MySpaceToday’s a day off from the real job, but not the fake job – this job – and the start of a four-day weekend, so you’ll excuse me if this post is a touch… random. I’ve got a stack of links including a bunch of new videos for your viewing pleasure, but no particular focus so I’ll just wade in with what is, to me at least, the most important of them all.

Which is the first MP3 from the first new Versus album in a decade – hell, the last time there was a new Versus album, there wasn’t such a phrase as “the first MP3 from”. I only twigged onto the New York outfit after their last record, 2000’s Hurrah, had run its course and their decade-long hiatus was just underway. Collecting their back catalog kept me occupied for a good while – turning up their super-rare debut EP Let’s Electrify! in the bins of Sonic Boom is a particularly fond memory – as did their various side-projects, but I couldn’t help feeling like I’d missed the boat on a great band, mainly because I had.

But sporadic shows over the past decade kept the hopes that they’d be back eventually alive, and those hopes will become reality on August 3 with the release of On The Ones and Threes, available on CD and as a double-LP with a different running order and two extra tracks. For full details and pre-order information, head over to Merge Records, for the first taste of the new album, click below and for tour dates, stay tuned. Because they’re coming.

MP3: Versus – “Invincible Hero”

Dean & Britta’s contribution to the just-released Sing Me To Sleep compilation of “indie lullabies” is now available to download. Despite the questionable concept, the record has brought together a pretty impressive lineup of talent.

MP3: Dean & Britta – “Making Me Smile”

Filter thinks you should already know Ted Leo. He and his Pharmacists are at Lee’s Palace on June 26.

Matt Berninger of The National talks politics and High Violet with The Huffington Post.

NOW, Time Out New York and The Fly have features on LCD Soundsystem, who play The Kool Haus on May 25. They’ve also just released a video for a non-album track (and cover).

Video: LCD Soundsystem – “Bye Bye Bayou”

North County Times talks to Nada Surf frontman Matthew Caws, who offers Spinner some advice for up-and-coming bands: get a day job. They’ve got a new video for their Bill Fox cover from if i had a hi fi, out June 8.

Video: Nada Surf – “Electrocution”

Which seques nicely into the new video from Drive-By Truckers, which offers a less positive take on the idea of punching the clock.

Video: Drive-By Truckers – “Working This Job”

James Mercer tells Billboard that he’s about ready to get back to work on The Shins but that Broken Bells wasn’t necessarily a one-off effort. They (Broken Bells) will be at the Queen Elizabeth Theatre on June 2.

Spinner talks to Josh Ritter.

The National Post, Vancouver Sun, Metro and Clash talk to Ben Bridwell of Band Of Horses, while Spinner spends some time with guitarist Tyler Ramsey. They are at the Toronto Islands on June 19.

Thao with The Get Down Stay Down have released a new video/Oxfam PSA. They’ll be at The Horseshoe on June 26.

Video: Thao with The Get Down Stay Down – “Body”

Eels will release their new record Tomorrow Morning on August 24 and tour it to through the Mod Club on September 29.

Exclaim has the details on the deluxe reissue edition of R.E.M.’s Fables Of The Reconstruction, due out July 13. In addition to the remastered 1985 album, there’ll be a second CD of unreleased period-correct demos and goodies.

The Drums reveal to Exclaim that their self-titled debut will be out on June 14 in digital and vinyl form, and then CD come September.

Video: The Drums – “Forever & Ever Amen”

The Colorado Springs Independent profiles Laura Marling, who will be back in the southern Ontario area on July 23, performing in Guelph on the first night of Hillside.

Prefix has an interview with Kate Nash.

Mogwai have announced that the DVD of their live concert film Burning will come accompanied with a live record entitled Special Moves, and both will be available on August 24. Head over to the Special Moves website for more information.

eye, NOW, Uptown and Vue talk to The Sadies about their new record Darker Circles, from which they’ve just released a new video and for which they’ll be playing a record release show at Lee’s Palace on Saturday. They’re also at Harbourfront Centre on Canada Day, July 1.

Video: The Sadies – “Postcards”

Also with a new video are Tokyo Police Club, whose Champ hits stores on June 8. They are opening up for Spoon and The Flaming Lips at the Molson Amphitheatre on July 8.

