WrensFor most bands, a gap of five and half years and counting since your last record would be cause for concern amongst the fanbase, but for The Wrens it seems right on schedule. The Meadowlands came out way back in September 2003 and that was a full seven years since their previous effort Secaucus, though that was as much the fault of their evil label as anyone else. None of this, of course, makes it any easier for fans eager to hear something new from the band.

But things are finally afoot, perhaps spurred by the good-natured fun that Magnet was having at their expense. They’ve begun recording album number four and have marked the occasion by releasing a new song entitled “Pulled Fences”, recorded live at Abbey Road studios in England and available digitally. Of course, the fact that they’ve only just BEGUN recording means that we likely won’t see any new material this year (it’s sad to be writing off the year in January) but at least it’s finally happening.

And if you needed some reminding of why hearing from Wrens again is cause for celebration, dig into their audio/visual vault.

MP3: The Wrens – “Everyone Choose Sides”
MP3: The Wrens – “This Machine”
MP3: The Wrens – “Built In Girls”
MP3: The Wrens – “Grey Complexion”

Loney Dear previews the release of Dear John on January 27 with a Bandstand Busking performance.

MP3: Loney Dear – “Airport Surroundings”

And maybe while they were playing, this Black Cab carrying a warbling Ryan Adams drove by. Hey, could have happened.

CNN discusses Sweden, Cardigans and A Camp with Nina Persson. Colonia, the new A Camp record, is out February 2 in Europe and April 28 in North America.

Scotland On Sunday, The Independent and New York Magazine have features on Antony & The Johnsons, whose new album The Crying Light isn’t out until next week, but is available to stream now at Spinner. They play the Queen Elizabeth Theatre on February 17.

Stream: Antony & The Johnsons / The Crying Light

Franz Ferdinand recently released the new video from their new album Tonight: Franz Ferdinand, out January 27. They also released an EPK video about the record.

Video: Franz Ferdinand – “Ulysses”

The Boston Globe discusses the touring life with Frightened Rabbit.

The Quietus reports that Bat For Lashes’ sophomore effort Two Suns will be released on April 6.

Jason Lytle, ex of Grandaddy, recently recorded an acoustic session for Maps.

MP3: Jason Lytle – “Birds Encouraged Him” (live on Maps)

Blurt has the complete tracklisting for the star-laden, covers-heavy War Child: Heroes compilation due out on February 24.

The old inbox was simply overflowing with concert and tour announcements yesterday… in chronological order – A Brooklyn double-bill of High Places and Soft Circle will be at the Horseshoe on February 9, tickets $10.

Mekon and Waco Brother Jon Langford has a date at the Horseshoe on February 27. Ticket details forthcoming.

Lisa Hannigan, formerly a singer with Damien Rice but now gone solo with the release of Sea Sew on February 3, will be hitting the road this Winter and be at the Mod Club on March 1, tickets $15. The Times ran a feature on her last month.

Bloc Party have added a second show at the Kool Haus, this one on March 13, to go along with the previously-announced and presumably almost sold-out March 14 date. Tickets $35.

Also on the 13th and also a Canadian Musicfest show, Handsome Furs are at the Horseshoe. Exclaim reports that their new album Face Control has been pushed back from its originally-announced February 3 release date to March 10. The duo talked to Black Book about the new record back in December.

Clem Snide, presumed dead but apparently not, will release Hungry Bird on February 24 and follow that up with a tour that stops in at the El Mocambo on March 21. Tickets for that are $10.50.

Great Lake Swimmers will follow up the March 31 release of Lost Channels on March 31 with a show at the Queen Elizabeth Theatre on April 25, tickets $20.

Frank YangThough concert season is always light during the end and start of the year, this year’s layoff of 19 days seemed exceptionally long. And so when I finally got back out on the club circuit last Friday night, I was mentally unprepared for the sheer crush of humanity that awaited me. Okay, that might be a bit of an exaggeration but Rancho Relaxo – not exactly a large room under any circumstances – seemed extra packed with punters.

Now I’m sure that some of them were just folks out looking for something or anything to do on the last weekend of the holidays, or just Two-Way Monologues regulars, but it’s also not unreasonable to assume that the draw of Amos The Transparent had grown to the point that the usual haunts wouldn’t be able to house them much longer. Since first discovering the band at Pop Montreal in 2007 (also the same evening I first saw Woodpigeon – that’s called a good night), they and their debut album Everything I’ve Forgotten To Forget have not only become fast favourites, but easy candidates for the title of best unknown band in Canada. And maybe it’s just as well that they’re shedding the “unknown” part of that accolade because their before too long, either of their bill-mates on this night might be ready to lay claim to it.

Leading off were Bellewoods, a Toronto five-piece who built widescreen, slow-motion soundscapes on a strong foundation of countrified hurt that reminded me of Whiskeytown at their more bottle-bottomed moments. Though their material is a touch monochromatic, they evidenced enough sonic ingenuity in their songcraft and arrangements – and some nice guitar excursions – that I expect there’s promising things to come. A full-length album was completed last Fall and details on a release should come soon.

Taking Bellewoods’ stately pace and ratcheting up about a zillion percent were middle act, Toronto’s Whale Tooth and their highly danceable, feel-good pop led by Elise LeGrow and Norm Maschke’s terrific vocal chemistry. LeGrow’s jazz training was evident as soon as she opened her mouth but she rather than overpower things, she demonstrated exactly the right amount of style, verve and charisma to be a magnetic frontperson – bouncing around the stage like a superball also helped. Their songwriting is definitely on the breezy side, maybe a little too much so for some, but there is no denying that live, they’re a good time and a half.

