Tuesday, July 21st, 2009
Bat For Lashes, Florence & The Machine and The Horrors among 2009 Mercury Prize nominees
BeggarsSince I went to the trouble last week of making my generally meaningless predictions for the 2009 Mercury Prize nominees, it only makes sense that I take a look at the actual shortlist – announced this morning – and compare. And the first thing that I find is that the UK’s bookies, who ostensibly do this sort of thing for living, don’t have any more clue than I do. While only one of my picks made the actual list – and really the only one I expeted to – neither of the oddmsakers’ two favourites – Doves’ Kingdom Of Rust or Little Boots’ Hands – were to be found in to this morning’s announcements, whereas perennial critical kicking bags Kasabian did. Of course, if The Horrors can put out a career-salvaging album and garner a nod, why not Kasabian? I haven’t heard it – maybe it’s brilliant. Maybe. Also surprised that La Roux made the list while Little Boots did not because, well, I much prefer Little Boots to La Roux. Go figure.
Anyways, the nominees for this year are as follows:
Bat For Lashes / Two Suns / MP3: “Glass” (live)
Speech Debelle / Speech Therapy / Video: “Go Then Bye”
Florence & The Machine / Lungs / MP3: “Kiss With A Fist”
Friendly Fires / Friendly Fires / MP3: “Jump In The Pool”
Glasvegas / Glasvegas / Video: “Geraldine”
Lisa Hannigan / Sea Sew / MP3: “Lille”
The Horrors / Primary Colours / MP3: “Sea Within A Sea”
The Invisible / The Invisible / Video: “London Girl”
Kasabian / West Rider Lunatic Pauper Asylum / Video: “Vlad The Impaler”
La Roux / La Roux / MP3: “Bulletproof” (Joe & Will Ask remix)
Led Bib / Sensible Shoes / MP3: “Yes, Again”
Sweet Billy Pilgrim / Twice Born Men / MP3: “Truth Only Smiles”
I’m sure there’ll be complaints and criticisms galore, but with almost half the list being female artists the Mercury will at least avoid the “solo white male” complaints leveled at the Polaris Prize shortlist this year, and similarly you’d never find something like contemporary jazzers Led Bib on a nomination list open to 140 critics. I don’t necessarily advocate the exclusive jury approach over the inclusive, but it does yield some interesting results.
Anyways, my money remains on Bat For Lashes – obvious, sure, but I stand by it – but I can also get behind Florence or The Horrors. Either way, I don’t really have a horse in this race, I’m just a curious bystander. BBC has launched their Mercury minisite complete with interviews with the nominees, The Guardian has already gotten fresh odds from a bookie on the shortlist, Clash comments on the list and NME‘s editors have also chimed in on who they think will take the big prize come September 8. NME has also provided a bluffer’s guide to the nominees so you can sound all knowledgeable and stuff at the water cooler (though you could probably say whatever the hell you want about any of them because your co-workers probably won’t know what the hell you’re talking about).
The Guardian talks to Friendly Fires – they’re at Lee’s Palace on August 10.
Paper declares Little Boots to be one of their sounds of Summer and Stuff New Zealand and The Mirror also have features. She’s in town at Wrongbar on September 14.
Oh, hello three unreleased songs from My Bloody Valentine. Did you get lost en route to the studio to be added onto those Isn’t Anything/Loveless reissues which never came out? That’s okay, leaking to the internet is probably best for everyone involved.
I had completely forgotten about the UK’s Engineers, purveyors of Pink Floyd-esque ambient rock on their self-titled debut back in 2005 but they’re still kicking and have just released their second album with Three Fact Fader, which is just as dreamy but with some more kick. The Quietus and The Line Of Best Fit have interviews with the band about their time away and their return.
Video: Engineers – “Clean Coloured Wire”
The Village Voice talks to Frightened Rabbit, who have a sold-out show at the Horseshoe on Wednesday night, July 22.
The Quietus has details on the new Editors album In This Light And On This Evening, which appears to have been pushed back a few weeks and is now set for an October 12 release.
Oasis were apparently (almost) attacked (hugged) onstage again. Hey guys, maybe it’s you.
Stepping back from life as a Raconteur, Brendan Benson will release a new solo album in My Old, Familiar Friend on August 18 and follow that up with a spot of touring, including an August 24 date at the Mod Club in Toronto – tickets $13.50.
Aussies An Horse must like it here – they’re back for their fourth Toronto show in six months on September 11 at the Drake Underground, tickets $10.
