Frank YangThe most beautiful day of the year so far turned into one of the foulest just in time for the early-evening start of Bat For Lashes’ Saturday night date at the Mod Club, the first for this leg of their North American tour in support of their much-heralded new album Two Suns. A more ambitious writer might try to draw some parallel between the dramatic weather shift and the themes of duality that run through the new record – I’ll just blame a high pressure system surrounded by low pressure systems and get on with it.

Rather surprisingly, support for this tour was Pennsylvanians Lewis & Clarke – surprising because they were also support the last time Bat For Lashes came to town in October 2007, and you don’t often see acts getting taken out as support twice. And their last time out couldn’t have been the most pleasant for the band either, since my recollections were the duo, as they were playing as at the time, had a poor time of trying to be heard over the chatty and inattentive audience (those of us up front notwithstanding). I also remarked at the time that maybe a full band would have had been more successful at getting peoples’ attention. Apparently bandleader Lou Rogal took my advice because the Lewis & Clarke that showed up this time was five members deep, including a drummer and string section. They delivered a set of four (maybe five) songs over 35 minutes, all of the slow and thoughtful chamber-folk variety, and while unquestionably pretty, it was all quite same-y. But at least this time, the audience was much more receptive – or at least polite. Lewis & Clarke will release a new EP Light Time on May 12.

Also rejigged significantly from last time was Bat For Lashes, the band. Whereas the troupe that visited in 2007 was a drummer-less all-female multi-instrumentalist quartet, this one had more defined musical roles and was slightly more co-ed, with Ben Christophers on keys, New Young Pony Club’s Sarah Jones on drums and the divine Charlotte Hatherley on pretty much everything. Oh, and also Natasha Khan – she whose voice, vision and songs ARE Bat For Lashes.

And as beguiling as she is on record, she’s equally charismatic on stage. She set the bar high for the show by leading with Two Suns opener “Glass”, the finest showcase for her soaring vocals, but didn’t let things lag a bit through the 70-minute set. Splitting material fairly evenly between Suns and Fur & Gold, Khan crafted a spellbinding performance that despite the rich visual presentation, didn’t rely on theatrics to rivet – rich with atmosphere and mystery, the songs were more than enough. It’s hard to pick highlights from a show really had no let-downs, but Fur singles “Prescilla” and “What’s A Girl To Do” naturally got the biggest response and single “Daniel” even got aired twice – early on, reimagined in skeletal, autoharp-led form and as the encore closer as “(Big) Daniel” (so noted on the set list), complete with the huge synths of the album version and deliciously Cure-ish guitars. Grand finale, indeed.

It’s impossible to overstate how much the new band configuration has improved their live show, which was hardly wanting in the first place. In particular, the drums, thundering and tribal, gave things a vitality that really took things to another level and Hatherley’s versatility was also put to good use, as she switched off between guitar, bass, keys, accordion and percussion in addition to providing backing vocals. For lack of a better way of putting it, Bat For Lashes v2 are just much more powerful. Though I did miss seeing the rain stick/staff of power from last time.

As for Khan, it’s remarkable how effortlessly she manages to indulge her more out-there creative impulses – her musical world is inhabited by wizards, knights and creatures of fantasy – while seeming utterly grounded, friendly and without airs. With a penchant for costumes and with stage decorations consisting of all manner of dime-store kitsch like Virgin Mary statues and ladies legs table lamps, she obviously doesn’t take things all that seriously but there’s no whiff of irony to be found, either. She makes wolf howls in her songs, for goodness sake, but also cracks jokes and at one point, looked up to see who was calling to her when an audience member yelled, “Natasha!”. Utterly charming.

Though you might think the eccentric nature of Bat For Lashes would be sufficient to consign them to cult band status – not that there’s anything wrong with that – but the fact that this show was not only sold out but with people desperately looking for tickets seems to imply that they’re bound for bigger things. But even so, even if within a year you’re seeing Bat For Lashes in venues holding thousands, I have a feeling that if you holler “Natasha!” during a quiet moment between songs, she’ll still look up and go, “yes?”.

