Saturday, December 8th, 2007
That I’m a huge fan of Nicole Atkins and her debut album Neptune City is not news to anyone who’s been around the last few months, so when I was offered the opportunity to do an email interview with her, I went against my usual “no interviews” policy (not because I’m against them, but because I usually don’t have the time to a proper job of it) and put together some – I hope – intelligent questions for her about the new record and her year of extensive touring.
Neptune City was released in the US on October 30 but if you’ve been looking for a copy in Canada and having no luck, that’s because it’s technically not out here – until this Tuesday, anyway. And she and The Sea will be back in town for a show this February.
CW: Neptune City is a far more stylistically diverse record than I expected – Bleeding Diamonds seemed to want to emphasize your old school, torchy side. Was it a conscious decision to broaden the sound of the album or just something that happened naturally over the course of writing and recording?
NA: it was something that just happened naturally. i had a bigger studio to work in and the use of an orchestra at my disposal so i were more than excited to take advantage of it. my producer tore and i also blended my band, the sea, together with the studio musicians he used (swedish band, the mopeds). i really think the style of the record reflected our enviroment physically and mentally at that specific time in our lives.
Is the record representative of who Nicole Atkins is and what she sounds like, or are there more sounds and styles you want to explore on future records?
this record sounds exactly what my head sounded like last year. so its definitely a portrait of my life from the last couple years. thats why the sounds morph around a little. neptune city the song was written two years before brooklyn’s on fire, and you can tell because the mood is so different. i listen to so many different types of music so its only natural that in future songs and records many styles will show up.
Your musical career has had you traveling a fair bit with extended stops in North Carolina and New York City, but now you’re back in New Jersey. What’s it mean to you to have your home and history figure so heavily into your debut record?
i think its a bit ironic that a place i’ve been trying to distance myself my whole life ends up being the starter marker for my career and now my current residence that i’ve grown to love. i didnt really choose this, i got chosen.
Was your home always a prevalent theme in your songwriting or was it that something that developed only after you’d left?
every place i’ve lived has always ended up being a major theme of my writing. but i can only write about places after i’ve left for a long time. i was in charlotte, nc in 2004 for a spell and i’m only beginning to write about it now.
Los Parasols. The Summer Of Love. Paperhouses. (ed: Nicole’s old band and independent releases, respectively) If a particularly dedicated fan were to track down these records, what would they find? Any chance of making these available someday, somehow?
these were my first forays into songwriting and leading a band. its basically me wanting to be the band big star. pretty basic alt country twang. i’m probably not going to put it out again. it would be like going to art school, and then after graduation becoming a gallery artist and then 10 years later putting the conte crayon drawings you did in Intro to Drawing I class on display. not a good idea. hahah.
You’ve had a pretty eclectic bunch of tour mates over the course of the year – The Long Blondes, The Raveonettes and The Pipettes, to name just the ones that have come through Toronto. On the surface, they don’t seem to be the sort of acts you’d naturally pair up with. How have you found the response from audiences at those shows versus, say, the ones on the Chris Isaak tour? Do you relish the opportunity to try and win over an audience that might not normally listen to your style of music?
we just like touring. and we pack so many styles even into just one song that i feel like we could tour with anyone and it wouldnt be devestating. the crowds from all the bands were really receptive and kind so far. the biggest difference between those bands crowds and chris isaak’s crowd was basically the age difference. also, older people buy more cds which was really awesome.
2007 seemed to lay a lot of the groundwork and spread the word about you, culminating in Neptune City‘s release (though it’s still not officially out in Canada…) – what’s 2008 have in store for Nicole Atkins?
to get released in canada! haha! it should be soon. also, more touring, doing some summer festivals and i’m sure more touring. fyi- toronto is probably our favorite place to play. can’t wait to get back there!