Perhaps I was spoiled in having my first Amos The Transparent show feature a cast of thousands (or at least seven or eight), but in the times I’d seen them since their four-piece configuration never quite seemed to do the richness of Forgotten‘s material justice. They were all great shows, don’t get me wrong, but I always noticed the absence of manpower – or should I say, the woman power. Some of the finest moments on the album were the duets between frontman Jonathan Chandler and vocalist Ana Miura (and on one track Amy Millan), and that was something that the all-boys lineup just couldn’t recreate. So I was very pleased to see that the Amos live experience is now a six-piece, with recent additions Dan Hay on guitar and Kate Cooke on vocals. Cooke’s voice is decidedly bolder and brassier than Miura’s sweeter, more forlorn presence on the record, but after a mental adjustment of expectations she filled the vacancy admirably.

As for the show itself, it was typically excellent with great enthusiasm and intensity, though the Rancho’s little stage forced the band to be rather stationary. The set was made up mainly of Forgotten material but with a smattering of new songs to whet the appetite for the next album. And it seemed that people were ready for some new material because a surprising amount of the audience was singing along with the old songs, loudly and lustily. All these people who were filling Rancho – they were fans. I don’t say that with incredulity, just to be clear, but satisfaction.

It actually struck me while watching them that they reminded me not a little of Wilco, able to take their strong pop sensibilities and folkish roots and from there, grow their sound upwards and outwards, respectful of the traditions that informed them without being beholden to them. Or maybe I just noticed Jonathan Chandler’s Wilco t-shirt. But watching the band and their musical abilities and combining that with the restless creativity of the songcraft… I don’t think it’s a left-field comparison. A lofty one, yes, but not overly so.

Metro has an interview with Amos’ Chandler, who according to their MySpace, will be back in town for a show at Sneaky Dee’s on January 23.

Photos: Amos The Transparent, Whale Tooth, Bellewoods @ Rancho Relaxo – January 2, 2009
MP3: Amos The Transparent – “Title Track”
MP3: Whale Tooth – “Hibernation Song”
MP3: Whale Tooth – “Sleepwalking”
MP3: Whale Tooth – “6 Billion”
MySpace: Amos The Transparent

The Guardian profiles Antony Hegarty of Antony & The Johnsons. Their new album The Crying Light is out January 20 and they play the Queen Elizabeth Theatre on February 17.

Also out January 20 is Noble Beast, the new one from Andrew Bird. NPR is currently streaming the whole thing and Bird was the subject of a feature at The New York Times this weekend. He has an April 3 date at the Queen Elizabeth Theatre. Update: You can also stream the instrumental bonus disc – via Pitchfork.

Stream: Andrew Bird / Noble Beast
Stream: Andrew Bird / Useless Creatures

Jason RothernbergAlmost four years has passed since Antony & The Johnsons released their breakthrough album I Am A Bird Now, which would garner rave reviews from most quarters and ultimately go on to win the prestigious Mercury Prize. It’s a record that I’ve run hot and cold on over those years – sometimes Antony Hegarty’s quavering vibrato is the most heartbreaking thing I could imagine hearing, other times it just feels excessive and unnecessary. It probably depends on my own emotional state.

Though the Johnsons took an extended layoff, Hegarty himself was far from idle contributing to the Hercules & Love Affair record, appearing on Bjork’s last album and doing a fair bit of film and soundtrack work. His own project was brought back to the fore earlier this Fall, however, with the release of the Another World EP which offers an idea of what the next full-length, The Crying Light, will bring when it’s released on January 20. Though only a sampler, it sounds as if the broader, theatrical elements of Bird have been toned down somewhat for a leaner, more forceful effect. And for me, it works. The title track, featuring just Hegarty and a piano, is in my estimation the most poignant thing he’s ever put to tape.

Full tour dates in support of The Crying Light are still to be announced, but some are trickling out, one of which is a Toronto date at the Queen Elizabeth Theatre for February 17th. It’s an all-ages show, tickets are $35 and wil go on sale on Thursday at 10AM.

MP3: Antony & The Johnsons – “Another World”
Video: Antony & The Johnsons – “Another World”
MySpace: Antony & The Johnsons

Clash lists off the top ten post-Richey moments in Manic Street Preacher history.

Low have marked the festive season with the release of a Christmas 7″, and they’ve made a video for the A-side. Creepy? Yes.

Video: Low – “Santa’s Coming Over”

Pitchfork has details on the forthcoming benefit compilation for the Red Hot Organization in support of AIDS research. Curated by Aaron and Bryce Dessner of The National, Dark Was The Night will feature contributions from… well, pretty much everyone. Click through for a the full list of who’s doing what with whom and on February 17, pick the album up in double-CD or triple-LP format.

And though everyone else involved has already announced it, I’m pleased to be part of the newly-unveiled MBV Music music blog network group, alongside such grizzled veterans of the form as Catbirdseat, Fluxblog, Largehearted Boy and Said The Gramophone. The exact nature of this endeavour is still a little hazy, even to me, but it’s going to be a little bit aggregator, a little bit original content, a little bit country, a little bit rock’n’roll. So yeah, it’s there, I’m still here, also sorta there, and if anything noteworthy happens with it, it’ll possibly happen here as well. Got that? No? Me neither.

And hell, it’s already paying dividends – via FluxTumblr… Scott Pilgrim Vs The Universe, aka the fifth volume in the Scott Pilgrim epic, will be out February 4! Le woot.