Friday, December 17th, 2010
Canadian Musicfest reveals first batch of acts for 2011
FacebookSeeing as how 2010 is basically over and done with – didn’t you see all the lists summing it all up? The next week and a half are just formality – it’s time to start turning our eyes ever so slightly to next year and Canadian Musicfest, one of the first big upcoming to-dos hereabouts, has given us something to focus on with the first batch of showcasing artists at the festival, which will run March 9 to 13 at clubs around downtown Toronto.
Some of the names that jump out at me are J Mascis, who will be showcasing his acoustic side as per his forthcoming solo record Several Shades Of Why out March 15, buzzy Brit band Bombay Bicycle Club, Canadian acts like Land Of Talk and Shad who will have graduated to marquee artist status and up and comers such as La Patère Rose and Olenka & The Autumn Lovers.
I was especially pleased to see Miracle Fortress in the lineup, as it means the long wait for a follow-up to 2007’s Five Roses could finally be coming to an end. At one point last year the word was the famine was going to become a feast with not one but two new albums being readied for release, but nothing came of them and Graham Van Pelt busied himself with Think About Life. A new record for 2011 seems like a certainty, although exactly what that record will be is anyone’s guess. The promotion cycle for Five Roses turned Miracle Fortrees from a solo endeavour into a band, but key members Jessie Stein and Adam Waito have their own projects – The Luyas and Adam & The Amethysts respectively – demanding their attention. I’ll bet that album number two will again be Van Pelt on his own and suspect that anyone hoping for another collection of sparklingly psychedelic Beach Boys-esque pop will be left scratching their heads. But my guess is as good as anyone else’s, and we’ll find out for sure come March.
MP3: Miracle Fortress – “Have You Seen In Your Dreams”
Diamond Rings has had a pretty impressive 2010, and his 2011 is looking to be shaping up nicely as well – it was announced yesterday that he would be opening up for Swedish pop superstar Robyn on all her upcoming North American dates, starting on January 26 at the Sound Academy in Toronto. Yes indeed, a hell of a thing.
MP3: Diamond Rings – “Something Else”
Paste asks Destroyer’s Dan Bejar to describe his new record Kaputt. Said album is out on January 25.
The first MP3 from Iron & Wine’s new record Kiss Each Other Clean is up for download at the band’s website in exchange for an email address.
Billboard talks to Bright Eyes’ Conor Oberst about their new record The People’s Key, out February 15. They are at the Sound Academy on March 13.
Beach House are giving away a new song, just because they sound like Summer and it is currently, in no way shape or form, Summer. Except in the southern hemisphere.
MP3: Beach House – “I Do Not Care For The Winter Sun”
If you missed their sold-out show at the Drake last week, take heart – husband-and-wife duo Tennis will return on February 25 for a show at the Horseshoe. Their debut Cape Dory is due out January 18. The Denver Post profiles the band.
MP3: Tennis – “Take Me Somewhere”
MP3: Tennis – “Baltimore”
Bandwidth has an acoustic video session with Frightened Rabbit.
Matablog reveals that Belle & Sebastian’s hometown show at the Barrowland in Glasgow next Tuesday will be streamed live via a number of online outlets, including NPR, starting at 4PM EST.
The Dumbing Of America, Bloginity and Herald Scotland interview White Lies, whose second album Ritual will be out January 18. They’re at the Mod Club on January 29 and a live version of the first single is available to download at their Myspace.
Grinderman have a new video. It’s “Evil”. And evil.
Video: Grinderman – “Evil”
Pitchfork has details on Peter Bjorn & John’s next record, which will be entitled Gimme Some and be out on March 29.
Thursday, December 16th, 2010
Review of Savoir Adore’s In The Wooded Forest
Shervin LainezThough I’ve no corroborative quantitative evidence, I will posit that this past June 19, 2010 was one of the busiest nights, as far as music entertainment options go, in recent history. You had Iggy & The Stooges inciting mayhem at Yonge-Dundas Square, Pavement and Broken Social Scene holding court out on the Toronto Islands, Queen West was being transformed into Bieber Central for the MMVA’s at MuchMusic the next night and American Idol‘s Adam Lambert was doing whatever the hell he does at the Molson Amphitheatre. Not to mention that NXNE was still raging at most clubs throughout the city. And while I’ve no regrets about bearing witness to the Iggy-powered punk uprising at YDS, I remain sad that it meant missing seeing Brooklyn duo Savoir Adore at Sneaky Dee’s that same evening as part of NXNE, even moreso now that I’ve been spending quality time with their debut album In The Wooded Forest.
