Frank YangI’ve been concert-going in Toronto for a few years now so there’s not really a lot of venues in this town that I’m not at least a little acquainted with; some I’ve spent probably an unhealthy percentage of the 21st century in, but I digress. One, however, that I hadn’t set foot in before is The Hoxton – née 69 Bathurst – even though its hardly out of the way and has been hosting shows for a few years now. That they’ve been more of the more electronic sort goes part of the way of explaining why, but then I do like some electronic-y stuff – like England’s Metronomy, who were there on Monday night and finally allowed me to see what this place was like. And ability to host live music notwithstanding, The Hoxton feels very dance clubby, all sleek and neon and so not The Horseshoe, but hey – any decently-sized room in the city that puts on shows should be appreciated.

From Sandro Perri’s comments during his opening set that this was one of the strangest places he’d played proved that I wasn’t the only Torontonian who was feeling a little out of place in this room in his own hometown, or maybe he was just referring to supporting Metronomy. On one level, his deceptively complex electro-jazz-folk is a natural fit for Metronomy’s rather cerebral approach to dance music, but that’s probably more the case over headphones than on the stage. Still, he was here fronting a six-piece band with a packed house in front of him and a critically acclaimed album in last year’s Impossible Spaces to push, so none of that really mattered.

To watch them play was like seeing a man standing in the centre of a Rube Goldberg machine, Perri remaining stationary while either leaning into the mic to sing or attending to his guitar as his bandmates built densely intricate layers of keys and percussion around him; there was simultaneously nothing to see and yet so much to behold. I’ve never really listened to much of Perri’s work; I’ve heard a few of his albums and while they’ve been pretty listens, they’ve not really stuck with me and I put some of that blame on the artist – despite quite obviously being a work of great creativity and craftsmanship, he just makes it sound so easy, so effortless that it’s easy to let it become aural wallpaper. And while that same laid-backedness carried over to the live show – most songs were infused with a nimble lightness and sense of whimsy except for the one introduced as ballad but was almost a dirge – it was hard to not be impressed with the talent on display, even if their jamming did stray into indulgent territory on a few occasions.

As I mentioned last month, I regretted missing Metronomy’s last visit in October but scheduling and the fact that I was still warming to their Mercury-nominated The English Riviera kept me at home that night. But if someone had told be beforehand whay a good show they put on, maybe I’d have dragged myself out regardless. I suppose that I should have known they’d put on a tight, polished, and entertaining show given that they’re at the stage where they can headline smaller festivals in UK, but still. You guys are supposed to look out for me. For a band that’s largely anchored to their instruments, they were surprisingly physical in their performance. While only bassist Gbenga Adelekan was really free to roam and roam he did, it was actually keyboardist Oscar Cash who had some of the best dance moves and Anna Prior’s sequined purple jumpsuit easily won the best outfit award; it’s a shame she was hidden at the back behind the drum kit for most of the show. And of course there were their signature light discs fastened to their shirts, which were quite effective at cueing up the audience like applause signs or beacons to start the party.

While they easily got the room moving, Metronomy don’t necessarily make music for acting out; it’s more the soundtrack for being effortlessly cool. The title of their latest album, which made up about two-thirds of the set, is quite appropriate given how they craft dance music infused with quintessential English reserve, with their relatively austere approach to synths and samples, cascading falsetto vocals and irresistibly throbbing rhythm section coming across alternately and simultaneously icy and elegant. And on top of all that, they were all kinds of charming with frontman Joseph Mounts taking the obligatory digs at Montreal and commenting on the venue name, noting that if he was spotted in the real Hoxton carrying his acoustic guitar he’d be shot… though he quickly amended that to, “called a wanker”. If you were unsure about whether or not to bother seeing Metronomy live and we’re somehow fortunate enough to get a third visit before they go off the road to make record number four, let me tell you now: bother.

Sidewalk Hustle also has a review of the show and Cincinnati CityBeat and The Village Voice talk to Sandro Perri, whom you can probably expect will be announced any day now as opening for Destroyer at The Opera House on June 23.

