Jessica EatonThough they should be – and probably are – at work on their next album, a follow-up to last year’s The Besnard Lakes Are The Roaring Night, Montreal’s Besnard Lakes have put together a little something something that will not only slake their fans’ appetite for some new outer space-scale rock, but give them an excuse to get out of the studio and back on the road for a spell. On September 20, they’ll release You Lived In the City, a new 12″ EP that contains music the band prepared for the documentary film Welcome To Pine Point, which chronicles the short life of a town in the Northwest Territories.

As for the aforementioned tour, it will kick off in late September on the west coast and wind its way across the continent – largely in Canada but with some forays south of the border – before wrapping mid-October in Ottawa, though you have to think that there’ll be a hometown show to cap it off. Toronto gets our fix on October 13 at Lee’s Palace, tickets $20 in advance. And sweetening the deal, as though it needed sweetening, is the fact that Malajube will be opening up all dates – that’s two bands with four Polaris shortlist appearances between them – five if Malajube’s La caverne gets the nod in a couple weeks. Not bad.

MP3: The Besnard Lakes – “Albatross”
MP3: Malajube – “Synesthésie”
Trailer: Welcome To Pine Point

Scenes From The Subrubs, the Spike Jonze-directed short film assembled to give Arcade Fire a music video and an excuse to re-release The Suburbs, is currently available to stream in its entirety over at mubi.com. The deluxe edition of The Suburbs is out August 2.

Video: Scenes From The Suburbs

Filter talks to Graham Van Pelt of Miracle Fortress. They play The Lower Ossington Theatre on August 12 as part of Summerworks. And speaking of Summerworks, the festival has run a bit afoul of the current federal government and had their funding cut; donations to help make up the shortfall are welcome (and tax deductible).

The Alternate Side has a session and interview with The Dears.

Their August 1 show in support of new album Sound Kapital presumably long sold out, Handsome Furs have added a second date at The Horseshoe for August 2, tickets $15 in advance. Exclaim has an interview.

MP3: Handsome Furs – “Repatriated”

The Corkman chats with Owen Pallett, who has two dates at the Phoenix – August 2 and 4 – opening up for Beirut.

While there hasn’t been much to draw music fans to the Toronto Islands this Summer – no V Fest, no Olympic Island shows, just the Sarah Harmer, Serena Ryder and Skydiggers free show on July 16 – Wavelength has put together a good reason to hop on the ferry for the weekend of August 13 and 14. That’s when the annual ALL CAPS! all-ages festival goes down, this year featuring performances from Julie Doiron, The Wooden Sky, Monogrenade, Steamboat, Muskox, Rich Aucoin, Dog Bus, More or Les, Evening Hymns, Moon King, Jennifer Castle and DD/MM/YYYY. And this is in addition to art installations, BBQs, general fun and frivolity and – get this – overnight camping on the island. Tickets and specifics still to come.

MP3: Julie Doiron – “Consolation Prize”
MP3: The Wooden Sky – “Something Hiding For Us In The Night”
MP3: Monogrenade – “Ce Soir”
MP3: Evening Hymns – “Cedars”
MP3: Rich Aucoin – “10,342 Cuts For The US”
MP3: Jennifer Castle – “Neverride”
MP3: DD/MM/YYYY – “Infinity Skull Cube”

Hooded Fang are not resting on their Polaris long-list laurels for their debut album Album; they’ve got a new album entitled Tosta Mista coming out July 26 – check out a couple new songs below and see them when they play the Lower Ossington Theatre on August 6 for Summerworks.

MP3: Hooded Fang – “ESP”
MP3: Hooded Fang – “Den Of Love”

Sloan have taken their turn in the AV Club’s Undercover studio, covering Gary Numan’s “Cars”. There’s also an interview at BrooklynVegan.

Southern Souls has posted a video session with Chad VanGaalen. Post City also has an interview.

Woodpigeon have put out a video from last year’s Balladeer: To All The Guys I’ve Loved Before and, via their blog, made a new song built off a poem by Marie Cecilia Ryan available to download. And head over to YouTube to see a set of live videos recorded in a disused London schoolhouse.

MP3: Woodpigeon – “The Way To Happiness”
Video: Woodpigeon – “Featherstone”

The Guardian contemplates the appeal of soft rock with Dan Bejar of Destroyer.

