Friday, May 14th, 2010

Compliments

Band Of Horses at The Horseshoe in Toronto

Band Of Horses Photo By Frank Yang Frank YangPeople seemed generally disappointed on Tuesday when I answered their queries of, “so what are you doing for your birthday?” with “having sushi, watching TV and editing photos”. Apparently the correct answer was some permutation of “getting loaded and causing shit” but fact was, I had been out a lot in the past few days and a quiet night at home getting caught up on whatever sounded like a great plan. It would have taken a lot to get me to abandon that plan.

Something like a last-minute, surprise show from Band Of Horses.

The band were in town, enjoying a day off from their tour supporting Pearl Jam in Buffalo the night before and doing press for their forthcoming album Infinite Arms when the opportunity arose to insert themselves into the weekly free Nu Music Nite series at the ‘Shoe. After the decision was made and thanks to the marvels of modern mobile and social technology, I got word of the show around 7:45PM, a decision that those two episodes of The Pacific would keep at least another night was made by 7:47PM and I was one of just a few people at the Horseshoe by 8:30PM when the doors opened. This guaranteed a front-row spot but also meant waiting through the other bands on the bill, an experience that’s not really worth recounting. Band Of Horses were due to start at or around 11:15PM and by 10:30 or so, coincidentally just about the time that people who’d opted to stay home and watch Lost would have been able to get in gear, the ‘Shoe was full to an extent befitting the specialness of the occasion.

I’d only seen Band Of Horses live twice before, circa their debut Everything All The Time at SxSW 2006 and again a few months later at Lee’s Palace. What I remembered most about the Lee’s show was that while the show sounded marvelous, it wasn’t the most energetic affair what with frontman Ben Bridwell spending most of the show seated at the pedal steel. Well with no steel guitar on hand this night – all of their equipment was begged and borrowed – Bridwell would have to stand on his own legs and this would have to be a more physically engaging show. To say the least. Bridwell and bandmates rolled out on stage around 11:30, greeted by a packed house – congratulations Toronto, you’re capable of hustling when you need to – and, after prefacing their set with the disclaimer of, “we never do this”, put on as tremendous a display of flying by the seat of your pants as you’ll ever see.

Understand that Band Of Horses, by indie rock standards, are getting pretty big – and with Infinite Arms as their major label debut, can probably expect to just get bigger – so performing in a small bar setting is probably a rare opportunity for them, and as far as cutting loose and having a good time goes, they didn’t squander it – it was hard to gauge who had the bigger grins on their faces, the audience or the band. Unequipped to properly recreate their more atmospheric side – as stated, Bridwell was steel-less and, after breaking a number of strings, more often than not guitar-less, and Ryan Monroe was on six-string duty rather than keyboards – they opted to indulge their more raucous side, which doesn’t get to rear its head on record all that often. And any concerns about Bridwell’s willingness to move around and play frontman were wholly unfounded – the man was all over the stage, singing to the audience, singing to the sky (or ceiling, whatever), and proving without a doubt that there was nothing wrong with his legs.

Unsurprisingly, a number of tunes from Infinite Arms were previewed and while some have fairly criticized the album as being overly soft around the edges, they certainly toughened them up this time out. A few more familiar songs from Cease To Begin and handful of well-chosen covers – Gram Parsons’ “Song For You” and head-spinning encore of The Replacements’ “Can’t Hardly Wait” among them – filled out the hour-long set. They even thoughfully snuck in a “Happy birthday” into the set – ostensibly for drummer Creighton Barrett, but I just imagined it was for me. Not that they needed to – simply showing up and playing a fantastic set for my impromptu 35th birthday party was plenty. Though handing out the beer from their rider to the audience at show’s end was a nice touch. There should always be loot bags.

NOW, eye and Panic Manual all made it to the ‘Shoe in time for the show but the weeklies didn’t seem to have a great time, for some reason. Band Of Horses return for the show at the Toronto Island Concert on June 19 – expect them to play the “majestic” angle at that show. Infinite Arms is out on Tuesday.

Also playing Toronto Islands that day are Beach House; the DVD they made to accompany Teen Dream, comprising a video for each song on the album, is streaming this week at PitchforkTV.