Video: Tokyo Police Club – “Breakneck Speed”

Broken Social Scene’s Kevin Drew and Brendan Canning talk to Exclaim about why Pavement was the perfect choice to join them at the Toronto Island Concert on June 19, and Canning gives Toronto Life a list of his favourite things. Spinner has also posted up an Interface session with the band.

Fucked Up frontman Damian Abraham talks influences with Spinner, and just generally talks to The Georgia Straight, Vue and See. They play a free show at the Toronto Reference Library next Friday, May 28. It’s unticketed and doors are at 7:30, so plan accordingly.

Dog Day have released a new vid from last year’s Concentration. And why not grab the MP3 while you’re at it.

MP3: Dog Day – “Rome”
Video: Dog Day – “Rome”

Pitchfork gets a guest list from The New Pornographers’ Carl Newman. They’re at the Sound Academy on June 15.

eye talks to The Weakerthans, who play the Horseshoe as a benefit for Library Voices on Tuesday and then the Queen Elizabeth Theatre on Wednesday.

The Chicago Tribune talks to Jace Lasek of The Besnard Lakes; they’re at the Mod Club on June 17 for NXNE.

BaebleMusic has a Guest Apartment session and The Daily Growl a quick word with Woodpigeon.

Chart talks to Dan Mangan about his song “Robots”, which they declare the “best song ever” for the moment.

Comic Book Resources talks to Bryan Lee-O’Malley about Scott Pilgrim’s Finest Hour, the final book in the Scott Pilgrim saga coming July 20, and the Scott Pilgrim vs The World film, out August 13.

And that’s the link hopper cleared out for today. I am going back to sleep.

Frank YangPeople seemed generally disappointed on Tuesday when I answered their queries of, “so what are you doing for your birthday?” with “having sushi, watching TV and editing photos”. Apparently the correct answer was some permutation of “getting loaded and causing shit” but fact was, I had been out a lot in the past few days and a quiet night at home getting caught up on whatever sounded like a great plan. It would have taken a lot to get me to abandon that plan.

Something like a last-minute, surprise show from Band Of Horses.

The band were in town, enjoying a day off from their tour supporting Pearl Jam in Buffalo the night before and doing press for their forthcoming album Infinite Arms when the opportunity arose to insert themselves into the weekly free Nu Music Nite series at the ‘Shoe. After the decision was made and thanks to the marvels of modern mobile and social technology, I got word of the show around 7:45PM, a decision that those two episodes of The Pacific would keep at least another night was made by 7:47PM and I was one of just a few people at the Horseshoe by 8:30PM when the doors opened. This guaranteed a front-row spot but also meant waiting through the other bands on the bill, an experience that’s not really worth recounting. Band Of Horses were due to start at or around 11:15PM and by 10:30 or so, coincidentally just about the time that people who’d opted to stay home and watch Lost would have been able to get in gear, the ‘Shoe was full to an extent befitting the specialness of the occasion.

I’d only seen Band Of Horses live twice before, circa their debut Everything All The Time at SxSW 2006 and again a few months later at Lee’s Palace. What I remembered most about the Lee’s show was that while the show sounded marvelous, it wasn’t the most energetic affair what with frontman Ben Bridwell spending most of the show seated at the pedal steel. Well with no steel guitar on hand this night – all of their equipment was begged and borrowed – Bridwell would have to stand on his own legs and this would have to be a more physically engaging show. To say the least. Bridwell and bandmates rolled out on stage around 11:30, greeted by a packed house – congratulations Toronto, you’re capable of hustling when you need to – and, after prefacing their set with the disclaimer of, “we never do this”, put on as tremendous a display of flying by the seat of your pants as you’ll ever see.

Understand that Band Of Horses, by indie rock standards, are getting pretty big – and with Infinite Arms as their major label debut, can probably expect to just get bigger – so performing in a small bar setting is probably a rare opportunity for them, and as far as cutting loose and having a good time goes, they didn’t squander it – it was hard to gauge who had the bigger grins on their faces, the audience or the band. Unequipped to properly recreate their more atmospheric side – as stated, Bridwell was steel-less and, after breaking a number of strings, more often than not guitar-less, and Ryan Monroe was on six-string duty rather than keyboards – they opted to indulge their more raucous side, which doesn’t get to rear its head on record all that often. And any concerns about Bridwell’s willingness to move around and play frontman were wholly unfounded – the man was all over the stage, singing to the audience, singing to the sky (or ceiling, whatever), and proving without a doubt that there was nothing wrong with his legs.