Unlike some other he-and-she duos currently on the indie rock circuit, Deirdre Muro and Paul Hammer don’t allow their band configuration define their sound – Forest is as full-sounding a record as anything a more conventionally structured band might make; it definitely boasts a certain home studio fidelity but isn’t lacking in musical depth in any way and the simpler aesthetic suits their earnest brand of pop to a tee. You can hear them experimenting with different musical styles – ’80s New Wave, Americana and disco all get thrown into the mix in varying quantities – but it’s the duo’s songwriting and intuitive hookiness that carries the record. Muro and Hammer’s voices are strong individually and divine in unison, their melodies carrying just the right amount of verve and sugariness, like aural cotton candy that somehow manages to deliver the full nutritional value of a balanced meal. A wholly addictive record.
I don’t know if there’s much chance of Savoir Adore coming back to town anytime soon – Forest is already well over a year old (I never said I discovered them in anything resembling a timely manner) and they’re more likely headed back into the studio than back on the road, but if and when they do return, I can only hope that they’ve got a little less competition on the live music front than last time.
They’ve just made a new non-album single available for download in “Loveliest Creature” and reaching back a bit, there’s also this Daytrotter session which was posted back in the Spring.
MP3: Savoir Adore – “Loveliest Creature”
MP3: Savoir Adore – “Bodies”
MP3: Savoir Adore – “We Talk Like Machines”
MP3: Savoir Adore – “The Garden”
Video: Savoir Adore – “The Scientific Findings of Dr. Rousseau”
Video: Savoir Adore – “Bodies”
Myspace: Savoir Adore
R.E.M. has given a March 8 release date to their new record Collapse Into Now and are giving the first track “Discoverer” away from their website. And while the whole “return to form” thing gets tossed around with every new record, “Discoverer” does have a certain old-school-ness about it… I approve.
Drowned In Sound gets some time with Robert Been of Black Rebel Motorcycle Club.
The Quietus talks to Brett Anderson and Neil Codling of Suede, who if they’re going to not break up again may as well just hop on a plane and come over here to play Lee’s. Yes, they can bring Fat Richard.
Interview, BBC, Sydney Morning Herald and Scotland On Sunday chat with Duffy.
PitchforkTV has a Tunnel Vision session with Isobel Campbell.
QRO has an interview with Stornoway.
Win Butler of Arcade Fire tells The Scotsman he is now and ever shall be a fan of the album.
It’s a music video! It’s a PSA! It’s both! The New Pornographers have teamed with Oxfam to create a clip for “Sweet Talk, Sweet Talk” from Together that draws attention to the plight of those affected by the Gulf Coast oil spill earlier this year. There’s more info on the collaboration at Oxfam.
Video: The New Pornographers – “Sweet Talk, Sweet Talk”
aux.tv solicits some holiday memories from The Rural Alberta Advantage. They’re at Lee’s Palace tonight and their new record Departing arrives on March 1. Departing? Arrives? See what I did there?
Wednesday, December 15th, 2010
Bright Eyes bring The People’s Key to the people
FacebookThat sound you hear is the sound of legions of Bright Eyes fans, whom having just recovered from the news that Conor Oberst was returning to that project for one more record in The People’s Key on February 15, are swooning and weeping (with joy) even more at the announcement of the first leg of tour dates to support said record.
Oberst last played Toronto as Bright Eyes back in May of 2007 with a show at Massey Hall, but didn’t return with his own Mystic Valley Band solo thing. He did make an appearance last Fall with his Monsters Of Folk compatriots, again at Massey, but TO Conor-ites will finally get a proper fix next March when he leads whomever is in Bright Eyes this time out for a show at the Sound Academy on March 13. Not the classy digs he’s gotten used to over the last couple visits, no, but venue complaints aside you can bet that the date is being circled on a lot of calendars right now, especially if the rumours that this is Oberst’s final kick at the Bright Eyes can are accurate.
Tickets for the Toronto show are $34.50 for general admission (aka those who need to be as close to Conor as possible) and $49.50 for VIP (aka those who need to be as far from those who need to be as close to Conor as possible) and go on sale this Friday, December 17.
MP3: Bright Eyes – “Four Winds”
MP3: Bright Eyes – “Lua”
MP3: Bright Eyes – “Lover I Don’t Have To Love”
Connoisseurs of French pop will be pleased to know that Parisians Revolver have made a date at the Drake Underground for March 3, tickets $10.50 in advance. Their debut Music For A While was released domestically back in August.