Video: Beach House / Teen Dream

Spin investigates how Blitzen Trapper got their name. Their new record Destroyer Of The Void is out June 8 and they bring it to the Opera House on August 3.

Crooked Fingers have managed to fan-fund Reservoir Songs 2 in its entirety via Kickstarter, and as a thank-you, are offering an MP3 of the John Hartford cover. The 12″ EP will be out on July 6; a new Crooked Fingers full-length will follow later this year.

MP3: Crooked Fingers – “Gentle On My Mind”

NPR has a World Cafe session and Drowned In Sound an interview with She & Him. They’re at the Sound Academy on June 9.

Josh Ritter talks to Spinner about his new record So The World Runs Away.

Joanna Newsom trash talks some Lady Gaga in an interview with The Guardian, while her chat with The Quietus stays much more focused on Have One On Me. She’s also the cover girl on the current issue of Under The Radar; the piece isn’t online but Stereogum has a bit of a precis.

BrooklynVegan interviews Laura Marling.

Music Snobbery talks to Marcus Mumford of Mumford & Sons.

Sky Larkin have announced their sophomore album will be entitled Kaleide and be available in August; you can download a mini-EP consisting of the title track and a couple of b-sides from their website right now.

The Georgia Straight and Twin Cities Daily Planet profile Shout Out Louds.

For Folk’s Sake has an interview with Basia Bulat, who will be at the Phoenix on June 3.

Chart talks to Hannah Georgas.

Broken Social Scene is featured in Clash, Spinner and The Independent. They play the Toronto Islands on June 19.

By : Frank Yang at 8:27 am

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Thursday, May 13th, 2010

Ending On A High Note

a-ha and Ray Materick at Massey Hall in Toronto

a-ha Photo By Frank Yang Frank YangI’ve taken a bit of ribbing in the last while about not only attending Monday night’s a-ha show at Massey Hall, but for being excited about it. Which is sort of fair, I suppose, as the Norwegian trio largely fell off the North American radar around 1987, despite not only maintaining but growing a massive fanbase worldwide over the past two decades plus. But those who assumed the band had been creatively fallow since Hunting High And Low – or even no longer in existence – not only missed out on 25 years or so of great pop music, but by ignoring the Toronto stop on the band’s farewell tour, an amazing show as well.

I can’t pretend that I’ve kept up with a-ha in all that time. Their first three albums or so were staples of my youth, thanks to my older brother’s music collection, but circa 1990’s East Of The Sun, West Of The Moon, grunge/alternative broke out and there was little room in this 15-year old’s world for sophisticated Euro-pop. Even so, I’ve always had a soft spot for them, gave new singles a listen whenever they crossed my path and taken notice if they made any sort of news – as they did when they announced last Fall that they would split up after a final world tour that would cover most of 2010. And when Toronto was listed as one of the four North American cities and seven shows on this continent in total to host one of these farewell shows, I decided I kind of had to be there. Which brings us to Monday.

If you’ve ever wondered what 24 years of pent-up demand felt like – that’s how long it had been since a-ha’s last and only visit to Toronto – then Massey, where that show also happened, was the place to be. I would imagine that anyone who only knew them as “that band with that song and that video” was elsewhere on this evening (or else had too much disposable income) because while the theatre wasn’t quite sold out – I wager there were a couple hundred of the less choice seats vacant – but the buzz of anticipation from the other couple thousand plus in attendance more than made up for the empty seats.

When the lights dimmed for the start of the show, anticipation turned into confusion as the opener was introduced as Hamilton folksinger Ray Materick, who had a few radio hits back in the ’70s. His appearance was not without context, as this piece in eye explains, but it was an odd pairing to say the least. While Materick delivered a short set of his material new and old, the audience managed to stay on the right side of polite while not really paying much attention. Which is probably all that could have been expected.