Unsurprisingly, a number of tunes from Infinite Arms were previewed and while some have fairly criticized the album as being overly soft around the edges, they certainly toughened them up this time out. A few more familiar songs from Cease To Begin and handful of well-chosen covers – Gram Parsons’ “Song For You” and head-spinning encore of The Replacements’ “Can’t Hardly Wait” among them – filled out the hour-long set. They even thoughfully snuck in a “Happy birthday” into the set – ostensibly for drummer Creighton Barrett, but I just imagined it was for me. Not that they needed to – simply showing up and playing a fantastic set for my impromptu 35th birthday party was plenty. Though handing out the beer from their rider to the audience at show’s end was a nice touch. There should always be loot bags.

NOW, eye and Panic Manual all made it to the ‘Shoe in time for the show but the weeklies didn’t seem to have a great time, for some reason. Band Of Horses return for the show at the Toronto Island Concert on June 19 – expect them to play the “majestic” angle at that show. Infinite Arms is out on Tuesday.

Photos: Band Of Horses @ The Horseshoe – May 11, 2010
MP3: Band Of Horses – “Factory”
MP3: Band Of Horses – “No One’s Gonna Love You”
MP3: Band Of Horses – “Is There A Ghost”
MP3: Band Of Horses – “The Great Salt Lake”
MP3: Band Of Horses – “The Funeral”
Video: Band Of Horses – “NW Apartment”
Video: Band Of Horses – “Compliments”
Video: Band Of Horses – “No One’s Gonna Love You”
Video: Band Of Horses – “Is There A Ghost”
Video: Band Of Horses – “The Great Salt Lake”
Video: Band Of Horses – “The Funeral”
Stream: Band Of Horses / Infinite Arms
MySpace: Band Of Horses

Also playing Toronto Islands that day are Beach House; the DVD they made to accompany Teen Dream, comprising a video for each song on the album, is streaming this week at PitchforkTV.

Video: Beach House / Teen Dream

Spin investigates how Blitzen Trapper got their name. Their new record Destroyer Of The Void is out June 8 and they bring it to the Opera House on August 3.

Crooked Fingers have managed to fan-fund Reservoir Songs 2 in its entirety via Kickstarter, and as a thank-you, are offering an MP3 of the John Hartford cover. The 12″ EP will be out on July 6; a new Crooked Fingers full-length will follow later this year.

MP3: Crooked Fingers – “Gentle On My Mind”

NPR has a World Cafe session and Drowned In Sound an interview with She & Him. They’re at the Sound Academy on June 9.

Josh Ritter talks to Spinner about his new record So The World Runs Away.

Joanna Newsom trash talks some Lady Gaga in an interview with The Guardian, while her chat with The Quietus stays much more focused on Have One On Me. She’s also the cover girl on the current issue of Under The Radar; the piece isn’t online but Stereogum has a bit of a precis.

BrooklynVegan interviews Laura Marling.

Music Snobbery talks to Marcus Mumford of Mumford & Sons.

Sky Larkin have announced their sophomore album will be entitled Kaleide and be available in August; you can download a mini-EP consisting of the title track and a couple of b-sides from their website right now.

The Georgia Straight and Twin Cities Daily Planet profile Shout Out Louds.

For Folk’s Sake has an interview with Basia Bulat, who will be at the Phoenix on June 3.

Chart talks to Hannah Georgas.

Broken Social Scene is featured in Clash, Spinner and The Independent. They play the Toronto Islands on June 19.

Frank YangA local scribe much wiser than I recently pointed out that everyone – in Canada and Toronto specifically – has some baggage when it comes to Broken Social Scene, and you can take it from the fact that I’m quoting him that I wholly agree. This is the band that, for good and bad, came to be the musical ambassadors for Toronto to the world, would become pretty much inescapable both in the music world and the real world (swing a stick in Toronto, hit a BSS-er) and launched a thousand bands with far more members than they needed.