There’s a little photography-tilted interview with me over at Live In Limbo.

Frank YangYou would think that my appreciation of a triple-bill of artists familiar and favoured would be of the “comfort food” variety more than anything else, but Saturday night’s lineup at the Horseshoe featuring Jenn Grant, Rae Spoon and Olenka & The Autumn Lovers offered up more than its share of pleasant surprises.

By rights, Olenka’s superb second album And Now We Sing should have gotten a proper writeup hereabouts by now, but having stuck it on my 2010 year-end list without having uttered a word about it beforehand, it felt like that was the more compelling endorsement. I’ll expand a bit now, though, and say that with this record, the London, Ontario outfit has gone from a Balkan-inflected orchestral folk collective to an astonishingly ambitious and versatile band – the core of their sound remains, but their songs are richer, more melodic and dynamic and able to include heretofore foreign elements like a big rock guitar solo or countrified steel twang and make it feel like the most natural thing in the world. Each song on Sing is its own distinct and fully-realized work but fit perfectly alongside each other, strung together on Olenka Krakus’ rich and rangy voice, to make a whole even greater than the sum of its impressive parts. And this, very briefly, is why And Now We Sing was one of my favourite listens to come out of 2010.

Which brings us back to Saturday night; whereas she played her last show at The Horseshoe last November solo, this time Krakus brought along the Autumn Lover ladies string section – Sara Froese on violin, Kelly Wallraff on cello and both on vocals – and a non-lady (read: guy) on upright bass. Yes indeed, there were a lot of f-holes on stage and accordingly, the song selection leaned towards their more old world eastern European roots both in sound and lyrical theme. Now Krakus is a strong solo performer, but it can’t be overstated how much the strings and more crucially, Froese and Wallraff’s harmonies brought to their sound, nor the fact that even though the band configuration meant that most of my favourite songs from Sing were left out of the set, it was still a wholly satisfying performance. Think about that.

Seeing as how Rae Spoon performs solo, it’s more difficult for him to mix things up but even so, it wasn’t the same show as I saw when he play The Rivoli in November 2009. For starters, that show was in support of his mostly-folky and wholly-beautiful Superioryouareinferior and since then, he’s put out the decidedly more electro-dance Love Is A Hunter and picked up an electric guitar. But even plugged in and backed by a laptop, Spoon couldn’t hide his countrified roots and even made the relative failure to completely reinvent himself as a disco maven a recurring joke throughout the set, amongst many other jokes – he had some top-notch comedic material at the ready. That, and a voice of heart-breaking clarity and a brace of great songs were really all he needed for a successful set.

I had been more than a few years since I saw Halifax’s Jenn Grant, celebrating the release of her third album Honeymoon Punch, in a live setting so it’s entirely possible that she’s grown from fronting a basic four-piece band to leading a six-piece keyboard-loaded musical army… but I am guessing not. Nevertheless, she and her bandmates clearly came set to do full justice to the bouncy, synth-heavy pop of her latest effort – a sound which to these ears, at least, suits her the best of the singer-songwriter/adult-contemporary/folk-jazz styles that she’s touched on over the years. The sophisticated flourishes in her singing and songwriting couldn’t be suppressed if you tried, so having them accent big, hooky tunes that match her own natural effervescence sounds like a no-brainer and make for a pretty terrific record.

The show was front-ended with a mix of older and newer material, keeping the dynamic at a fairly steady keel and if anyone in the packed house had not yet heard the new record, it probably would have felt perfectly familiar for the first while. But a solo turn on Punch‘s gentlest moment, the Sarah Harmer-ish “Paradise Mountain”, marked the start of what was basically a recital of the new record; all of it ended up getting aired and that was absolutely fine with me and, it seemed, the rest of the packed house. Care was taken to reproduce as many of the album’s tones and textures as possible – hence the five-part synth orchestra on “Walk Away” and the marching band tom which Grant took great delight in banging around stage for the outro of main set closer “Stars To Waves”. For the encore, there was a cover of Ron Sexsmith’s “Dragonfly On Bay St” and finally her first single “Dreamer”, before calling it a night and capping a performance that affirmed that if Honeymoon Punch makes Jenn Grant a star – as it rightly should – she’s more than ready to take the call.