“Polite” wouldn’t be the word to describe the atmosphere when the house lights dimmed a second time and the giant video screen that served as backdrop to the otherwise bare-bones stage setup began playing a montage of sweeping abstract visuals – “madness” might be more accurate. And “madness squared” for when the visuals resolved into a giant “2010” and the band strode onto a Toronto stage for the first time in almost a quarter century. Not that you could necessarily tell that much time had elapsed by looking at them – though all around 50 years of age, they all looked remarkably well-kept and youthful. But they weren’t here just to act as testaments to the benefits of nordic living; they were here to put on a show.

And with the title track of their latest (last) album Foot Of The Mountain, they began a backwards journey through their discography that was clearly designed to remind to deliver maximum hit value while serving to remind that they were writing solid songs to the very end. It didn’t take them even an hour to blow through the ’00s and ’90s, highlighted by “Summer Moved On” from 2000’s Minor Earth Major Sky wherein Morten Harkett proved he had lost not iota of range or power from his voice over the years, hitting and holding the high notes for an absurdly long time. The sweeping “Stay On These Roads” and “The Living Daylights”, backed by Bond-ian visuals, marked the start of the golden age portion of their set and immediately shifted gears for a two-song, acoustic break of “And You Tell Me” and “Early Morning”. They spent the remainder of the main set with their first two records, Scoundrel Days and Hunting High & Low, including stellar readings of “Manhattan Skyline” and “I’ve Been Losing You”. When they walked off stage following “Cry Wolf”, no one believed for a millisecond they weren’t coming back, and following an extended video montage of stills and photos from the band’s earliest days, they returned for a soaring “The Sun Always Shines On TV” and “Hunting High & Low”, and after one final encore, it was “Take On Me” and the end.

From start to finish, the trio – backed by a drummer and keyboardist/bassist – put on a nearly perfect performance, striking the right balance of slickness and honesty, not unlike their music. Though this was a farewell tour, there was no sense of sadness or regret to be found – more than anything, the prevailing emotion was pride in a body of work assembled over a career any artist should be envious of and a sincere appreciation for the fans who stood steadfast by them, even though they were more or less neglected since the start of the ’90s. If North America had some appreciation for adult contemporary-ish pop music that wasn’t r&b-based or just pap, a-ha might well have been the stars here that they were in the rest of the world. But as it was, we just got this one final opportunity to say hello and goodbye and were grateful for it.

The Toronto Sun also has a review of the show and The National Post Chicago Sun-Times have interviews with guitarist Paul Waaktaar-Savoy. a-ha’s first two albums will be reissued in double-CD expanded form on June 28 by Rhino.

Swedish folk duo First Aid Kit will release their debut full-length The Big Black & The Blue on May 25. Hear songs from it when they play the Rivoli on June 11. And also by clicking below. That works too.

MP3: First Aid Kit – “Hard Believer”
MP3: First Aid Kit – “Sailor Song” (live)

Delays, whose a-ha cover remains this week’s cover selection for a few more days, have released a first MP3 from their new record Star Tiger, Star Ariel, due out June 21.

MP3: Delays – “Find A Home (New Forest Shaker)”

Field Music have released a new video from (Measure).

Video: Field Music – “Let’s Write A Book”

Damon Albarn tells NME that new Blur singles are likely, but not a proper album. Until they collect said singles into an album.

M.I.A. has named her new album /\/\/\Y/\. Yeah, someone needs to talk to her handlers. It’s out July 13.

The Fly checks in with Ritzy of The Joy Formidable to see how work on their debut full-length is going. It’s targeted for an Autumn release. Blare also has an interview.

The San Jose Mercury News and The Georgia Straight talk to Scott Hutchison of Frightened Rabbit.

The Big Pink have premiered a new video from last year’s A Brief History Of Love.

Video: The Big Pink – “Tonight”

Shad will mark the release of his new record TSOL – out May 25 – with an in-store performance at Sonic Boom on May 24 at 7PM. He plays a full show at the Opera House on June 12.

MP3: Shad – “Yaa I Get It”

Keane are hoping their fanbase has increased about five fold since the last time they were here as they’re booked into the Molson Amphitheatre on July 30. They just released a new album entitled Night Train.

Video: Keane – “Clear Skies”

The UK’s Wild Beasts return to town in support of Two Dancers with a date at the Mod Club on August 6.