For my part, I was almost as taken with You Forgot It In People as everyone else in 2002 and 2003 – I say “almost” because some people love(d) this record A LOT – and was as excited as anyone to see the attention that it brought on a city that, to that point, didn’t seem to have a real face in the burgeoning indie rock world and for a while, they and their offshoots – anyone remember the show at Lee’s in June 2003 featuring BSS, Stars, Feist, Apostle Of Hustle, Jason Collett and Amy Millan? Seriously – theres photographic evidence – could do no wrong.

But that perfect, You Forgot It moment could only sustain for so long, and when the self-titled follow-up came out in 2005, the bloom was coming off the rose, at least from my point of view. Though it had some epic high points, Broken Social Scene felt overly long and meandering; there may have been a great record buried in there but it was in desperate need of an editor. These are points that only became clear to me later – the record still made my 2005 year-end list and 2006 Polaris Prize ballot – but that was more me wanting to like it more than I did at the time. By this point, the band seemed to have become even more ubiquitous than before – something I’d have not thought possible – and when they closed out the inaugural Virgin Festival Canada in 2006, I was grateful for both their amazing full-band performance and promise to take a break and go away for a little while.

They didn’t, of course. Rather than hibernate, they multiplied and both Broken bandleaders – Kevin Drew and Brendan Canning – released sorta-solo records that were essentially Broken albums, but without the weight of expectation that would accompany a proper BSS release. Neither really grabbed my attention, but to be fair my Broken Social burnout was still very much in effect and the records would have had to be pretty spectacular to get me past that… which they weren’t. And, of course, they continued toured as Broken Social Scene albeit with relatively pared-down lineups. Hiatus? Not so much.

And so seemingly without ever actually going away, they’ve returned with Forgiveness Rock Record and I, well I can’t say as that I’ve been hankering for a new Broken Social Scene record, but would like to think that I’m in a place where I can again regard them objectively. The decision to record with Tortoise’s John McEntire behind the boards rather than longtime sonic architect Dave Newfeld has an interesting effect on their sound, as McEntire’s more tidy and precise aesthetic is rather diametrically opposed to the “capture the chaos on tape” approach that’s defined their recordings thus far. Quantitatively speaking, Forgiveness is definitely cleaner than past efforts, with the sonic spaces more clearly defined and songs marginally more structured and compact, but just as you can’t catch water with a net, even a shiny new net, you can’t contain Broken Social Scene.

With the new record, there’s still a sense that the band are throwing things into the pot, creatively speaking, and seeing what kind of alchemy (if any) results. As such, it has the sort of maddening unevenness that’s practically a BSS signature, where really the most you can hope is that the highs are enough to offset the lows. Amongst the peaks on Forgiveness are the sprawling leadoff jam “World Sick”, punchy jangle anthem “Texico Bitches” and “All Is All”, a shimmering, almost completely un-BSS-like electro-pop jewel starring Reverie Sound Revue’s Lisa Lobsinger. And as for the valleys… well the record isn’t filler-free but it never gets as lost as Broken Social Scene did and all things considered, that’ll do. It doesn’t recreate the glorious sense of possibility and excitement that existed around the band circa 2002 and 2003 – which are completely unrealistic expectations, I will be the first to admit – but it does provide a solid argument that any reservations I have over all things Broken and Social may be my issues and not theirs.

I’ve talked before about the wonderful in-store culture that’s developed in Toronto, and on Sunday, Broken Social Scene helped push that along with an ambitious four-shows-in-one-day itinerary that saw them play sets in each of the city’s four major independent record stores, starting at Criminal Records and winding down Queen West to Rotate This, up to Little Italy’s Soundscapes and wrapping up in the Annex basement of Sonic Boom. With tickets given out to those who purchased copies of Forgiveness Rock Record, I’m not sure how anyone would manage to hit all four performances – short of buying four copies of the record – but I’m sure some found a way. I do find it remarkable that even though my relationship with BSS has waxed and waned over the years, so many remain utterly devoted to the band. And so it was that Criminal Records was packed front to back on Sunday afternoon as the band – numbering seven or eight, I think there was a horn player hidden behind one of the monitors – shook off the previous night’s drive back from New York to kick off their mini-tour.