There are feature pieces on Bat For Lashes at CMJ and The Boston Phoenix.

Photos: Bat For Lashes, Lewis & Clarke @ The Mod Club – April 25, 2009
MP3: Bat For Lashes – “Glass” (live)
MP3: Bat For Lashes – “I’m On Fire”
MP3: Lewis & Clarke – “Petrified Forest”
MP3: Lewis & Clarke – “Before It Breaks You”
Stream: Lewis & Clarke / Light Time
Video: Bat For Lashes – “Daniel”
Video: Bat for Lashes – “Whats A Girl To Do”
Video: Bat for Lashes – “Prescilla”
MySpace: Bat For Lashes
MySpace: Lewis & Clarke

Interview talks to Lily Allen, who has a newish video. Kinda regret not seeing her last week, enjoying her new one It’s Not Me, It’s You more than I’d expected. Hope her vague promises to retire are false.

Video: Lily Allen – “Not Fair”

Daytrotter has posted a session they recorded with Glasvegas during SxSW.

The first track from Stuart Murdoch’s God Help The Girl – I’m not sure whether to call it a band, project, play, or what – is now up for grabs and shock, it sounds a LOT like Belle & Sebastian. Which is to say it sounds wonderful. The album is out June 23.

MP3: God Help The Girl – “Come Monday Night”

The Sunday Mail has a 60-second interview with Camera Obscura. They’re at Lee’s Palace on June 27.

Channel M has a video session with My Latest Novel, whose second album Death & Entrances is out May 18.

PJ Harvey and John Parish discuss A Woman A Man Walked By with Pitchfork.

Drowned In Sound gets Adam Franklin to comment on the whole phenomenon/idea of “shoegaze”. Short version, he doesn’t think much of it but it’s an entertaining read. Franklin is supporting The Church on their Summer North American tour, which has a stop at the Ottawa Bluesfest on July 11 but so far hasn’t extended to include a Toronto date.

MP3: Adam Franklin – “Autumn Leaf”

Fans of XTC psych-pop alter-egos The Dukes Of Stratosphear should check out these two podcasts wherein Andy Partridge reminisces with producer John Leckie about the recording of 25 O’Clock and Psionic Psunspot, both of which were reissued in deluxe form last week.

MP3: The Dukes Of Stratosphear – “My Love Explode”
MP3: The Dukes Of Stratosphear – “Braniac’s Daughter”

Channel M has a video interview with Nick Cave & The Bad Seeds.

A double-shot of Leonard Cohen docs for you – courtesy of the National Film Board, the 1965 documentary Ladies And Gentlemen… Mr Leonard Cohen and over at Pitchfork, the 2009 live concert film Leonard Cohen: Live In London. And apropos of nothing, whilst digging around IMDB I found that Lenny guest-starred in an episode of Miami Vice in 1986 playing a villain named Francois Zolan. I didn’t think it possible, but I think Cohen just got that much more awesome in my eyes. He plays Copps Coliseum on May 19.

Video: Ladies And Gentlemen… Mr Leonard Cohen
Video: Leonard Cohen Live In London

Seattle-based power-popper Telekinesis will be at the Horseshoe on June 10 in support of his/their excellent self-titled debut.

MP3: Telekinesis – “Coast Of Carolina”
MP3: Telekinesis – “I Saw Lightning”
Video: Telekinesis – “Tokyo”

Brooklyn’s Obits will bring their debut long-player I Blame You to Lee’s Palace on July 23, tickets $12.

MP3: Obits – “Pine On”

Eagles Of Death Metal are at the Kool Haus on August 2, tickets $27.50.

Annabel MerhanMs Annie Clark – St Vincent – will release her second album Actor in a couple weeks on May 5, and while I’m a bit reluctant to invoke the “Disney-esque” adjective that so many other early reviews have, I must admit that it really is appropriate.

The way that Clark’s trilling voice delivers melodies that skip and soars overtop richly-appointed arrangements, you could imagine these songs soundtracking any animated Disney film (or all of them, since they’re pretty much identical). Of course, you’d have to work in a few scenes of fast-cut ultra-violence to accommodate the moments when her buzzsaw-toned, guitar-shredding interludes makes their appearances, but hey – that’s what the kids are into these days.

