Mary RozziI forget who I was talking to but it was just in the last couple of weeks and it was about how Feist has done a pretty good job of not having anyone notice it’s been a long time since her last record – almost four years, three months and counting. Sure, the first couple years of that was spent touring and promoting The Reminder as it blew up worldwide, but after that wound down she’s struck a pretty good balance between guest appearances – whether occasionally onstage with Broken Social Scene or on record as a duet partner with Wilco – to make people happy just to see and hear her, and staying out of sight enough that those same people don’t wonder why she’s not hidden away, working on a new record.

Well it turns out she has been, and with her website now taken over by the first of a dozen “vignettes” – short videos soundtracked by what we can probably assume are samples of the new record. And while I’m sure they’d like to keep details tantalizingly obscured, women’s magazine Chatelaine revealed, while nominating Ms Leslie as one of their “women of the year”, that the new record was targeted for an October 2011 release. Presumably they’re not just making that up – after all, it’s Chatelaine. In any case, the timeline indicated by the vignette calendar on Feist’s website – the third clip is dated July 25 – implies that this won’t be a long, drawn-out reveal; you’ll probably be able to pre-order whatever this is before the August long weekend is over.

Video: Feist – “My Moon My Man”

Broken Social Scene guitarist Andrew Whiteman slags his own band’s latest video and videos in general to Spinner and tells The Calgary Herald they didn’t deserve a book to be written about them, while Paste compiles a list of the bands that make up the Broken Social family tree.

FFWD chats with Beatrice Martin of Coeur de pirate, herself way overdue for a new album though at least she allows that when it arrives, it will likely be entitled Blonde.

Room 205 has another performance in their video session with Austra online while The Georgia Straight has a feature.

The Globe & Mail, The Georgia Straight and Uptown have interviews with Louise Burns.

Exclaim solicits a rooftop performance from The Darcys, who should be announcing details about the release of their second self-titled album soon. One would hope.

Bay Of Quinte and Napanee Guide interview Patrick Pentland of Sloan, who’re clearly in cottage country right now but will be back in the city playing a free show at Echo Beach on August 5.

The reconstituted Doughboys will warm up for their August 9 date opening up for Foo Fighters at the Air Canada Centre with a free show at the Bovine Sex Club the night before, August 8. I would like to go to this but I fear that my broken collarbone (hey guys I broke my collarbone for the third time) won’t be healed enough to survive the mosh pit that’ll surely ensue, even if it is a middle-aged mosh pit.

Video: The Doughboys – “Fix Me”

Mudhoney have a date at The Horseshoe on September 10, tickets $22.50 in advance.

MP3: Mudhoney – “I’m Now”
MP3: Mudhoney – “Sonic Infusion”

Paste catches up with Portugal. The Man while Mashable finds out about their sled dog-powered new video. They bring their new album In The Mountain, In The Cloud to the Opera House on October 18; tickets are $16.50 in advance.

Video: Portugal. The Man – “Got It All”

Neon Indian will follow up the September 13 release of Era Extraña with a North American tour that hits Lee’s Palace on October 18.

Video: Neon Indian – “Heart: Decay”

Flush with their second Polaris shortlist appearance, maritimers Hey Rosetta! are embarking on a cross-Canada tour and bringing aussies The Jezabels along with them. The Toronto stop is November 24 at The Phoenix, tickets $20 in advance. Hey Rosetta will also be the subject of a Polaris Salon on August 9 at the Drake, wherein a juror will talk to the band about their record, and The Jezabels are prepping their debut Prisoner for a Spring 2012 release.

MP3: Hey Rosetta! – “Yer Spring”
MP3: The Jezabels – “Mace Spray”

NOW, The Village Voice, Boston Phoenix and hour talk to Erika Anderson of EMA, who makes her Toronto debut at The Garrison tomorrow night.

Spin pokes around Stephen Malkmus’ home. Malkmus’ latest Mirror Traffic is out August 23 and he plays The Phoenix on September 21.