They started off easy like Sunday morning (or early afternoon) with You Forgot It‘s “Lover’s Spit”, giving themselves the space to get tuned in for the marathon day to come before moving into the new material. Interestingly, Kevin Drew went guitar-less, instead working a bank of keyboards or just handling vocals. I hadn’t seen BSS live in almost four years so I didn’t know if this was a new development or something that had been in the works for a while. Either way, it wasn’t as though there was any sort of stringed instrument deficit up there – all of Brendan Canning, Andrew Whiteman, Charles Spearin and Sam Goldberg were armed with guitars or basses, but unlike past performances where it seemed that many guitars were just piled on top of one another, they seemed to be working with very precise arrangements. It wasn’t math-rock, but definitely not just jamming it out. All of the Forgiveness material – “Texico Bitches”, “Ungrateful Little Father” and “Forced To Love” sounded pretty solid if delivered a bit low-energy though Whiteman did more than his part to liven things up with some running man moves and jumping jacks. He also took the mic for the final song of the set, another return to Forgot It with “Looks Just Like The Sun” though it was preceded with some debate amongst the band as to exactly how the song went and what the lyrics were. Not that tidy, then, and I’m sure that they picked up some steam with each subsequent show as well as members as they woke up, but this was a pretty cool start to a very cool idea and a great hello and thanks from the band to their fans, their record stores and their city.

Broken Social Scene play a full and proper hometown show on June 19 at the Toronto Islands, and just announced a massive North American tour for the Fall. Dose, Beatroute, Torontoist, Pitchfork, Macleans, Blurt, The Aquarian, Interview and Chart have feature pieces on the band and their return.

Photos: Broken Social Scene @ Criminal Records – May 9, 2010
MP3: Broken Social Scene – “World Sick”
MP3: Broken Social Scene – “Fire Eye’d Boy”
MP3: Broken Social Scene – “Hotel”
Video: Broken Social Scene – “7/4 (Shoreline)”
Video: Broken Social Scene -“Fire Eye’d Boy”
Video: Broken Social Scene – “Ibi Dreams Of Pavement (A Better Day)”
Video: Broken Social Scene – “Her Disappearing Scene”
Video: Broken Social Scene – “Major Label Debut”
Video: Broken Social Scene – “Cause = Time”
Video: Broken Social Scene – “Almost Crimes”
Video: Broken Social Scene – “Anthems For A Seventeen Year-Old Girl”
Video: Broken Social Scene – “Lover’s Spit”
Video: Broken Social Scene – “I’m Still Your Fag”
MySpace: Broken Social Scene

Torq Campbell of Stars talks to Spinner about the power of Twitter. Their new record The Five Ghosts is out on June 22.

Damian Abraham of Fucked Up, who helped Mr Campbell understand said power of Twitter, tells Pffffft his favourite things about Toronto. Not listed is the Toronto Reference Library, but you can be sure that Abraham likes it enough to undress – respectfully – when Fucked Up play a free show there on May 28. Beatroute also has a chat with the FU frontman.

Resonancity, In Your Speakers and Spinner all talk to Holy Fuck on the occasion of today’s release of Latin. They’re at the Molson Amphitheatre on July 9 in support of Metric.

Chart and Beatroute have features on Caribou, whose show in Washington DC last night is now available to stream on NPR.

The Besnard Lakes have released a new video from The Besnard Lakes Are The Roaring Night. Beatroute and SF Station have interviews with the band, who are at the Mod Club on June 17.

Video: The Besnard Lakes – “Albatross”

Also with a new video are The New Pornographers, for the sort-of title track from Together. Beatroute, eMusic, Metro and The Quietus have interviews with Carl Newman, whose band will be at the Sound Academy on June 15.

Video: The New Pornographers – “(Your Hands) Together”

Clash talks to Mark Hamilton of Woodpigeon.

Beatroute has a feature piece on Hannah Georgas.

Previews of The Acorn’s forthcoming No Ghost just keep coming; the record is out June 1 and they play Lee’s Palace on June 11.

MP3: The Acorn – “Restoration”

Shad’s excellent new record TSOL is streaming at Exclaim this week, leading up to its release in two Tuesdays – May 25. He plays the Opera House on June 12.