Photos: Metronomy, Sandro Perri @ The Hoxton – April 2, 2012
MP3: Metronomy – “The Look”
MP3: Sandro Perri – “Love And Light”
MP3: Sandro Perri – “Futureactive Kid (Part 1)”
Video: Metronomy – “Everything Goes My Way”
Video: Metronomy – “The Look”
Video: Metronomy – “The Bay”
Video: Metronomy – “She Wants”
Video: Metronomy – “A Thing For Me”
Video: Metronomy – “You Could Easily Have Me”
Video: Metronomy – “Heartbreaker”
Video: Metronomy – “A Thing For Me”
Video: Metronomy – “Holiday”
Video: Metronomy – “My Heart Rate Rapid”
Video: Metronomy – “Radio Ladio”
Video: Metronomy – “A Thing For Me”
Video: Sandro Perri – “Love And Light”

Throwback English singer-songwriter Gemma Ray has made a date at The Great Hall for May 10 in support of her new record Island Fire, out April 16 in the UK and May 29 in North America. I caught her back at SXSW 2010 and she’s an entertaining and engaging performer; worth investigating.

MP3: Gemma Ray – “Runaway”
Video: Gemma Ray – “Rescue Me”

DIY talks to Clock Opera’s Guy Connelly as they await the April 17 release of their debut Ways To Forget.

PopMatters checks in with Gareth Campesinos of Los Campesinos!.

Gerard Love of Lightships (and yes, Teenage Fanclub) puts together a list of some of the music that inspired his solo debut Electric Cables for All-Music Guide.

Interview talks to Jason Pierce of Spiritualized, whose Sweet Heart Sweet Light is out April 17. They’re at The Phoenix on May 5.

The Line Of Best Fit talks to Stuart Braithwaite about curating a day of the London edition of All Tomorrow’s Parties festival in May and have also made available to download a recording of the band’s appearance at the first ATP back in 2000. Mogwai are at The Phoenix on June 18.

MP3: Mogwai – “Stanley Kubrick” (live at ATP, 2000)

Scandinavian singer-songwriter Ane Brun, in town at the Great Hall on May 10, has opted to introduce herself to North American audiences by means of an Arcade Fire cover available to download via Rolling Stone. It appears as a bonus digital track of her new album It All Starts With One, out May 1.

MP3: Ane Brun – “Neighbourhood #1 (Tunnels)”

Ólafur Arnalds’ contribution to the Hunger Games soundtrack – which also appeared on his 2010 mini-album Found Songs – has been made available to download for free. There’s also a new animated video to go with “Near Light”, taken from Living Room Songs, and a track from his collaboration with Nils Frahm is available to stream at DIY.

MP3: Ólafur Arnalds – “Allt Varð Hljótt”
Stream: Ólafur Arnalds & Nils Frahm – “a2”
Video: Ólafur Arnalds – “Near Light”

Frank YangWhile most festivals save their biggest names for the final night, recent years have seen SxSW kind of stagger to the finish line. Everyone is exhausted, bands want to get the hell out of town ASAP and most just want it to all be over. There was supposed to be an exception to this rule in the Big Star show at Antone’s, but with the tragic passing of Alex Chilton earlier this week, that showcase became a tribute concert and if possible, an even bigger draw. So much so that festival organizers decided to make it a badge-only event, meaning that lowly wristbanders like myself were going to be shut out. But on the upside, plan B didn’t have be standing out in the cold in line waiting/hoping to get in, so at least there was that.

I did still spend a good part of the evening near Antone’s in Austin’s warehouse district, which appears to becoming the city’s fancy club district, all bouncers in suits with earpieces and velvet ropes. Perhaps the swankiest was Phoenix, where Leeds’ Grammatics were slated to open up the evening programme. I was pleasantly surprised they were at the festival, as I hadn’t thought that breaking into the US was on their agenda but perhaps with the success of acts like Muse over here, they see an opportunity. Not that Grammatics are overtly Muse-like; they shared a penchant for dramatic delivery, yes, and singer/guitarist Owen Brinley does have a similarly theatrical voice and a tendency towards Matt Bellamy-ish facial expressions, but their sound is more post-punk than prog and the inclusion of cello as a full-time instrument sets them apart. The set drew both from last year’s self-titled debut and songs to be included in the follow-up later this year, and delivered with an assuredness that belied their young ages. Their album was a grower but eventually won me over – their live set cemented that.

