Jenna WakaniSince first seeing her in a little basement pub at Pop Montreal 2006, it’s been a real treat watching Basia Bulat’s career blossom. 2007 saw her gig relentlessly – I saw her a half-dozen times and wasn’t even really trying – and release her debut Oh, My Darling to much acclaim both at home and abroad and earn a place both in my favourites of the year and the almost-as-prestigious 2008 Polaris Music Prize shortlist. As debuts go, it yielded a pretty good narrative and so it’s not surprising that the follow-up, Heart Of My Own, takes what worked best and builds on that.

Whereas Darling has it’s share of bigger, more orchestrated numbers, it was evident that the songs had started out more homespun, and a few of them simply grew into something more grandiose. it’s notable that rollicking single “In The Night” didn’t appear on the initial European tracklisting but would be regularly held up as a high point in reviews of the North American edition. Heart follows that trajectory, clearly benefiting from the constant touring as a full band, with all the instruments, voices and ideas that came with it.

Utilizing many of the same players and again recorded under producer Howard Billerman’s auspices, Heart maintains the sweetness of Darling, but delivers it with considerably more sophistication, exuberance and sass. The rhythms, arrangements and textures at play are all considerably more complex without sacrificing any of the simplicity that’s at the heart of Bulat’s appeal. That sense of growth also applies lyrically – where Darling‘s protagonist was very much the ingenue, Heart finds her older and wiser; not necessarily more cynical, but certainly more experienced. Oh, My Darling was the first, impressive step from an artist with a clear vision of the sort of folk-pop she wanted to create; Heart Of My Own offers no creative left turns, just a determined, confident stride forward. It’s simply what comes next.

Bulat talks to Spinner about finding inspiration in the Canadian north and gives an in-studio interview and performance for The National Post.

Heart Of My Own is out on January 26 and Basia Bulat has a show at Trinity-St. Paul’s this Saturday night, January 16. Tickets are $20 in advance but courtesy of Secret City, I have a pair of passes to give away to the show. To enter, email me at contests AT chromewaves.net with “I want to see Basia Bulat” in the subject line and your full name in the body. Contest closes at midnight, January 13.

MP3: Basia Bulat – “Go On”
MP3: Basia Bulat – “Gold Rush”
MySpace: Basia Bulat

Suitcase Orchestra and Chart talk to Mark Hamilton of Woodpigeon. Die Stadt Muzikanten is out tomorrow and they play the Drake Underground on February 11.

Great Lake Swimmers are keeping a tour blog of their ongoing trip to China at Spinner. They play Trinity-St. Paul’s on February 6.

Beatroute chats with An Horse. They play an in-store at Criminal Records on January 20 at 6PM.

Sadly, the Charlotte Gainsbourg show at the Phoenix January 26 announced just last week has been cancelled. No reason has been given and other dates on her North American tour still appear to be a go, so one can only surmise that there’s a conflict with something else, or she has a hate-on for Toronto. Her new record IRM is still out that day and The Guardian has an interview.

The Mountain Goats are featured in PitchforkTV’s “Cemetery Gates” video session this week.

Karen O of Yeah Yeah Yeahs talks to Variety about her soundtrack work on Where The Wild Things Are.

Shout Out Louds singer Adam Olenius discusses their new album Work, out February 23, with Spinner.

Bjork’s recent concert film Voltaic, documenting shows in Paris and Reykjavik, will be getting a theatrical screening in Toronto on January 22 at the Acacia Centre, formerly the Golden Classics Cinema in Chinatown. Tickets are $10 in advance at Soundscapes, Queen Video and online.

Frank YangThe Bellwoods crew is certainly setting a high standard when it comes to set dressings. Thanks to them, I’ve now attended shows in the heart of a volcano, an exploding library in the sky and as of this past Friday night, a heavily wooded lumberjack camp. In reality, it was the Tranzac and the occasion was the record release party for Evening Hymns’ new album Spirit Guides; a grand and gauzey statement of gospel-inflected folk-rock which is quite highly-regarded around these parts.