Hot on the heels of announcing their new record – Father, Son, Holy Ghost out September 13 – and Fall tour – The Mod Club on September 27 – Girls have put out a first MP3 from said record.

MP3: Girls – “Vomit”

NPR has a World Cafe session with Warpaint while The Japan Times and New Zealand Herald have interviews.

TV On The Radio have released a new video from Nine Types Of Light.

Video: TV On The Radio – “Caffeinated Consciousness”

Peter Silberman of The Antlers goes into some of the influences that went into Burst Apart for Stereogum.

Spin is marking the 20th anniversary of Nirvana’s Nevermind with a tribute album – available for free – featuring the likes of Titus Andronicus, EMA and The Vaselines, amongst others.

Frank YangWhy yes, it was NXNE this past weekend in our fair city of Toronto. And yes, I was out partaking in the festivities, even going so far as to participate in some Wednesday night programming in camping out at The Garrison, which was hosting a nicely random bill of acts.

Opening things up was Pat Jordache, previously known for his associations with tUnE-yArDs and Sister Suvi but now looking to establish his own (pseudo)name with his debut album Future Songs. Those coming to them from the aforementioned connections weren’t lost, however, as there were echoes of Merril Garbus’ breakout project in some of their Afro-beat rhythms and Pat Gregoire’s affected baritone vocals but to my ears, Jordache and company sounded more comfortable in a more conventional, New Wave rock mode. And while it’s getting a bit common, it’s hard to argue with the impact that double drummers have on a live performance – when they’re as lockstep as Jordache’s were, it’s immensely powerful.

Photos: Pat Jordache @ The Garrison – June 15, 2011
MP3: Pat Jordache – “Phantom Limb”
Video: Pat Jordache – “Phantom Limb”

The fact that Baltimore’s Lower Dens was going to be playing was one of the main motivating factors in getting out of the house; I’d seen them at SXSW but that was a particularly short set and my affection for their debut Twin Hand Movement had only grown in the interim. So that they were disappointing was, well, disappointing. It was partly their fault and partly not, the latter because the mix was so loud and bass-heavy that the mind-bending, fuzz-laden intricacies of their on-record arrangements, which represented so much of their appeal, were frustratingly obscured and the former because, well, the PA didn’t force them to just meander through their material and look disinterested in the process. There were moments of clarity where they either pulled it together or the sonic murk cleared up or both and then, the results were impressive, but when someone asked later if they should see Lower Dens’ show at Lee’s the next night, all I could honestly answer was, “no, but do pick up the record”.

Photos: Lower Dens @ The Garrison – June 15, 2011
MP3: Lower Dens – “Tea Lights”
MP3: Lower Dens – “Hospice Gates”

If you’d seen my face upon learning that The Postelles’ just-released self-titled debut was produced by Albert Hammond Jr of The Strokes, you may well have been impressed by the complete lack of surprise in my expression. Because if you were to describe The Postelles’ sound in one word, it’d be “Strokes”. If you were allowed a whole sentence, it’d be along the lines of “The Strokes in the ’50s”. Reductive, sure, but also true. The New York quartet has that same dry, too cool aesthetic but rather than poach the ’70s punk scene for their influences, they seek to invoke the era of Elvis and Buddy, though made louder and slicker for modern audiences. And by and large it worked, as their set was fun and high energy but by bringing little new to the table, they also felt disposable even after hearing their material just once. Spinner has an interview with the band.

Photos: The Postelles @ The Garrison – June 15, 2011
MP3: The Postelles – “123 Stop”
MP3: The Postelles – “Hold On”
Video: The Postelles – “Sleep On The Dance Floor”
Video: The Postelles – “White Night”

Montreal’s Suuns weren’t the last band on the bill but they were the final act of my evening’s programme, and a wholly satisfying one at that. I’ve been keeping tabs on the outfit since they went by Zeroes and checked in last Fall, just before the release of their debut Zeroes QC and if possible, they’ve increased the amount of tension and intensity quotient of their distinctive electro-post-punk sound. Frontman Ben Shemi still looks like he’s in some kind of intestinal distress whenever he steps up to the mic and his tightly-wound vocals back that diagnosis up, but overtop his band’s throbbing, insistent analog pulse it’s a brooding yet heady stew of sounds.

