Kjell B PerssonIt’s not unfair to say that Labrador Records has something of a “house sound”, and not just for the Swedish accents. With acts like The Radio Dept., Acid House Kings, and Sambassadeur on their roster, they’re a reliable source for warm, fuzzy, indie pop-ish sounds and so when they announce a new signing, it’s usually worth paying some attention – even when on paper the artist doesn’t seem have much in common with the rest of their roster. Or in the case of Amanda Mair, especially when. Not many labels would sign a 15-year old singer-pianist on the strength of her raw talent – there weren’t even any demos – but Labrador did just that in 2010. And having given her a couple years to hone her craft before sending her into the studio with Philip Ekström of The Mary Onettes and the result – her self-titled debut, released in Sweden in February and in North America this week – has proven worth the wait.

It’s hard not to want to use Mair’s youth as a qualifier for offering praise, but the fact is that Amanda Mair would be an accomplished collection of polished pop and piano balladry from an artist of any age. Mair does just fine on the latter with a direct, unadorned presentation – her voice is innately suited to tugging at the heartstrings – but Ekström deserves credit for making the former so sonically dense and interesting without overwhelming her. The choice of a lightly but distinctly ’80s production style is an interesting one, considering those years were a distant memory before Mair was born, but it really does work – for those old enough to remember the era, the sounds are familiar but Mair’s presence is so fresh that it never feels deliberately retro or nostalgic.

Her lyrics may come across a bit vague – one would hope she doesn’t yet have the sort of life experience that would allow her to pen truly pointed, emotional songs – but that gives them a sort of universality that serves her well and the delivery is well-balanced between earnest open-heartedness and knowing wisdom. I suspect every review of this record closes with some sentiment along the lines of how good she already is and how much better she’ll surely get as she gains more experience, but it really is true. And while Mair’s upside is astonishing, don’t assume that Amanda Mair is all about potential – she’s already arrived.

There’s a stream of the album available at MTV, but it’s geoblocked to the US. Americans, have at it. Everyone else, just trust me.

MP3: Amanda Mair – “House”
MP3: Amanda Mair – “Sense”
MP3: Amanda Mair – “Doubt”
Video: Amanda Mair – “House”
Video: Amanda Mair – “Sense”
Stream: Amanda Mair / Amanda Mair (US only)

Anna Ternheim released her new album The Night Visitor this week, and it’s available to stream in whole at Spinner.

MP3: Anna Ternheim – “Walking Aimlessly”
MP3: Anna Ternheim – “The Longer The Waiting (The Sweeter The Kiss)”
Stream: Anna Ternheim / The Night Visitor

NPR is streaming The Tallest Man On Earth’s new album There’s No Leaving Now ahead of its release next Tuesday. Kristian Matsson hits the stage at the Queen Elizabeth Theatre on June 15.

MP3: The Tallest Man On Earth – “1904”
Stream: The Tallest Man On Earth / There’s No Leaving Now

Interview, The Music, and The Herald Sun talk to The Hives, in town at The Sound Academy on June 26.

Rolling Stone talks to Sigur Rós’ Georg Holm about their new album Valtari, from which they’ve released another video from their “Mystery Film Experiment” series. They play Echo Beach on August 1

Video: Sigur Rós – “Varúð”

Denmark’s Efterklang premiered songs from their forthcoming album Piramida in performance with the Sydney Symphony Orchestra at the end of May, and a video of one of them has been released to get people excited for the new set of songs, due out this Fall.

Video: Efterklang – “The Ghost” (live)

The Guardian wonders what’s up with the women who helped define the synthy sound of 2009: La Roux is supposed to have a second album out this year but there’s been nary a peep out of Elly Jackson in ages; Ladyhawke traded a lot of the keys for guitars on her just-released second album Anxiety – there’s interviews with Pip Browne at The New Zealand Herald and The Music; and Little Boots just debuted a new video taken from her second album which, while it clearly exists, has yet to have any specifics revealed.