MP3: Revolver – “Get Around Town”
Video: Revolver – “Leave Me Alone”
Video: Revolver – “Balulalow”
Those who missed Chicagoan glam-punk moppets The Smith Westerns last month when they opened for Florence & The Machine and played a tiny after show the same evening will be pleased to know they’ve slated a proper tour and will be back in town at the Horseshoe on February 28. And they’ve put out a new video, too. Their second album Dye It Blonde is out January 18.
MP3: Smith Westerns – “Imagine, Pt 3”
Video: The Smith Westerns – “Weekend”
The first sample of The Rural Alberta Advantage’s new record Departing is now up for grabs. The record is out March 1 and they play a sold-out show at Lee’s Palace tomorrow night.
MP3: The Rural Alberta Advantage – “Stamp”
Dodos frontman Meric Long talks to Pitchfork about their plans for album number three.
The Mountain Goats are giving away a new MP3 for a song that won’t be appearing on their next album All Eternals Deck when it’s released on March 29. But hey – new Mountain Goats.
MP3: The Mountain Goats – “Tyler Lambert’s Grave”
NPR has a World Cafe session with Johnny Flynn.
The Quietus interviews Titus Andronicus. The band, not the fictional character.
The first video from Nicole Atkins’ forthcoming Mondo Amore is now available for all to see. The record is out January 25 and she plays the Horseshoe on February 26.
Video: Nicole Atkins – “Vultures”
Colin Meloy previews some of The Decemberists’ new record The King Is Dead in session for NPR. The album is out January 18 and they play The Sound Academy on February 1.
The AV Club’s AV Undercover series from this Summer is over and done, they’re busting out the covers series for the holiday season with Holiday Undercover, which includes Shearwater covering Randy Newman’s bummer seasonal tune “God’s Song (That’s Why I Love Mankind)” and Kate Nash taking on Slade’s “Merry X-Mas Everybody”.
And speaking of Randy Newman, he’s coming to town for a date at the University of Toronto’s Convocation Hall on March 26 of next year.
Video: Randy Newman – “I Love LA”
American Songwriter contemplates the career of Jay Farrar and chooses their 20 favourite songs.
Tuesday, December 14th, 2010
Review of S. Carey’s All We Grow and giveaway
Cameron WittingIt doesn’t seem like much of a selling point to be the drummer in the band that’s generally held to be a pseudonym for the songwriter and frontman. But for Sean Carey, who works under the name of S. Carey, the Bon Iver connection is much more than a marketing angle.
While Carey’s debut solo effort All We Grow wasn’t recorded in solitude, ensconced in a rural Wisconsin cabin – it was assembled piecemeal over time between tours – it taps into a similar emotional wellspring as For Emma, Forever Ago. Built on layers of Carey’s gentle vocals and wrapped in gently insistent piano motifs, stark yet complex percussion and raw guitar work, All We Grow is hypnotic, meditative and suffused with a serene sort of longing. It’s the sort of record that could simultaneously lull you to sleep while reminding you of an unshakeable ache in your heart.
Many found For Emma an unbearably beautiful record – I wasn’t one of them. I liked it and certainly understood what people found so emotionally resonant about it, but it didn’t strike that chord in me like it did others. All We Grow, on the other hand, hits much closer to the mark. If Justin Vernon makes the next Bon Iver record into more of a band-crafted affair and Carey can contribute some of the depth that he’s infused his own work with, the results could be devastating.
The Daily Iowan talks to Sean Carey, who is currently on tour and will be at the Horseshoe Tavern in Toronto this Sunday, December 19. Tickets for the show are $11.50 in advance but courtesy of Collective Concerts, I’ve got two pairs of passes to give away for the show. To enter, email me at contests AT chromewaves.net with “I want to see S Carey” in the subject line and your full name in the body. Contest closes at midnight, December 16.
MP3: S. Carey – “In The Dirt”
MP3: S. Carey – “In The Stream”
Myspace: S.Carey
Mark Kozelek finally returns to Toronto – he cancelled his last scheduled visit in June of 2008. This time, he’s scheduled to play Lee’s Palace on March 22 as part of a solo tour supporting Sun Kil Moon’s latest Admiral Fell Promises.
Le Tigre spinoff MEN have assembled a North American tour in support of their next record Talk About Body, due out February 1. Look for them at Wrongbar in Toronto on March 21.
The Los Angeles Times finds out just how close Warpaint came to calling it quits before breaking out with their debut The Fool.
The Daily Yomiuri chats with Owen Pallett and eye gets some insight into the scoring of the New York Times’ “14 Actors Acting” videos that made the rounds last week.
Prefix talks to drummer Arlen Thompson of Wolf Parade.
OMG Blog has an interview with Liz Phair.