Post-Grammatics, I popped down the block to the decidedly less-posh Tap Room, where London’s Gemma Ray would finally be making an appearance. I say finally because she had to cancel one of her Canadian Musicfest performances because of laryngitis and was also a no-show for her showcase the night before. She was indeed in the house this time, though, and treated the small but full house to her unique film noir-rockabilly stylings, rendered in twangy guitar, looping pedals and effected vocals. The lady knows how to create an atmosphere and her cover of Mudhoney’s “Touch Me I’m Sick” was an impressive bit of reinvention.

New York’s Class Actress brought me back to the Phoenix and when their set started, back to the ’80s. Purveyors of chilly, slinky electro-pop of that vintage, the trio showcased their debut EP Journal of Ardency, ably blending beats and hooks. Elizabeth Harper’s vocals are perfectly suited to the sound they’re going for, but her stage moves – while in the right ballpark – were a bit over the top for my tastes. I was probably in the minority there, though. But the tunes are solid and given the option of too much performance effort versus not enough, I’ll take too much.

Norway’s Eva & The Heartmaker were as last-minute an addition to my schedule as you could get, with me uploading their album Let’s Keep This Up Forever to my iPhone right before dashing out the door for the airport. I had been looking for something immediate and catchy for my Saturday night lineup and they fit the bill perfectly, all giddy, girly vocals and big guitars and playing Prague exactly when I had nothing else to go to. The band name refers to Eva Weel Skram (vox) and Thomas Stenersen (guitars) and each had more than their moments in the spotlight with her singing, obviously, and he taking a solo at every opportunity. But it fit and was entertaining, as was their saccharine if not especially deep Primitives-y power pop. Not really a meal, but a fun snack.

The temptation at this point was to call it a night/festival, but a double-bill of known and loved quantities at the cozy environs of the Ale House seemed an appropriate cap to this year’s SxSW. First up was the elegant orchestral pop of Athens, Georgia’s Venice Is Sinking, whom I’d seen last year at the bizarro burlesque club Ace’s Lounge. They seemed decidedly less confused by their surroundings this year – there was no moat around the stage or provisions for stripper poles, for starters – and turned in a more lively set than last time, with tunes from last year’s lovely Azar and their forthcoming Sand & Lines to go with their take on Galaxie 500’s “Tugboat”. They’ve also added some horns to the mix. The horns are good.

And while I’ve said that I don’t come down to Austin to see Canadian/Toronto bands, I did appreciate the synchronicity of having started things off by cheering for the home team – Basia Bulat at the Galaxy Room on Wednesday – and finishing it off the same way, taking in Forest City Lovers’ SxSW debut in the final show of the festival. Though a new record is pretty much in the can, their set stuck largely to the older tunes – familiar to me but new to most others in the bar, most of whom were heavily bearded (it was late, these are the things you notice when you’re tired), and it’s sensible to put your best foot forward in this sort of introductory show. I definitely felt the absence of newest member Tim Bruton, whose contributions on filling out their sound I’ve gotten used to in recent shows back home, but the Forest City charm was still very much in effect. A fine finish to a long, long week.

A week that got a bit longer after I missed my flight on Sunday morning and was stuck in Austin another couple days; I only got back home yesterday afternoon. But I digress – there’s worse places to be stuck than Homeslice Pizza on South Congress. I didn’t intend to stretch out the SxSW reviews so long, but the past week hasn’t gone exactly to plan and getting non-Sx stuff together is going to take a little longer. But believe it or not, stuff has continued to happen outside of Austin over the past week and I’ve got a big laundry list of it to sift through. But there’s going to be good stuff. And some free stuff. And whatnot.

