Posts Tagged ‘Fanfarlo’

Friday, September 27th, 2013

Electric

Pet Shop Boys at The Sony Centre in Toronto

PSB Photo By Frank Yang Frank YangI can pinpoint the exact date, time, and place that I became a Pet Shop Boys fan – 8PM on August 30, 2009 at the Molson Amphitheatre. That was when they took the stage – the penultimate act of the final V Fest in Toronto and part of the “Pandemonium” tour in support of that year’s Yes – to the sampled voices of “Heart” and kicked off one of the most ridiculously entertaining hours of live music I can remember. I’d known the songs, of course – everyone knows many of those songs even if they don’t – but the marriage of their perfect pop and over-the-top, technicoloured building block visuals was impossible to resist, and since that too-short festival-length performance, I’ve been waiting for them to come back for their own full-length show.

It didn’t happen for last year’s Elysium, but for its strengths – maybe I liked it more than most because it was the first new PSB record to come out with me as a card-carrying member of their fanbase – its relatively low-key presentation may not have been the strongest foot to launch a world tour from. So thank goodness for this year’s unexpectedly fast follow-up Electric, a far more danceable and banging companion album that would get the Boys back on the road with the festival circuit in the Summer, and North America this Fall, stopping in at The Sony Centre in Toronto on Wednesday night.

With no opening act, the sold-out house waited and chattered patiently until the house lights dropped and screaming (the good kind) commenced. With projections of geometric abstractions and speeding tunnels on the giant scrim covering front of the stage, Messrs Tennant and Lowe took the stage behind giant glowing silhouettes, and ping-ponged from present to past with Electric opener “Axis”, Actually‘s “One More Chance”, and Elysium – all obscured behind trippy visuals – before dropping the scrim for “Opportunities” and bidding the crowd a proper “hello” with the first of many, many shouts of, “Toronto!”.

Even though the visuals of this tour were completely different from the Pandemonium tour – the Lego-esque aesthetic put aside for lasers, strobes, and the aforementioned giant projections, all tied together by a printed circuit board aesthetic – the structure was quite similar. Visually, you had Chris Lowe expressionless at his keyboard station handling the music, Neil Tennant roaming the stage in excellent voice, sometimes accompanied by a pair of dancers, and all in a dazzling and nonsensical array of costumes involving but certainly not limited to giant antlered animal masks, finely-tailored suits, disco ball helmets, and tinsel bodysuits on pogo sticks.

Musically, they tied songs together into suites with corresponding choreography, and as per the opening numbers, they focused mainly on their last two albums and their platinum-selling early records, although Behaviour was curiously left out completely. Also curious was the omission of two of Electric‘s highlights – new single “Love Is a Bourgeois Construct” and Springsteen cover “The Last To Die”. But you can’t have everything, I suppose, so wishing that some more of their ’90s singles had also made the cut in lieu of the early ’00s tracks is really besides the point. Even with a near two-hour show, a band with a catalog of classic songs as deep as Pet Shop Boys as well as very worthy current records to promote is going to leave someone’s favourites out. Probably best to focus on the fact that even so, no one was having anything but a great time and even though the Sony Centre’s seats weren’t the most conducive to dancing, we did what we could.

The show’s finale was heralded by a string of the biggest tunes – “It’s A Sin”, “Domino Dancing”, “Always On My Mind”, and “Go West” are the very definition of show stoppers – but the final number was Electric closing number “Vocal”; not a classic like the others – at least not yet – but certainly a banger and if you wanted to send a giddy crowd into the night understanding that even after more than a quarter century, you’re still writing and releasing great, great songs to go with your great, great shows, you could do far worse.

Global News, Panic Manual, and Live In Limbo also have reviews of the show, and Philly.com and The New Statesman interviews.

The New York Times has the advance stream of Yuck’s second album Glow & Behold, being released September 30.

Stream: Yuck / Glow & Behold

Also out next week is Johnny Flynn’s new long-player Country Mile, which is available to preview at For Folks Sake. And if that’s not enough, there’s the sampler A Recapitulation Of Johnny Flynn EP which is available to download for free (or a donation).