Support for the night came from The Harbour Coats, who on most occasions are a miniature Canadian super-group of sorts with members of Constantines, Snailhouse and Evening Hymns principal Jonas Bonnetta but on this night, due to logistical issues, were just frontman Bry Webb and an acoustic guitar and his own And if the oft-repeated reference point for Constantines is a heavier Springsteen, then Harbour Coats is a nod to the Boss’ more stripped-down side. Decked out head to toe in blue Christmas lights, Webb turned in a short set of tunes rich with images of the Canadian north and proving that he was as compelling and charismatic a songwriter a performer outside the Cons as he was with them.

At one point in the set, Jonas Bonnetta mentioned that this was pretty much his first-ever headlining show and for the occasion, he did it up right. Enlisting many/most of the contributors who played on Spirit Guides, Evening Hymns ranged from Bonnetta solo to a stage-filling 10-piece band including members of The Wooden Sky, Ohbijou, The Magic and The D’Urbervilles as well as a couple of his own siblings. And though all the parts were in place to recreate the expansive beauty of Spirit Guides – the stage even looked the part of the record’s rustic aesthetic – it would prove to more a question of chemistry than mathematics.

Though the show began strongly and remained so as the band’s numbers ebbed and flowed, at one point leaving Bonnetta to perform solo for a few numbers from his first record Farewell To Harmony, to my ears they weren’t quite managing to capture the ineffable specialness of the recorded work. And there’s no shame in that – to catch lightning in a bottle once and commit it to tape is a feat, to be able to do it again and on demand is asking a lot. But as the show progressed, it became evident that things were starting to coalesce and by the time the band’s numbers swelled for what was clearly the climax of the show, for which they’d wisely saved the record’s biggest moments, they were sounding like something much greater than the sum of its parts, in the same way that Spirit Guides is much more than the sum of its influences and reference points. As if cued by the bold organ of “Tumultuous Sea”, the show found a new level and through the encore and its gloriously jubilant readings of “Broken Rifle” and “Mtn. Song”, all crashing chords, thundering percussion and choral vocals, it was finally everything it could have been.

With so many of the record’s performers involved with other bands, it’s a bit difficult to envision how they could take this record on the road and do it the same sort of justice they did on this evening. This is not to say it can’t be just as effective and affecting with a different configuration, and I’m sure that however they end up taking it on tour, even if it’s just Bonnetta solo, it will be its own kind of special but I’m pretty pleased to have been able to witness it with the original cast, so to speak.

Soundproof and The Vancouver Sun have interviews with Bonnetta and London Burgeoning Metropolis, another review of the show.

Photos: Evening Hymns, The Harbour Coats @ The Tranzac – December 4, 2009
MP3: Evening Hymns – “Dead Deer”
MP3: Evening Hymns – “Broken Rifle”
MP3: Evening Hymns – “Cedars”
MySpace: Evening Hymns

NXEW is offering a free seasonal download from Olenka & The Autumn Lovers.

Great Lake Swimmers have posted up a set of live videos entitled The Legion Session. They play Trinity-St. Paul’s on February 6.

Thrasher’s Wheat is hosting a stream of the new Neil Young live record Dreamin’ Man, featuring live performances of all of Harvest Moon, out tomorrow.

Stream: Neil Young / Dreamin’ Man Live ’92

In addition to playing the Constantines’ 10th anniversary shows at Lee’s Palace on December 12, Oneida will play an in-store across the street at Sonic Boom at 4PM with what they’re calling an “improvised set”.

MP3: Oneida – “I Will Haunt You”
MP3: Oneida – “Saturday”
MP3: Oneida – “What’s Up Jackal”

American Songwriter talks to Canadian landed immigrant songwriter Joe Pernice.

Country-rockabilly-bluegrass-punk-whatever trio Those Darlins will bring their debut self-titled album to the Horsesehoe on February 9.

MP3: Those Darlins – “Red Light Love”

Robin Pecknold of Fleet Foxes talks to Pitchfork about how and where things are going with album number two.

