a bit surprising that their contribution of an in-studio EP for Sony’s short-lived Connect online music store would strip down in the figurative sense rather than the literal (Of Montreal performances frequently end up clothing optional) for a short and sweet take on one of Neil Young’s sweetest and most nostalgic tunes. Kevin Barnes can be a romantic when he wants to; who knew?
Of Montreal have just released their thecontrollersphere EP as a follow-up to last year’s False Priest, and they’ll be at The Phoenix this Tuesday night, May 3. Neil Young brings his solo tour ostensibly for last year’s Le Noise to Massey Hall for two nights, May 10 and 11.
The Washington Examiner has an interview with Kevin Barnes.
MP3: Of Montreal – “Harvest Moon”
Video: Neil Young – “Harvest Moon”
Saturday, April 30th, 2011
Roger DeckkerWho: Lykke Li
What: Swedish indie-dance-soul diva Li Lykke Timotej Zachrisson has come a ways since closing one of our Hot Freaks stages at SxSW 2008 because, well, we couldn’t get anyone else. But we’ll call it prescience nonetheless.
Why: She released her second album, the darker, slinkier and all together better Wounded Rhymes at the start of March and having come through town at least three times – possibly more – in support of Youth Novels, you know more touring was inevitable.
When: Sunday, May 22, 2011
Where: The Phoenix Concert Theatre in Toronto (all-ages)
Who else: Montreal’s Grimes will open things up.
How: Tickets for the show are sold out – she played the much larger Sound Academy last time through so no surprise there – but courtesy of Embrace, I’ve got two pairs of passes to give away to the show. To enter, email me at contests AT chromewaves.net with “I want to get some Lykke Li” in the subject line and your full name in the body and have that in to me before midnight, May 15.
What else: Having recovered from a bit of touring burnout, Lykke Li is back on the road with a new video to share.
MP3: Lykke Li – “Youth Knows No Pain”
MP3: Lykke Li – “Get Some”
Video: Lykke Li – “Sadness Is A Blessing”
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