MP3: Nicole Atkins & The Sea – “Party’s Over”
MP3: Nicole Atkins – “Bleeding Diamonds”
MP3: Nicole Atkins – “Carouselle”
Video: Nicole Atkins – “Pissing In A River” (live in Copenhagen)
Video: Nicole Atkins & The Sea – “The Way It Is” (MySpace)
Video: Nicole Atkins – “Neptune City” (YouTube)
MySpace: Nicole Atkins
Friday, December 7th, 2007
I’m as guilty as anyone, but it’s unfortunate that most writeups about Richard Hawley make mention of his time with Pulp – though that was barely more than a walk-on – and The Longpigs. Not because those aren’t good to have on one’s resume, though one obviously moreso than the other, but because it says absolutely nothing about the work he’s done as a solo artist and if one’s biased against Britpoppery, may prompt them to overlook a remarkable artist.
With his deep, twanging guitarwork and rich, baritone croon, Hawley hearkens to an era that predates retro and comes across as timeless. Deeply inspired by his hometown of Sheffield, England, Hawley’s music is some of the most unabashedly romantic stuff you’ll ever hear and so Wednesday night, his first-ever show in Toronto as a solo artist – in support of his latest album Lady’s Bridge – and first visit to town in any capacity in twelve years, was one to have circled on your calendar in permanent ink.
Support on this tour was Ferraby Lionheart, who brought a croon of his own, though much higher and breezier than Hawley’s, and a parcel of songs that also drew from the past – namely the ’70s singer-songwriters of his native California. I found his set to be more engaging than his latest record Catch The Brass Ring which was pleasant and laid back to the point of innocuousness. Which isn’t to say that he and his band rocked it out onstage – hardly – but Lionheart has an engaging sort of presence onstage and you couldn’t help but appreciate the band’s meticulous attention to detail when it came to their arrangements.
Hawley and his band look exactly as you’d want, considering the music they play. Elegantly besuited and armed with an arsenal of the most beautiful guitars you ever did see, Hawley and co dazzled the packed house like the seasoned pros they are. They deftly recreated the huge, lush orchestrations of Hawley’s four records onstage with more volume and more guitarwork, though curiously Hawley opted to stick to rhythm duties for the first bit of the show. It was only towards the end that he took over lead duties from his touring guitarist and demonstrate what he could do on the six-string, culminating in a staggering reading of “The Ocean” to close the encore. I hadn’t put in my earplugs and didn’t bother at the final song – if I was going to go deaf, the having Hawley’s wailing ES-335 being the last thing I heard certainly wasn’t a bad way to go. And as entertaining as he was musically, Hawley was just as much fun as a frontman with an easy, dry English wit and an flair for the fine art of between-song banter. Truly a splendid night and if there was any complaint, it’s that at not much over an hour it felt far too short.
eye and The Globe & Mail also have glowing reviews of the show, iAfrica and WERS have conversations with the man and Stereogum offers up some video footage of a recent in-store in New York City. And Ferraby Lionheart’s Daytrotter session is now up.
Photos: Richard Hawley, Ferraby Lionheart @ The Horseshoe – December 5, 2007
MP3: Richard Hawley – “The Nights Are Cold” (acoustic)
MP3: Richard Hawley – “I’m On Nights” (acoustic)
MP3: Richard Hawley – “It’s Over Love” (acoustic)
MP3: Richard Hawley – “Precious Sight” (acoustic)
Video: Richard Hawley – “Tonight The Streets Are Ours” (YouTube)
Video: Richard Hawley – “Serious” (YouTube)
Video: Ferraby Lionheart – “A Crack In Time” (YouTube)
Video: Ferraby Lionheart – “Small Planet” (YouTube)
MySpace: Richard Hawley
MySpace: Ferraby Lionheart
UK it-girl in waiting, Kate Nash, seeks to begin her reign over 2008 with an uber-short North American tour kicking off January 7th in Toronto at the Mod Club.
New videos from Radiohead, Emma Pollock and The Pipettes.. Grok below.
Video: Radiohead – “Jigsaw Falling Into Place” (YouTube)
Video: Emma Pollock – “Paper & Glue”
Video: The Pipettes – “It’s Not Love (But It’s Still a Feeling)”
JamBase talks to Josh Ritter, in town at the Phoenix on March 4.