Swear I’m Not Paul interviews Patterson Hood of Drive-By Truckers and learns they’ll be releasing two new albums in 2010 – a rocker called The Big To Do, presumably out first around February, and a “R&B Murder Ballad album” entitled Go Go Boots due out later in the year. There’s also features at Charleston City Paper and Charleston Daily Mail (I think the band might have just played in Charleston).

Band Of Horses’ Ben Bridwell talks hometowns with Spinner. They’re currently in Los Angeles working on their third record.

Cat Power tells The Courier-Mail that she’s working on a new record and the one that was reportedly done and ready to go, entitled The Sun, has been shelved.

Pat GrahamYeah, I know that I probably keep closer track of British bands than some (but certainly not as much as others), but I still get confused as to who’s who sometimes. Particularly when it comes to outfits comprised of skinny, shaggy-looking lads wielding guitars and perhaps scowls, and whose names are some combination of the definite article and a random noun, sometimes pluralized. The Rifles? They’re the ones who’re trying to channel The Jam (and doing a pretty good job of it). The Rakes? They’re the ones who just one-upped their habit of cancelling North American tours by breaking up completely (on the eve of a North American tour, of course). The Cribs? Right, they’re the ones made up of three brothers – two of them twins – and Johnny Marr.

That fact alone renders the band worthy of a closer look, though it’s not enough – I still think Modest Mouse are terrible, Marr or no Marr. Though it’s their fourth album, the just-released Ignore The Ignorant is the first I’ve heard and it’s sort of what I’d expected, even without any prior knowledge – scrappy post-Libertines guitar rock – but with a goodly amount of melody to go with the attitude and, of course, some searing guitar work courtesy of the non-Jarman in the band. Nothing revelatory or game-changing, but certainly successful at scratching the ol’ Brit-rock itch.

The Cribs wrap up an exhaustive three-date American tour tonight in New York, but have already began making plans to return in the New Year with the one announced date so far being right here in Toronto at the Phoenix on January 15, accompanied by Adam Green and The Dead Trees. And presumably accompanied by Mr. Marr, considering how keen they all are to present him as a full-fledged member of the band, and not just the cool uncle figure helping out in the studio. Which if fine with me – can’t say I’m not anxious about the opportunity to see and photograph Marr in such close quarters.

MTV UK has got a live video session with The Cribs available to stream.

MP3: The Cribs – “We Were Aborted”
Video: The Cribs – “Cheat On Me”
MySpace: The Cribs

Another British “The” band – and also a current “it” band – is officially down a member. In an interview with The Stool Pigeon, The xx confirm that guitarist Baria Quereshi has left the band and that they will continue on as a trio – bad news for Marr if he was looking for another band of young’ns to hang out with. The xx are at The Phoenix on December 2.

The previously-mentioned Rifles play an acoustic session in a Berlin park for They Shoot Music.

The Quietus has an audio session and interview with Patrick Wolf.

Pitchfork reports that Tindersticks will follow up 2008’s The Hungry Saw with Falling Down A Mountain, set for a January 25 release everywhere except North America; here it comes out February 16.

MP3: Tindersticks – “Black Smoke”

Taken By Trees cover of Animal Collective’s “My Girls”, taken from her new album East Of Eden, is now available to grab as an MP3.

MP3: Taken By Trees – “My Boys”
Video: Taken By Trees – “My Boys”

The Line Of Best Fit interviews Chris Taylor of Grizzly Bear.

The Village Voice talks to Bishop Allen’s Justin Rice about the making of their new video for “True Or False”.

Video: Bishop Allen – “True Or False”

Yahoo’s The New Now is streaming a video session with White Rabbits.

Wilco will be streaming their show in Amsterdam this coming Monday live via their Roadcase starting at 3PM Eastern time.

Great Lake Swimmers’ Mountain Stage session is currently available to stream at NPR, and there’s also an interview at Birmingham Mail. They have a date at Trinity-St Paul’s on February 6.

Zeus will play a free show at The Horseshoe on Tuesday night, alongside Still Life Still and The Most Serene Republic for a special Arts & Crafts-centric Nu Music Nite 16th anniversary party. They also just announced their debut full-length Say Us will be out on February 23.