The Autumn ringers, which is to say local Torontonian musicians, will sit in with Olenka when she opens up for Mark Berube at The Garrison on March 3 and the full and proper Autumn Lovers will be on hand for their Canadian Musicfest showcases, Friday March 11 at 4PM at a venue to be announced and then 8PM that same night at The Drake Underground. The Vancouver Sun, Northern Life and The Georgia Straight have interviews with Rae Spoon. The Waterloo Record and NOW have features on Jenn Grant.

Photos: Jenn Grant, Rae Spoon, Olenka & The Autumn Lovers @ The Horseshoe – February 19, 2011
MP3: Jenn Grant – “Dreamer”
MP3: Rae Spoon – “Death By Elektro”
MP3: Rae Spoon – “You Can Dance”
MP3: Rae Spoon – “Come On Forest Fire” (CPI Remix)
MP3: Rae Spoon – “There Is A Light”
MP3: Rae Spoon – “Come On Forest Fire Burn The Disco Down”
MP3: Olenka & The Autumn Lovers – “Odessa”
Video: Jenn Grant – “Getcha Good”
Video: Jenn Grant – “You’ll Go Far”
Video: Jenn Grant – “Heartbreaker”
Video: Jenn Grant – “Dreamer”
Video: Rae Spoon – “There is a Light (But It’s Not For Everyone)”
Video: Rae Spoon – “Joan”
Video: Rae Spoon – “Love Is A Hunter”

PS I Love You have released a new MP3 that features a little vocal help from compadre Diamond Rings. PS I Love You is at The Garrison on April 7.

MP3: PS I Love You – “Leftovers” (featuring Diamond Rings)

I don’t recall having seen either of these videos by The Besnard Lakes from The Besnard Lakes Are The Roaring Night – maybe you haven’t either.

Video: The Besnard Lakes – “Albatross”
Video: The Besnard Lakes – “And This Is What We Call Progress”

China Shop talks to Stephen Ramsay of Young Galaxy, who are at Lee’s Palace on March 10 and have made a new remix EP available to download for free.

ZIP: Young Galaxy / Cover Your Tracks

The National Post and JAM caught up with members of Arcade Fire in the immediate wake of last week’s big Grammy win, while New York Magazine addresses the whole “never heard of them” reaction that also occurred in the wake of the big Grammy win. The National Post also has an interview with the band about their collaborative short film with Spike Jonze.

DangerbirdThat The Dears never really realized the lofty expectations that accompanied them when they emerged out of Montreal at the turn of the century really isn’t important. Nor is the fact that they turned out to be more foreshadowing of the great Canadian indie renaissance of the past decade rather than leaders of it, or that the drama surrounding the band and its endlessly changing roster often overshadowed their already-quite dramatic music. All that really matters is that they’re still at it and their new record Degeneration Street is, for my money, their best yet.

That should probably be accompanied by the caveat that I’ve never really been a fan of The Dears. Their early albums, for which they were the most feted, had the sort of grandeur that I liked but was lacking in the hooks that would have kept my attention over the course of their sprawling records. 2006’s Gang Of Losers, while hardly perfect, was the first of their releases that I really warmed to. And even though many found it too conventionally “rock” compared to their more expansive efforts, most would agree that 2008’s murkily rambling Missiles, which bore the fingerprints of its difficult birth (most of the band quit or left during its recording), was a low point for the band.

It may have been a necessary nadir, though, as Degeneration Street finds the band – reconstituted with a number of band members from earlier incarnations – striking a lean and focused balance of rock, soul and prog with plenty of pop and just about the right amount of self-indulgence. Tracks like “5 Chords” and “Thrones” are the sort of soaring, guitar-propelled anthems that far too few Canadian acts even attempt, let alone pull off, while opener “Omega Dog” proves that it’s possible for the band to showcase the scope of their ambitions without taking six-plus minutes to do it and the unexpectedly retro bounce of “Yesteryear” shows they’ve still got some surprises up their sleeves. I’m inclined to give veteran producer Tony Hoffer props for helping the band pull it together, though just as much credit must go to Dears leader Murray Lightburn – a man with a bit of a reputation for being artistically controlling – for allowing someone else to take the reins. It might have taken five albums over eleven years, but The Dears may have finally arrived.

