Frank YangI guess I should blame Letterman. When it was announced that English trio Daughter were doing a short North American tour around their CMJ appearance, I was quite excited as I figured with their full-length debut not due out until the new year, and only a couple of low profile EPs in The Wild Youth and His Young Heart to their name, their Monday night showcase at The Drake would be a intimate, even secret, occasion for those of us in the know. After all – what’s the point of going all the way to Texas to be wowed by them at SXSW if not to be able to be ahead of the curve if just by one show? But then Letterman goes off and has them on The Late Show a couple weeks ago and then, all of a sudden, the show is not only sold out but people are being told very explicitly that there are no more tickets, anywhere, so stop asking. Somehow my little low-key performance has become the hot ticket in town.

Not that it was necessarily all thanks to Daughter. The bill featured two other acts from abroad, both with their own momentum coming out of CMJ, and both also making their Toronto/Canadian debuts. Dublin’s Little Green Cars curiously don’t have much of an online footprint, despite having signed to Glassnote (their debut is out early next year) and having been on tour across America for the last few weeks; this show was their last in the New World – and the first where they were legally allowed to drink, all being of the tender ago of 20 – so it was reasonable to expect they’d make it a good one. And maybe a drunk one. Coming out a cute pre-show, side-stage huddle, they went not for their instruments but straight to their mics to open with an impressive a capella number showcasing their five-part harmonies. Now the more cynical might say that we’re all full up with boisterously earnest folk-rock bands from the British Isles, thanks very much – and they wouldn’t necessarily be wrong – but Little Green Cars won’t be the straw that breaks the camel’s back. Their roots show, no doubt, but there’s also enough ’50s-vintage rock’n’roll, gospel soul, and jangle-pop in the mix to make it stand out without becoming pastiche. Their sound hasn’t fully cohered yet, but as mentioned they’re crazy young. It’ll get there.

Copenhagen’s Choir Of Young Believers were talked about hereabouts last week, and having spent a moderate amount of time with their latest Rhine Gold, I had a pretty good idea of what to expect. A precise idea, as it turned out, as the five-piece lineup did a pretty remarkable job of recreating the tones and textures of the album almost note-perfectly – and only almost because the cello was way low in the mix and the keys up, leaving the sonic balance tilted in favour of their New Wave tendencies, and Jannis Noya Makrigiannis took some more extended and free-form guitar excursions. It sounded quite good – the sadness and yearning of the material was more keenly felt live – but I didn’t detect it quite connecting with the audience, who responded more politely than passionately. If they’d gotten the crowd fully behind them, I suspect it could have felt epic but as it was, it was just alright.

It was genuine excitement that rippled through the packed Drake Underground by the time Daughter came out to set up for their set. They may not have had the personnel numbers of the preceding acts, but they did have some impressively complex pedalboards to help balance that out. You wouldn’t think so much technology would be needed for their dark folk-pop, but as with all aspects of the band, still waters run deep. Daughter may have initially been a pseudonym for frontwoman Elena Tonra, but it’s impossible to imagine how they’d sound without Igor Haefeli’s intricately layers of guitar atmosphere or Remi Aguilella’s spare but creatively treated drums and percussion.

And yet, it still all comes down to Tonra. Demure and hiding under her fringe, a shy girl with a sly smile, she seemed flustered by the attention yet her songs – elegant and reserved on the surface, yet clearly roiling just underneath with regrets, confessions, and accusations – are not the work of someone who prefers to stay silent or play things close to the vest. I was wholly impressed with the first impressions back in March, but having had time to get to know the songs and then see them performed, it took things to another level. Tonra did an exceptional job of tempering the intensity with charm, modestly introducing a solo reading of “The Woods” by saying that if it didn’t go well, to pretend it didn’t happen and then of course absolutely destroying it, and at the set’s close, thanking everyone for letting them in the building. The correct response, of course, was to thank her for letting us into her songs.

Photos: Daughter, Choir Of Young Believers, Little Green Cars @ The Drake Underground – October 22, 2012
MP3: Daughter – “Love”
MP3: Choir Of Young Believers – “Sedated”
MP3: Choir Of Young Believers – “Patricia’s Thirst”
MP3: Choir Of Young Believers – “Nye Nummber Et”
MP3: Choir Of Young Believers – “Paint New Horrors”
MP3: Little Green Cars – “It’s A Long Way To Tipperary”
Stream: Daughter – “Run”
Stream: Daughter – “Smother”
Video: Little Green Cars – “The John Wayne”

Dazed, Pitchfork, Planet Notion, eMusic, Interview, and Consequence Of Sound all want to talk to Bat For Lashes’ Natasha Khan with the release of her third album The Haunted Man. She also goes through the album track-by-track in a video piece for Billboard.