Frank YangThere are many things to like about Leeds trio Sky Larkin, not least among them their wonderfully sweet and spiky debut album The Golden Spike, but what I think I like most is how much of a good time they’re clearly having. On record, on stage, in their videos, everything Sky Larkin is permeated with a genuine, unaffected sense of fun – no brooding angst or overamped giddiness, just the natural reaction to three friends in their early 20s getting to travel around the world playing rock music without the massive weight of expectation that some of their peers are carrying (ahemxxahem). How could they not be having fun?

The band were nearing the end of a North American tour when they rolled into the Cameron House in Toronto on Wednesday night, accompanied by fellow Brits Peggy Sue, who had the co-ed trio thing in common with their tourmates but not a lot else. Fronted by the wonderfully pseudonymed (presumably) Katy Klaw and Rosa Rex with Olly Olly Olly on drums, the outfit formerly known as Peggy Sue & The Pirates (perhaps the Pirates were taken by Pete) deal in a strain of folk that’s probably too off-kilter in instrumentation and arrangement for traditionalists yet not nearly weird enough for the 21st century hippie scene. And that’s not even mentioning the fact that both Klaw and Rex have the sorts of voices that you’d normally find in soul music, rich and emotive with the right amount of rasp – they’re not equipped to create conventional folk music, even if they were inclined to do so. Their Lover Gone EP intrigued but was really too brief to get a proper handle on what they were about and while their set went a ways towards filling in the blanks, it also expanded the canvas of what they were doing enough that their net inscrutability remains unchanged. I guess I’ll just have to hear more to figure them out. I’m okay with that.

Sky Larkin don’t require nearly as much contemplation to understand – the nature of their scrappy guitar pop will be familiar to anyone who’s ever heard Sleeper or Sleater-Kinney and satisfies on an immediate and visceral level. I’d gotten to take in their live show at SxSW so I knew that the energy of the record more than translated in the live setting with the extra bonus of the fact that the band were genuinely hilarious on stage in their between-song banter. The between-banter stuff was pretty good too, with the trio turning in an energetic if a bit short set of highlights from The Golden Spike as well as their new (and free) “SMARTS” single. As befit a band that tours as much as they, they were superbly tight with frontwoman Katie Harkin effortlessly tossing off sophisticated guitar riffs and drummer Nestor Matthews literally beating his drum kit to death. A destroyed cymbal got some licks in of its own, though, inflicting a nasty bloody gash on Matthews’ hand which he insisted on playing through, finishing off the set’s last two songs with equal – if not extra – vigor. That is dedication. Sky Larkin will bleed for you.

Photos: Sky Larkin, Peggy Sue @ The Cameron House – October 28, 2009
MP3: Sky Larkin – “Fossil, I”
MP3: Sky Larkin – “Molten”
MP3: Peggy Sue – “Lover Gone”
Video: Sky Larkin – “Antibodies”
Video: Sky Larkin – “Beeline”
Video: Sky Larkin – “Fossil, I”
Video: Sky Larkin – “Molten”
Video: Sky Larkin – “One Of Two”
Video: Peggy Sue – “Lover Gone”
MySpace: Sky Larkin
MySpace: Peggy Sue

Clash has a short interview The xx, whose exhaustion-induced show cancellations haven’t affected this Fall’s North American dates opening up for Friendly Fires… yet.

Frightened Rabbit have given their third album a name – The Winter Of Mixed Drinks – and a target release date of March 2010.

Video: Frightened Rabbit – “Swim Until You Can’t See Land”

ChartAttack talks to Dog Day, who will be at the Horseshoe on November 5.

Great Lake Swimmers have released a new video from Lost Channels. They play a War Child benefit at the Dakota Tavern on November 5 and a show at Trinity-St. Paul’s on February 6 of next year.

Video: Great Lake Swimmers – “Palmistry”

Vue has a cover feature on Dan Mangan.

FFWD reports on exactly what goes on at the mysterious Banff Centre, where both Woodpigeon and Basia Bulat are currently sequestered away being turned into unstoppable cybernetic killing machines honing their musical craft with an impressive team of mentors. CBC Radio 3 has also been checking in from the the Banff Centre and Woodpigeon has posted another song.