Stream: Johnny Flynn / Country Mile

Clash, MIPro, and New Statesman talk to Anna Calvi about her new album One Breath, which is out October 7 and from which a new song is available to stream.

Stream: Anna Calvi – “Suddenly”

The History Of Apple Pie are streaming the a-side of a new 7″-single, out October 14 to coincide with their hop across the Atlantic to play CMJ.

Stream: The History Of Apple Pie – “Don’t You Wanna Be Mine”

Clash premiered a stream of the first new Fanfarlo music in a while; it comes from their new EP The Sea, which will be released on October 14.

Stream: Fanfarlo – “A Distance”

Daytrotter has a session with Kate Nash, who plays The Phoenix on November 5.

Though her debut album True Romance is still only a few months old, Charli XCX has released a video for a new song from her next album, which she obviously hopes will be out sooner rather than later. She plays Wrongbar on November 9.

Video: Charli XCX – “Superlove”

The Guardian examines the new wave of psych-rock bands coming out of the UK including Temples, who are at The Horseshoe on November 20 ahead of releasing their full-length debut next year.

Foals have a new clip from their latest, Holy Fire.

Video: Foals – “Out Of The Woods”

Savages have released a new video from Silence Yourself.

Video: Savages – “Husbands”

Sky Larkin share their favourite mottos with Clash, while ZME Music settles for a regular old interview.

NPR has a video session and Exclaim an interview with CHVRCHES.

Spin talks to Elvis Costello and Questlove of The Roots about their collaborative record Wise Up Ghost.

Wild Honey Pie have posted a video session with Camera Obscura.

As part of their ongoing 4AD week – marking the release of Facing The Other Way, a new book about the legendary label, Drowned In Sound talks to Vaughan Oliver, the graphic artist responsible for the 4AD’s signature visual style.

Tags: Anna Calvi, Camera Obscura, Charli XCX, CHVRCHES, Elvis Costello, Fanfarlo, Foals, History Of Apple Pie, Johnny Flynn, Kate Nash, Pet Shop Boys, Roots, Savages, Sky Larkin, Yuck

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Friday, July 19th, 2013

Fresh

Summer Camp “Fresh”-en up for second album

Bjork Photo By Eleanor McDowall Eleanor McDowallHaving gone high concept with their ’80s teen movie-evoking, fictional California community-set debut album Welcome To Condale, English retro-lectro-pop duo Summer Camp have been keeping relatively mum about what to expect from their forthcoming second album. It’s self-titled, so there’s not much to be gleaned there, and the trailer unveiled last month also didn’t do much besides offer a look around Jeremy Warmsley and Elizabeth Sankey’s flat, set to a surprisingly funky soundtrack.

That song has just been released as the first official sample of the new record by way of an uncommonly fun lyric video premiered at Gorilla Vs Bear. It’s a sweet disco-flavoured tune that happily and hopefully allays the reservations I had about Condale, specifically that all the ’80s-referencing would become more distraction than inspiration – they’ve got some ’70s in there now as well! I’ll happily take an album of great pop songs that aren’t necessarily about anything in particular; here’s hoping. Summer Camp is out on September 9.

Lyric Video: Summer Camp – “Fresh”

NME reports that The Vaccines will put out a new EP around the recently-released non-album single “Melody Calling”; it’s out August 12 and they play The Molson Amphitheatre supporting Mumford & Sons on August 26.

DIY and The Guardian talk to Kele Okereke about life in Bloc Party, with the former finding him dismissing the severity of the indefinite hiatus talk surrounding the release of their Nextwave Sessions EP on August 13.

Le Blogotheque has an Empty Spaces session and The Guardian a studio session with Franz Ferdinand, wherein they perform two of the songs from Right Thoughts, Right Words, Right Action. The album comes out August 27 and they play The Kool Haus October 24.

Under The Radar talks to Stuart Murdoch and Stevie Jackson of Belle & Sebastian about their forthcoming rarities compilation The Third Eye Centre, out August 27.

Good news and bad news for those hoping Bat For Lashes would schedule some of her own headlining shows amongst the support dates for Depeche Mode this Summer; the good news is that yes she is, the bad news is that Toronto doesn’t get one – but Buffalo does, if you’re up for a road trip. She’s at the Town Ballroom on August 31 before opening up for Depeche Mode at the Molson Amphitheatre on September 1. And yeah, there is still an off day between Toronto and Montreal, so if you’re the finger-crossing type, commence or continue crossing fingers.