The Moscow Times runs up the phone bill talking to Aaron Dessner of The National. Actually that’s not true. They probably used VOIP.
Drowned In Sound talks to Sufjan Stevens about the art of the Christmas song.
Feist tells Billboard about nearly crashing her car in a blizzard upon hearing she’d been nominated for four Grammy awards. And if you’re one of those with tickets to her upcoming sold-out Toronto show at the Sony Centre, then you already know that the February 18 date has been postponed to May 13.
And Mr Feist, Kevin Drew, is on the cover of this month’s BeatRoute. He/Broken Social Scene are at the Kool Haus tomorrow night.
Basia Bulat will be doing an in-store at Criminal Records on Queen West next Wednesday night, December 12, at 7PM for a session to be recorded for CBC Radio 3. She’ll be opening up a string of dates for Hayden in January but not, it seems, his February 19 date at the Danforth Music Hall in Toronto.
Also nominated for a Grammy, Wilco’s Sky Blue Sky for “Best Rock Album”. Do the Grammy people even LISTEN to the records they nominate? The Associated Press has a lengthy-ish feature on the band.
Coming March 18 – DeVotchKa’s new album A Mad And Faithful Telling. Drowned In Sound has the tracklisting.
AllMusic offers up their guide to “Crush Bands of 2007”.
Thursday, December 6th, 2007
Before we begin, if you didn’t live in Southern Ontario or Western New York state in the early to mid ’90s, then you’ll need to read this for this post to have any sort of context.
I was excited when I heard about The Lowest Of The Low being tapped to kick off the month-long 60th anniversary celebrations for the Horseshoe Tavern, having rediscovered my passion for the band earlier this year (see above linked post) and certainly liked the idea of seeing them again for the first time in over seven years. And when I received an email on Monday night from new Low member Lawrence Nichols thanking me for the August post and mentioning that this would be the band’s final ever Toronto show – they were disbanding again and for good this time – it certainly gave the evening an extra sense of occasion. And for me, who was more than a little bitter about the fact that they broke up the first time around barely a week before they were to play my university, it was a chance to be there – properly – at the end of it all.
Opening up were Songs From A Room and My Shaky Jane, two local outfits that hearkened to earlier times. The former, despite their Cohen-inspired name, were more a meeting of ’70s proto-metal hard rock and ’80s American post-punk/hardcore while the latter were more straight ahead, classic party rock with an animated live show and rather generic tunes made more for entertaining than inspiring.
But with all due respect to the support, we were there for the Low. After a warm introduction from CFNY’s Dave Bookman, host of the Nu Music Nites at the Horseshoe for the past fourteen years and Jeff Cohen, owner of the Horseshoe, the Low took the stage to rapturous applause and thus began the long goodbye. And though I’m sure many were expecting or hoping for a pure nostalgia night, the Low were not going to oblige – I’m sure that a large reason behind their dissolution was to avoid becoming an oldies act and they were going out on their own terms. Not even half of the main set came from Shakespeare… My Butt or Hallucigenia, but drew more from 2004’s Sordid Fiction and presumably both Ron Hawkins and Stephen Stanley’s solo material (Hawkins just released a new solo record, Chemical Sound). The balanced the old and new out via the two encores, but it was obvious that the band held their reunion material in as high regard as their older stuff and while it obviously didn’t resonate as much with me as the songs I played to death in my salad days – I certainly wouldn’t have minded one more rendezvous under the Carlaw Bridge or a final plea to get Henry a new pair of Docs – I could totally respect that.
And though it had been many years since I saw them last, I was amazed at how ageless they appeared. If you were to compare the three original members onstage with the photos of them circa Shakespeare, you would not believe that fourteen years had passed. And they were still as entertaining and sharp onstage as I remembered, cracking wise between songs, ad-libbing lyrics and only occasionally getting sentimental about the farewell. I don’t really remember if they were a terrifically tight band back in the day as I probably wasn’t paying that much attention to such things but what they lacked in precision – I suspect they were pretty well lubricated by the time they went on – they more than made up in pure energy.