MP3: Woodpigeon – “For Norman Luxton”

Molina & Johnson (that’s Jason and Will) have released a second MP3 from Molina & Johnson, out November 3.

MP3: Molina & Johnson – “Almost Let You In”

Gigwise chats with Glenn Kotche of Wilco.

The Loyola Phoenix has an interview with Mountain Goats bassist Peter Hughes.

eye, The National Post, NPR, The Montreal Gazette, CNN and Spinner have conversations with The Swell Season, who have a date at Massey Hall on November 3.

The Raveonettes talk to The Georgia Straight.

Johnny Marr weights in on the subject of reunions with Spinner.

Frank YangWhite Rabbits have got it covered in the name-dropping department. Via TBD Records, they’re labelmates with a little British outfit called Radiohead and their critically-hailed second album It’s Frightening was produced by Britt Daniel, who sometimes moonlights in a band popular in some circles called Spoon. Yeah, the Brooklyn sextet have got plenty of ammo for cocktail parties, but it doesn’t necessarily tell you much about their actual music, does it.

Well the Britt Daniel part does, somewhat. It’s Frightening certainly borrows from Spoon’s dry, lean and punchy aesthetic and frontman Stephen Patterson’s voice does have a familiarly hoarse, wound-up quality, but dismiss them as Spoon-alikes at your peril. Not, like, “mortal danger” peril but “you’re missing out on a pretty great record” peril. Frightening kicks off with “Percussion Gun”, an intense bit of truth in advertising powered by the thundering tribal attack of the band’s dual drummers – one on a conventional kit, the other tasked with exponentially increasing the impact via big-ass toms. Add in Patterson’s aggressive piano (piano can indeed be aggressive) and howling vox and you’ve got not only one of the best opening tracks on any album this year, but maybe one of the best singles and videos. Translation, it’s impossible to not want to hear more of the record after that first salvo. And while It’s Frightening never quite reaches those heights again, it takes those same elements that make “Percussion Gun” such a blast and turns it into an undeniably solid record that crackles with energy that you just know would translate fantastically on stage. Toronto finally got a chance to find out if that was true on Saturday night when the band made their Hogtown debut at the Horseshoe with fellow Brooklyners Suckers in tow.

Rounding out the bill and providing the local flavour were recent The Balconies, recently transplanted from Ottawa and already becoming live fixtures and certainly one of the better/best new bands in the city. They again proved this to be true with their opening set, showcasing their terrific energy, razor-wire hooky tunes and the dueling sibling vocals of Jacqui and Steve Neville. Though there were a couple technical and performance flubs, I’d still put this performance as even better than when I saw them in August in terms of delivery and charisma, implying that as good as they already are they’re just going to get better. And that’s a scary thing. Find out for yourself at their next local gig on November 5, again at the Horseshoe, opening up for Dog Day and Immaculate Machine.

I’ve heard a lot of people talk about Suckers for months – mostly in a breathless, “oh my god, have you heard?” context – but had managed to not familiarize myself with them right up until the quartet took the stage. And after they left, I wasn’t grabbing people around me at random, breathlessly asking, “oh my god have you heard Suckers?” because, well, if they were right there then they would have, but I was pretty impressed. To say they have a lot going on is an understatement – all four are multi-instrumentalists, changing up instruments between guitars, electronics, percussion and brass, often in the same song, and taking turns with their distinct vocals or harmonizing in a way that probably shouldn’t work but sounds fantastic regardless. And that sentiment largely applied to their music at large – a collision of sounds and styles ranging from rock to soul to pyschedelia to gospel that by rights, should be a multi-car pileup but instead becomes a ballet. Not everything they did tickled my ear, but it did make a unique impression.