Stream: Shad / TSOL

The Wilderness Of Manitoba has scheduled a record release show for their full-length debut When You Left The Fire, due out June 22 – they’ll be at the Music Gallery on June 25 with Evening Hymns as support. Before that, they’ll support Matthew Barber at the Mod Club on May 12 and Basia Bulat at the Phoenix on June 4.

MP3: The Wilderness Of Manitoba – “Hermit”

The lineup for this year’s Wolfe Island Music Festival has been announced and as always, it’s a great sampling of some of the best in Canadian music set in about as laid-back and chilled-out environs as you’ll find anywhere. Taking place in the Thousand Islands just offshore from Kingston, Ontario on the weekend of August 6 and 7, the Friday night will feature performances in the town of Marysville from The Sadies and Cuff The Duke, amongst others, and the Saturday lineup will feature The Weakerthans, Shad, Think About Life, Bahamas, The Acorn, Diamond Rings, Memoryhouse and Jim Bryson. I attended the 2007 edition of this festival, and it was a marvelous time – highly recommended.

Frank YangThe revelation last year that Sigur Ros frontman Jon Por Birgisson was readying a solo project under his nickname of Jonsi was met with great curiosity, but also some trepidation – after all, Sigur Ros hardly seemed the sort of band that set limits on how they defined themselves, so what sort of additional creative freedoms did Birgisson need outside of that? While questions about the future of Sigur Ros were answered in a recent interview – they continue to work on new material – the answer to the first question would come earlier this year in the form of Go, a record that could easily have been sold as the new Sigur Ros record (if you didn’t check the liner notes for personnel), but also justified its existence as something completely distinct.

Obviously Jonsi’s otherworldly voice is impossible to disassociate from Sigur Ros but beyond that, Go takes the poppier bent that 2008’s Med sud I eyrum vid spilum endalaust was noted for and runs – nay, frolics – with it in jubilant numbers like “Boy Likkoi” and “Go Do” while balancing it out with slower, sweepingly dramatic compositions… not unlike any given Sigur Ros record. How Go sets itself apart is in the details – it’s more heavily orchestrated thanks to the contributions of Nico Muhly and under it all, the songs are more conventionally structured, perhaps speaking to their simpler, acoustic origins. And oh yeah, he sings largely in English – this does dispel some of the mystery that’s integral to Sigur Ros, but does create a new kind of intimacy with the (anglophone) listener, even if it turns out Birgisson isn’t dispensing universal truths and wisdom. All of this is, of course, splitting hairs – it’s clear that whichever vehicle Birgisson chooses to channel his creativity through, he brings with him his unique aesthetic and magic and whatever he calls it, it’s something to behold.

And while his main project also sets an unbelievably high standard for live performance – their last visit to Toronto left Massey Hall filled with plumes of confetti and jaws on the floor – on Friday night, Jonsi proved he could impress just as well on his own. Originally scheduled for two nights at the Sound Academy in theatre configuration, the shows were folded into one with the hall at full size just days before the performances – officially due to the logistics of tearing down the elaborate stage set, but many believed it was simply overambitious to book someone whose name has little recognition beyond has fanbase for a multi-night stand. Which may have been true, but it’s also true that in addition to being one of the most reviled venues in the city, it’s also got one of the biggest stages in terms of square footage and laying eyes on the Jonsi setup last Friday night, it was obvious why that was a necessity.

The stage was decked out in a combination of exotic instruments, lighting rigs, scrims and screens, and yet everything had a rough, naturalistic finish that made it feel decidedly cozy for those in attendance. But just because it wasn’t built to look overly grandiose at first glance didn’t mean that advance word of the intense set design by 59 Productions was overstated. The show started on a solemn note, with Jonsi leading off with the acoustic non-album track “Stars In Still Water” and rendering selections from the slower part of his repertoire in even more drawn out and dramatic fashion while he and his band were simply lit and the accompanying projected animations looking like ghostly nature spirits around them, or a wall of flames devouring them. Just as astonishing as what we were hearing was how we were hearing it; the Sound Academy is not famous for its great sound – it’s usually acceptable at best – but on this night it sounded immaculate, with every delicate nuance of their performance heard loud and clear. The same couldn’t be said for the sightlines – I swear, if they just raised the stage a foot or foot and a half, the only thing people would have to complain about would be getting there…