Ábrete De Orejas interviews David Gedge of The Wedding Present, and if you thought that this year’s Seamonsters recitals mean that it was time for Watusi to take centre stage… nope. They’ve announced a handful of 2013 dates in the US and will be playing George Best and their Hit Parade A-sides. Those of us waiting for the return of Cinerama material will have to keep waiting.

NPR has a KCRW session with Hot Chip.

DIY reports that Foals have given their third album, due out next year, a name – Holy Fire.

A Music Blog, Yea? has some questions for The Twilight Sad, in town at The Horseshoe on November 18.

The Line Of Best Fit interviews Ritzy Bryan of The Joy Formidable, whose new album Wolf’s Law comes out January 23. They play The Sound Academy on November 25 supporting The Gaslight Anthem.

Hayden Thorpe of Wild Beasts talks to The New Statesman about starting work on their new album.

Fab talks to Patrick Wolf.

Loud & Quiet have got a full, marvelously-shot and sounding Horrors show from their hometown of Southend-on-Sea available to watch.

State gets to know Clock Opera, who perform a video session for They Shoot Music and have released a new video from their album Ways To Forget.

Video: Clock Opera – “The Lost Buoys”

Beth Orton lists off some of her favourite albums for The Quietus.

The Village Voice and NOW have features on The xx.

Interview and Billboard talk to Stephen Morris and Bernard Sumner of New Order, while The Quietus talks to Peter Hook – formerly of New Order. Do you think the subject of one another comes up? Noew Order plays the second of two nights at The Sony Centre tonight.

Clash asks Guy Garvey of Elbow what he’d do with the last day of his life.

The Daily Mail offers an update on David Bowie’s ongoing retirement. And that is he’s still retired.

That Marina & The Diamonds/Icona Pop show originally scheduled for December 3 at The Phoenix has been moved to The Kool Haus. Adjust your bus schedules accordingly.

The Capilano Courier talks to Søen Løkke Juul of Indians; their debut Somewhere Else is out January 29 and they’re at The Horseshoe on November 23 supporting Other Lives.

The Raveonettes have released a new video from Observator. Stereogum has some thoughts from directors about the clip.

Video: The Raveonettes – “Curse The Night”

The Alternate Side has a session with The Tallest Man On Earth.

The Fader has a video session with Jens Lekman recorded in a New York bakery.

Sambassadeur is teasing a new album due out in 2013 with a new limited edition 7″ out on November 20.

MP3: Sambassadeur – “Memories”

Sigur Rós have rolled out a couple more videos from their Valtari “Mystery Film Experiment”.

Video: Sigur Rós – “Fjögur píanó”
Video: Sigur Rós – “Varðeldur”

Andy WhiteOkay not the whole internet – Obama’s AMA probably did more to clog those tubes yesterday – but for a certain demographic, an interview Neil Halstead gave to MTV Hive certainly registered as a major event. Not because Neil doesn’t talk – he’s got a new solo record in Palindrome Hunches coming out on September 11, of course he’s talking – but because he addressed the topic of a potential Slowdive reunion not with denials or dismissals, but with a rather positive-sounding “It’s definitely possible at some point”.

He goes on to point out that there’s no bad blood to be overcome – three-fifths of the shoegazing/ambient trailblazers went on to a long and fruitful career as Mojave 3 following Slowdive’s dissolution in 1995 – and presumably if the stars aligned and the offer was right, it could happen. Obviously this is far from definite, but considering it seemed a non-starter for as long as Mojave 3 and his solo career have been going concerns – he’s always declined to even play Slowdive songs live in either of those contexts – it’s certainly a more open door than we’ve seen, and seeing as how he’s playing a few M3 gigs (in China!) before beginning the Palindrome Hunches promo circuit, the man can multi-task and keep his musical identities straight.

Of course, the current Mojave 3 lineup doesn’t include bassist Rachel Goswell, who largely retired from music after fighting a debilitating ear ailment a few years back. I’d be happy enough to see her back in Mojave 3, but if we’re dreaming, why not go all the way? Further, it’s been pointed out to me that Halstead has begun playing Slowdive songs live… someone call out “Alison” when he’s at The Dakota on October 8, please? Toronto was the site of the final live Slowdive show; maybe we can talk Neil into the symbolic value of making it the site of the first reunion show… Or not. Anyways. It’s something to dream about. Ideally while Souvlaki plays in the background.

