Frank YangYou’re not wrong, it really had been forever since Low last headlined a show in Toronto – well over five years, to be exact. It may not have seemed that long, what with them having been here supporting Wilco at Massey Hall in July 2007 and Alan Sparhawk having brought his Retribution Gospel Choir through town a number of times in the interim, but yes. Low sightings in Toronto have been, well, low.

The drought finally ended on Monday night at the Mod Club, however, with Duluth’s finest in town to support their latest effort C’Mon, their first in four years and that, I suppose, is all the explanation you’d need for why they haven’t visited. And as a return, it feels like a “where we’ve been” over the last decade or so. It predominantly resembles 2002’s Trust, with its warm, organic tones and relatively unadorned production, but you don’t have to dig too deep to uncover some of The Great Destroyer‘s overt rock moves or Drums And Guns‘ dark and crushing paranoia. It’s noteworthy that while that sequence of records confused and alienated much of their long-time fanbase – but won new devotees – blended together as they are on C’Mon they actually make a lot of sense and as such, it might be their most broadly satisfying record in some time.

Support for the evening were local dreampop ensemble and recent Sub Pop signees Memoryhouse. I first saw them back in December and while I liked much of what they were doing musically, those who criticized their live performances as being rather sleepy had a point. Perhaps in response, the Memoryhouse who took the stage on this evening were a full and proper band, with a rhythm section joining principals Evan Abeele and Denise Nouvion and made for a still low key but more confident band up there than the one I saw a few months ago. Nouvion, in particular, was clearly more comfortable in the role of frontwoman, even working some dance steps into the show. And while this configuration certainly did what one would hope, filled out the sound and gave it some weight, it also made them more conventional-sounding; not necessarily a bad thing, but when there was all that space, it left more to the imagination. But even so, as a preview of their debut full-length due out before the end of the year, it ably demonstrated why one of the premier record labels around would be so keen to get them under contract. I look forward to seeing and hearing them grow.

Ask people what they’d expect a Low show to sound like and they’d probably respond with one or all of: slow, solemn, with beautiful harmonies from Alan Sparhawk and Mimi Parker and maybe a guitar freakout or ten. But handclaps and drum machines? Maybe not so much. So that their show opened exactly so with “Breaker” would serve as notice that the evening might not be so predictable. Okay, it was still all of the things noted above, but still surprising in a number of respects, not least of all that they were here as a quartet with Sparhawk’s compatriots from the Retribution Gospel Choir on bass on keys. But most significant was that despite having released their warmest-sounding record in years and playing just about all of it over the course of the show, live it took on a decidedly different character. It was slower, starker and aside from a few moments of lightness, if you hadn’t heard the record you might have thought the band was continuing on with the grim Drums And Guns aesthetic.

Perhaps the tension was just reflecting on the unspoken mood of the crowd, what with this being federal election night and the returns coming in over the course of their set not reflecting what the presumably left-leaning audience would have liked to see. Adding to the atmosphere was the fact that Sparhawk didn’t speak a word to the audience through the entire show, and only then because he flubbed the intro to their final song. At that point he chastised his own country for taking to the streets to celebrate an assassination and lauded ours, only to be informed that we might not be far behind – at which point they closed out, perhaps appropriately given the topics of conversation, with “Murderer”. The encore offered a bit of uplift, with Sparhawk not so subtly inquiring as to where one might acquire some pot and dedicating to us “Canada” before closing things out with a grand reading of “When I Go Deaf”, offering a most welcome bit of a catharsis and making the next four years – whether until the next election or when Low finally return again – seem just a bit more bearable.

The National Post has a review of the show, while The Boston Globe and New Haven Advocate have interviews. The Alternate Side has an interview and session.