MP3: Wild Beasts – “All The King’s Men”

The August 7 show at the Horseshoe with Maps & Atlases just got that much buzzier with the addition of mysteriously shimmering Motown-y New York duo Cults. Their debut 7″ is available to download for free at their website. Listen and find out what all the cool kids are talking about for the next 3 seconds.

MP3: Cults – “Go Outside”

Logistical issues have snookered the August 8 Empire Of The Sun show at the Sound Academy. They apologize and hope to make it back, but not to the point of offering anything resembling a window when that might happen. So don’t expect it to happen.

Michael Gira’s newly-reformed (as in formed again, not as in served hard time but feeling much better) Swans have put together a Fall tour that includes an October 2 date at Lee’s Palace.

By : Frank Yang at 8:37 am

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Wednesday, May 12th, 2010

No post today…

BOH Photo By Frank Yang Frank Yang…and you can thank last night’s epic surprise undistilled awesome-sauce Band Of Horses show at the Horseshoe for that. Rocking >>> blogging. I’ll be back at it tomorrow – plenty of good stuff to get through, but to get you through the day, head over to their website where they’re streaming their new record Infinite Arms in advance of its release next Tuesday.

Best surprise birthday party ever.

Stream: Band Of Horses / Infinite Arms

By : Frank Yang at 8:36 am

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Tuesday, May 11th, 2010

Meet Me In The Basement

Broken Social Scene at Criminal Records in Toronto

BSS Photo By Frank Yang Frank YangA local scribe much wiser than I recently pointed out that everyone – in Canada and Toronto specifically – has some baggage when it comes to Broken Social Scene, and you can take it from the fact that I’m quoting him that I wholly agree. This is the band that, for good and bad, came to be the musical ambassadors for Toronto to the world, would become pretty much inescapable both in the music world and the real world (swing a stick in Toronto, hit a BSS-er) and launched a thousand bands with far more members than they needed.

For my part, I was almost as taken with You Forgot It In People as everyone else in 2002 and 2003 – I say “almost” because some people love(d) this record A LOT – and was as excited as anyone to see the attention that it brought on a city that, to that point, didn’t seem to have a real face in the burgeoning indie rock world and for a while, they and their offshoots – anyone remember the show at Lee’s in June 2003 featuring BSS, Stars, Feist, Apostle Of Hustle, Jason Collett and Amy Millan? Seriously – theres photographic evidence – could do no wrong.

But that perfect, You Forgot It moment could only sustain for so long, and when the self-titled follow-up came out in 2005, the bloom was coming off the rose, at least from my point of view. Though it had some epic high points, Broken Social Scene felt overly long and meandering; there may have been a great record buried in there but it was in desperate need of an editor. These are points that only became clear to me later – the record still made my 2005 year-end list and 2006 Polaris Prize ballot – but that was more me wanting to like it more than I did at the time. By this point, the band seemed to have become even more ubiquitous than before – something I’d have not thought possible – and when they closed out the inaugural Virgin Festival Canada in 2006, I was grateful for both their amazing full-band performance and promise to take a break and go away for a little while.

They didn’t, of course. Rather than hibernate, they multiplied and both Broken bandleaders – Kevin Drew and Brendan Canning – released sorta-solo records that were essentially Broken albums, but without the weight of expectation that would accompany a proper BSS release. Neither really grabbed my attention, but to be fair my Broken Social burnout was still very much in effect and the records would have had to be pretty spectacular to get me past that… which they weren’t. And, of course, they continued toured as Broken Social Scene albeit with relatively pared-down lineups. Hiatus? Not so much.

And so seemingly without ever actually going away, they’ve returned with Forgiveness Rock Record and I, well I can’t say as that I’ve been hankering for a new Broken Social Scene record, but would like to think that I’m in a place where I can again regard them objectively. The decision to record with Tortoise’s John McEntire behind the boards rather than longtime sonic architect Dave Newfeld has an interesting effect on their sound, as McEntire’s more tidy and precise aesthetic is rather diametrically opposed to the “capture the chaos on tape” approach that’s defined their recordings thus far. Quantitatively speaking, Forgiveness is definitely cleaner than past efforts, with the sonic spaces more clearly defined and songs marginally more structured and compact, but just as you can’t catch water with a net, even a shiny new net, you can’t contain Broken Social Scene.