There’s another, less momentous interview with Haltead at LA Music Blog and another track from Palindrome Hunches has been made available to download.

MP3: Neil Halstead – “Digging Shelters”
Video: Slowdive – “Alison”

Richard Hawley chats with State and Worksop Guardian; his latest Standing At The Sky’s Edge came out in North America this week.

Two Door Cinema Club have made their new album Beacon available to stream at NME ahead of its September 4 release date. They play The Sound Academy on October 11.

Stream: Two Door Cinema Club / Beacon

The Guardian, NPR, MTV.ca, and JAM talk to Kele Okereke of Bloc Party. They play The Danforth Music Hall on September 10 and 11.

The xx are streaming another new song from Coexist, out September 11, and aux.tv have made the cover feature on the band from their iPad magazine available online.

Stream: The xx – “Sunset”

Django Django’s self-titled debut still isn’t out in North America until September 25, but the band have got a new EP in Hail Bop ready to release back in the UK on September 4, and have made it available to stream. They play Wrongbar on September 29.

Stream: Django Django / Hail Bop

Dramatic atmospheric rock sister act 2:54, who made their local debut at NXNE, return for a date at The Horseshoe on October 22 – tickets are $14.50 in advance.

MP3: 2:54 – “The March”

That Saint Etienne show I was so excited about last week will still be happening on October 24, but has been moved from The Mod Club to The Opera House. Tickets are $28.50, go on sale today at 10AM, and sorry – still no sign of the other North American dates.

The Guardian has got some new music from Anna Calvi – not as a precursor to a new album, but a cover she recorded of a song by The Invisible from their latest album Rispah – but hey, new music from Anna Calvi.

MP3: Anna Calvi – “The Wall”

Mogwai’s Stuart Braithwaite walks The Quietus through some of his favourite albums.

DIY interviews Charli XCX.

And Pluck Your Strings has an interview with Maxïmo Park.

Clash and The Limerick Leader grab a quick word with Metronomy.

NPR welcomes Spiritualized for a World Cafe session.

DIY catches up with The Cribs at Reading & Leeds Festival.

State talks to Faris Badwan of The Horrors ahead of their appearance at Electric Picnic in Ireland.

Frank YangPeople will probably never stop referencing 1997’s Ladies & Gentlemen We Are Floating In Space as the iconic Spiritualized album, and justifiably so. It was Jason Pierce’s grand breakup album with a soap opera-calibre backstory, it was the band’s marker in the Britpop era (though stylistically they never really fit), it raised the band’s profile immensely – I once heard “Cool Waves” coming over the PA at a Mongolian Grill restaurant – and was a gorgeous melange of psychedelia, gospel, jazz, and rock besides. It’s the sort of record that a band would be lucky to make once in their careers. And yet with each listen to their latest Sweet Heart Sweet Light, I feel the argument that this could well be the definitive Spiritualized record.

The talking points on Sweet Heart are that this is Pierce’s “pop” record, and indeed it’s as immediate and melodic as anything he’s ever done, but it hardly dilutes the Spiritualized formula for the sake of mass appeal. If anything, it’s as clear a picture of everything that Pierce has done since leaving Spaceman 3 in one hour’s running time – it rocks, it swoons, it jams, it drones, and it does it all with focus and purpose. While it certainly echoes everything that’s gone before, it’s also an exciting signpost to what’s yet to come – of all of his musical peers that came out of ’90s Britain, Pierce may yet be the most creatively vital among them, and that’s with certainly having had the most near-death experiences. All of which is to say that if the first Spiritualized show in Toronto in almost four years and the first plugged-in, headlining show since 2003 wasn’t enough reason to get excited about their appearance at The Phoenix last Saturday night, then the fact that hearing material their new record was to be highly anticipated rather than simply endured should have sealed the deal.

Support on the tour might have seemed an odd choice in Nashville-based, South Carolina-bred Nikki Lane though there were some stylistic threads between her dusty country sound and Spiritualized’s cosmic rock if you dug down to their shared gospel roots, but the fact was that she had been invited by the band to support so questions of appropriateness were really rather moot. And armed just with an acoustic guitar and a sweet, breathy twang of a voice and despite implying that she didn’t usually play band-less, she did just fine – having been gifted with a rowdy yet friendly crowd, she was able to get comfortable and sass back and needed. Having forgetten her set list, she ad libbed a set drawn from her debut album Walk Of Shame, the off-the-cuff-ness of it adding to her charm. Spiritualized followers might not make up her normal demographic, but it was pretty safe to say that she was winning over fans on every stop of the tour.