Photos: Suuns @ The Garrison – June 15, 2011
MP3: Suuns – “Up Past The Nursery”
MP3: Suuns – “Arena”
Video: Suuns – “Pie IX”
Video: Suuns – “Up Past The Nursery”

Finally some good news on the Wild Flag front; two bits, actually. In addition to announcing a September 13 release date for their self-titled debut, a Merge release announced a Fall tour that included an October 11 date at Lee’s Palace. I had the pleasure of catching them at SXSW and you better believe that the rock will be brought.

MP3: Wild Flag – “Glass Tambourine”

Uptown profiles Blonde Redhead.

The Antlers have released a new video from Burst Apart.

Video: The Antlers – “Every Night My Teeth Are Falling Out”

Aquarium Drunkard talks to The Rosebuds, in town at the Sound Academy on August 9 opening up for Bon Iver. They’ve also got a new video from Loud Planes Fly Low.

Video: The Rosebuds – “Woods”

Clash talks to Justin Vernon of Bon Iver, whose new jam Bon Iver, Bon Iver is officially out tomorrow.

NPR and Daytrotter have sessions with The Head & The Heart.

MTV reports that Janelle Monae is ready to get to work on her second full-length album.

The Guardian profiles Brassland Records, co-founded by the Dessner twins of The National, on the occasion of its 10th anniversary.

John Darnielle of The Mountain Goats walks The Atlantic through an early draft of the song, “Dance Music”.

Frank YangA week straight of show-going is a pretty foreboding thing when you’re generally more inclined to stay home and watch television, but if the first night of said run – which began Tuesday at The Mod Club with The Antlers and Little Scream – is a bellwether of the next seven (or ten) nights out, then I say bring it on.

Though both acts were familiar, their performances were still new to me in crucial ways, in particular with Little Scream whom I’d last seen two years ago in a pair of solo performances that were both enigmatic and intriguing. Contrast that with this evening, where Laurel Sprengelmeyer was fronting a six-piece band and promoting her debut album The Golden Record; an album that’s been well-received but interestingly not done much to clarify the mystery of who Little Scream is, offering highlights in the individual songs but not really feeling particularly cohesive as it ranges from style to style, held together only by Sprengelmeyer’s impressive vocals. The live incarnation remedied this somewhat, unifying things by being both heavier and proggier throughout and offering itself up as a variant of rock built on folk instead of blues. Sprengelmeyer jokingly compared them to Iron Maiden, on account of the three-guitar configuration but just as she did a couple years ago, I was most reminded of The Who, despite the lack of any obvious nods. Why, I can’t explain, just as I still can’t fully put my finger on what makes Little Scream what they are – but I’ll keep trying.

The Antlers broke out via the unlikeliest of records in Hospice, a beautifully grim and harrowing meditation on mortality. I saw them three times in the cycle for that record, twice as openers and once at an in-store, and each time their performances seemed to be exercises in exorcising the darkness of that material by taking the songs and stretching them out into something new. The catharsis would appear complete with the band’s new record Burst Apart, which feels like fresh growth on a former blast site; sensual and sinewy, it practically glistens with life.

The sense of rebirth also carried over live, where the three-piece had added a fourth player on bass and guitar and frontman Peter Silberman, formerly content to set up off the side and hide somewhat behind keyboards, was up front and centre. As mentioned, this was my first time seeing The Antlers headlining their own show, but considering that even in a support setting they weren’t given to brevity – when opening for Editors, they stretched out five songs over 40 minutes – I expected epic-scale things from the Brooklynites and was not disappointed. With the extra four- or six-strings on hand, The Antlers were able to jam out the Burst-heavy set and allow Silberman to roam and even dance around the stage when not stealing the spotlight with his haunting falsetto. The few Hospice songs that did make an appearance were recognizable but decidedly incongruous from their original versions, the transformations applied over the two years of touring having taken hold permanently without diminishing their emotional power or beauty.

