Frank YangIt seems a bit perverse to use the phrase, “comfort food” with respect to veteran Scottish post-rock giants Mogwai, but there’s real truth in it. There’s no question that they’ve grown as musicians and songwriters over their seven studio albums, but its been a gradual, evolutionary pace that’s not done much to shock or shake loose (m)any of their fans along the way. Their touring regimen has also been similarly predictable, with typically two North American tours per album and each of those shows being rather understated from a visual point of view but offering a sonic experience akin to a really loud, usually abrasive and occasionally beautiful hug by a sledgehammer.

It’s always a satisfying show, make no mistake, but it can get to the point that you don’t necessarily fret about missing one because a) they’d be back soon enough and b) it’s probably not too different from the last one you saw. Those days of taking the band for granted, however, may be coming to an end. When announcing this latest leg of touring for 2011’s Hardcore Will Never Die, But You Will, the band mused that this would be “the last extensive touring we do for some time”; perhaps there was a bit of salesmanship in that but one could also believe that the band were indeed wearying of life on the road and weren’t planning to spend as much of theirs on it. So even though I had been perfectly fine missing their last visit in Spring of 2011, I would definitely find the time to make it out to this one at The Phoenix last Monday.

I’m sure that scheduled opener Balam Acab had every intention of making it as well, but he was kept out of the country for the second time in a month – he missed out opening for Active Child in May – and locals Odonis Odonis were tapped to fill in. I’d seen them back in February opening up for The Twilight Sad and while I decided I didn’t dislike them, I wasn’t especially chuffed to see them again so soon; this probably explained why I was so surprised by how much I enjoyed them this time out. Certainly the addition of a second guitarist was a big change for the band, but it didn’t explain how much tighter and more melodic they sounded this time out. No one will confiscating their aggressive, post-punk credentials anytime soon, mind, but they were inarguably much more listenable. I’d read a capsule review of their NXNE showcase a few days earlier mentioning that they were much improved since this same time last year; I’ll go one better and say they’re much improved from four months ago.

Mogwai took the stage casually and opened with, “Yes! I Am A Long Way From Home” off their debut Young Team – no big deal, done it a thousand times – but to a far more enthusiastic respons than I’d have expected. And it’s about now that I realized how young the crowd looked. Typically for a band that’s been around a decade and a half, the audience will look as though they’ve aged along with them but at least from my vantage point, it was a really student-looking demographic who may very well have been at their first Mogwai show. I calculated that this was my sixth and spontaneously aged about a million years. With their enthusiasm, unfortunately, came some obnoxiousness and the one mook calling out for “X-Mas Steps” throughout the show went from amusing to annoying in about the amount of time it took for him to call out, “Christmas Steps!” the second time. He was clearly getting on Stuart Braithwaite’s tit as well – always dangerous – as the de facto frontman stepped to the edge of the stage at one point to try and stare him down and then later called him out saying that they could should whatever they wanted between songs, but not during. And they weren’t going to play “X-Mas Steps” so just quit it already.

Audience observations and interactions aside, it was certainly one of the more monolithic Mogwai sets I’ve seen, getting fists pumping and pants flapping through much of the set. “Rano Pano” and “Mexican Grand Prix” offered some nimbleness and acceleration to the proceedings, but most of the set list favoured the band’s more lumbering and apocalyptic selections. And while I may seem like I’m all “oh Mogwai again”, that doesn’t mean it’s not still exciting – the main set-closing pair of “Like Herod” and “Glasgow Megasnake” were still as powerful as if i was seeing them for the first time. It’s important to note that even though their albums have have transitioned from visceral to cinematic over time, their live shows still manage to capture both facets magnificently. If Mogwai are indeed dialing down their touring commitments, understand that it’s not because they’ve lost a step on stage. No way.

The National Post also has a review of the show and Clash reports that the band will release a new remix album based on Hardcore entitled A Wretched Virile Lore; this will be their first remix collection since 1998’s Kicking a Dead Pig.

Photos: Mogwai, Odonis Odonis @ The Phoenix – June 18, 2012
MP3: Mogwai – “San Pedro”
MP3: Mogwai – “Rano Pano”
MP3: Mogwai – “The Sun Smells Too Loud”
MP3: Mogwai – “Yes! I Am A Long Way From Home”
MP3: Mogwai – “Tracy”
MP3: Mogwai – “Dial: Revenge”
MP3: Mogwai – “Hunted By A Freak”
MP3: Mogwai – “7:25”
MP3: Odonis Odonis – “Ledged Up”
Video: Mogwai – “San Pedro”
Video: Mogwai – “Mexican Grand Prix”
Video: Mogwai – “How To Be A Werewolf”
Video: Mogwai – “I’m Jim Morrison, I’m Dead”
Video: Mogwai – “Batcat”
Video: Mogwai – “Travel Is Dangerous”
Video: Mogwai – “Friend Of The Night”
Video: Mogwai – “Hunted By A Freak”
Video: Mogwai – “Dial: Revenge”
Video: Odonis Odonis – “Ledged Up”
Video: Odonis Odonis – “Blood Feast”
Video: Odonis Odonis – “Mr. Smith”

Spin, The Japan Times, Paste, and eMusic have features on Hot Chip, in town at The Sound Academy on July 15.