It’s hard to believe, but excepting their afternoon set at Virgin Festival 2008 and the “Acoustic Mainlines” tour in Fall 2007, the last time Toronto hosted a full and proper Spiritualized show was at the Opera House back in late 2003. That’s a long time, people. And yet thanks to their distinctive semi-circle stage setup with Jason Pierce positioned at far house right, it all felt immediately familiar – doubly so since the core of the lineup had remained intact since their V Fest appearance circa Songs In A+E (the two backing singers were new faces).

Their epic set – and that’s not an adjective I use lightly – pulled from all points in their discography but were still very specific about which records were represented. Sweet Heart was naturally prominently featured, but 2003’s Amazing Grace was also given a lot of attention – surprising because it wasn’t a record that was particularly well-received but perhaps not so surprising since its no-frills aesthetic matches Sweet Heart fairly well. And being forced to reevaluate the material, I must admit that it sounded great in this context – the guitar duel between Pierce and Doggen on “She Kissed Me”, in particular, was jaw-dropping.

While Sweet Heart is not short on the extra-long compositions – opener “Hey Jane” and second-last main set selection “So Long You Pretty Thing” did as much to affirm the new material as as good as the old – you couldn’t not feel a certain rush when the ascending riff to “Electric Mainline” from Pure Phase and a crackle of electricity up the spine when it the ensuing jam coalesced into the title track of Ladies & Gentleemen. It was curious to see Lazer Guided Melodies, Let It Come Down, and Songs In A+E get overlooked completely, but there really was no arguing with the resultant show.

Pierce didn’t say a word to the audience – or even the rest of his band – through the entire show until the final notes of “Come Together” faded out to close the main set, and then it was just a couple of quiet, “thank you’s” before leaving the stage. Following a serenely cacophonous “Cop Shoot Cop” for the encore, he said “thank you” twice more and was gone. Some might have wished that he’d interacted with the audience more, but he and his band had just given everything for two hours – what more was there to say?

NOW also has a review of the show and The National Post, The Music, and Toronto Star talked to Jason Pierce.

Photos: Spiritualized, Nikki Lane @ The Phoenix – May 5, 2012
MP3: Nikki Lane – “Gone, Gone, Gone”
MP3: Nikki Lane – “Sleep For You”
Video: Spiritualized – “Hey Jane”
Video: Spiritualized – “Soul On Fire”
Video: Spiritualized – “Cheapster”
Video: Spiritualized – “You Lie You Cheat”
Video: Spiritualized – “She Kissed Me (It Felt Like A Hit)”
Video: Spiritualized – “Do It All Over Again”
Video: Spiritualized – “Out Of Sight”
Video: Spiritualized – “Stop Your Crying”
Video: Spiritualized – “Come Together”
Video: Spiritualized – “Electricity”
Video: Spiritualized – “Let It Flow”
Video: Spiritualized – “Run”
Video: Spiritualized – “Any Way That You Want Me”
Video: Nikki Lane – “Lies”
Video: Nikki Lane – “Gone, Gone, Gone”
Video: Nikki Lane – “Sleep For You”

Richard Hawley talks to The Sheffield Telegraph about getting angry and politicized on his new record, Standing At The Sky’s Edge.

The Line Of Best Fit is streaming the whole of In The Belly Of The Brazen Bull, the new album from The Cribs. It’s out this week.

MP3: The Cribs – “Chi-Town”
Stream: The Cribs / In The Belly Of The Brazen Bull

The Guardian checks in with former Supergrass frontman Gaz Coombes about going solo. His debut Here Come The Bombs is out May 21.

Paste catches up with 2:54. Their self-titled debut is out May 28 and they play Lee’s Palace for NXNE on June 15.

The Guardian talks to Faris Badwan of The Horrors.

The Fly has a chat with Clock Opera frontman Guy Connelly.

Damon Albarn sounds of to the BBC about his solo projects and the London Olympics.

Spin checks in on The Joy Formidable, who are in the studio working on their second album.

The Line Of Best Fit marks the release of the My Bloody Valentine reissues with an intensive look at the band’s history.