Video: Little Boots – “Headphones”

NPR is streaming Hot Chip’s latest In Our Heads, due out next Tuesday. The Music talks to singer Alexis Taylor and they play The Sound Academy on July 15.

Stream: Hot Chip / In Our Heads

Pitchfork checks in with The xx, who’ve announced their second album Coexist will be released on September 11. They’ll preview the new material when they play a sold-out show at The Phoenix on July 28.

There’s a complete Clock Opera show from Amsterdam in May available to watch at 3voor12.

The Line Of Best Fit says hello to Mystery Jets, themselves saying hello when they open up for Keane at The Sound Academy on June 19.

Most pleased to hear that Richard Hawley’s latest Standing At The Sky’s Edge will be getting a North American physical release on August 28 – it’ll be available digitally next week – because I was getting close to biting the bullet and paying the $40+ for the import vinyl. Yay procrastination! And yay for a sample track from the album to download. Now let’s just get some touring happening over here…

MP3: Richard Hawley – “Leave Your Body Behind You”

Neil Halstead’s new solo record Palindrome Hunches – originally targeted for an August release – will now be out come September 11, but to make up for the delay a first MP3 has been made available for listening.

MP3: Neil Halstead – “Full Moon Rising”

Jarvis Cocker talks to The Guardian about his work raising awareness for Arctic environmental concerns.

MusicOmh chats with Supergrass frontman gone solo Gaz Coombes.

Muse have announced a September 17 release date for their new record The 2nd Law. The accompanying trailer does not inspire confidence, as it would appear to be a bombastic concept album about peak oil.

Trailer: Muse / The 2nd Law

The AV Club takes the occasion of the recent reissues to examine the career and importance of My Bloody Valentine.

Interview and NME both mark the 40th anniversary of David Bowie’s The Rise And Fall Of Ziggy Stardust; the former with an interview originally published in March 1973 and the latter with an interactive look at the album cover.

rateyourmusic.comWith the release of their tenth album Love At The Bottom Of The Sea upon us this week, I figured that I should have a wealth of Magnetic Fields covers to choose from this week. After all, Stephin Merritt is one of the great pop songwriters of our day and he’s released no shortage of songs rich with melodic and lyrical gems that are ripe for reinterpretation. And no question, there are covers out there but not nearly as many as you’d expect – or I’d expect, at least – and most of the good ones, I think I’ve already posted. That there’s not been a good tribute album to Stephin Merritt’s many projects bewilders me.

So I figured if I was going to post something that’s gone up before, I may as well go with an especially good one – as I think this track from a 1996 David Bowie tribute entitled Crash Course For The Ravers is, remaining faithful to the greatness of the original whilst enfolding it completely within the Magnetic Fields aesthetic. And it last went up over four years ago, which I think puts it beyond any statute of limitations for repeat covers. So says I.

Love At The Bottom Of The Sea is out on Tuesday, March 6, and they are in town at The Sound Academy on March 30; Tiny Mix Tapes, Chronogam, and The Skinny have interviews with Stephin Merritt. All David Bowie has done this year is turn 65, but you can be sure that he did it awesomely.

MP3: The Magnetic Fields – “Heroes”
Video: David Bowie – “Heroes”

Ten Man RecordsToday is David Bowie’s 65th birthday; traditionally, this would be the age where he could officially retire from the workaday world and spend his golden years tending to his garden and doing the daily crossword. Of course, one of the perks of being rock music’s most influential artists is that you can take early retirement and that’s what Mr. Jones has done since approximately 2005, making only sporadic guest appearances on others’ records and certainly not doing anything of his own – his final release of new material is almost a decade old, 2003’s Heathen Reality. And if this does turn out to be all he plans to do for the rest of his career, well he’s earned it.