Degeneration Street is out tomorrow and currently streaming in its entirety at aux.tv. The Montreal Gazette has a feature piece on the band and the album will be spotlighted in the first Polaris Record Salon, wherein a Polaris juror argues for the record’s inclusion in this year’s longlist/shortlist/ – it takes place Tuesday night at The Drake Underground and will also feature a live interview with Murray Lightburn and Natalia Yanchak. Doors at 7, starts at 8 and will feature a listening party for the album. And if you’d rather hear them play than see them speak, they will play an in-store at Sonic Boom this coming Thursday evening, February 17, at 7PM – admission free with a donation of canned goods.

MP3: The Dears – “Blood”
Video: The Dears – “Omega Dog”
Stream: The Dears / Degeneration Street

The Guardian has a feature interview with Arcade Fire while Pitchfork has details on their upcoming Scenes From The Suburbs short film, helmed by Spike Jonze. And oh yeah congratulations to the band on last night’s “Album Of The Year” Grammy Award. Wait, who?

aux.tv features Young Galaxy in the latest installment of their Camera Music video session series, while Spinner and Chart talk to the band, who will be taking a pregnancy-induced hiatus at the end of April. Best catch them at Lee’s Palace on March 10 while you can.

The Besnard Lakes tell Spinner they’re going back into the studio to work on their next record as soon as this Summer.

Shad has released a new video from TSOL; he’s playing at The Indie Awards during Canadian Musicfest on March 12.

Video: Shad – “Keep Shining”

Self-Titled talks to Tom Scharpling about directing the latest New Pornographers video. You know which one.

Exclaim reports that Destroyer’s Dan Bejar has an impersonator…. and his name is Dan Bejar. For serious. The real(er) Dan Bejar and his Destroyer crew will be at Lee’s Palace on March 31.

With Drums & Colour interviews Mark Hamilton of Woodpigeon.

Forest City Lovers have announced an April 1 show at The Garrison, where they will be accompanied by Slow Down Molasses and Kite Hill. NOW has a feature on Forest City Lovers’ Kat Burns and her artwork-an-hour An Hour Of My Time art project and she’s got a solo show at Holy Oak on March 3.

MP3: Forest City Lovers – “Light You Up”

The Star Phoenix talks to Mike Belitsky and Planet S to Dallas Good of The Sadies. They’ve got a date at The Mod Club on March 11 with a yet-to-be-announced special headliner.

MyspaceI don’t really participate in Twitter memes, but if I were to ride the one currently trending for #why90srocked, one of my contributions might be Boston’s Buffalo Tom. One of my favourite bands of that decade, their Let Me Come Over and Big Red Letter Day were two of the gateways that led me to the world of college rock (what the kids now mostly call indie) – jangly guitars, raspy vocals, big hooks all around, what’s not to like? Unfortunately they, like many of the acts of that era, didn’t find the underground to be especially profitable and eventually called it a day at the end of the 20th century when the responsibilities of real life came calling (frontman Bill Janovitz became and continues to be a realtor).

But like many of their peers, Buffalo Tom found a second act years later when they discovered their fans from back in the day were still there and so was their appetite for their music. I for one was thrilled to finally see them live not once but twice in 2007, both terrifically high energy performances with just the right amount of slop, and their comeback album Three Easy Pieces also stood tall alongside their past works. There were no disappointments here.

And I don’t expect any on their second post-reunion album, Skins. The Buffalo Tom formula isn’t necessarily a broad one, but it is deep enough to expect the veteran songwriters to be able to pull a dozen or so good tunes out of it every few years. Stereogum has the first MP3 from the album available to download, and though it starts out favouring the band’s more pensive side it builds quickly to a big rock breakdown, and Janovitz’s voice is unmistakeable. Consider the appetite whetted. Skins is out on February 15 of next year and The Alternate Side has an interview with Janovitz.

Grab the title track from their last record for a taste of their more pop-oriented side. Update: The new track is now available for anyone to disseminate. Yay!

MP3: Buffalo Tom – “Arise, Watch”
MP3: Buffalo Tom – “Three Easy Pieces”

Chunklet interviews Andy Earles, biographer of Husker Du and author of Husker Du: The Story of the Noise-Pop Pioneers Who Launched Modern Rock.

Creative Loafing talks to Jon Wurster and City Pages to Mac McCaughan of Superchunk. They’re playing an in-store at Sonic Boom on December 9 at 3PM before hitting up the Sound Academy that evening opening up for Broken Social Scene.