Daytrotter has posted up a session with The Cribs and The San Francisco Examiner a (very) quick chat.

Blur have finally fessed up as to what the cryptic clues pointing to something happening on July 2 are all about. Via a video message viewable at DIY, Alex James explains that the band will perform two new songs – “Under The Westway” and “The Puritan” – live on Twitter from a rooftop in London. I don’t know what “live on Twitter” means – maybe Damon will sing 140 characters at a time – but a world premiere like this sounds like a great way to summon the fail whale.

Exclaim has details on the new Two Door Cinema Club record, entitled Beacon and due out on September 4. And yes, there’s an album trailer.

Trailer: Two Door Cinema Club / Beacon

DIY has a feature piece on Wild Beasts.

Simian Mobile Disco have long had a DJ date scheduled for The Hoxton on July 12, but they’ve just announced they’ll be back at that same room on December 14 with instruments in tow for a proper live show in support of their new album Unpatterns.

MP3: Simian Mobile Disco – “Seraphim”

Beth Jeans Houghton stops in at Daytrotter for a session.

To build up some anticipation for their new album No Hope For The Vaccines due out September 3, The Vaccines are giving a download of a new live EP recorded in Brighton entitled Live In Brighton.

MTV talks to Mika Levi of Micachu & The Shapes; their new album Never is due out July 24.

Prefix gets to know some of Laura Marling’s influences. The San Francisco Examiner also has an interview and Seattle Weekly gets a tour of her iPod.

Spin explains why music is better off if Lily Allen does indeed make a third album, as she’s gone back to the studio to begin.

Only just behind last week’s Afghan Whigs announcement as far as concert announcements I’m excited as hell about is confirmation of I Break Horses’ headlining Fall tour, and that’s only because I saw them last month supporting M83. They’ll be at The Drake Underground on September 19, tickets $13 in advance.

MP3: I Break Horses – “Winter Beats”

It’s hard not to feel a little bad for a label whose highest-profile act keeps giving away all their music as free downloads and refuses to/is incapable of touring. But Sincerely Yours seem perfectly happy to keep enabling jj, who’ve just made their High Summer EP available for free.

ZIP: jj / High Summer

The Line Of Best Fit has a video session with Anna Ternheim.

The National Post, Toronto Star, and FasterLouder interview The Hives, hitting up the Sound Academy tomorrow night.

Clash interviews Sigur Rós, in town at Echo Beach on August 1.

Pitchfork has some details on the new Mono album, to be called For My Parents and out September 4.

Trailer: Mono / For My Parents

Frank YangIf you’re thinking, “hey – didn’t you just see M83 a few months ago? Why are you going to see them again so soon?”, then a) you spend far too much time keeping track of my concert schedule, and b) you would have a valid point. Usually I would have happily given Sunday night’s show a pass, as much as I look for any excuse to go to the Sound Academy, particularly with the band already planning a third local show in nine months when they play the Hard Festival at Fort York in August, but in their efforts to make sure that they got as much chromewaves.net coverage as possible – because that’s obviously their endgame – they played a card I couldn’t resist: I Break Horses.

The Swedish duo of Maria Lindén and Fredrik Balck released my favourite album of 2011 in their debut Hearts, and there was no way I was going to miss what is almost sure to be a rare visit. But with that said, I don’t know if I necessarily expected a lot – after all, they were a studio project who only made their way to the stage for the first time late last year and their brand of introspective synth-gaze isn’t the sort of thing that translates easily to a compelling show, even for seasoned performers.

So I’m happy to report that they more than exceeded my expectations in the live setting. Expanded to a four-piece, they smartly augmented the electronics with live drums and guitar and though they still hid behind blinding backlighting and aggressive smoke machines, they were more assured than I expected, with Lidén a compelling silhouette of a frontwoman in the Victoria Legrand vein but with more fist pumps. The songs were noticeably adjusted in structure for bigger builds and crescendos – I’d love to get some live recordings of their shows – and while I selfishly hope they don’t get big enough to play rooms this size anytime soon, they established that but their sound could fill the space – their bedroom anthems worked marvelously at arena scale and while it’s true that if any crowd would be favourably inclined towards what they do it’d be M83’s, they still more than earned the roar of approval they received; the nearly-full house was clearly smitten. I don’t know if their plans include more touring over here after their duties supporting M83 are done, but from this show and reports from previous dates, they’ll have an enthusiastic fanbase waiting for them.