Ryan Edward MillerCanadian Musicfest 2010 is almost upon us, and while some of my blog brethren have offered their suggestions of what to see by way of their own schedules, I’m going to take a more free-form approach because following my own schedule will probably not yield the optimal experience. Logistics and workloads, not to mention still needing to get my act together for SxSW the following week, are keeping my plans relatively limited in scope but if none of that was a concern, then here’s a day-by-day breakdown of what I can endorse or would at least be curious about – above and beyond what I’ve mentioned in past posts – without concern for how you’d get across the city in 15 minutes without aid of a jetpack.

Wednesday: Canadian Musicfest (and Canadian Music Week) have traditionally been Thursday-Friday-Saturday affairs, but this year they’ve done a pretty good job of making Wednesday more than a token addition to the schedule. No, there’s not as much slated to go for hump day, but if you’ve got a wristband and are looking to maximize it, there’s more than a few options.

Spirits (Bread & Circus @ 10PM) – These ’80s-inflected Hamiltonian synth-rockers can legitimately say that they had Pixies open up for them – the alt.rock legends used a Spirits show as a cover for their secret show prior to V Fest last year. And beyond that, they’ve got some pretty slick new wave/new romantic moves of their own.
Video: Spirits – “Forbidden Flame”

Fucked Up (The El Mocambo @ 1AM) – The reigning Polaris winners are much too big to play the El Mo anymore – but they’re gonna do it anyways. Chaos (and nudity) is pretty much guaranteed. Exclaim has an exclusive on where they’re going on their next record.
MP3: Fucked Up – “Neat Parts”

The Wilderness Of Manitoba (Painted Lady @ 10PM) – This hotly-tipped, harmony-laden folk outfit wins over more and more fans with each performance, so catching them in intimate environs such as this while you can is recommended.
MP3: The Wilderness Of Manitoba – “Bluebirds”

Styrofoam Ones (The Roosevelt Room @ 9PM) – I used to play in a band with Styrofoam Ones’ drummer. He certainly gets to play louder/faster/harder with these post-punk/dance-rockers than he did with us.
MySpace: Styrofoam Ones

Thursday: Yeah, you’ll have to work in the morning but really – who gets anything done on a Friday? Really? You do? So it’s just me? Huh.

Forest City Lovers (The Drake Underground @ 10PM) – One of the cities finest folk-pop bands just finished recording their third record and are about to head off to their first SxSW. To say they’ll be at the very top of their game is an understatement.
Video: Forest City Lovers – “If I Were A Tree”

The Darcys (The El Mocambo @ 11PM) – Despite some major recent lineup changes, their forthcoming Murray Lightburn-produced album Young Believers should introduce a much larger audience to their unpredictable guitar-laden epics. Also playing at Sneaky Dee’s on Saturday at 3PM. Read an interview at The Brock Press.
MP3: The Darcys – “House Built Around Your Voice”

And So I Watch You From Afar (The Hideout @ 1AM) – Belfast instrumental post-rockers eschew the quiet-quiet-quiet-LOUD-LOUD-LOUD thing for something more lively and melodic than many of their more bombastic peers.
MP3: And So I Watch You From Afar – “The Voiceless”

Neon Indian (Lee’s Palace @ 10:30PM) – Okay, mostly this is curiosity as to what all the fuss is about. Chillwave? What? Really? And the kids are into this, you say?
MP3: Neon Indian – “Deadbeat Summer”

Dinosaur Bones (The Silver Dollar @ 10PM) – These guys have come a long way since I last saw them in August 2008 – or so it would seem, as I’ve done a lousy job of following up on them since them. But people are talking about their grand and moody rock and they’re clearly on the cusp of something.
Video: Dinosaur Bones – “Ice Hotels”

First Rate People (The Garrison @ 9PM) – Mysterious and apparently big in Owen Sound, there’s something undeniably compelling about their synthesis of old school Motown soul, electronic cut-and-paste aesthetic and indie rock earnestness. Plus The National’s Matt Berninger is apparently a fan. Also playing Sneaky Dee’s on Friday at 3AM.
MP3: First Rate People – “Girls’ Night”

Friday: I’ll be camping out the whole night at Lee’s Palace for my co-presented showcase with Billions and would certainly think you wise if you did the same, but if you’re inclined to see what else is out there, maybe add these to your list.