The combination of conventionally pretty and so-wonderfully-abrasive-they’re-pretty textures seem like they could get gimmicky, but Clark does it so naturally and guilelessly that you can’t imagine she’s doing it just to be contrary or to muck things up for the sake of muckery. This is actually how she hears things unfolding in her head, and we’re just fortunate to be able to share in the experience along with her. I quite liked St Vincent’s debut Marry Me, but with the way the follow-up is more focused without giving up the adventurousness or eccentricity that defined the debut, I think I’m already well on the way to liking record number two even more than the first.

Billboard talks to Clark about the creative process for Actor, while For Folk’s Sake had a phone interview with her earlier this week wherein they covered topics including the record’s striking cover photo, favourite current bands and her adventures on Twitter. St Vincent has live dates scattered throughout the Summer, but nothing that brings her up this way yet. Perhaps we’ll be able to welcome her to Toronto come Fall.

MP3: St Vincent – “The Strangers”
Video: St Vincent – “Actor Out Of Work”
Stream: St Vincent / Actor

Drowned In Sound and The Winnipeg Free Press have interviews with Yeah Yeah Yeahs.

Fazer talks to Emily Haines and Jimmy Shaw of Metric.

Alison Mosshart talks to Billboard about balancing her main gig as frontwoman for The Kills with her new project with Jack White, The Dead Weather. Mosshart was taken to hospital during a gig in Denver earlier this week but she’s alright and The Kills will still be at the Phoenix on May 7.

And the band touring with them, The Horrors, have just released a new video from their new record Primary Colours. Couldn’t have let it out a couple days ago to line up with my review of the record, eh? Metro has an interview with the band’s frontman, Faris Badwan.

Video: The Horrors – “Who Can Say”

Tracyanne Campbell of Camera Obscura lists off her favourite things for Pitchfork. See? Just because she so rarely smiles doesn’t mean she doesn’t like stuff. Camera Obscura are at Lee’s Palace on June 27.

NOW and The Boston Globe talk to Chairlift, in town tomorrow night for a show at the Phoenix.

Billboard discusses Romanian Names, out May 19, with John Vanderslice.

Blurt talks to Mark Olson.

NOW and The Minneapolis Star-Tribune profile M Ward, who has a show at the Phoenix on Monday night.

Robyn Hitchcock offers Paste his thoughts on The Decemberists. They’re at the Kool Haus on August 3.

Baeble Music has a video interview with Great Lake Swimmers, who have a show at the Queen Elizabeth Theatre tomorrow night.

Alejandro Escovedo returns to Toronto on June 16 for a show at Trinity-St Paul’s with Joseph Arthur.

doves.netConsistency is no great fault, particularly when the standard that one rarely fails to meet is as high as it is for Britain’s Doves. For nearly a decade, since their 2000 debut Lost Souls, the trio has turned out an album of classic-sounding, widescreen, melancholic space-rock every few years, each of which manages to expand and build on that which came before to some degree, but never coming up with the watershed record, the game-changer, the quantum leap forward. Some might argue that Lost Souls was that record, one so fully-realized right out of the gate that we should be thankful they’ve managed to maintain that level of quality and to an extent, that’s true. Not one of their albums have been a misstep, each rich with equal parts yearning emotion, musical textures and fist-pumping anthemicism, but even so there’s a risk in feeling too familiar.

Their latest, Kingdom Of Rust, perhaps even despite their best efforts, feels just that familiar. To their credit, they do go out of their way to incorporate new influences into their sound – the motorik rhythms of “Jetstream”, the country-western gallop of the title track, the scorching psych-rock of “House Of Mirrors” – but by the time they’re done with it, they’ve been so effectively absorbed by the band’s own personality that the finished pieces still feel Mancunian grey and simply Doves-ish. On the plus side, being Doves-ish means there’s at least a couple of spectacular moments – in this case, the soaring “Winter Hill” is the album standout – and not really any glaring weak spots. But I can’t help feeling I’ve heard this all before.