With the new record, there’s still a sense that the band are throwing things into the pot, creatively speaking, and seeing what kind of alchemy (if any) results. As such, it has the sort of maddening unevenness that’s practically a BSS signature, where really the most you can hope is that the highs are enough to offset the lows. Amongst the peaks on Forgiveness are the sprawling leadoff jam “World Sick”, punchy jangle anthem “Texico Bitches” and “All Is All”, a shimmering, almost completely un-BSS-like electro-pop jewel starring Reverie Sound Revue’s Lisa Lobsinger. And as for the valleys… well the record isn’t filler-free but it never gets as lost as Broken Social Scene did and all things considered, that’ll do. It doesn’t recreate the glorious sense of possibility and excitement that existed around the band circa 2002 and 2003 – which are completely unrealistic expectations, I will be the first to admit – but it does provide a solid argument that any reservations I have over all things Broken and Social may be my issues and not theirs.

I’ve talked before about the wonderful in-store culture that’s developed in Toronto, and on Sunday, Broken Social Scene helped push that along with an ambitious four-shows-in-one-day itinerary that saw them play sets in each of the city’s four major independent record stores, starting at Criminal Records and winding down Queen West to Rotate This, up to Little Italy’s Soundscapes and wrapping up in the Annex basement of Sonic Boom. With tickets given out to those who purchased copies of Forgiveness Rock Record, I’m not sure how anyone would manage to hit all four performances – short of buying four copies of the record – but I’m sure some found a way. I do find it remarkable that even though my relationship with BSS has waxed and waned over the years, so many remain utterly devoted to the band. And so it was that Criminal Records was packed front to back on Sunday afternoon as the band – numbering seven or eight, I think there was a horn player hidden behind one of the monitors – shook off the previous night’s drive back from New York to kick off their mini-tour.

They started off easy like Sunday morning (or early afternoon) with You Forgot It‘s “Lover’s Spit”, giving themselves the space to get tuned in for the marathon day to come before moving into the new material. Interestingly, Kevin Drew went guitar-less, instead working a bank of keyboards or just handling vocals. I hadn’t seen BSS live in almost four years so I didn’t know if this was a new development or something that had been in the works for a while. Either way, it wasn’t as though there was any sort of stringed instrument deficit up there – all of Brendan Canning, Andrew Whiteman, Charles Spearin and Sam Goldberg were armed with guitars or basses, but unlike past performances where it seemed that many guitars were just piled on top of one another, they seemed to be working with very precise arrangements. It wasn’t math-rock, but definitely not just jamming it out. All of the Forgiveness material – “Texico Bitches”, “Ungrateful Little Father” and “Forced To Love” sounded pretty solid if delivered a bit low-energy though Whiteman did more than his part to liven things up with some running man moves and jumping jacks. He also took the mic for the final song of the set, another return to Forgot It with “Looks Just Like The Sun” though it was preceded with some debate amongst the band as to exactly how the song went and what the lyrics were. Not that tidy, then, and I’m sure that they picked up some steam with each subsequent show as well as members as they woke up, but this was a pretty cool start to a very cool idea and a great hello and thanks from the band to their fans, their record stores and their city.

Broken Social Scene play a full and proper hometown show on June 19 at the Toronto Islands, and just announced a massive North American tour for the Fall. Dose, Beatroute, Torontoist, Pitchfork, Macleans, Blurt, The Aquarian, Interview and Chart have feature pieces on the band and their return.

Torq Campbell of Stars talks to Spinner about the power of Twitter. Their new record The Five Ghosts is out on June 22.

Damian Abraham of Fucked Up, who helped Mr Campbell understand said power of Twitter, tells Pffffft his favourite things about Toronto. Not listed is the Toronto Reference Library, but you can be sure that Abraham likes it enough to undress – respectfully – when Fucked Up play a free show there on May 28. Beatroute also has a chat with the FU frontman.