Hannah Georgas (The Drake Underground @ 10PM) – Could this Vancouverite be the next in Canada’s long, proud tradition of terrific female singer-songwriters? From what I’ve heard from her and about her, I wouldn’t bet against it.
Video: Hannah Georgas – “Thick Skin”

Old World Vulture (Neutral Lounge @ 11PM) – Despite giving them a thumbs up at the end of last year, I haven’t yet gotten to see/hear/feel their intense post-rock action in a live setting yet. Operative word “yet”.
MP3: Old World Vulture – “Benny”

PS I Love You (The Silver Dollar @ 12AM) – I’d like to say it didn’t take Pitchfork rave to put something from almost by own backyard on my radar… but it did. And as embarrassing as that may be, I thank them for it.
MP3: PS I Love You – “Facelove”

Phantogram (Supermarket @ 1AM) – The were here just a few weeks ago, but they were awesome and deserve another “hey go see these guys they’re awesome”. So go see these guys they’re awesome.
MP3: Phantogram – “When I’m Small”

Saturday: It’s kind of odd that the biggest show happening during Canadian Musicfest isn’t associated with Canadian Musicfest, but the first part of Saturday night will be spent at the Phoenix to see Joanna Newsom. Happily, it’s an early show so after that there’ll still be time to catch some or all of these.

The Brother Kite (Rancho Relaxo @ 10PM) – I’m so very excited that Rhode Island’s finest guitar-pop band are coming back to Toronto and that I’ll finally be here to greet them – their last album Waiting For the Time To Be Right remains one of my favourites of the past decade and the follow-up, Isolation, is finally being prepared for release. If there’s any show this week that I will put the “don’t miss” label on, it’s this one.
Video: The Brother Kite – “I’m Not The Only One”

Yukon Blonde (The Horseshoe @ 8:30PM) – Yeah, the Horseshoe is always jam-packed from the moment doors open and this year will be no different, but at least the first band is definitely worth seeing. Lots of people like to call Yukon Blonde “classic” rock. I prefer to think of it as timeless – big guitars and harmonies never really go out of style.
MP3: Yukon Blonde – “Wind Blows”

Gemma Ray (Painted Lady @ 11PM) – This Brit’s swaggering, throwback guitar pop ranges from dark noir to folky light. I think I’ve been meaning to see her live for some time – too bad I’m unlikely to catch either this showcase or her other one at The Silver Dollar on Friday night at 10PM.
MP3: Gemma Ray – “100 mph in 2nd Gear”

Revolvers (The Comfort Zone @ 9PM) – Hazy, vintage-tinged psychedelic garage rock that doesn’t bring a whole lot new to the table – almost nothing, actually – but it still done well enough that if you’re into it, you won’t care.
Video: Revolvers – “Rock Y Roll”

Whew. Obviously there’s loads else going on through the weekend, but hopefully if you’re looking for somewhere to start, the above will offer some ideas.

And elsewhere in Canadian music… Spinner has words with The Russian Futurists – they’re playing the aforementioned Billions/Chromewaves show at Lee’s Palace on Friday night.

Chart chats with Amos The Transparent, playing the Horseshoe on Thursday night at 9:20.

Canadian Interviews talks to Gavin Gardiner of The Wooden Sky. They play the Horseshoe on March 13.

Spinner catches up with Woodhands, playing the Opera House on March 11 and the Paper Bag/Chromewaves showcase at SxSW on March 18.

Spinner checks in with Holy Fuck.

The Portland Mercury has an interview with Basia Bulat.

Spinner asks Owen Pallett to list off his favourite video games. And no, none of the Final Fantasy titles make the list. Pallett plays The Queen Elizabeth Theatre on April 8.