There’d been some speculation before the record’s release that given the breakout year their compatriots in Elbow had in 2008, that this might be the year that another band of never-too-fashionable northerners got their due. I still hold out hope that that’ll happen someday, but I don’t think Kingdom Of Rust is the record to do it. It’s a good record and a fine addition to the Doves discography, successful at adding further depth an detail to the musical world that Doves have already created, but doesn’t extend its boundaries. It’s pretty much exactly the record that long-time fans were probably expecting, and sometimes what you’re expecting isn’t what you actually want.

PopMatters has an interview with Doves and NME TV has a chat with the band on video. Q gets the band to offer thoughts on each of their albums – Lost Souls, The Last Broadcast, Some Cities and Kingdom Of Rust. Doves are at the Kool Haus in Toronto on June 1.

Video: Doves – “Kingdom Of Rust”
MySpace: Doves

Bat For Lashes’ Natasha Khan counts down her five favourite albums to Spinner. She’s at the Mod Club on Saturday night for a sold-out show.

Shoegaze week continues at Drowned In Sound as they interview Neil Halstead of Slowdive and Mojave 3. They also salute Slowdive’s oeuvre.

Blurt also gets in on the shoegaze action, reporting that Chapterhouse’s 1991 debut Whirlpool is getting reissued next week with a few bonus tracks.

NME is offering a track from The Early Years for download, the band’s contribution to a compilation by UK shoegaze label Sonic Cathedral.

MP3: The Early Years – “Like A Suicide”

JAM Q&As Bloc Party’s Kele Okereke.

You can currently stream The Cure’s recent secret MySpace show in Los Angeles in its entirety over at their MySpace.

Franz Ferdinand will release a dub version of their latest album Tonight entitled Blood on June 1 – details at Billboard. They’re at the Kool Haus on May 4.

State has an interview with Carey Lander and The Village Voice with Tracyanne Campbell of Camera Obscura, latest recipient of the Pitchfork “Best New Music” honour for My Maudlin Career. They’re at Lee’s Palace on June 27.

NOW profiles Adele, who is playing Massey Hall on April 29.

Paste gets to know Micachu & The Shapes.

Artrocker goes behind the scenes of Sky Larkin’s latest video for “Antibodies”. Their debut The Golden Spike was supposed to be out domestically in North America by now, but apparently “technical difficulties” are holding that up some. No idea what the problem is – the CDs they had in the UK turned out fine. They just need to ship a few boxes of those over here posthaste.

MPR welcomes Robyn Hitchcock to their studios for a session.

I remember when people were all excited about M83 FINALLY came to town for the first time… Now they’re back for their fourth show in a year. Kinda less special. Look for them at the Phoenix on July 17.

NxNE has revealed a few more of the names set to play the festival this June 18 through 20.

But I suppose the biggest reveal yesterday was the fact that Virgin Festival is indeed coming back to Ontario for a fourth year (and also to Calgary and BC, apparently)- but you’ll note I said Ontario and not Toronto. I already knew that this year’s edition wasn’t happening at the Toronto Islands, but I’d assumed that meant Downsview Park. Nope. Try Burl’s Creek between Barrie and Orillia, an hour north of the city. That’s right – August 29 and 30 way up in cottage country – first reported at Consequence Of Sound and confirmed by myself through folks who know. I suppose this is actually keeping in the V Fest tradition, after all the UK editions in Chelmsford and Staffordshire are hardly in the hearts of any burgeoning metropolises, but then the British have an established tradition of traveling to and camping out at outdoor festivals. Over here? Not so much. So whereas my attendance at the first three were gimmes – festival a 10 minute bike ride from home? sure! – this one is far from it. I’m not a camper by any definition so there’s a whole issue of lodging to be dealt with on top of the transportation – I have not-so-fond memories of sitting for hours in traffic on the 400 up to Molson Park way back in the day – and that’s not even mentioning the prospects of being devoured by insects and/or bears. I’m going to reserve final judgment until I see the actual lineup – which should be soon – but it’s going to have to be pretty damned impressive.