Photos: Low, Memoryhouse @ The Mod Club – May 2, 2011
MP3: Low – “Especially Me”
MP3: Low – “Try To Sleep”
MP3: Low – “Silver Rider”
MP3: Low – “Murderer”
MP3: Low – “Breaker”
MP3: Low – “California”
MP3: Low – “Monkey”
MP3: Low – “In Metal”
MP3: Low – “Sunflower”
MP3: Memoryhouse – “Lately (Deuxieme)”
MP3: Memoryhouse – “Lately (Troisieme)”
MP3: Memoryhouse – “Gian Lorenzo Bernini”
Video: Low – “Try To Sleep”
Video: Low – “Belarus”
Video: Low – “In Silence”
Video: Low – “Breaker”
Video: Low – “California”
Video: Low – “Death Of A Salesman”
Video: Low – “Monkey”
Video: Low – “Hatchet”
Video: Memoryhouse – “Heirloom”
Video: Memoryhouse – “Bonfire”
Video: Memoryhouse – “Lately (Deuxieme)”

The disappointment at there not being any local dates for the Archers Of Loaf reunion has been mitigated somewhat by the fact that Eric Bachmann is still coming to town this Summer – he is bringing Crooked Fingers to the Horseshoe on July 3, tickets $13.50. Who knows what they’ll be playing – a new record is due out sometime this year – or even who’s in the band, but happiness is still the correct response. Update: The new record is called Breaks in the Armor and it’s out in October.

MP3: Crooked Fingers – “Angelina”

Urge Overkill are readying their first new record in pretty much forever with Rock & Roll Submarine, out next week, and are coming to town for the first time since NXNE 2007. Look for them and their medallions at The Horseshoe on July 7, tickets $15.50. Illinois Entertainer and Music Radar have feature pieces on the band’s return.

Video: Urge Overkill – “Positive Bleeding”

Cold Cave – last seen (or not seen given their fondness for playing in the dark) opening up for The Kills this past weekend – have scheduled a headlining date at The Horseshoe on July 14 as part of a Summer tour, tickets $15.

MP3: Cold Cave – “Villains Of The Moon”
MP3: Cold Cave – “The Great Pan Is Dead”
Video: Cold Cave – “Villains Of the Moon”

Sonny & The Sunsets bring their new record Hit After Hit to Sneaky Dee’s on July 24.

MP3: Sonny & The Sunsets – “I Wanna Do It”
Video: Sonny & The Sunsets – “Reflections On Youth”

Acknowledging that making people choose between themselves and The Pains Of Being Pure At Heart show at The Opera House on the same evening, Beirut and Owen Pallett & Les Mouches have added an August 4 show at the Phoenix to go along with the previously announced and sold out August 2 show at the same venue. Tickets are again $32.50 and will again surely sell out.

MP3: Beirut – “Postcards From Italy”
MP3: Owen Pallett – “Lewis Takes Off His Shirt”

Continuing their mandate of only playing with other bands who are nonsensical clubs, Two Door Cinema Club are teaming up with Bombay Bicycle Club for a Fall North American tour that includes a September 17 stop at The Phoenix. Joining them will be The Lonely Forest, who have apparently convinced the other two that they are also a club. Or maybe just have a clubhouse.

MP3: The Lonely Forest – “Coyote”
Video: Two Door Cinema Club – “What You Know”
Video: Bombay Bicycle Club – “My God”

Kings Of Leon have made an October 11 date at the Air Canada Centre with Band Of Horses supporting.

MP3: Band Of Horses – “Factory”
Video: Kings Of Leon – “Sex On Fire”

Dan DennisonBritish Sea Power have yet to top the UK charts – their last record, 2008’s Do You Like Rock Music? came closest at #10 – but their next album Valhalla Dancehall certainly had #1 on its mind. It was announced yesterday that it’d have a release date of January 1, 2011 – 1/1/11 for the numerologically-inclined – and as such has the distinction of being the first major new release of next year, at least in my cosmos.

It’s interesting to note that this album finds the lineup officially expanded to a six-piece, bringing their touring viola and keyboard players into the fold (and press photos). One might suppose that the extra personnel would make for a bigger, broader-sounding album, but BSP have never gone small or been blessed with an inordinate amount of focus, even when they numbered just four, so it’s hard to imagine them being even more out there with album number four than they’ve been in the past. Zeus, the taster EP for the new record, is certainly as eclectic over its seven tracks as anything they’ve done before.

Skiddle.com has an interview with the band and in addition to assembling a little teaser video for the new record, they’ve released a new MP3 from the album to get y’all excited.