To answer the earlier posed question, yes indeed, the energy of It’s Frightening does indeed come to life on stage – and then some. Their set was pretty much a non-stop barrel ride through their two records, delivered with ferocious energy and no small amount of sweat. The band’s precision and rhythmic power was astonishing and watching them perform gave an even greater appreciation for the band’s musicianship. In particular, guitarist Gregory Roberts should get more credit for his vocal contributions (or maybe he already does, just not from me) and his ability to double Patterson’s leads or harmonize, depending on what’s needed – it may seem like just another cog in a complex musical machine, but it’s really a crucial element. And Patterson, even seated at an electric travel upright piano (not just a keyboard) as he was for most of the set, managed to inject a lot of physicality in his performance and while unable to match his bandmates’ stage wanderings, did get to partake in some instrument swapping in strapping a guitar on for a couple of tunes. As expected, “Percussion Gun” closed out the main set was the highlight of the night, putting the crowd into mosh mode for a few minutes. I wouldn’t even say that it was a conscious decision, but as most were already in a constant state of dancing/bobbing from the insistent rhythms, when hit with the big song, there was only one place to go – into the people around them. The band returned for a couple more songs and called it a night, closing out a tremendously solid night of rock. Add the band’s first show in Toronto to the list of things they can brag about t their next cocktail party.

hour.ca, Fazer, St. Louis Today and Seizure Chicken have interviews with White Rabbits.

Photos: White Rabbits, Suckers, The Balconies @ The Horsesehoe – October 24, 2009
MP3: White Rabbits – “Percussion Gun”
MP3: White Rabbits – “Kid On My Shoulders”
MP3: White Rabbits – “Percussion Gun” (live on MySpace Transmissions)
MP3: White Rabbits – “Rudie Fails” (live on MySpace Transmissions)
MP3: Suckers – “It Gets Your Body Movin'”
MP3: The Balconies – “300 Pages”
MP3: The Balconies – “Smells Like Secrets”
Video: White Rabbits – “Percussion Gun”
Video: Suckers – “Easy Chairs”
MySpace: White Rabbits

Thanks go out to The Indie Files and Hero Hill for bringing to my attention Worauf wartest du?, a collaboration between Albertan folk singer Rae Spoon and German electronic artist Alexandre Decoupigny which is available to download – presumably with artists approval – over here. And also exciting is the news that Rae Spoon is undertaking a tour of eastern Canada starting in November with a stop at the Rivoli on November 11. You may recall I was quite taken with Spoon’s latest Superioryouareinferior – quite looking forward to seeing him live.

MP3: Rae Spoon – “Come On Forest Fire Burn The Disco Down”

More dispatches in song form from Woodpigeon, currently in the middle of their residency at the Banff Centre. Die Stadt Muzikanten is due out January 12.

MP3: Woodpigeon – “Under, Behind & Between”
MP3: Woodpigeon – “Whole Body Shakes”
MP3: Woodpigeon – “Summer Side Of Life” (Gordon Lightfoot cover)

Gentleman Reg is putting out a new EP this Fall entitled Heavy Head. The six songs will be released digitally, two at a a time grouped by theme (covers, b-sides, remixes), starting on November 10 and be available as a complete package as of December 1. The Ontarion has an interview with Reg, who plays the Opera House in support of The Hidden Cameras on December 5.

Great Lake Swimmers will play a special benefit show for War Child on November 5 at the Dakota Tavern, the very thing Sloan did at the same venue just last week. Tickets are $35 and available at Maple Music. They play a regular show at Trinity-St Paul’s on February 6 of next year.

NPR, Cleveland Scene and The San Francisco Chronicle talk to Jay Farrar and Ben Gibbard about their Kerouac project One Fast Move or I’m Gone, which is streaming at NPR.

Stream: Jay Farrar & Ben Gibbard / One Fast Move or I’m Gone

Billboard talks to Gibbard’s Death Cab For Cutie bandmate Chris Walla about their contribution to the New Moon soundtrack.

Paste and Entertainment Weekly have interviews with The Swell Season. Strict Joy is out tomorrow and they play Massey Hall on November 2.

Apparently having still not paid off their ridiculous stage setup, U2 are extending their world tour and will be hitting Toronto for the third time in less than a year on July 3 at the Rogers Centre. Tickets on sale November 2.