Stereogum gets a status report on the next Death Cab For Cutie record, which will carry the name Codes And Keys and be due out in the Spring of next year.
Not content to be known for records, rock operas and possibly plays, Colin Meloy of The Decemberists talks to Spinner about his literary ambitions – his novel Wildwood is currently in the editing stage. The new Decemberists record The King Is Dead is out on January 18 and they’ll be at The Sound Academy on February 1.
Pitchfork talks to Belle & Sebastian leader Stuart Murdoch about his upcoming book/memoir The Celestial Cafe, due out in early 2011.
James Allan of Glasvegas talks to NME about their old drummer’s departure, their new drummer’s arrival and their second album, which is targeted for a late 2011 release.
There was some disappointment when it was revealed that The Radio Dept.’s forthcoming Passive Aggressive compilation wouldn’t be a total rarity treasure trove as originally hoped, but a mix of singles and b-sides that would be of limited value to people who’d collected the band’s one-offs over the years. That disappointment has been allayed some with the announcement that the collection will be released on double vinyl in an edition limited to 2000 pieces and available for pre-order exclusively from Insound. I will leave you all to claim the other 1999 yourselves. The set is out January 25 and they play Lee’s Palace on February 7. And they have a new video.
Video: The Radio Dept. – “Never Follow Suit”
The Dø have put out a video from their new EP Dust It Off.
Video: The Dø – “Slippery Slope”
Spin hangs out with Grinderman during their North American tour.
Monday, December 13th, 2010
Broken Social Scene and Superchunk at The Sound Academy in Toronto
Frank YangMost everyone in Toronto has some personal bar for which they’ll swallow their disdain and trek down to the port lands to see a show at the Sound Academy. Some less discerning about where they see a show will accept the logistical hassles and lousy sightlines as a the price that must be paid to see acts who’ve reached that “yeah we can draw 3000 people” plateau, whereas others would probably still hem and haw if you gave them the opportunity to see a reunited (albeit half-zombie) Beatles.
I lean more towards the latter than the former but have still been persuaded to head down three times this year, the latest this past Thursday evening for the first of two nights from Toronto’s own reigning indie rock heroes, Broken Social Scene. Not that they were the draw – I’d seen them three times already this year without even trying and my relationship with the band remains tepid. No, they got me down there the same way they probably got no small number of folks down there – by having Superchunk to open.
Just as when they teamed up with another set of resurrected college rock legends back in the Summer – Pavement on the islands, if you’ll recall – I’m sure that their intentions were noble, hoping to introduce some of today’s indie kids to their musical forebears, even if those who’d been waiting the longest for their return to town would have much preferred a full-length show of their own in comfier environs. But this is what it was and at least there was a good-sized crowd in place when the North Carolinans greeted Toronto for the first time in over nine years (their Mac-and-Jim acoustic in-store earlier that afternoon notwithstanding). And even if some of the kids had already gotten a primer on the band via their most excellent comeback album Majesty Shredding, their opening number was for the oldsters as they reached way back to 1991’s No Pocky For Kitty for “Throwing Things”.
Majesty material would comprise a third of their too-short 50-minute set, the rest coming from all points of their expansive catalog and all delivered with an energy that would have embarrassed bands half their age. It wasn’t the bull-out-of-the-gates performance they gave at Matador 21 in Vegas, wherein they basically stole the weekend and incited a pogo pit for the ages, but it was a great set that – sorry to harp on it – should have gone twice as long. I’d have liked to say that they converted everyone in attendance to ravening fans, but aside from a moderate number of pockets of people freaking out – moreso during “Slack Motherfucker” because everyone likes to swear at the top of their lungs – the response was good but not overwhelming. This was still clearly Broken’s audience and everyone else, no matter how legendary in their own right, was still just support.
There are some parallels between Superchunk and Broken Social Scene – both are revered bands who’ve started successful record labels – and they’re not that far apart in age, there’s some distance between the ‘Chunk’s concise and melodic archetypal college rock and Broken Social Scene’s sprawling kitchen sink jams. It’s like punks versus hippies, and the hippies were going to have themselves a love-in.
BSS opened up relatively small, with “World Sick” from this year’s Forgiveness Rock Record and just the now-core members on stage, but restraint is never in the cards for long at a Broken Social Scene hometown show. By the third song, the sublime “7/4 (Shoreline)” from their 2005 self-titled effort, the number of players had already ballooned into double figures and they’d made good on promises of having the whole family in attendance as Leslie Feist and a very pregnant Stars’ Amy Millan came out to trade verses and Metric’s Jimmy Shaw joined the expansive horn section.