Though their official final gig is this coming Saturday in Buffalo, this was the real goodbye, the grand finale. Buffalo is just epilogue. Playing in the bar that’d been like a second home for them for so long to the hometown fans who’d took them to the top (relatively speaking) in the early ’90s, mourned them when they went away and welcomed them back with open arms at the dawn of this century. Toronto infused every note, every word of their songs and this was Toronto saying thanks and goodbye. And it ended the way it should have – in celebration, not sadness. Maybe there were some tears in the crowd when the last notes of “Eternal Fatalist” rang out and the band took their bows, but there were far more smiles. It’s tempting to think of the Low as a band that could have and should have done greater things if they hadn’t imploded, but forget the “what ifs”, they DID do great things, write great songs and finished up on their own terms, even if Hawkins’ Telecaster wanted to give up the ghost a couple songs early.
So to Ron, Stephen, David, Lawrence, Dylan and also John – wherever you were – thanks, and goodbye.
Stephen Stanley posted a post-show note on the Low’s forum and while I’m not surprised in the least, I’m still a little disappointed that there appears to have been no media covering the show whatsoever.
Photos: The Lowest Of The Low, My Shaky Jane, Songs From A Room @ The Horseshoe – December 4, 2007
MP3: The Lowest Of The Low – “Bleed A Little While Tonight”
MP3: The Lowest Of The Low – “Subversives”
MP3: The Lowest Of The Low – “Gamble”
MP3: The Lowest Of The Low – “The Dogs Of February”
MP3: The Lowest Of The Low – “The Unbearable Lightness Of Jean” (live)
MP3: My Shaky Jane – “The Books That She Carries”
MP3: My Shaky Jane – “Dark And Bright”
MP3: My Shaky Jane – “Youth”
MP3: Songs From A Room – “A Schooner Is A Sailboat”
MP3: Songs From A Room – “Left Versus Right”
Video: The Lowest Of The Low – “The Last Recidivist” (YouTube)
MySpace: The Lowest Of The Low
MySpace: My Shaky Jane
And not to overlook the other part of the event Tuesday night, namely the kick off of the Horseshoe Tavern’s 60th anniversary party, NOW has rightfully devoted the cover and most of the music section of this week’s issue to the history of the venerable club (links to individual stories down the right side), The Toronto Star solicits some venue stories from the owners past and present, The Globe & Mail chats with their barkeep and JAM! also pays tribute.
Wednesday, December 5th, 2007
So the bad news is that as expected, I’m busy enough this week that time for writing is dwindling, as is content grist for the blogging mill. Hence today’s ultra-compact, or as I prefer to think of it “travel-sized”, post.
But what I’ve got is good stuff, namely Destroyer news. I was late to the Destroyer’s Rubies party but am going to be front of the line for this one. Or nearly. Catbirdseat was first – at least in my RSS reader – with the news that the new record was going to be called Trouble In Dreams and be out on March 18 of next year. Pitchfork then showed up with a track listing and the news that there’d be touring to support in the Spring and Summer (Dan Bejar is no king of the road so that wasn’t a foregone conclusion) and then finally, Merge graced my inbox with a link to the first MP3 from the record. It’s very stately. Huzzah.
MP3: Destroyer – “Foam Hands”
And this should have been tacked onto yesterday’s post, but Black Book has an interview with British Sea Power and Pitchfork has the video for the first single, also audible on their MySpace. Do You Like Rock Music? hits February 12.
Video: British Sea Power – “Waving Flags”
Billboard has specifics on the new record from The Breeders. Mountain Battles is out April 8 and the first taste is available at their MySpace. Kim Deal talks a bit to NME and Rolling Stone about making the record and BrookylnVegan has got the official press release for the record which wouldn’t really be noteworthy except it promises a Canadian Music Week appearance – so look for the Breeders to be in town sometime between March 5 and 8.