FacebookIf you’re looking for anything revelatory or even revealing about The Hold Steady in the video portion of their new live document A Positive Rage, you’ll likely be disappointed. Over the course of just under an hour, the doc follows the band on tour in the Fall of 2006, in support of Boys & Girls In America, as they marvel at the size of the venues they’re selling out and dispensing their no frills, rock & roll gospel.

There’s no dirt to be found because, unless they saved their goat sacrifices for after the camera stopped, there is none. They’re exactly as they appear to be onstage and on record – five normal guys who just want to play rock and have a good time. And if that’s what you want to kick back and watch for 60 minutes, then this is just the ticket. The performances do a good job of capturing the spirit of The Hold Steady live, their energy, Craig Finn’s onstage antics, the enthusiasm and chaos of the audience. The sound isn’t always terrific, but again – that’s part of it. And if you’re curious, the Toronto stop on that tour – October 28, 2006 at the Horseshoe – is represented by a couple of split-second shots. Whoo!

The audio portion of the package actually doesn’t quite synch up with the video as it captures a show at the Metro in Chicago from October 2007, a full year after the tour in the film, but fortunately (?) their show never seems to change much. It does manage to capture a lot of what makes a live Hold Steady show great, less the visuals, but with much better sound. I can’t necessarily say that they chose an exceptional show to document, but that’s because the standard for Hold Steady shows is so high that it’s rare that they exceed it – though hell yes it happens – what’s important is that they never fail to meet it. And though one Hold Steady show is very much like the last and the next – I’ve seen them about a half-dozen times, I think I can say that – they’re always great.

What I got most out of watching and listening to A Positive Rage was the confirmation that the magic of a Hold Steady show really only occurs in person, in the room, and it’s the alchemy of beer, sweat, spit and, to use the band’s favourite word, the joy that makes their shows so very special and enjoyable. I realize that even as much as the band are touring machines, not everyone is fortunate enough to be able to see them live so for them, the live set is a worthy substitute. But for those who’ve experienced the glory in person, it’ll just makes you anxious for them to come to town again.

Craig Finn describes a tour encounter of the Kiefer Sutherland kind to Spinner, gives an interview to The Tahoe Daily Tribune and talks baseball with The Sporting News.

MP3: The Hold Steady – “Chips Ahoy” (live)
Trailer: The Hold Steady: A Positive Rage
MySpace: The Hold Steady

Singing Lamb interviews Steve Lambke of Constantines. They play Harbourfront Centre on Canada Day.

Radio Exile has an interview with The Rural Alberta Advantage, who twittered a couple days ago about “big big raa news” to be announced soon, but have yet to follow up. One can only speculate that it’s along the lines of people no longer being able to say, “how are they still unsigned?!?” incredulously, but who knows. Maybe they just thought this downloadable and watchable session at Hear Ya went really well. Or maybe they just had a really great cheeseburger.

The Toronto Star talks to Neko Case, in town for two sold-out shows at Trinity-St Paul’s on Friday and Saturday.

Each Note Secure has an interview with Death Cab For Cutie drummer Jason McGerr. They just released a new EP in The Open Door.

QRO has the first part of an interview with Ra Ra Riot.

NPR has an interview with and is streaming Camera Obscura’s new album My Maudlin Career a week before its April 21 release. They’re at Lee’s Palace on June 27 with Anni Rossi as support. Scotland On Sunday has an interview with Tracyanne Campbell.

Stream: Camera Obscura / My Maudlin Career

I had thought that Sky Larkin’s excellent The Golden Spike was supposed to be available in North America this week, but can’t seem to find any online vendors who have it domestically. Regardless, it’s coming soon and you can stream it at Last.FM. There’s also a new video to grok.

Video: Sky Larkin – “Antibodies”
Stream: Sky Larkin / The Golden Spike

Innocent Words talks to Lauren Larson of Ume.

Magnet Q&As PJ Harvey.

Blast talks to Ida Maria, whose Fortress Round My Heart was released this week.

The Tripwire interviews TV On The Radio’s Tunde Adebimpe. They’re at the Sound Academy on June 2.