Broken Social Scene’s modus operendi has always been to indulge in the chaos in order to extract the beauty, to throw everything/everyone on stage and let their chemistry do the rest, and the pros and cons of that approach were well on display throughout the night. The set didn’t seem to have been assembled with any particular arc in mind with the momentum building and ebbing from song to song and some recontextualized songs didn’t work as well as they’d probably hoped – “Super Connected” was dragged out to the point that the hooks lost their pointedness and trading the lead guitar on “Forced To Love” for flute was just weird. The sound man was probably living a nightmare trying to keep up with the constant stream of performers grabbing mics at random and while he did a commendable job, there were points when the lead vocalist was inaudible to the house. Also in the con column was Kevin Drew’s between song chatter, which I’ve personally never warmed to, as he rambled aimlessly, emceed the comings and goings of band members and towards the end, announced he was going to crowd surf as though he was about to walk on water. Dude, you just do it.
For all that, though, when Broken got it right, they made it clear why after all these years they still hold the hearts and minds of Toronto music fans so. Though still “the new girl”, Lisa Lobsinger was terrific on her Forgiveness lead turn “All To All” and then teaming with Amy Millan on perpetual BSS high point “Anthems For a Seventeen-Year-Old Girl”, while Feist proved why she’s become the biggest star in the Broken Solar System leading the massive band through a rousing reading of her own “I Feel It All” while making you wish that she’d just rock out once in a while. And for all that they’ve done since 2002, it was still You Forgot It In People that really gave the evening its heart. Songs like “Cause=Time”, “KC Accidental” and “Almost Crimes” continue to dazzle in a way that you just can’t put your finger on and have lost none of their magic, in particular the ability to silence those who’d otherwise criticize and complain at length about Broken Social Scene.
Their set was well past the the 90-minute mark before they closed out with a massive, super-extended, false ending after false ending version of Forgiveness instrumental jam “Meet Me In The Basement” and even though many were clearing out at that point, those who stayed got an extended (of course) encore that took things close to the two and a half hour mark before calling it a night. I’m at peace with the fact that I will probably never love Broken the way that thousands, apparently, still do – which is to say that I am at peace with the fact that it will never be 2003 again – but come for the Superchunk, stay for the Broken Social Scene? I can still do that.
eye, Chart and NOW also have reviews of the show. Spinner talks to Superchunk’s Mac McCaughan about his/their relationship with Broken Social Scene and Toronto. Metro, Centre Town News, aux.tv and Spinner talk to various Broken Socialites.
Photos: Broken Social Scene, Superchunk @ The Sound Academy – December 9, 2010
MP3: Broken Social Scene – “World Sick”
MP3: Broken Social Scene – “Fire Eye’d Boy”
MP3: Broken Social Scene – “Hotel”
MP3: Superchunk – “Digging For Something”
MP3: Superchunk – “Misfits & Mistakes”
MP3: Superchunk – “Never Too Young To Smoke”
MP3: Superchunk – “Rainy Streets”
MP3: Superchunk – “Becoming A Speck”
MP3: Superchunk – “Pink Clouds”
MP3: Superchunk – “Detroit Has A Skyline” (acoustic)
MP3: Superchunk – “Nu Bruises”
MP3: Superchunk – “Skip Steps 1 & 3”
Video: Broken Social Scene – “Texico Bitches”
Video: Broken Social Scene – “Forced To Love”
Video: Broken Social Scene – “Meet Me In The Basement”
Video: Broken Social Scene – “7/4 (Shoreline)”
Video: Broken Social Scene -“Fire Eye’d Boy”
Video: Broken Social Scene – “Ibi Dreams Of Pavement (A Better Day)”
Video: Broken Social Scene – “Her Disappearing Scene”
Video: Broken Social Scene – “Major Label Debut”
Video: Broken Social Scene – “Cause = Time”
Video: Broken Social Scene – “Almost Crimes”
Video: Broken Social Scene – “Anthems For A Seventeen Year-Old Girl”
Video: Broken Social Scene – “Lover’s Spit”
Video: Broken Social Scene – “I’m Still Your Fag”
Video: Superchunk – “Digging For Something”
Video: Superchunk – “Art Class”
Video: Superchunk – “Watery Hands”
Video: Superchunk – “Hyper Enough”
Video: Superchunk – “Driveway To Driveway”
Video: Superchunk – “The First Part”
Video: Superchunk – “Precision Auto”
Video: Superchunk – “Untied”
Video: Superchunk – “Package Thief”
Video: Superchunk – “Mower”
Video: Superchunk – “Throwing Things”
Video: Superchunk – “Fishing”
Myspace: Broken Social Scene
Myspace: Superchunk
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