Despite having a new album in AM coming on September 10 that their fans would surely love to hear more from, Arctic Monkeys are doing a bit of trolling by streaming a new track that will not appear on the record. They play The Kool Haus on September 15.

Stream: Arctic Monkeys – “2013”

Under The Radar and Sticky talk to Lauren Mayberry of CHVRCHES, whose debut album The Bones of What You Believe is out September 24 and who are at the Danforth Music Hall on September 15.

Elvis Costello talks a bit about Wise Up Ghost, his collaboration with The Roots coming out September 17, with Mojo.

Spin has got the backstory on a new Kate Nash song that’s been made available to stream; listen, read, help if you can. Nash plays The Phoenix on November 5.

Stream: Kate Nash – “Pink Limo Ride”

While they’ve not offered any specifics besides the fact that it’s done, Fanfarlo have made a track from their forthcoming third album available to download. DIY has the statement from the band about it.

MP3: Fanfarlo – “Myth Of Myself (A Ruse To Exploit Our Weaknesses)”

Daytrotter has a session with Sky Larkin, who’ve got a new record ready to go sometime this Summer, or so they claim.

Despite having lost frontman Daniel Blumberg to a solo career as Hebronix, Yuck have offered a track from their second album which will be out later this Fall, and you know what? It’s pretty good.

MP3: Yuck – “Rebirth”

DIY talks to The Maccabees, who’re working on album number for with an eye towards an early 2014 release date.

David Bowie gets simple and a bit scary for the next video from The Next Day, and if you like your Bowie a little more vintage, Aquarium Drunkard points to a BBC documentary about the inception of Ziggy Stardust.

Video: David Bowie – “Valentine’s Day”

Johnny Marr has put out another video from The Messenger and is streaming a new, non-album track at Pitchfork for good measure.

Video: Johnny Marr – “New Town Velocity”
Stream: Johnny Marr – “The It-Switch”

Rolling Stone has premiered the newest video from The Joy Formidable’s latest Wolf’s Law.

Video: The Joy Formidable – “Silent Treatment”

Little Boots is giving away a track from Nocturnes in exchange for an email and offering a live acoustic video of that same tune.

Video: Little Boots – “All For You” (acoustic)

Rolling Stone welcomes Editors to their studios for an unplugged video session. There’s also interviews with the band at The Sun, Digital Spy, Burton Mail, Londonist, and The Scotsman.

Fractured Air and Elle talk to Tracyanne Campbell and The News Observer to Gavin Dunbar, both of Camera Obscura.

Daytrotter welcomes Stornoway to their studios for a session.

In an interview with Under The Radar, Brett Anderson reveals why Suede are so reluctant to do any touring in North America and to which I say there’s no “London” here in Canada so get your skinny ass over here.

Interview sends Daniel Craig – yes, that Daniel Craig – to interview about Atoms For Peace and Radiohead.

The Independent talks to Noel Gallagher about his one-time sneaker addiction. Which apparently was a real thing.

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Monday, April 2nd, 2012

Seamonsters

The Wedding Present, The Jet Age, Toquiwa and Zarigani $ at The Horseshoe in Toronto

TWP Photo By Frank Yang Frank YangSomewhere over the last few weeks Sunday night’s Wedding Present show at The Horseshoe got co-opted as the “closing party” for Canadian Musicfest, an appellation I personally refused to acknowledge. The 21st anniversary show for Seamonsters? Absolutely. The tour in support of their just-released new record Valentina? Certainly. Closing party for a festival that at no point acknowledged the band as part of their programme or acknowledged they were exponentially greater than most everyone else who played? Not so much. But I suppose if you got in for free on account of having a CMW wristband, then you probably weren’t complaining.