The Vine interviews Doug Martsch of Built To Spill.

Rolling Stone reports that in addition to the reissues of Hollywood Town Hall and Tomorrow The Green Grass on January 18, the same day that a short tour kicks off at The Phoenix in Toronto, The Jayhawks will be releasing a new album under their proper name – previously a stumbling point – in the Spring of next year.

Magnet has gone archive-digging and come up with their 2002 feature piece on Wilco circa Yankee Hotel Foxtrot, arguably the most interesting period of their career.

Old 97’s frontman Rhett Miller talks to Spinner about his love of hockey while bassist Murry Hammond chats with Metromix.

Conor Oberst will return to Bright Eyes for the first time since 2007 for The People’s Key, due February 15. Details at American Songwriter.

Interpol heads to Europe and does the press circuit with Metro, The Guardian and Drowned In Sound.

Spoon has collected the demos and alternate takes of songs that were posted to their website over the past couple years and are offering it for sale as the digital compilation Bonus Songs 2008-2009.

Yours Truly has a video session with S. Carey, in town at The Horseshoe on December 19.

The Fly has an acoustic session with Local Natives.

Spinner talks to Warpaint bassist Jenny Lee Lindberg while the band talks about and performs the song “Warpaint” in session for The Guardian.

The Besnard Lakes have set a date at Lee’s Palace for January 29, tickets $15 in advance.

MP3: The Besnard Lakes – “Albatross”

Scots Biffy Clyro will bring their Mercury-shortlisted Only Revolutions to The Garrison on February 16, tickets $15 in advance.

Video: Biffy Clyro – “God and Satan”

Asobi Seksu will hit the road following the the February 11 release of their new record Fluorescence and stop in at The Horseshoe on February 27.

MP3: Asobi Seksu – “Trails”

Cold War Kids will be at Lee’s Palace on March 18 in support of their new record Mine Is Yours, out January 25. Tickets $20 in advance. The Richmond Times-Dispatch, Spinner and The Hook have features on the band.

The Whig and Edmonton Journal interview Dan Mangan, who just recorded a World Cafe session for NPR.

San Francisco Weekly and Exclaim chat with The Sadies, who will be holding their annual New Year’s Eve throwdown at The Horseshoe on December 31.

Wolf Parade discuss their decision to take an indefinite hiatus with aux.tv.

Exclaim declares Arcade Fire’s The Suburbs as their pop/rock album of the year and talk to Win Butler about it.

The Dears are giving away a track from their forthcoming Degeneration Street over at Dangerbird. The record is out February 15.

Frank YangThere’s been no secret about where, were I a betting man, my money would have gone in guessing who’d walk away with the 2010 Polaris Music Prize last night. From my first ballot through the announcement of the short list right up through yesterday, I’ve been pulling for Shad’s TSOL and amongst my informal polling, that seemed to be the consensus choice. Well if there’s one thing that I should have learned by now is that the Polaris will always surprise you. And surprised would be the best word to describe my reaction when Damian Abraham of Fucked Up – last year’s surprise winner – announced the $20,000 prize and accompanying year in the spotlight would go to Montreal’s Karkwa for their record Les Chemins De Verre.

It’s a record that I listened to a moderate amount in the course of my juror duties, but had only made it as far as my “I should listen to this more when I have the time” list. And since the members of this year’s grand jury obviously spent much more time with the record, it’s apparently an album that merits that further attention. It’s not as though it’s inaccessible, beyond the language thing (it’s all in French if that wasn’t clear) – it’s beautifully melodic, dynamic and expertly performed atmospheric rock that certainly doesn’t require a working knowledge of the language to enjoy. In fact, that aside, it’s probably one of the more conventional yet interesting records on the short list – but I had assumed that being virtually unknown outside of Francophone Canada before their Polaris nomination, they didn’t really stand a chance.

Well, I clearly underestimated both the record and the jury because after hours of deliberations, they came to a decision that should put to rest at least one of the complaints constantly leveled against the Polaris Prize – that it’s inherently biased towards English Canada and any Francophone artists included are there on a token basis. Well Karkwa just took twenty thousands tokens to the bank and the honour of having crafted the best album in Canada in the past year – congratulations to them. Yes, they’re still all white men who play guitars but one complaint at a time, alright?