Robert Smith has threatened to retire The Cure several times in the past, but no one really believes him anymore. But still, they’re now over three years removed from their last release of new material – 2008’s 4:13 Dream – and have of late been concentrating on revisiting their sizeable legacy, performing their first few albums live in their entirety and reuniting with former members Roger O’Donnell and Laurence Tolhurst. A month ago they released the live double-disc set Bestival Live 2011, which captured their headlining performance of the English festival last Summer and later this year, they will be inducted into last year they were nominated for entry into the Rock’N’Roll Hall Of Fame.

This studio cover by The Cure of David Bowie’s “Young Americans” is no spring chicken itself and a touch ironic considering that neither coverer or coveree is either young or America; it dates back to a 1995 compilation for London radio station XFM.

MP3: The Cure – “Young Americans”
Video: David Bowie – “Young Americans” (live on The Dick Cavett Show 1974)

Patrick PantanoThe White Stripes’ affection for all things old – from toy cameras to Tesla coils – is well-documented, and that affection obviously extends to their own music. Their first three records The White Stripes, De Stijl and White Blood Cells have been out of print on vinyl in North America since 2005, and for an avowed analogphile as Jack White, that simply cannot stand. So as of this Tuesday, they’re going to be reissued on his own Third Man Records label with all the care and attention that you’d expect.

This live recording predates even their 1999 debut, coming from a 1997 gig at the now-defunct Gold Dollar in their native Detroit. It’s interesting to hear them turn their lean aesthetic to one of David Bowie’s glam-rock anthems, not to mention hearing Jack White perpetuating the falsehood that Meg White was his little sister. But my favourite part of the recording comes before the song even starts, when a woman in the audience comments that White, “sounds like a weirdo”. Lady, you have no idea. Nor do you know how much bragging you’ll be doing that you were at this show, where they were clearly completely unknown, in a decade’s time.

Inactive since 2007, Jack White has recently hinted that he and Meg might get back together to make a new White Stripes record in 2011. As established a couple weeks ago, David Bowie continues to be busy being David Bowie and not making music.

MP3: The White Stripes – “Moonage Daydream”
Video: David Bowie – “Moonage Daydream”

paulwesterberg.comIf Twitter is to be believed – and when has it ever been wrong about anything? – then yesterday was International Bowie Day, a day to pay tribute to all things thin white and duke-like. Which makes this the day after International Bowie Day. But every day is a good day for Bowie so I’ll not worry too much about being a day late, I prefer to think of it as being 364 days early for next year’s edition.

Point being, this week’s selection pays homage to not one but two of today’s great musical recluses. David Bowie, of course, hasn’t released a record of new music since 2003, toured since 2004 and sung live since 2006. And this trending downwards of activity hasn’t been accompanied by any formal statement of retirement or anything, thus keeping a flicker of hope in his legions of fans’ hearts that he might return to active duty soon, even though there’s no signs of that happening.

Paul Westerberg hasn’t quite pulled the same disappearing act, but his last widely available release was the soundtrack to the animated feature Open Season – not quite what one might expect from the man who fronted one of America’s greatest and most self-destructive rock bands in The Replacements. Since then he’s kept a pretty low profile when not tending to the Mats’ legacy via a steady stream of reissues, but occasionally pops up with digitally self-released homebrew albums or in the case of a couple weeks ago, a new 7″ under the guise of “Mr. F”. If nothing else, Westerberg is clearly keeping himself amused and his fans on their toes. Which is really how it should be.

And what Bowie and Westerberg have in common is this – a cover of the former’s “John, I’m Only Dancing” done by the latter way back in 1996, when Bowie was turning out a record every other year (Outside came in ’95, Earthling in 97) and Westerberg was working his second solo record Eventually. It was recorded for a radio session at San Francisco’s KFOG, the whole of which you can grab over at Captain’s Dead.

MP3: Paul Westerberg – “John, I’m Only Dancing”
Video: David Bowie – “John, I’m Only Dancing”