And if you got there in time to see the openers, you were probably a little confused. Which is fair. Of the two bands listed as accompanying The Wedding Present on this Spring tour – Washington D.C.’s Jet Age or Tokyo’s Pinky Piglets – it was never clear which was going to be at the Toronto show, which was right at the changeover point of the routing. As it turned out we were getting both but even so, there was some further confusion as Pinky Piglets no longer existed having opted to change their name to the more cryptic Toquiwa and even then, they weren’t the band that took the stage first – that was the drum and bass duo called Zarigani $, who were also Toquiwa’s rhythm section and completely unbilled; I wouldn’t have even known what they were called had it not been for the helpful sign hanging off a keyboard stand. Got all that? No? That’s okay. They played some cartoon version of punk-prog for about 15 minutes – far too short a set to try and bridge the cultural divide and understand it – and then brought out two more members and transformed, Voltron-style, into Toquiwa.

And though no less bizarre to behold, they were at least somewhat easier to get a handle on. The addition of a guitarist and lead singer solidified a kind of punk/rockabilliy aesthetic, though still totally cartoon-like. The quartet looked like they were plucked straight off the playground of the Tokyo chapter of The School Of Rock, though the ease with which singer Asuja pounded back a beer adorably solicited from the audience was a hint that they were a bit older than they looked. In any case, it was energetic, ridiculous, gobs of fun and the band thanked The Wedding Present for taking them out on tour by covering “Kennedy” in their own unique manner.

The Jet Age, on the other hand, were about as opposite a band as you were likely to find, comprised of three guys who appeared to have lived through and learned from the days of ’90s college rock. They were a pretty straight power trio playing pretty straight rock with hints of hardcore in their DNA, each player clearly proficient with their instrument but having a fair bit of trouble sounding like they were actually playing with one another instead of overtop, falling out of time with each other on more than few occasions. Their monitors may have had something to do with it – their timing seemed to improve after some adjustments to their mixes – but that didn’t do anything to address the fact that their songs were, at best, unmemorable.

It sounds a bit perverse, but I actually had to make every effort to avoid seeing The Wedding Present at SXSW. They were playing a number of shows there but only one was a Seamonsters recital – I was actually there right before they went on and fled – so I would have had to catch at least two of them to equal this one and festival burnout notwithstanding, seeing them back in Toronto seemed the most logical thing to do. And kudos to The Wedding Present for being clever enough to keep me coming back; this would be my seventh time seeing David Gedge and company in the past decade or so, most recently in April 2010 doing Bizarro. So you’d think that I could skip one, but not seeing/hearing them play Seamonsters wasn’t even on the table – it’s easily my favourite Wedding Present record, marking the point at which they really evolved beyond being a clever singles band with a distinctive sound to an outfit capable of creating complete albums that were both emotionally and sonically rich.

Which is not to say that just hearing them showcase Valentina wouldn’t have been sufficient draw. Whatever he’s called his project, Gedge has been a remarkably consistent songwriter over the past quarter-century and even with the four-year layoff from El Rey, he’s not lost a step. It doesn’t break new ground – at this point, that’s not something to be expected – but does prove that the failures and foibles of romance will always be fertile ground for someone like Gedge to till and Valentina confirms that his lyrical edge is sharp as ever and musically, well loud guitars really never go out of style.

Unlike the Bizarro show where they had no new record to push and were thus able to preface the main event with a random selection of material drawn from throughout their career, this night’s first act leaned heavily on Valentina but the back catalog sprinkles – particularly “Quick Before It Melts” from the Cinerama years and Take Fountain closer “Perfect Blue” – were unexpected but tasty. That’s an upside of a band with a signature sound – with nothing ever sounding out of place in the set, you never know what they’ll pull out of their hats.

Well with the Seamonsters set, I suppose you knew exactly what they were going to do, and even though this was far from the same band that recorded that record – all the non-Gedge members were long gone and even this 2012 lineup was different from the one here last time, longtime bassist Terry de Castro having retired at the end of 2010 – they still attacked the material with the intensity you might expect from those who originally crafted it. I’d heard many of the songs included in sets before – and they were usually highlights – but played end to end they were able to recreate that crucial dimension of its flow, with all the churn, drone and lurch of the recording. It didn’t reproduce the gut-punch I felt when I heard it the first time, but it recalled it and that’s really all you could ask for. And while the band stuck to their tradition of not playing encores, that they played two more songs after the final note of “Octopussy” died out – not the bonus tracks from the US edition, that’d have been too much to hope – felt just as good.