MP3: British Sea Power – “Living Is So Easy”
MP3: British Sea Power – “Zeus”

Robyn has rescheduled her show from last Friday, which was cancelled at the 11th hour (or more like 3PM) the day of due to illness. It’ll now take place on January 26, still at the Sound Academy.

Video: Robyn – “Dancing On My Own”

Dum Dum Girls will be making up for their cancelled Fall tour with a Winter jaunt that includes a stop at the El Mocambo on February 26.

MP3: Dum Dum Girls – “D.A.L.”
MP3: Dum Dum Girls – “Jail La La”

Eric Elbogen, aka Say Hi – he stopped directing that at your mom a little while ago – has a new record coming out on January 25 entitled Um, Uh Oh and will be staging a huge tour to promote. Check out the first track courtesy of Spin and see him when he plays the El Mocambo on March 4.

MP3: Say Hi – “Devils”

NPR has got a World Cafe session with Ra Ra Riot, while Pique, The Calgary Sun and The Gauntlet have interviews. The band are at the Mod Club on December 1.

Drowned In Sound talks to Scott Devendorf of The National. The deluxe edition of High Violet comes out November 23.

Spin declares Warpaint to be “breaking out” while The Riverfront Times talks to drummer Stella Mozgawa.

Spoon have put out a new video from Transference.

Video: Spoon – “Nobody Gets Me But You”

Band Of Horses have opted to premiere their latest cinematically-styled video from Infinite Arms at IMBD.

Video: Band Of Horses – “Dilly”

The Pains Of Being Pure At Heart talk to Spinner about “Heart In Your Heartbreak”, the lead single from their new record Belong, due out in March.

Frank YangThe “see something new” mandate largely fell apart on the third night of Halifax Pop Explosion, but with good reason; when you get the opportunity to see Basia Bulat perform with a symphony, you take it. Bulat was the third artist to be brought together with Symphony Nova Scotia as part of the Pop Explosion, Ron Sexsmith and Owen Pallett had done so in past years, and it was Pallett who crafted the orchestral arrangements of Bulat’s songs for this performance which took place in the Rebecca Cohn Auditorium on the Dalhousie campus.

The evening was structured more like a symphony concert than a pop one, split into two halves and opening with the symphony performing a piece by Toronto composer Jordan Pal before being joined by Bulat and bandmates Holly Coish on vocals and taropatch and Bobby Bulat on drums. Bulat’s songs have often been called orchestral-pop and often come out of the box lovingly adorned with strings, brass and woodwinds, but the strength of her work comes from the emotional directness of their simple folk hearts. So to hear them with their sonic dressings increased tenfold (or so) was fascinating to witness. Pallett’s treatments took those supporting elements and gave them a new level of animation, sometimes taking hues that were muted and enhancing them to technocolour levels or simply adding all-new shapes and colours and in doing so, inverting the tone of the song completely. The symphony emphasized the shadows lurking on “Heart Of My Own” and practically inverted the usually-joyous “I Was A Daughter” into an elegiac sort of farewell.

For me, the real test would be “The Shore”, which was pretty much perfect in its austere presentation on Heart Of My Own and was even more stunning in its live solo arrangement. The rearranged version pretty much came out of it a draw, with the timpani and percussion giving it a stirring, tidal rumble but the trilling woodwinds distracting from the song’s emotional heft. And that would largely sum up how the collaborative pieces went – a lot of embellishment and some distraction. When they played together, it could feel trepidatious, particularly rhythmically, as though songs that were used to flitting freely in light Summer dresses were now having to move with heavy, fancy formal wear on. But even so, in the end the pieces were always made winners not by the massive orchestra or Pallett’s contributions, but by Bulat and her songs.

In addition to the eight orchestral pieces, Bulat played a number of selections either with Coish and her brother or solo, and those performances – aided by the theatre’s stunning acoustics – were just as much highlights of the night as those with the symphony. In particular, one of two new songs – “It Can’t Be You” – featured a vocal performance from Bulat that was just jaw-dropping, and the encore-closing unamplified stomp-and-clap of “Death Come Creeping” on the fancy auditorium stage in front of the orchestra, was as wonderful as it was incongruous. More, actually.