As the set progressed, the tempo and energy swelled and the big pop moments of Go – “Go Do”, “Animal Arithmetic” and “Boy Likkoi” were joyous exclamation marks in the set, breaking the tension that had been built masterfully to those points and making the audience simply erupt. Throughout the course of the hour and fifteen set, they performed all of Go and a handful of new songs, and for one night only there was a special addition to the set with the band singing “Happy Birthday” in Icelandic to two of their crew. The show was perfectly paced and structured for maximum breathtaking theatricality, culminating in the encore finale of “Grow Til Tall”, in which the intensity of the musical crescendo was exponentially greater than on record and still matched, if not eclipsed, by the thunderstorm imagery that swept across every screen and surface of the stage. It was complete and utter sensory overload; I’m surprised anyone’s brains were still able to access the necessary motor skills to applaud. But we did, and even though it seemed an inadequate payment for the musical gift we’d just been given, it was all we had to offer and judging from the depths of the bows from Jonsi and his band as they took their curtain call, it was graciously accepted.

The Toronto Sun, Montreal Gazette and Boston Herald have interviews with Jonsi and Sticky, Live Music Project, Chart, eye and The Toronto Sun (again) have reviews of the show.

Photos: Jonsi @ The Sound Academy – April 30, 2010
MP3: Jonsi – “Boy Lilikoi”
Video: Jonsi – “Kolnidur”
Video: Jonsi – “Go Do”
MySpace: Jonsi

Under The Radar interviews Anna Persson of Sambassadeur and learns why the band have not and likely will not be touring North America anytime soon. But if you’re willing to travel there, Persson gave MOG a quick guide to Sweden.

The Radio Dept have no such excuses about traveling – besides not wanting to, I guess – and with Clinging To A Scheme receiving largely luminous reviews, they’ve got plenty of incentive. Not that I expect them to capitalize on it… Soundproof has a feature interview with frontman Johan Duncanson. Update: Turns out they do have an excuse for not touring, as they tell Exclaim.

Broken Social Scene are marking the release of Forgiveness Rock Record with a special one-day, hometown in-store tour. On May 9, some configuration of the band – or perhaps four different ones – will be playing four shows around Toronto, starting at Criminal Records at 2PM, Rotate This at 4PM, Soundscapes at 6PM and finally Sonic Boom at 8PM, with limited guaranteed-entry tickets available with purchase of the new record at each of the stores. Hopefully this is old news to you as they had special dispensation to sell the record since last Friday, well before the official release tomorrow, but if not, better call each of these fine retail establishments to see who – if anyone – has got some ducats left. There’s feature pieces on BSS at NPR, National Post and The Toronto Sun, and they play the Toronto Islands on June 19.

Sarah Harmer, whose new record Oh Little Fire is due out June 22, will play a record release show that evening at the Palais Royale – tickets $32.50.

The Flaming Lips/Spoon double-bill scheduled for July 8 at the Molson Amphitheatre just turned into a triple-header with the addition of Tokyo Police Club as opener. Their new record Champ is out June 8.

The reconstituted Hole have set a date at the Sound Academy for July 10, $35. I suppose having a definite when and where is better than hanging out on an overpass and just hoping to see a train wreck.

The pairing of Real Estate and Kurt Vile are coming to town as part of a joint North American tour, the July 20 date is set, the venue is still to be finalized.

MP3: Real Estate – “Black Lake”
MP3: Real Estate – “Beach Comber”
MP3: Kurt Vile – “Overnite Religion”
MP3: Kurt Vile – “Hunchback”

The Black Keys, whose new record Brothers is due out May 18, have set a date for August 3 at the Kool Haus, tickets $30 in advance on sale Friday at 10AM. Reuters has an interview with the band.

Video: The Black Keys – “Next Girl”

If you’re the sort who hates Summer and would rather look forward to Fall – and happen to take lunch near the Eaton Centre – Woodpigeon will be playing a free show at Yonge-Dundas Square at 12:30PM on October 6 and $100 do the same the following week, October 13.