And so what’s next? It’s still a few years before the 20th anniversary of Watusi; maybe the band will have gotten the right back and the album back in print by then? Be kind of an odd anniversary show otherwise. Or maybe a return to Cinerama! I’d be there. And possibly the only one.

BlogTO also has a review of the show and The Japan Times talks to Toquiwa about how they ended up touring with The Wedding Present.

Having taken an extended break following 2009’s disappointing Quicken The Heart, Maximo Park return on June 11 with album number four, The National Health. The title track is available to stream and initial impressions are that the time off has done them a world of good. Hope that’s the case.

Stream: Maximo Park – “The National Health”

DIY talks to The Futureheads about their new a capella record Rant, out this week, from which they’ve just released a video and there’s another “no instruments, please” video performance over at Digital Spy.

Video: The Futureheads – “The Old Dun Cow”

The Herald has a feature interview with Gerard Love, while The Guardian is streaming the whole of Electric Cables, the Teenage Fanclub songwriter’s gorgeous x1000 solo debut as Lightships, out this week.

Stream: Lightships / Electric Cables

The Fly check in with Hot Chip as they prepare for the June 12 release of In Our Heads and subsequent live date at The Sound Academy on July 15.

The Line Of Best Fit gets to know Fanfarlo.

Stereogum talks to Jason Pierce of Spiritualized about their new album Sweet Heart Sweet Light, out April 17. They play The Phoenix on May 5.

NPR talks to Noel Gallagher.

Clash interviews Graham Coxon.

The AV Club offers a Gateway To Geekery for Britpop, suggesting entry points for the works of Suede, Blur, and Pulp amongst others. I can offer a more concise guide: all of them. You’re welcome.

The Tallest Man On Earth has announced a new album entitled There’s No Leaving Now, due out June 12. Exclaim has details as well as some – not all – North American tour dates.

Niki & The Dove have released a new video from their forthcoming debut Instinct, out May 14 in Europe; a North American release date has not yet been confirmed.

Video: Niki & The Dove – “Tomorrow”

The Boston Globe and NOW talk to First Aid Kit while NPR puts them behind a Tiny Desk and makes them play a show. They do the same though from a regular old stage on April 4 at The Great Hall.

Daytrotter has posted a session with The Raveonettes.

MusicOmh chats with Pip Browne of Ladyhawke, whose new album Anxiety is out May 25.

Tags: Fanfarlo, First Aid Kit, Futureheads, Graham Coxon, Hot Chip, Jet Age, Ladyhawke, Lightships, Maximo Park, Niki & The Dove, Noel Gallagher, Raveonettes, Spiritualized, Tallest Man On Earth, Toquiwa, Wedding Present, Zarigani$

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Wednesday, March 28th, 2012

SXSW Day Three A/V

Best Coast Photo By Frank Yang Frank YangIf you were to ask me what the daylight portion of SXSW Friday, I’d just point you over here.

Shearwater
– Austin art-rock band led by Jonathan Meiburg whose latest album Animal Joy is their most visceral and possibly best release to date. Clash talks to Meiburg about his literary influences and Stereogum has premiered a new video.

Fanfarlo
– Anglo-Swedish collective who’ve just released their difficult second album in Rooms Filled With Light. The Boston Globe has an interview and NYC Taper is sharing a recording of another of their SXSW showcases.

Photos: Fanfarlo @ The ACC Radio Day Stage – March 16, 2012
Video: Fanfarlo – “Shiny Things”
Video: Fanfarlo – “Replicate”
Video: Fanfarlo – “De.Con.Struc.Tion”
Video: Fanfarlo – “Atlas”
Video: Fanfarlo – “Fire Escape”
Video: Fanfarlo – “The Walls Are Coming Down”
Video: Fanfarlo – “Harold T Wilkins”

The Big Pink
– London electro-rock duo who followed up their breakout 2009 debut A Brief History Of Love earlier this year with the bigger-reaching Future This.