I won’t say that the symphonic treatments improved Bulat’s songs – I think they’re “right” the way they were originally conceived and presented – but that wasn’t the intention in the first place. Rather, it was an artistic and musical experiment for everyone involved that yielded interesting and frequently beautiful results, and one that I still feel privileged to have gotten to see. Here’s hoping that more orchestral collaborations are in the cards for the future so that others can share that privilege and the works can evolve further as their own entities.

This ended up being the only thing I attended on the third night of HPX – partly because Rebecca Cohn was far enough from any other venue that it would have required a whole lot of effort to get anywhere else, partly because the idea of going to a little club after this show and getting blasted in the face with some punk rock wasn’t very palatable and partly because it was going to be more fun to just kick back and hang out with friends afterwards. I’d make up for it the next night.

The Halifax Chronicle-Herald also has a review of the show. She now opens up a series of cross-Canada shows for Josh Ritter, including tomorrow night at The Phoenix.

Photos: Basia Bulat with Symphony Nova Scotia @ Rebecca Cohn Auditorium – October 22, 2010
MP3: Basia Bulat – “Go On”
MP3: Basia Bulat – “Gold Rush”
MP3: Basia Bulat – “In The Night”
MP3: Basia Bulat – “Snakes & Ladders”
Video: Basia Bulat – “The Pilgriming Vine”
Video: Basia Bulat – “In The Night”
MySpace: Basia Bulat

Rae Spoon rolled out a couple more videos from Love Is A Hunter over the last while.

Video: Rae Spoon – “There is a Light (but it’s not for everyone)”
Video: Rae Spoon – “Joan”

Sufjan Stevens talks about some of the personal issues that informed and delayed The Age Of Adz with Exclaim.

The Vancouver Sun talks to Matt Ward of She & Him.

The Asheville Citizen-Times chats with Band Of Horses’ Bill Reynolds and Tyler Ramsey.

NPR interviews School Of Seven Bells.

The video for Johnny Flynn’s new single is out, featuring a live performance in a garden with Laura Marling covering her parts as she does on the studio version on Been Listening. Flynn will be at Lee’s Palace on November 14.

Video: Johnny Flynn with Laura Marling – “The Water”

A couple of interesting international bands are on the Nu Music Nite bill at The Horseshoe tomorrow night (October 26). From the UK there’s folk singer Alessi’s Ark and all the way from Australia, The Jezebels. Easier for you to give the samples a listen, than for me to try and describe a couple of acts I’m only a little familiar with, but the combination of both on one bill and it being free makes it hard for me to stay cooped up at home, as much as I’d like to.

MP3: The Jezebels – “Mace Spray”
MP3: Alessi’s Ark – “Hands In The Sink”

The Dumbing Of America and The Seattle Post-Intelligencer interview Sky Larkin, who are in town at the Horseshoe on Wednesday night.

Under The Radar talks to Rose Elinor Dougall.

Lykke Li has put out a new single – mainly digital but also as a 7″ for collectors – and you can download the a-side below and the b-side at her website. A new album should be out in the early part of next year.

MP3: Lykke Li – “Get Some”

Andrew YouseffShoegaze as a genre is generally considered to be a British sort of thing, which is reasonable since the concept of playing guitars really loudly while avoiding eye contact with the audience largely originated on that side of the Atlantic, but since the early ’90s, introverts everywhere have picked up guitars and daisy-chained distortion pedals and not a few of those who formed bands call California home. And a couple of the best-known of them are back with new records.

Hailing from San Francisco, Film School have gone through considerable changes since their 2006 eponymous release, both in terms of personnel and sound, softening the somewhat hard edges of that record on the more melodic 2007 follow-up Hideout and from the sounds of the first MP3, their new record Fission – due out August 31 – looks to be their most pop-oriented effort yet. They’re hitting the road this Fall with New York’s The Depreciation Guild, who know a thing or two themselves about building walls of sound as evidenced on their latest album Spirit Youth, and both will be at the El Mocambo in Toronto on October 4.