For many in the sold-out house, I’m sure the Hospice tracks were the highlights but given my difficult personal relationship with the record (it may have been written as a metaphor but for me was all too literal) it was the Burst Apart material that really shone. Free of the thematic and narrative constraints of its predecessor, the new record isn’t necessarily happy but it does have an optimism threaded throughout that’s genuinely uplifting, rather than simply trying to overcome its own weight. That the band were able to not only recreate this feeling live but amplify it was nothing short of remarkable.

DIY and The New Haven Advocate have features on The Antlers while Pitchfork solicits a list of Silberman’s formative musical influences. The National Post and BlogTO also have reviews of the show.

Photos: The Antlers, Little Scream @ The Mod Club – June 14, 2011
MP3: The Antlers – “Parentheses”
MP3: The Antlers – “I Don’t Want Love”
MP3: The Antlers – “Every Night My Teeth Are Falling Out”
MP3: The Antlers – “Two”
MP3: The Antlers – “Sylvia”
MP3: The Antlers – “Bear”
MP3: Little Scream – “Cannons”
MP3: Little Scream – “The Heron & The Fox”
Video: The Antlers – “Bear”
Video: The Antlers – “Two”
Video: Little Scream – “Red Hunting Jacket”
Video: Little Scream – “The Lamb”

Her show at The Rivoli safely behind us, Alela Diane has been announced as support for Fleet Foxes at Massey Hall on July 14. Spin declares her to be an artist “breaking out”.

MP3: Alela Diane – “To Begin”

Following in her brother’s footsteps and getting to work outside the context of The Fiery Furnaces, Eleanor Friedberger has set a July 12 release date for her solo debut Last Summer, and scheduled a Summer tour that includes a free show at The Horseshoe on July 19. The first single from the album is available to hear and watch.

MP3: Eleanor Friedberger – “My Mistakes”
Video: Eleanor Friedberger – “My Mistakes”

You get exactly zero points if you can guess what Portland synth-poppers STRFKR used to be called. Or maybe are still called, depending on who you ask and what company you’re in. You can be in their company at Lee’s Palace on September 20, where they’ll be showing off their new record Reptilians. Full dates at Exclaim.

MP3: STRFKR – “Bury Us Alive”

Stephen Malkmus has put together a Fall tour in support of his new album Mirror Traffic, due out on August 23. He’ll be at The Phoenix with The Jicks on September 21, tickets $22.50 in advance.

MP3: Stephen Malkmus & The Jicks – “Senator”

The National Post, Spinner and NOW preview Art Brut’s show at The Mod Club tomorrow night.

The Daily Swarm has gone through Bob Mould’s just-released new memoirs See A Little Light and posted their picks for some of the more intriguing passages contained therein and NPR have excerpted the first chapter. The Pioneer Press and The Bellingham Herald talk to Mould about looking back on his life for the book.

The Mountain Goats are giving away a new MP3 from their latest All Eternals Deck. Just because.

MP3: The Mountain Goats – “High Hawk Season”

NPR is streaming a World Cafe session with The Kills. The band have also released a set of acoustic performance videos over on their YouTube.

Spinner has a pre-NXNE interview with Dum Dum Girls; their showcase is Friday night at Lee’s Palace, 11PM.

Writers On Process talks to The Rosebuds’ Ivan Howard about his writing process. The Rosebuds are at The Sound Academy on August 9 opening up for Bon Iver.

That’s the same Bon Iver whose Justin Vernon is all dapper and shit as the cover story of the new Spin. There’s also interviews at Exclaim and The Vancouver Sun and the first video from Bon Iver, Bon Iver is now out – presumably not financed by the Alberta Tourism board.