As for the gala itself, it did a fine job of keeping the hundreds in attendance at the Masonic Temple in Toronto entertained whilst the 11 men and women of the grand jury went about their duties. For the second year, they had all ten nominees on hand to perform and though no one went as all-out with hijinks or antics as they did last year, all of them made splendid arguments for why they belonged on the short list and why after all the debate and discussion over who should and should not win the prize, it’s nice to just sit back and appreciate the depth of musical talent this country has to offer.

One of the big guns of the short list kicked things off, Broken Social Scene something like a dozen members strong opening the show with the rousing instrumental “Meet Me In The Basement”, which functioned as a sort of theme song to the evening. Their set was followed by The Sadies and a demonstration of why, powered by the Good brothers’ absurd guitar-slinging and spiritually bolstered by Dallas sporting Tommy Hunter’s suit borrowed from the CBC, they’re one of the country’s most fearsome live acts.

At this point, thing shifted both geographically (to Acadia), linguistically (regional dialect Chiac) and stylistically (hip-hop) with Radio Radio. I’ve made no secret that they were my least favourite of all of the shortlisters and I’d be dismayed if they actually won, but will freely admit that they delivered a good, fun and energetic performance with the three of them trading off MC duties whilst backed by a couple members of Karkwa. Entertaining? Sure. Best album in the country? No. The performance then swung out west for Dan Mangan, who couldn’t help but deliver one of the most understated performances of the night – his singer-songwriter fare is about intimacy, not grand gestures – not even when bolstered by strings, horns and handclappers. He did, however, stage the closest thing to an audience invasion the night would see when he pulled his mic stand into the audience and climbed onto a table to lead the singalong finale to “Robots”. At first I thought he had invaded another nominee’s table as a challenge, but it turned out to be his own. Which, I suppose, was the only nice thing to do.

It seemed as though Montreal’s The Besnard Lakes were the only act to play just one song but technically, “Like The Ocean, Like The Innocent” is a two-parter – it just happened to be an epic space-rock jam that gave Jace Lasek a chance to show off his guitar chops and guitar face. Karkwa – who would in less than an hour become the talk of the town, if not country – followed with a pair of songs that you didn’t need to understand to appreciate, showcasing their impressive musical chops and probably had more than a few people wondering, “who are these guys and why haven’t I heard of them before this?” – soon to be a moot question.

It was about this time that word began circulating a winner had been selected, just when Owen Pallett – winner of the inaugural Polaris Prize a half-decade ago – was up next. His horn-augmented performance that reaffirmed him as one of Canada’s premiere musicians in the pop music sphere, his two selections from Heartland veritably crackling with creativity and imagination. Shad’s performance also crackled and, featuring a guest spot from Broken Social Scene’s Lisa Lobsinger on “Rose Garden”, certainly looked like a champion up there, closing out with a freestyle that could have been cheesy but was instead wholly inspiring.

Though arguably the most successful act on the short list, Tegan & Sara kept their set intimate with just the two sisters backed up by Pallett, who continued the trend of nominees guesting with other nominees Canada, eh? I’d not paid much attention to Tegan & Sara since their debut arrived with no small amount of hype and didn’t do anything for me, but they really did sound great up there and their banter was as entertaining as advertised. And finally, there was Caribou who, along with his sizable band all dressed in white, closed things out with a well and proper disco party although no one actually got up to dance (there wasn’t a lot of room). Like every act before them, they presented a strong case for why they should be dubbed owners of the best album in Canada, even though it had already been decided by a group who saw none of their performances.

But in the end, it was Karkwa, who were stunned and humbled and gracious as they were declared the winners by last year’s prom queens Fucked Up – an unexpected but worthy choice which should make for some interesting debate and discussion in the coming days and months. I personally had no dog in this race, my part in the process was done with the submission of the second ballot months ago. What I mainly got out of it – besides an evening of entertainment and a late night of photo processing and writing – is the certainty that with the Polaris, the best strategy appears to be as unknown as possible, somehow sneak onto the short list, be hardly rated to win by anyone and then walk away with the cash while the heavily favoured stand around and shrug. I think the only year that a dark horse didn’t take the prize was Caribou, which means that I had the honour of being part of the most predictable grand jury so far… yay us?

Check out photos from the gala below and watchables and listenables from the shortlisted albums after the jump.

Photos: Polaris Music Prize Gala 2010 @ The Masonic Temple – September 20, 2010

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