MP3: An Horse – “Postcards”
Brazilian psych legends Os Mutantes will release their first album in over 35 years in Haih, out September 7, and are at the Opera House on October 2, tickets $25.
Yo La Tengo are at the Opera House on October 3, meaning I have to choose between Yo La and Destroyer that same evening at the Horseshoe. I do not like these sorts of dilemmas. Their new album Popular Songs is out September 8.
MP3: Yo La Tengo – “Periodically Double Or Triple”
Those who worship the drone and get unnerved by unnecessary key changes – hell, chord changes – will be thrilled to hear that The Raveonettes are hitting the road this Fall with The Black Angels. Full dates are still trickling out but the Toronto stop will be October 22 at the Phoenix, tickets $18.50. The Raveonettes talk to Spinner about their just-completed their new album In and Out of Control, which has a shiny release date of October 6. The Black Angels haven’t been up to much since last year’s Directions To See A Ghost. Billboard has full dates and words with Sharin Foo.
MP3: The Raveonettes – “Dead Sound”
MP3: The Black Angels – “The First Vietnamese War”
Peter Bjorn & John are back again on November 11 for another date at the Phoenix – tickets $20. They’re also at the Molson Amphitheatre this Friday, July 24, opening for Depeche Mode but if that’s news to you, you’re probably not going.
Video: Peter Bjorn & John – “Nothing To Worry About”
Spinner.ca’s endless feature series on the history and future of Canada’s independent music scene turns its lonely eyes to Montreal in its latest installment, talking to members past and present of Arcade Fire, The Dears and The Stills.
Monday, July 20th, 2009
Review of Now, Now Every Children's Cars
Melissa HesseSeeing as how Minneapolis’ Now, Now Every Children is just a two-piece, trying to distill the appeal of their debut Cars down to even simpler components might seem like folly but it’s not only possible, it’s easy – it’s Cacie Dalager’s voice. Sure, you could say that the lead singer’s voice is the most obvious make or break thing for any pop band, but for NNEC, it’s much more than that.
It’s not an especially powerful instrument, at least as far as strength and range goes, but it does seem to reside in that magical frequency where innocence, experience, hope and cynicism intersect – her timbre and phrasing managing to evoke all of the above at various points throughout the record, often simultaneously. It has a natural sleepy sweetness but when used to deliver sentiments of feisty defiance as it does on Cars, it’s a potent combination.
But even for all the praise I lay at the base of Dalager’s throat, it does not stand alone. That would be gross. Now, Now Every Children’s musical accouterments are not many, but they are well-chosen and effective. All the sounds on Cars were created by Dalager and co-conspirator Bradley Hale – chugging electric guitar, friendly synth lines and organ drones courtesy of the former and clattering percussion from the latter, all placed exactly so to give the songs heft whilst keeping them lean. It’s a real accomplishment that Cars sounds so vibrantly live off the floor, considering its decidedly studio origins, and also how it melds hummable, sing-songy melodies with a raw sonic attack. It’s certainly not a new idea, but Now, Now Every Children do it in a way that sounds fresh, even to jaded ears.
Now, Now Every Children are currently on the road and will be in Toronto on August 2 for a date at the El Mocambo. Locals who aren’t out of town getting their Simcoe Day on are heartily encouraged to attend. There’s interviews with the band at Decider and Interview.
MP3: Now, Now Every Children – “Everyone You Know”
MP3: Now, Now Every Children – “Sleep Through Summer”
MP3: Now, Now Every Children – “Cars”
Video: Now, Now Every Children – “Friends With My Sister”
Also on that tour (and thus at the El Mo on August 2) is another duo from the midwest, Cincinnati’s Bad Veins. They’re releasing their debut self-titled album tomorrow and are the subject of a feature at Filter and a session at Ardent Sessions. The album is also streaming at Spinner.
MP3: Bad Veins – “Gold And Warm”
Video: Bad Veins – “Gold And Warm”
Stream: Bad Veins / Bad Veins
PitchforkTV is streaming a Yeah Yeah Yeahs featurette for one week only – well, the rest of this week anyways. It was originally released as a teaser for this year’s release of It’s Blitz!. Yeah Yeah Yeahs are playing two shows at the Kool Haus on August 4 and 5.
Video: Yeah Yeah Yeahs: Snakesweat
Spinner has an Interface session and San Diego City Beat with Ida Maria.
MPR is streaming a radio session with The Jayhawks.