Video: Bon Iver – “Calgary”

Aquarium Drunkard interviews Will Johnson of Centro-Matic about their new record Candidate Waltz, out next week.

Buffalo Tom have released a first video from their latest record Skins.

Video: Buffalo Tom – “Guilty Girls”

JAM and Echo interview Patterson Hood of Drive-By Truckers.

Acoustic Guitar and JAM chat with Steve Earle, in at the Molson Amphitheatre on August 20.

Frank YangOkkervil River are probably pretty comfortable at the Phoenix now, this past Friday marking the band’s third straight show at the Toronto venue. But each visit was in a slightly different context – Spring 2008 as support for The New Pornographers, that same October marking their first swing at headlining the 1000-capacity room – and this show would be the gauge as to whether they had outgrown that scale venue and would be moving onto bigger stages. And indeed, the did sell it out but not without the help of a pretty impressive undercard.

Leading off was Baltimore trio Future Islands, who’d been getting attention at a pretty steady rate since the release of their second album In Evening Air last Spring. I can’t comment on the “post-wave” scene of which they’re apparently a part of, but what I saw was three regular joe-looking dudes taking the stage in a synth/bass/vocals configuration and while the former two went about their business in an understated manner, vocalist Sam Herring turned into a fascinating model of a frontman. Stalking and/or prowling the stage like a jungle gorilla, hes was all chest-slapping, arm-flailing and face-grabbing antics and yet carried himself with an odd sort of stateliness. The musical side was just as odd/interesting, coupling a distinctly glammy take on early ’80s post-punk vibe with vocals that were at times gutteral and others almost theatrically dramatic. I can’t say how much I really liked it but it was definitely interesting, and these days interesting goes a long way.

I’ll go see Okkervil River each and every time they come to town, whatever the room, but I won’t lie – having Titus Andronicus on the bill made this show extra exciting, being one of the bands that could easily steal a show out from anyone. Their show at Sneaky Dee’s in April 2010 still goes down in my books as one of the most intense and chaotic live music experiences in recent memory, and while it was slightly more controlled when I saw them later that summer at Pitchfork, it was clear that of all the club-level bands getting their moment on a big festival stage that weekend, Titus Andronicus were one of the few ready to deserve it.

This would be the band’s fourth show in Toronto in just over a year, each one was a sell out and rowdy as hell, but this was their first in a room larger than The Horseshoe and I’m sure Patrick Stickles was happy to finally be on stage high enough that he wouldn’t have to worry about fans falling or getting flung onto his pedalboard. And I was happy that there’d probably be less of a concentration of their own fans and I might get to enjoy their set without worrying quite as much about getting kicked in the head. And indeed, their set had less of the bedlam of past performances but it’s important to note that as their show went on and converts to the unrelenting lessons in history, rock and rage as documented on The Monitor were made, the chaos steadily increased – thankfully mostly on the other side of the room from me. This allowed me to note that the sonic mix had shifted somewhat from when I saw them last, working a little more piano into the mix and coming across with less punk fury and more rock’n’roll fun. Goodness knows guitarist/violinist Amy Klein was having fun up there – whether pogoing around the stage or going foot-on-monitor for some riffing, she was a ridiculous amount of fun to watch, and it’s not hard to imagine that before too long it will be her and her bandmates headlining rooms this size.

But for this night, the stage still belonged to Okkervil River. I noted in my review of their latest effort I Am Very Far that the band had shed some of the refinement that marked The Stage Names/The Stand Ins in favour of a more sonically adventurous approach and indeed, that aesthetic shift carried over to the live show. I’d commented in my writeup of their last Phoenix show that the band were simply too good now to recapture the anarchic spirit that marked some of thier earlier shows and while that’s still technically true, they took a pretty good shot at it.