Resonancity, In Your Speakers and Spinner all talk to Holy Fuck on the occasion of today’s release of Latin. They’re at the Molson Amphitheatre on July 9 in support of Metric.

Chart and Beatroute have features on Caribou, whose show in Washington DC last night is now available to stream on NPR.

The Besnard Lakes have released a new video from The Besnard Lakes Are The Roaring Night. Beatroute and SF Station have interviews with the band, who are at the Mod Club on June 17.

Video: The Besnard Lakes – “Albatross”

Also with a new video are The New Pornographers, for the sort-of title track from Together. Beatroute, eMusic, Metro and The Quietus have interviews with Carl Newman, whose band will be at the Sound Academy on June 15.

Video: The New Pornographers – “(Your Hands) Together”

Clash talks to Mark Hamilton of Woodpigeon.

Beatroute has a feature piece on Hannah Georgas.

Previews of The Acorn’s forthcoming No Ghost just keep coming; the record is out June 1 and they play Lee’s Palace on June 11.

MP3: The Acorn – “Restoration”

Shad’s excellent new record TSOL is streaming at Exclaim this week, leading up to its release in two Tuesdays – May 25. He plays the Opera House on June 12.

Stream: Shad / TSOL

The Wilderness Of Manitoba has scheduled a record release show for their full-length debut When You Left The Fire, due out June 22 – they’ll be at the Music Gallery on June 25 with Evening Hymns as support. Before that, they’ll support Matthew Barber at the Mod Club on May 12 and Basia Bulat at the Phoenix on June 4.

MP3: The Wilderness Of Manitoba – “Hermit”

The lineup for this year’s Wolfe Island Music Festival has been announced and as always, it’s a great sampling of some of the best in Canadian music set in about as laid-back and chilled-out environs as you’ll find anywhere. Taking place in the Thousand Islands just offshore from Kingston, Ontario on the weekend of August 6 and 7, the Friday night will feature performances in the town of Marysville from The Sadies and Cuff The Duke, amongst others, and the Saturday lineup will feature The Weakerthans, Shad, Think About Life, Bahamas, The Acorn, Diamond Rings, Memoryhouse and Jim Bryson. I attended the 2007 edition of this festival, and it was a marvelous time – highly recommended.

By : Frank Yang at 8:26 am

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Monday, May 10th, 2010

Fall Hard

Shout Out Louds and Freelance Whales at The Mod Club in Toronto

SOL Photo By Frank Yang Frank YangI detected a sense of general disappointment, critically speaking, around Shout Out Louds’ latest record Work, mostly centered around the fact that it didn’t represent as big a leap from 2007’s Our Ill Wills as that record did from their debut Howl Howl Gaff Gaff. And if we allow that there’s a way to quantify such things, it’s probably true – Work isn’t as sonically lush as its predecessor and its songs are more efficient, and it generally splits the difference between the grand Ills Wills and the scrappy Howl Howl. But what those who criticize Work on the basis that it’s not another watershed moment in their career – because those typically immediately follow previous watershed moments – seem to miss out on is the much more important fact that it, like the rest of Shout Out Louds’ oeuvre, is laden with glorious jangly and melodic indie-pop that’s as suited to dancing as rocking.

And though some critics might not get that, the fans do, and their first Toronto show in two and a half years on Saturday night at the Mod Club was sold out well in advance – even the lone scalper out front only had one ducat to offer. About 100 or so of the 500-plus who’d eventually be in attendance showed up early enough to see New York’s Freelance Whales do their thing, which was play clever and ultra twee pop from their debut album Weathervanes. I’d seen them do said thing back at SxSW but that was a break-of-day set where I wouldn’t have expected anyone to be at their best and appropriately, their set on this evening – though also technically early – was much peppier and pep is kind of essential to their sound, all made of glockenspiels, harmoniums, banjos and five-part harmonies. And while on record they can drift to the wrong side of wimpy, live they beefed up their sound enough – volume wins! – to keep it engaging. And closing (though not deliberately as they thought they’d have time for one more) with a well-intentioned if not entirely tidy cover of Broken Social Scene’s “7/4 (Shoreline)” was a nice nod to the city… or as they wryly noted, “that one’s called ‘pandering'”.