The Jim James/M Ward/Conor Oberst/Mike Mogis-powered supergroup Monsters Of Folk are giving away an MP3 from their upcoming self-titled debut, out September 22, in exchange for your politeness. Grab it off their website, read some comments on the project from band members at Spinner and NME and keep an eye out for tour dates for this Fall.
Interestingly, Jim James is credited on the Monsters Of Folk website as “Yim Yames”, his solo alter ego. Tribute To, his George Harrison tribute EP, will be out on August 4 and a full-length solo record is in the works. Billboard talks to James/Yames about the Harrison EP, a song from which is available to download on his website.
LexGo and Pantagraph talk to Neko Case.
Director Bruce MacDonald explains his plans for the Broken Social Scene-powered film This Movie Is Broken to The Globe & Mail. They’re aiming for a release something early next year.
Pitchfork salutes Merge Records on the occasion of its 20th anniversary by talking to some of the label’s marquee artists, including Arcade Fire, Spoon and M Ward.
Sunday, July 19th, 2009
Elbow covers Destiny's Child
Andy WhittonSo the excitement was great when it appeared that Elbow were going to be playing their first show in Toronto in some time at the Phoenix on July 29. The listing popped up on the venue’s website and I dutifully reported it as pretty much a done deal – so when it disappeared a few days later, I assumed someone had jumped the gun and waited for the official announcement to come. And waited. And waited. And while waiting, I seemed to become the go-to for news on the show, with incoming emails and tweets and whatever looking for ticket on-sale information, information that I didn’t have. Until I made some inquiries and discovered that the show HAD been for real, but was no longer as the band had gotten a better offer for that evening. So to anyone and everyone who’d hoped to see Elbow that evening, you still can – you’ll just have to tune into The Late Show with David Letterman to do so. Good for Elbow, not so good for Hogtown.
Sure, you can still see them the evening of the 30th at the Rogers Centre, opening for Coldplay, but that’s hardly the setting or the context a fan would want to experience them in. Plus it’s sold out and would have been really expensive anyways. And so we sit and hope against hope that they’ll find their way back to North America for their own shows sometime soon. Perhaps in an orchestral setting as they’ve been wont to do of late. Hey, if we’re wishing for gigs that aren’t likely to happen anytime soon, why not go big?
Also unlikely but very real is the scenario of Elbow, Mancunian mope-rockers extraordinaire, covering American R&B queens Destiny’s Child but they did just for a 2002 BBC1 Live Lounge session with Jo Whiley, turning in a jaunty and tongue-mostly-in-cheek version of the trio’s smash hit from the Charlie’s Angels soundtrack. And while a Destiny’s Child reunion isn’t happening, two-thirds of the band are on the road and had Toronto on their itineraries – Kelly Rowland was here a couple weeks ago to perform during Pride and Beyonce will play the Molson Amphitheatre tomorrow night.
MP3: Elbow – “Independent Women”
Video: Destiny’s Child – “Independent Women”
Saturday, July 18th, 2009
MySpaceWhen I ran a Decemberists-themed contest back in April, I had to confess that though a fan of the band, I’d not yet heard their latest album The Hazards Of Love because, well, I hadn’t. This didn’t seem unreasonable, though, as the record was only a month old at that point. Well it’s now mid-July and, well, I still haven’t heard it. And while I hardly feel like I should be ashamed of this, it is still a bit embarrassing – especially since I’m now running another contest for the band and have absolutely no insights or opinions to offer on their latest work. Oh well. You don’t care what I think; you’re here for the free stuff.
And the free stuff is this. The band has just kicked off a North American tour which, I believe, will see them play the entire new record in its entirety – it is a rock opera, after all – with some fan favourites tacked on at the end of the set or the encore. And that tour will be at the Kool Haus in Toronto on August 3. And courtesy of Against The Grain, I’ve got three pairs of passes to give away for the show. If you want to go, email me at contests AT chromewaves.net with “I want to see The Decemberists” in the subject line and your full name in the body. Contest will close at midnight, July 26.
There’s interviews with the band at Seattlest, The Georgia Straight and Oregon Live while Magnet does the overrated/underrated thing with their oeuvre.
Video: The Decemberists – “Hazards Of Love 2” (live at SxSW)
MySpace: The Decemberists
Friday, July 17th, 2009
Review of Wheat's White Ink Black Ink and giveaway
Brittany GrayTo call the Wheat story a long and winding one would be more than a little bit of understatement. I’ve made following the band something of a spectator sport over the years so when word came out that they band – whom you could never take for granted still existed let alone were working – had a new album coming out, a follow-up to 2007’s tentative and uneven but wholly welcome Everyday I Said A Prayer For Kathy And Made A One Inch Square, I reached for the popcorn.