Steve DoubleWhenever an old/classic album is reissued these days – which is pretty much every day – it’s inevitably advertised as having been remastered, and it’s assumed that that’s a good thing. And not unreasonably – when a lot of these albums were originally released on compact disc, they were poorly converted from analog to digital and could generally sound thin/quiet/uninspiring. But remastering is no guarantee of improvement – at best, things will sound incredibly better (the 20th anniversary redo of The Stone Roses’ debut by original producer John Leckie is a revelation), at worst, they’ll be posthumous victims of The Loudness Wars and make those original pressings that much more valuable.

All of which is only salient because the specifics of remastering were brought to the fore this week thanks to a couple of coincidental analyses of some high-profile reissues of classic shoegazing albums; My Bloody Valentine’s seminal Loveless, finally being re-released next week, and Ride’s debut Nowhere, which was polished up and put out in November of 2010.

Loveless is an interesting case because rather than being half-album, half-outtakes and rarities as most double-disc reissues typically are, it comes as two complete versions of the album – one a remaster from “the original tapes”, the other a remaster from “the original 1/2-inch analogue tapes”. I use the quotes because, to be honest, I don’t know what the difference is in terms of origin or timeline; Spin also takes a close listen to the two versions and offers their thoughts on the curious release. An interview with Kevin Shields that went up at Pitchfork this week sheds a lot of light on all facets of the subject, but I guess I accept that I’m amongst those who don’t hear a difference between the two. You can see if you can hear a difference for yourself as The Guardian is streaming both remasters, though Soundcloud compression and computer speakers probably obliterate any subtle differences between the two. They’ve also dug up an interview with Shields circa 1992 that you can read while listening.

Spin also has a gander at one of the previously unreleased songs that makes the EPs 1988-1991 double-disc comp so necessary for fans. “Good For You” surfaced as a bootleg via YouTube a few years ago, but is finally going to be available – along with other goodies – in proper, high-fidelity form. The official version is available to stream via the aforementioned Pitchfork interview and the bootleg was found on YouTube.

Stream: My Bloody Valentine – “Good For You”
Stream: My Bloody Valentine – “Good For You” (bootleg)
Stream: My Bloody Valentine / Loveless (both remasters)

With respect to the Nowhere reissue put out by Rhino Handmade – generally a reliable and responsible archival outfit – Bradley’s Almanac has put “Vapour Trail” and “Paralysed” under the microscope – or oscilloscope – to see just what the remastering job by Rick Webb at Abbey Road Studios accomplished. Interesting and illuminating analysis over there that’s gotten me thinking maybe I do need to re-buy this album at least one more time.

And because Boston loves Ride – clearly – I direct you to another Beantown blog in Clicky Click, who’ve compiled a tribute album to Nowhere comprised of all-Boston bands entitled Nofuckingwhere. Download it and discover some new bands while listening to some classic tunes.

The AV Club talks to Johnny Marr about supervising the remastering of the entire Smiths catalog for their Complete reissue series last Fall and his feelings about the band, decades on.

Jason Pierce of Spiritualized talks to NOW and The AV Club in advance of Saturday’s sold-out show at The Phoenix.

2:54 are streaming a new track from their forthcoming self-titled/numbered debut, due out May 29. They’re at Lee’s Palace on June 15 for NXNE.

Stream: 2:54 – “Creeping”

Beatroute gets Stuart Braithwaite of Mogwai on the horn. They play The Phoenix on June 18.

Interview and Musicfeeds talk to Mystery Jets about their new just-released new record Radlands; they’re at The Sound Academy on June 19 supporting Keane.

Michael Kiwanuka has released a new video from Home Again. Note that his June 19 date at The Great Hall has been moved to The Phoenix and a few hundred more tickets will be on sale shortly.

Video: Michael Kiwanuka – “I’ll Get Along”

Having had to cancel last Summer’s show at The Phoenix (and the attendant tour) in support of Whatever’s On Your Mind due to illness, Gomez are making things up intimate-style with a show at The Mod Club on July 23, tickets $25.50.

Video: Gomez – “Whatever’s On Your Mind”

Micachu & The Shapes have announced that the follow-up to their 2009 debut Jewellery will be entitled Never and be out on July 24.

Little Boots has released a video for her latest single, taken from an album that has not been announced yet but is surely coming sooner or later.

Video: Little Boots – “Every Night I Say A Prayer”

Ben Lovett of Mumford & Sons tells NME that album number two is in the can, as they say.

Joshua Hayward of The Horrors opines to NME his thoughts on how big a room he thinks his band can play and their recording plans for the Fall.

Beatroute, The San Francisco Examiner, and Spinner all have interviews with Arctic Monkeys.

State interviews Friendly Fires.

The Skinny talks to Stephen Morris of New Order.