Whereas the last few shows had been about how in control of their formidable musical powers Okkervil River now were, this time out there was again the sense of overreaching just enough to feel unpredictable. Sure there was the fact that Will Sheff was knocking over mic stands while roaming around the stage, but he’s always done that; what was new were some noisier indulgences like a mic dedicated to heavy echo effects for him to randomly sing into, the introduction of synths for extra aural chaos, extra-ripping guitar solos from Lauren Gurgiolo, to say nothing of the synchronized hand clap/finger snap dance moves with her and Sheff in “Piratess”. Rather than simply play a show, there was a sense that they wanted to put on a show.

Whichever it was, the net result was a terrific show drawing from all their records from Black Sheep Boy forward in the expected proportions and with power substituted for some of the precision. The enthused – and tone-deaf, judging from the singalongs – audience may have helped contribute to the atmosphere, but proved to be a bit of a problem when Sheff went solo and acoustic for “A Stone”, proving you can’t rowdy up a crowd and then ask them to hush up when you need it. Old school fans got their fix with the encore as they went all the way back to Don’t Fall In Love With Everyone You See for “Westfall” before closing with the raucous, everyone-pleasing “Unless It Kicks”. Without a breakthrough hit or some other trajectory-altering event, it’s unlikely that Okkervil River’s next return to Toronto will see them graduating to the next tier of venue – that’d be the twice as large Kool Haus – but as long as they continue to play the Phoenix stage, they will continue to own it.

Will Sheff shares some thoughts on lyrics with Magnet in his capacity as producer for Bird Of Youth, who were playing guest editor of their website last week. The Wall Street Journal also has a talk with him about his current digs of Brooklyn, New York.

Photos: Okkervil River, Titus Andronicus, Future Islands @ The Phoenix – June 10, 2011
MP3: Okkervil River – “Wake And Be Fine”
MP3: Okkervil River – “Mermaid”
MP3: Okkervil River – “Lost Coastlines”
MP3: Okkervil River – “Our Life Is Not A Movie Or Maybe”
MP3: Okkervil River – “The President’s Dead”
MP3: Okkervil River – “No Key, No Plan”
MP3: Okkervil River – “Black”
MP3: Okkervil River – “It Ends With A Fall”
MP3: Okkervil River – “Kansas City”
MP3: Okkervil River – “Listening To Otis Redding At Home During Christmas”
MP3: Okkervil River – “Red”
MP3: Okkervil River – “Westfall”
MP3: Titus Andronicus – “A More Perfect Union”
MP3: Titus Andronicus – “Four Score And Seven” (Part One)
MP3: Titus Andronicus – “Four Score And Seven” (Part Two)
MP3: Titus Andronicus – “Titus Andronicus”
MP3: Future Islands – “Tin Man”
MP3: Future Islands – “Walking Through That Door”
Video: Okkervil River – “Wake And Be Fine”
Video: Okkervil River – “Lost Coastlines”
Video: Okkervil River – “Our Life Is Not A Movie Or Maybe”
Video: Okkervil River – “Girl In Port”
Video: Okkervil River – “For Real”
Video: Titus Andronicus – “No Future Part Three: Escape From No Future”
Video: Titus Andronicus – “A More Perfect Union”
Video: Titus Andronicus – “Titus Andronicus”
Video: Future Islands – “Tin Man”

After a couple years apart, Two Gallants are back together and will be at The Drake Underground on September 9, tickets $15 in advance.

MP3: Two Gallants – “Las Cruces Jail”

Active Child – aka Los Angeleno Pat Grossi – will release his debut album You Are All I See on August 23 and follow it up with touring which includes a September 14 date at The Garrison. Tickets for the show are $12 in advance.

MP3: Active Child – “Body Heat (So Far Away)”

The South Carolina Times talks to Gary Louris of The Jayhawks; their new record Mockingbird Time arrives September 20.

Pitchfork, The New Zealand Herald and The Australian have interviews with Justin Vernon of Bon Iver, whose new album Bon Iver, Bon Iver – making it technically not self-titled, just redundant – is out June 20. They play The Sound Academy on August 9.