Chart talks to Robyn Hitchcock, whose show at the Mod Club tomorrow night has sadly been postponed due to illness. Refunds available at point of purchase or you can use them at the rescheduled date, which should be announced soon. I’ll contact contest winners after a new date has been announced and see if they can still make the new date.

MySpaceWay back in my first post of the year, I gushed a bit about Sweden’s Montt Mardie and his first UK release, the Introducing ….. The Best Of compilation of his first two Swedish albums Drama and Pretender/Clocks. It was – and still is – a wonderful collection of lush and giddy throwback pop to any and every era of pop you can imagine. I wasn’t sure at the time if the album was actually out, and as it turned out it wasn’t – and still isn’t. It’s now set for a May 4 release in the UK but in the interim, Mardie hasn’t been idle.

He released his third proper studio album, entitled Skaizerkite, this week in Sweden. There’s both an MP3 and video for the first single but beyond that, being somewhat less than fluent in Swedish, information on this release is a bit hard to come by. I did manage to discern, however, that it’d cost me around $28 on import to get a copy of the album sent to me. Um, ouch. I’d forgotten the joys of buying imports. I think I will hold off just a bit on that one and hope that a less expensive option arises – after all, I’m still getting lots of mileage out of Introducing, even after so many months.

Here’s the aforementioned new track in audio and video form, and a crash course in his older material.

MP3: Montt Mardié – “Dancing Shoes”
MP3: Montt Mardié – “1969”
MP3: Montt Mardié – “Metropolis”
MP3: Montt Mardié – “New York”
MP3: Montt Mardié – “High School Drama”
MP3: Montt Mardié – “Come On Eileen”
Video: Montt Mardié – “Dancing Shoes”
Video: Montt Mardié – “High School Drama”
Video: Montt Mardié – “Metropolis”
Myspace: Montt Mardié

Daytrotter has a session with Loney Dear, who will be at the Rivoli on May 8.

Spinner interfaces with Peter Bjorn & John. They have two local dates coming up – a headlining show at the Phoenix on April 25 and a support slot with Depeche Mode at the Molson Amphitheatre on July 24.

Clash interviews Fanfarlo, who being a British band fronted by a Swede, provide the perfect segue from the Swedish portion of the post to the British. I make my own fun. Shut up.

It’s just a short note but this update at The Clientele’s website stating that they’re almost completed their new album brightened my day – after all, it was posted in February so surely it’s done by now? Their last two records – 2007’s God Save The Clientele and 2005’s Strange Geometry – almost perfectly encapsulates the feeling of wandering aimlessly around London, which is to say my happy place. Can’t wait to get another dose of that.

MP3: The Clientele – “Bookshop Casanova”

Camera Obscura’s Carey Lander answers The Daily Growl seven questions about songs. My Maudlin Career is out April 21 and they play Lee’s Palace on June 27.

Still no release date for Charlotte Hatherley’s Cinnabar City – nothing more specific than September 2009, anyways – but there’s not one but two tastes already available. Dig it. And see her play someone else’s songs when she tours as part of Bat For Lashes this Spring. The Sunday Mail has an interview with Hatherley about her busy life.

MP3: Charlotte Hatherley – “Colours”
MP3: Charlotte Hatherley – “White”

Minnesota Public Radio welcomes Glasvegas to their studios for a session. Fazer has an interview.

Filter talks to PJ Harvey and John Parish about their album A Woman A Man Walked By.

Billy Bragg talks to Music Ally about matters such as royalties and digital artists rights.

Delayed so long that I assumed it wasn’t happening, the third and final volume of Club AC30’s Never Lose That Feeling shoegaze tribute albums is now out. It’s rather lighter on big names – which is to say there really aren’t any – but I enjoyed the first two volumes enough to want the full set. Thanks to A Good Day For Airplay for the tip-off.

Teen Vogue‘s Spring Music Preview features short interviews and photo shoots with the likes of Florence & The Machine and Ladyhawke. And for your information, I do not read Teen Vogue on a regular basis. I graduated to Vogue years ago.