MP3: Woodpigeon – “Empty-Hall Sing-Along”

And looking even further ahead, the Killing Joke show originally set for May 25 but postponed has been rescheduled for December 7, still at The Phoenix. Tie a string on your finger so you don’t forget!

4ADWhat do you get when you combine a slowish news day with the last post of the week and a compulsive inability to take a day off? A post led with stuff I don’t really know anything about! Yay!

Specifically, Californian outfit Ariel Pink’s Haunted Graffiti, whom I understand are both credited and blamed for what the kids are now calling “chillwave”. I don’t know what that is, particularly, but what I’ve heard of Mr. Pink is about half interesting trippy pop and about half aimless meandering; “Round & Round”, the first promo track from 4AD debut Before Today, due out June 8, is much more the former – if it sets the tone for the album, I’d certainly be interested in hearing more. That release will be followed by a North American tour that will bring them and tourmates The Magic Kids and Pearl Harbour to the Mod Club on July 22; tickets are $15 and go on sale Saturday.

MP3: Ariel Pink’s Haunted Graffiti – “Round & Round”
Video: Ariel Pink’s Haunted Graffiti – “Video Demo 2010”

When incredibly prolific bands suddenly go silent, it’s rarely good news but Pitchfork has confirmed what many of us suspected – Voxtrot is calling it quits. One more short US tour and that’s all she wrote; thanks guys, it was a good run.

The Pacific Northwest Inlander talks to Jonathan Meiburg of Shearwater, who are currently on a western tour and need some pants.

MusicOmh has an interview with Spoon bassist Rob Pope.

Death Cab For Cutie’s Ben Gibbard tells MTV that their next album is on track for an early 2011 release.

Tea Party Boston – no relation to the dumbass tea parties – interviews Hutch Harris of The Thermals. Their new record, tentatively entitled Personal Life, is set for a September 7 release.

Marah hit the Horseshoe on May 29; their new record Life Is A Problem arrives June 22 – sample some of it at Soundcloud.

Mirah is at the Horseshoe on June 26.

MP3: Mirah – “Don’t Die In Me”

Under The Radar reports that Dark Night Of The Soul, the album and project from Danger Mouse, the late Mark Linkous and David Lynch, will get an official release on July 13.

The Depreciation Guild’s new album Spirit Youth isn’t out until May 18, but you can stream it now over at Spinner.

Stream: The Depreciation Guild / Spirit Youth

It’s dueling tour diaries as Phantogram and The Antlers both prepare to take notes of their upcoming west coast tour together for Spinner. The Antlers will hook up with The National before coming back to Toronto for two nights at Massey Hall on June 8 and 9.

The Guardian talks to that The National’s Matt Berninger and Aaron Dessner, Hit Fix to Dessner alone, while The New York Times has both a massive feature on the band and a stream of their new record High Violet, well in advance of its May 11 release.

Stream: The National / High Violet

Great Lake Swimmers have released a new video from Lost Channels and have added a number of live dates through the Spring and Summer. That includes two unusual hometown shows: a May 1 performance at the Legion Hall at King and Niagara to tie in with their new Legion Sessions release, and another at the Hot House Cafe on May 3 as part of the Panty Schmooze benefit for women’s shelters.

Video: Great Lake Swimmers – “Stealing Tomorrow”

Also one to file under “unconventional locales”, on May 28 the Toronto Reference Library will host a free show with Fucked Up and $100, intended “for kids and families and punks and book nerds” – no tickets, just show up.

MP3: Fucked Up – “No Epiphany”

JAM talks to Caribou’s Dan Snaith; they play The Phoenix on May 3.

SF Station has an interview with Broken Social Scene drummer Justin Peroff about their new record Forgiveness Rock Record, coming out May 4. They play the Toronto Islands on June 19.

Mines Advisory Group (MAG) is a global charity dedicated to the elimination of land mines, and to that end have started up monthly newsletter called the Plug Five Project wherein bands and bloggers submit lists of new music they’re digging – in packs of five – and they’re delivered to your inbox. The first issue comes out next week and will feature recommendations from folks like John Vanderslice, Wavves, The Tallest Man On Earth, Gorilla Vs Bear, Largehearted Boy and, um, me. A subscription is available for a one-time fee of $2 (or 2 quid in the UK) and does directly to MAG’s work of clearing land mines.