Photos: The Big Pink @ Stubb’s – March 16, 2012
MP3: The Big Pink – “Stay Gold”
MP3: The Big Pink – “Give It Up”
MP3: The Big Pink – “Dominos”
MP3: The Big Pink – “Velvet”
Video: The Big Pink – “Hit The Ground (Superman)”
Video: The Big Pink – “Dominos”
Video: The Big Pink – “Velvet”
Video: The Big Pink – “Too Young To Love”

Best Coast
– California guitar-pop duo with the most famous cat in indie rock will release their second album The Only Place on May 15 with a date at The Phoenix to follow on July 21. Fuse has an interview with frontwoman Bethany Cosentino.

Photos: Best Coast @ Stubb’s – March 16, 2012
MP3: Best Coast – “The Only Place”
MP3: Best Coast – “Boyfriend”
MP3: Best Coast – “Something In The Way”
Video: Best Coast – “When I’m With You”
Video: Best Coast – “Our Deal”
Video: Best Coast – “Boyfriend”
Video: Best Coast – “Crazy For You”

Tags: Best Coast, Big Pink, Fanfarlo, Shearwater

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Thursday, March 22nd, 2012

SXSW 2012 Day Three

The Big Pink, Fanfarlo, Shearwater and more at SXSW

The Big Pink Photo By Frank Yang Frank YangWhat day was this? Friday? Only? If one thing was becoming clear to me as my eighth SXSW ploughed forwards, it was that I was not as young as I once was and the physical grind of the festival was taking more of a toll than it had in years past – even with the previous night’s itinerary consisting only of sitting in a padded chair for four hours, standing in line for 90 minutes and then sitting cross-legged in a church for a bit. Hardly a triathlon.

Even so, I was glad that my day’s programme was relatively easy, both from a running around town point of view and writing the bands up that I was planning to see – after all, I was quite familiar with them all. Particularly Shearwater, whom I’d seen back in Toronto less than a month ago – maybe it was unnecessary to see them again so soon, but their Animal Joy remains one of my favourite releases of the year and seeing them in their hometown has become something of a SXSW tradition – this would the fifth year I’d done so. They were up early for a radio session in the Austin Convention Center – maybe not the most rocking venue on paper, but a room with great light, sound and sightlines and to hear Jonathan Meiburg tell it, a far better venue than the show they’d played late the previous night; a show where glow sticks abounded, their lead-in act was a rapper and which he described as the wrongest show of his life as a musician. Ah, SouthBy. Their set was compact, comprising just “The Snow Leopard” leading into side A of Animal Joy, and while not the fieriest performance one could have imagined it was still plenty elegant and satisfying.

An hour or so later, which I spent exploring the exhibition portion of the conference, the same room played host to Anglo-Swedish combo Fanfarlo. I’m a bit embarrassed to admit that I’d completely forgotten that I’d originally discovered the band at SXSW 2009 – hell, at the time I was calling them one of the highlights of the fest. Sigh. Anyways, this time they weren’t the unknown band from overseas winning over the unsuspecting, but the established act who’d achieved a goodly amount of success with their debut Reservoir and had just released the follow-up, Rooms Filled With Light. It couldn’t have been an easy record to make, with the band surely aware that repeating the moves that made Reservoir such a joy would also basically doom them to be regarded as Arcade Fire-alikes forevermore, but turning their back on those strengths would potentially cost them their hard-earned fanbase.

So the band can and should be proud that with Rooms, they’ve managed to strike just about the right balance between the two and establish a sound that’s marginally less immediate but arguably as rewarding but more importantly, more definitively their own. Live, they shed some of the gloss of the new record – it’s sonically shiny, but not excessively so – and reined in the old material a bit so as to stand more uniformly in line, though they could still pull out the dramatics and exuberance when they needed that extra bit of punctuation. It’s funny; though I loved Reservoir when it was new, it didn’t have the shelf life I would have liked. Though Rooms took a while for me to warm to, I suspect I’ll be listening to it longer. Fanfarlo bring their new record to town for a show at The Mod Club on Saturday, March 24.