Los Angeles’ Autolux have managed to remain one of the state/country’s the most revered dreampop acts despite not having released a record since their debut Future Perfect in 2004, but the long wait for a follow-up will finally end next week with the release of Transit Transit. And though you could argue that after waiting six years to hear a new record, what’s another week, the band are now streaming the whole album at their MySpace, giving folks a little extra time to cram on the new tunes before the trio kicks off a North American tour in a couple weeks that rolls through Lee’s Palace on August 24.

MP3: Film School – “Heart Full Of Pentagons”
MP3: Autolux – “Supertoys”
MP3: The Depreciation Guild – “Dream About Me”
Stream: Autolux / Transit Transit

Owen Ashworth has decided that it’s time to pull the plug on Casiotone For The Painfully Alone and as such, his upcoming Fall tour will be his last. Local fans can say thanks and goodbye when he plays The Piston on October 10. Ashworth talks to Exclaim about the decision to hang it up.

MP3: Casitotone For The Painfully Alone – “Optimist Vs. The Silent Alarm (When The Saints Go Marching In”

Two acts keeping Canada safe for down-home rock – The Wooden Sky and Yukon Blonde – are teaming up for a cross-Canada tour which will wrap up on November 6 at Lee’s Palace in Toronto.

MP3: The Wooden Sky – “Something Hiding For Us In The Night”
MP3: Yukon Blonde – “Wind Blows”

Diamond Rings has finally set a release date for his full-length debut Special Affections – it will be out in North America on October 26. He plays the Lower Ossington Theatre as part of Summerworks on August 11.

MP3: Diamond Rings – “All Yr Songs”

77 Square talks to Kathryn Calder about both her forthcoming solo debut Are You My Mother? and The New Pornographers.

Under The Radar throws Fucked Up’s Damian Abraham at Devo; interviewing ensues.

The Santa Barbara Independent checks in with Robin Pecknold, who is hitting the road solo as a break from recording the second Fleet Foxes record. There’s also a short tour documentary about Pecknold’s adventures on his own.

MPR has a studio session with Band Of Horses. They’re at the Kool Haus on October 21.

NPR is streaming a session with Retribution Gospel Choir.

Billboard talks to Sam Fogarino of Interpol. Their new self-titled record is out September 7 and they preview it on August 10 at the Kool Haus.

Interview does its thing with The Morning Benders. In addition to two dates at the Kool Haus opening up for The Black Keys next Wednesday and Thursday, they’re giving a free acoustic performance at The Big Chill ice cream on August 4 at 5:30 PM. Free ice cream for the early birds!

Phil HarderI was going to skip posting today entirely but a few choice bits came up on the radar that merited a quick mention – most notably, the announcement of Bettie Serveert’s Autumn North American tour that had been promised since their latest album – the surprisingly rowdy Pharmacy Of Love – was released back in march.

Amongst those dates is a September 28 appearance in Toronto at the Drake Underground, the Dutch rockers’ first visit since a barn-burner of a set at the Horseshoe back in February 2005. It’s a bit surprising that their tour routing doesn’t take them through Vegas for Matador 21 – they released three terrific college rock-defining records on the seminal label back in the ’90s and I thought for sure that their Fall visit would be timed to coincide with the anniversary festivities, but hey, I’m perfectly happy to see them closer to home.

MP3: Bettie Serveert – “Semaphore”
MP3: Bettie Serveert – “The Pharmacy”
Video: Bettie Serveert – “Deny All”

The Sadies have been added as support for Arcade Fire’s August 14 show on the Toronto Islands. It’s unclear if anyone else is being added or if that’s going to be it.

The Globe & Mail profiles Shad. He plays the Kool Haus on August 1.

Paste catches up with Tokyo Police Club.

The Deli features Fang Island.

Band Of Horses have released a new video from Infinite Arms; they’re at the Kool Haus on October 21.

Video: Band Of Horses – “Laredo”

The Los Angeles Times gets She & Him to compile a musical mixtape dedicated to California.

The Posies will release a new album entitled Blood/Candy on September 28. Blurt has details.

Tim Burgess of The Charlatans talks to NME about their forthcoming album Who We Touch, out in North America on September 14. They’re at Lee’s Palace on September 17.

Spinner continues to talk to The Joy Formidable.