Spinner brings us news and sounds from Bob Mould’s new one District Line, due out February 5. Reuters talked to him a little while ago about his balancing his rock and techno interests.
MP3: Bob Mould – “The Distance Between Us”
Voxtrot’s Ramesh Srivastava talks to The Daily 49er.
QRO chats with Los Campesinos!, in town at the Mod Club tonight.
Those of you craving year-end lists should be checking in at Largehearted Boy (which you should be doing anyways) as he’s been keeping a running list of all – and I mean all – year-end lists he finds. Including his own.
And if you’re stuck on what to get people for your Christmast shopping, the A/V Club is here to help.
Tuesday, December 4th, 2007
So. Those of you who’ve been around for a while – or at least a year – may recall that last November, I instigated a massive contest-slash-reader’s poll wherein I solicited everyone who cared to enter’s picks for their top five records of the year and from that pool, I gave away something like a dozen padded mailers of various sizes crammed full of music blogger promotional detritus. Perhaps some of you were hoping I’d do something like that again.
No and yes. As far “no”, last year’s little exercise was a nightmare in bookkeeping (as far as logging who wanted and might like what based one their submissions), cost me way more than expected to send all that stuff out – and a few packages were hand-delivered – and didn’t clear out my shelves nearly as much as I’d hoped it would. But to “yes”, I still have loads of promo stuff cluttering up my office and a closet full of padded mailers so I’m doing it again, but on a smaller and more manageable scale.
And so this year’s reader’s poll will work like this. You, the reader, leave me a comment down below there listing off your top six albums of the year, ranked and in order. Why six? Because. To be eligible, the record has to have been released in some form for retail, be it physical or digital. So yes, In Rainbows counts but that leak you’ve got of the new Magnetic Fields record – no, I don’t know if it’s actually leaked you can close your torrent clients – does not. Anyways, you submit me your year-end list and feel free to throw in whatever 2007-esque commentary you see fit and when I close this sucker in a few weeks – say, midnight, December 19 – then I’ll randomly select six names from the submissions, gather their mailing addresses and send out six more loot bags. They won’t be quite as industrial-sized as last year’s but I’ll make sure they have some good stuff, based loosely on your picks, to entertain you come Boxing week. And I’ll post the final results of your aggregate top records of the year before we all break for the holidays.
So send ’em in. As always, you can leave your spam-proofed email address in the “E-mail/HTTP:” field with an “AT” instead of the “@” and it won’t be displayed on the site, but I will have it on my end via the generated email (so as I can contact you, y’see). And if you were curious about last year’s results, check them out here.
…And I am hoping to have my year-end post up by next week. Note the operative word, “hope”. Also note the absence of the word “list”.
Okay, enough of that. Have some links.
Thanks to Reveille for pointing out that Songs: Illinois has got the first sample of the solo album from ex-Jayhawk Gary Louris. You can download that track and stream a few more on his MySpace. Vagabonds is out on February 19.
Super Furry Animals will tour their latest, Hey, Venus!, across North America this Winter and into the Mod Club on February 20. Full dates at BrooklynVegan. Have you heard any of the new record yet? No? Me neither. Let’s listen together. And also, on Christmas Day the Super Furries will stuff your stocking with a free holiday download – details at Uncut.
MP3: Super Furry Animals – “Run-Away”
Heckler Spray Q&As British Sea Power in advance of the release of Do You Like Rock Music?, out February 12. They also chat with Prefix and acknowledge the existence of Hot Hot Heat. And thanks to Torr for pointing out that the first single from the record is streaming at the band’s MySpace. That is some grandiose-sounding shit, man.
The Sydney Morning Herald talks to RiotBecki of The Pipettes about their retro leanings.
Filter learns a few of The Go! Team’s favourite things.
Chart pays tribute to The Horseshoe, sixty years young this weekend. Don’t forget that the Lowest Of The Low free show, which kicks off the birthday festivities, is tonight and if you are/were a Low fan, then you owe it to yourself to be there, if for no other reason than to salute some true local heroes and say goodbye. Yes, that’s exactly what it sounds like.
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