It was then time to hoof it from the Convention Center auditorium to Stubb’s outdoor amphitheatre where Spin was hosting their always-anticipated day show, just in time to see another London-based act who’d just followed up a successful 2009 debut, The Big Pink. In their case, it was A Brief History Of Love that had to be matched and unfortunately, Future This has not been up to the task. Granted, History was no monument in the annals of songwriting, but it had a big, electro-shoegaze sound that was immediately appealing and some mammoth hooks in the singles – more than enough to make a good impression. Future This tweaks the formula some, but doesn’t hit the sweet spot and it simultaneously feels more bombastic yet slighter in substance. It’s not a fatal miscalculation, but a disappointing one all the same.

Luckily for them, those shortcomings matter far less in a big festival setting, where bombast is your friend, than they do through the headphones. Unluckily for them, their set was in the middle of the afternoon where the light show and smoke machines that defined the aesthetic of the History tours were non-starters, leaving them fully exposed as a four-piece that’s really a two-piece, with Milo Cordell and Zan Lyons manning their laptops and leaving the actual performing to guitarist/vocalist Robbie Furze and drummer Victoria Smith. Furze gave it his best to be an engaging frontman but came across as enthusiastically awkward, particularly when he set down the guitar and busted out some dance moves. None of which mattered, of course, when they busted out “Dominos” – it must be nice to have a song in your back pocket that’s an instant party.

The appeal of Best Coast has always perplexed me some. I mean, I get why people like them; Bethany Cosentino writes some pleasant pop tunes, but there’s not a whole lot to them. But maybe it’s that simplicity that draws people in? I don’t know. All I know is that upon the announcement recently that it existed and would be out May 15, their second album The Only Place became one of the more anticipated records of 2012. And while the fact that it was produced by Jon Brion gives some hope that if nothing else, it will be more sonically interesting than Crazy For You, that growth wasn’t necessarily on display during their set.

Though they were now operating as a four-piece – they were but three when I saw them at Pitchfork 2010 – their sound wasn’t especially different, nor did the new material come across much differently from the old. From the stage banter, Cosentino seemed equally chipper and punchy, perhaps trying to get a rise out of the crowd who were enthused but also a bit lethargic; maybe it was the heat.

No, not a busy Friday day, but I would make up for it in the evening.

The new Spiritualized video comes with the requisite “NSFW” warning, but at least it’s for violence and overall grimness rather than just flashing a pair of ta-tas. Sweet Heart Sweet Light is out April 17 and they’re at The Phoenix on May 5.

Video: Spiritualized – “Hey Jane”

The Modfather Paul Weller is playing just three North American shows in support of his new album Sonik Kicks, and the only one not in New York is May 21 at The Sound Academy – tickets are $59.50 for general admission and $79.50 for VIP balcony.

MP3: Paul Weller – “Around The Lake”
Video: Paul Weller – “Green”
Video: Paul Weller – “That Dangerous Age”

The Cribs have rolled out a new video from The Brazen Bull, out May 8. They’ll preview it at Lee’s Palace on April 11.

Video: The Cribs – “Come On, Be A No-One”

Paste welcomes Wild Beasts for a video session.

Pretty heady days for Teenage Fanclub fans – first Norman Blake put out the Jonny collaboration with Euros Childs last year, next Gerard Love’s Lightships releases its debut Electric Cable on April 17 and now comes word that Ray McGinley, along with Fannies collaborator Dave McGowan, has a new project called Snowgoose that will release its debut album Harmony Springs on vinyl come April 21 for Record Store Day and with other formats to follow in May. Note that McGinley is not the vocalist in this project, but he can’t help but add some magic to it nonetheless.

Video: Snowgoose – “Sycamore”

Drowned In Sound gets a track-by-track walkthrough of Blood Red Shoes’ new album In Time To Voices, out next week in the UK. They also recently rolled out a video from the release.

Video: Blood Red Shoes – “Cold”

If you had to pick a band to play a concert at the Large Hadron Collider, who would it be? British Sea Power, of course. The Quietus talks to the band about the soundtrack they’re writing for the 1999 film Out Of The Present and which they’ll be performing at the CERN labs in Switzerland.

Tags: Best Coast, Big Pink, Blood Red Shoes, British Sea Power, Cribs, Fanfarlo, Paul Weller, Shearwater, Snowgoose, Spiritualized, Wild Beasts

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