I got a taste of the new material at SxSW in March at a performance that you couldn’t call flawless – the complexities of trying to recreate the new material live with just a trio were evident and the new stuff didn’t immediately file itself in the “win” column – but did nicely showcase the band’s joie de vivre at simply making music. The actual new record, White Ink Black Ink, out next Tuesday, maintains that sense of joy but delivers the material much more confidently – unsurprisingly, this is a band more comfortable in the studio than on the stage. Ink follows the template laid down by Kathy, with the same sort of restless creativity and messy enthusiasm but whereas the ADD left Kathy feeling somewhat distracted, Ink comes across as a more fully realized and crafted record – still meandering but with more purpose and even when it doesn’t know where it’s going, it gets there with more vim and vigor.
So on its own merits, Ink is an enjoyable bit of art-pop but for a long-time fan such as myself, it’s impossible to consider it without wondering how it compares to their early highwater marks, Medeiros and Hope & Adams. And the simple fact is, objectively or subjectively, it doesn’t because it can’t. Wheat have left that the hazy, slow motion aesthetic of their salad days far behind, and even if that period did yield superior songs – I think that’s fair to say – it’s obvious they’re very much occupied and enthused about working in the now, and Ink is evidence that the new direction might yet yield gems as rich as their earlier period. Asking them to go back would be like asking the beautiful wallflower who finally got the courage to step out on the dance floor, as awkward as their moves might be, to return to the shadows. It’s not going to happen, and probably shouldn’t anyways.
Express Night Out gets a track-by-track guide to the album from Scott Levesque and Brendan Harney. There’s also an EPK video to watch, if you are so inclined.
And because I happened to get two copies of the album for review purposes – three if you count an early CD-R, four if you count the digital version – I will happily give one away to a reader. If you’d like it, email me at contests AT chromewaves.net with “I want the Wheat” in the subject line and your full mailing address in the body and get that in to me before midnight, July 24. Contest open to whomever.
MP3: Wheat – “Changes Is”
MP3: Wheat – “H.O.T.T.”
MP3: Wheat – “El Sincero”
MySpace: Wheat
Penguin Books has an interview with Joe Pernice about his forthcoming novel It Feels So Good When I Stop, out August 6, and you can now read an excerpt from it. Pernice will be at the Dakota Tavern on September 24 to play some songs from the soundtrack and read from the book – tickets are $18.50 and go on sale tomorrow.
Daytrotter welcomes Blitzen Trapper back for their third? fourth? millionth? session. They’ve also released a new video from last year’s Furr and have chats with Decider and The Daily Iowan.
Video: Blitzen Trapper – “Black River Killer”
JAM and Pitchfork talk to The National’s Bryan Devendorf and Bryce Dessner, respectively, while Decider looks at how Matt Berninger draws on Charles Bukowski for inspiration. And Pitchfork is streaming the band’s contribution to a forthcoming tribute album to Ciao My Shining Star, a tribute album to Mark Mulcahy coming out September 29. I will freely admit I have no idea who Mark Mucahy or Miracle Legion are/were, but they’ve got some heavyweight fans.
The Line Of Best Fit interviews St Vincent. She is at the Horseshoe on August 8.
Baltimore City Paper spends some time with hometown kids Wye Oak, whose rather lovely second album The Knot is out next Tuesday, July 21. The band also compiled a mix tape for Magnet.
The AV Club talks to Mark Olson of The Jayhawks.
The Riverfront Times talks to Son Volt’s Jay Farrar and gets the scoop on a forthcoming Jack Kerouac-themed collaboration between he and Death Cab For Cutie’s Ben Gibbard.
FFWD has an interview with Bruce Peninsula, who’ve just scheduled a date at the Horseshoe for October 1.
Neko Case discusses her songwriting process with The Kansas City Star.
The Dodos aren’t waiting for their new album Time To Die to leak well before its September 15 release date – they’re streaming the whole thing right now on timetodie.net and Pitchfork has an MP3 available to download. They will be at Lee’s Palace on October 17.
MP3: The Dodos – “Fables”
Stream: The Dodos / Time To Die
Daniel Johnston is hitting the road this Fall, including an October 17 date at the Mod Club – tickets $27.
Our Noise is the forthcoming book documenting the first 20 years of Merge Records, and in advance of its September 15 publication date, it has received a swanky website. Tangentially, Pitchfork is streaming the a-side to Superchunk’s recent limited edition 7″ single.
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