Lisa Hannigan and Joe Henry – who produced Hannigan’s latest album Passenger – will team up for a show at The Phoenix on June 10, general admission seated tickets $25 in advance.

Stream: Lisa Hannigan / Passenger

The Chicago Tribune interviews Anthony Gonzalez of M83, in Toronto at The Sound Academy this coming Sunday, May 6, and again at Historic Fort York on August 4.

Maria Linden of I Break Horses – who open up for M83 at Sound Academy on Sunday – talks to Denver Westword.

The Line Of Best Fit has an acoustic video session with Niki & The Dove recorded for Swedish site PSL while DIY is streaming two of the bonus songs that appears on the deluxe edition of their debut Instinct, out May 14 in the UK and in North America on August 7.

Stream: Niki & The Dove – “Taylor”/”All This Youth”

Spin has premiered the new video from Ane Brun, performing at The Great Hall on May 10.

Video: Ane Brun – “One”

DIY has a video session with First Aid Kit, back in town for a show at The Music Hall on September 26.

Drowned In Sound talks to Jonsi about returning to Sigur Rós after going solo. Valtari is out May 29 and they play Echo Beach on August 1.

Rolling Stone is offering a download of one of the songs Ladyhawke recorded for an All Saints session earlier this year. Her new record Anxiety is due out May 25 and I neglected to post the second video from it when it was released last month; let me rectify that.

MP3: Ladyhawke – “Black White & Blue” (acoustic All Saints version)
Video: Ladyhawke – “Sunday Drive”

Frank YangYes, that’s right – night zero. The Tuesday night of SXSW used to be a chance to settle in, to catch up with friends, to have a proper meal. And maybe get ripped and pass out. Whatever. The last few years have seen the number of Interactive closing party events grow significantly, and as of last year there were official Music showcases scheduled for the Tuesday; not a lot, but enough to see that the festival was growing yet again – remember when there wasn’t much going on on Wednesdays?

Anyways, I’ve been staging a bit of a protest of this by refusing to take part in any Tuesday shows – four nights of madness is quite enough, thanks – but this year, my options for the evening amounted to staying in and watching Escape From L.A. or just giving in and seeing some bands. After a little prodding from You Ain’t No Picasso, I gave in and saw some bands.

Inaugurating this year’s fest – for me, at least – were Guards from New York, whom I’d never heard, at Parkside, a bar I’d never been. I did know they were from New York and that band principal Richie James Follin was brother of Cults singer Madeline Follin – which explains why she and Brian Oblivion were standing side stage. And within a few songs of their set, which was given a bit of a Krautrock vibe thanks to a fire alarm beeping throughout their set, it was clear they specialized in a retro-friendly kind of garage pop that could and would take expeditions into psych jams when they felt like it. It wasn’t especially fresh but very much in vogue, and I suspect that a random sample of bands at the fest this year would sound similar. Still, they had good energy, a decent amount of showmanship and as warm-ups go, did the job.

Seeing Austin’s own Ume has become something of a SXSW tradition for me as dinner at Guero’s, and this time I was able to check them off early – so maybe there was an upside to this Tuesday night showcase thing. Their set was slightly delayed by soundchecking, but it gave time for a goodly-sized crowd to assemble on 6th St outside the open window of Bat Bar. You can probably refer back to any of the past writeups for a sense of how things went – high-energy rock showcasing crazy guitar heroics from Lauren Larsen. Nothing to complain about there. What made this show different was that it incorporated songs from their long-awaited full-length Phantoms, released last year. The new material didn’t necessarily grow the songwriting beyond what they demonstrated on the Sunshower EP, but did expand on it sufficiently to sate one’s appetite. And it gives Ume an excuse to keep touring and melting faces.

And some (mostly) non-SXSW content…

The Line Of Best Fit have premiered a new video from Veronica Falls, a track not taken from last year’s self-titled debut.

Video: Veronica Falls – “My Heart Beats”

Also with a new video – The Horrors, from Skying. The Quietus talks to director Pete Fowler about the clip.

Video: The Horrors – “Changing The Rain”

Tindersticks have released a new video from The Something Rain.

Video: Tindersticks – “A Night So Still”

Saw Clock Opera yesterday but won’t get around to writing that up for a bit so in the meantime, check out the new video from their debut Ways To Forget, out April 23.

Video: Clock Opera – “Man Made”

Summer Camp have re-recorded “Round the Moon” in French in honour of some upcoming French tour dates. DIY has the en francais version available to stream.

Stream: Summer Camp – “Autour De La Lune”