John Darnielle of The Mountain Goats chats with The Georgia Straight and Seattle Times.

Clash interviews Jim James of My Morning Jacket, in town at The Kool Haus on July 11.

Paste checks in with Darby Cicci of The Antlers, who are in town at The Mod Club tomorrow night.

Over at The Quietus, Wayne Coyne of The Flaming Lips names off his top 13 albums of all time.

Colin Meloy clarifies rumours on the end of The Decemberists to The New York Times.

Frank YangOkay, so that’s the touristy stuff out of the way. Let’s get down to business, which is to say the music. As in festival. Music festival.

While Primavera Sound’s main, three-day event would be cramming Barcelona’s Parc del Forum waterfront park to the gills with music until the wee hours of Thursday, Friday and Saturday nights, the festival was also bookended by shows at a hillside venue on the other side of the city. El Poble Espanyol is a traditionally-styled Spanish village/museum that also happens to make a fantastic live music venue, offering great sightlines and a picturesque setting.

Getting through registration made me miss most of Englanders Comet Gain’s set, not that I knew their stuff at all, but their classically-appointed indie pop offered an enjoyable aural backdrop to exploring the environs and as a general kick-off to the festival and warm-up for Echo & The Bunnymen’s headlining set.

This show was one of their Crocodiles/Heaven Up Here recitals, following up the Ocean Rain recreation which they brought through Toronto in October 2009. While that show made perfect sense, boasting both some of the band’s most famous songs and lending itself to orchestral enhancements, offering the first two records the same treatment – sans strings – was a less obvious move. Both were considerably less populist and accessible affairs, very much attached to the band’s post-punk roots and existing in a darker sort of atmosphere. The “fans only”-ness of the set list didn’t keep them from packing the courtyard, though, nor from putting on a show that reinforced past impressions that the band rises – or falls – to the occasion when playing live. This was mostly the former, with Ian McCulloch much more animated onstage than in the past. A relative statement, certainly, but it may have explained him making more effort to hit those high notes which are audibly a strain for him these days. After the main set, they returned with a short set of “hits” as an encore – yes to “Bring On The Dancing Horses”, no to “Killing Moon” – and were done.

Not surprisingly, the crowd thinned somewhat before Caribou took the stage – after all, the demographics for ’80s British New Wave/post-punk and ’00s Canadian cosmic disco don’t entirely overlap – but the audience maintained the crucial density necessary to achieve dance party critical mass. Okay, dance party may have been an overstatement for the start of the set as it was only the handful of die-hards up front who began flailing when the music started, but as the set went on and the grooves got deeper, the dancing seemed to spread virally throughout the audience. I’d not seen the four-piece Caribou live show before – only the baker’s dozen-strong Vibration Ensemble – and their tightness and intensity totally impressed. There were no hat tips as to where they might be going on the in-progress follow-up to Swim, but wherever they go with it I can pretty much guarantee you that it will groove. Hard.

Note that since I didn’t have a photo pass, there’ll be no regular galleries from the fest but live and atmosphere shots that I got from the crowd can be seen at Flickr.

And in other animal-related band news:

Drowned In Sound gets Frightened Rabbit frontman Scott Hutchison to annotate their debut album Sings The Greys. The Selkirk Weekend Advertiser also has an interview. They play The Molson Amphitheatre on July 27.

Black Book talks to Alex Turner and Matt Helders of Arctic Monkeys and The Guardian to Turner alone. Their new album Suck It And See is streaming over at Soundcloud; it’s out next week.

Stream: Arctic Monkeys / Suck It And See

Under The Radar profiles Wild Beasts.

Today, in Antlers links: NYCTaper is sharing a couple of live recordings, The Alternate Side has an interview and session, The Line Of Best Fit and Drowned In Sound have interviews and a new MP3 from Burst Apart is available to download. They’re at The Mod Club on June 14.

MP3: The Antlers – “I Don’t Want Love”

The AV Club talks to Robin Pecknold of Fleet Foxes.