I remember Shout Out Louds’ October 2007 show as a lively affair that took some of the polish off of the Ill Wills album arrangements, and their SxSW 2008 as a raucous, stage trashing throwdown – this time, they split the difference between the two and turned in what was the best performance I’ve seen them do yet. Perhaps it was the pressure of a hard 10PM curfew, but kicking off with Work leadoff track “1999”, they barrelled through their 90-minute set without much let up in energy and with only just enough missteps to count as charming, particularly early on when Adam Olenius lept into the audience for “Tonight I Have To Leave It” and had a bit of trouble climbing back onstage. By and large, though, the show was a fast-paced romp through all of their records – Work was well-represented but not at the expense of older favourites – that got the house up and kept them there, particularly with the sing-along encore closer of “Walls”, which was marked by much jumping up and down and arm-waving. Perhaps if, a few records from now, Shout Out Louds are still ploughing the same field of inspiration, I might find myself on the side of those who wish they’d try to branch out a bit more but for now, a record like Work and a show like this, are plenty to keep me satisfied.

Exclaim and Panic Manual also have reviews of the show. QRO and Ion have interviews with assorted Shout Out Louds while NPR is streaming their show in Washington DC from last week.

Photos: Shout Out Louds, Freelance Whales @ The Mod Club – May 8, 2010
MP3: Shout Out Louds – “Walls”
MP3: Shout Out Louds – “Tonight I Have To Leave It”
MP3: Freelance Whales – “Generator 2nd Floor”
Video: Shout Out Louds – “Fall Hard”
Video: Shout Out Louds – “Walls”
Video: Shout Out Louds – “Tonight I Have To Leave It”
Video: Shout Out Louds – “Impossible”
Video: Shout Out Louds – “Please Please Please”
Video: Freelance Whales – “Generator 2nd Floor”
MySpace: Shout Out Louds
MySpace: Freelance Whales

Pitchfork has the first sample of the new album from The Concretes, entitled WYWH and due out in October.

MP3: The Concretes – “Good Evening”

Johan Duncanson talks to Spinner about The Radio Dept’s obsessive/lazy work ethic, and why it took so long for Clinging To A Scheme to see the light of day.

The Mary Onettes have a new video for their recent, non-album single.

Video: The Mary Onettes – “The Night Before The Funeral”

PitchforkTV has a Tunnel Vision session with The Tallest Man On Earth.

Under The Radar chats with Jonsi at Coachella.

MusicOmh interviews Doves.

Beatroute and The Georgia Straight chat with James Graham of The Twilight Sad; they are at Lee’s Palace on May 26 with Mono.

PopMatters talks to Chris Chu of The Morning Benders, who seem to have become the go-to band for duos looking for openers. They’re in town supporting Broken Bells at the Queen Elizabeth Theatre on June 2 and then The Black Keys at The Kool Haus on August 3.

If you needed a little more incentive to go see Midlake’s show at the Mod Club on May 21, how about the fact that a solo Jason Lytle, along with John Grant, will be supporting? And the fact that Midlake, apparently, no longer perform hidden behind a wall of keyboards?

MP3: Jason Lytle – “Yours Truly, The Commuter”

Nathaniel Rateliff’s May 30 show at the Drake Underground has been canceled. But if you were looking forward to seeing him play, there’s at least this video performance for Yours Truly.

The previously announced July 20 Real Estate/Kurt Vile show has found a home – it’ll be taking place at the Great Hall.

By : Frank Yang at 8:34 am

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Friday, May 14th, 2010

Compliments

Band Of Horses at The Horseshoe in Toronto

Thursday, May 13th, 2010

Ending On A High Note

a-ha and Ray Materick at Massey Hall in Toronto

Wednesday, May 12th, 2010

No post today…

Tuesday, May 11th, 2010

Meet Me In The Basement

Broken Social Scene at Criminal Records in Toronto

Monday, May 10th, 2010

Fall Hard

Shout Out Louds and Freelance Whales at The Mod Club in Toronto

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