M83 are a band who’ve learned a thing or two about scale. The jump from a room the size of Lee’s Palace, where they were in November, to one the size of the Sound Academy is a pretty huge one but if any act should be able to handle expansion, it’s one named after a galaxy. But this is where the success of Hurry Up, We’re Dreaming has taken them – completely sold-out, 3000+ capacity rooms. And has the success changed them? It’s hard to say. While this show was very simliar to the one at Lee’s – the set list was almost identical in composition and structure – the scale of it disallowed lazily drawing parallels between them; they were fundamentally the same show but the experiences were wholly different. The backdrop was done up with lights so as to resemble a starfield and the much bigger space gave the band more room to act out their rock star fantasies. Anthony Gonzalez and Jordan Lawlor danced and lurched around the stage as they were wont to do and Morgan Kibby, though anchored to her keyboards, gave it her best as well. I think back to the first M83 gig in Toronto some seven years ago and how I thought Gonzalez’s onstage persona and moves seemed oversized to the show; now I realized that he was just waiting for everyone else to catch up.

I’ve actually just erased a few lines about the shift in the band’s demographic from vintage shoegazing aficionados to a younger, synth-pop demographic and how the show’s encore came across more like the start of the afterparty than the finale of the show because, well, I said pretty much the same things last time around and while I could try to find different words to express it, it’d be the same sentiment; just bigger. This doesn’t necessarily bode well editorially-speaking for their Fort York show on August 4, but the fact that there won’t be any roof or other such trifling human concerns to try and contain them and keep them from literally reaching for the stars means my writeup will probably just be the equivalent of frantically waving my arms in the air. Just watch.

Panic Manual also has a review of the show and The Toronto Star has an interview with Gonzalez. And DIY has a trailer for their next video for “Reunion” because apparently releasing trailers for videos is now what people do.

Photos: M83, I Break Horses @ The Sound Academy – May 6, 2012
MP3: M83 – “Midnight City”
MP3: M83 – “Claudia Lewis”
MP3: M83 – “Reunion”
MP3: I Break Horses – “Winter Beats”
MP3: I Break Horses – “Load Your Eyes”
MP3: I Break Horses – “Hearts”
Video: M83 – “Midnight City”
Video: M83 – “We Own The Sky”
Video: M83 – “Graveyard Girl”
Video: M83 – “Kim And Jessie”
Video: M83 – “Teen Angst”
Video: M83 – “Don’t Save Us From The Flames”
Video: M83 – “Run Into Flowers”
Video: M83 – “America”
Video: I Break Horses – “Winter Beats”
Video: I Break Horses – “Hearts”

Because Instinct is out in the UK as of now, NME is able to stream the whole of the debut album from Niki & The Dove; North Americans can consider it a three-month sneak preview before it’s released over here on August 7.

MP3: Niki & The Dove – “The Fox”
Stream: Niki & The Dove / Instinct

NPR has a World Cafe session with First Aid Kit. They play The Music Hall on September 26.

Gigwise talks to Jonsi of Sigur Rós about their new record Valtari, out May 29. They play Echo Beach on August 1.

Múm are cleaning out their cupboards a bit, targeting a July 17 release for Early Birds – a collection of unreleased material dating back their earliest days between 1998 and 2000. Exclaim has details on the release.

If your appetite for musical things Icelandic goes beyond the usual suspects, have a listen to this downloadable compilation of current artists who are not Bjork or Sigur Rós, and if you like that there are four more. Other Icelandic acts that are worth your time are also the focus of a half-hour doc that was released late last year, so you should watch that. And oh, Sigur Rós were just announced as headlining this year’s Iceland Airwaves, so obviously you should go to that. Yes, it’s all the way in Iceland; that’s rather the point.

Stream: various artists / Made In Iceland V
Video: Iceland: Beyond Sigur Rós

The Quietus talks to Kevin Shields of My Bloody Valentine about the just-released reissues and potential new album.

Maxïmo Park have released the first video from their forthcoming fourth album The National Health, out June 11.

Video: Maxïmo Park – “Hips & Lips”

Chart and Guitar World talk to the brothers Jarman of The Cribs, who’ve been contributing articles to Drowned In Sound all week about this, that, and the other thing.

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”

Neil KrugThe Söderberg sisters of First Aid Kit make no attempt to represent themselves as anything other than what they are – two girls barely on either side of 20 harmonizing on heartfelt songs that conjure the spirit of bygone and world-weary Appalachian folk traditions a world and era away from the from the Stockholm suburbs where they grew up. It’s a contrast and harmony that made their first two releases – 2008’s debut EP Drunken Trees and the 2010 full-length The Big Black & The Blue so interesting; feeling simultaneously young and old, wise yet naive, clearly foreign yet still so authentic.

It’s a tension that’s less pronounced on their second album The Lion’s Roar, but that’s because rather than tip things one way or the other, they’ve managed to not just balance their elements but blend them. Credit must go to veteran producer Mike Mogis, an expert at helping bands bloom creatively while keeping their roots firmly intact – sonically, the album stays close to the sparer arrangements of the debut but when it needs to get big, it does – but you cannot discount the experience the duo have gained in the past couple years on the road; they’ve simply gotten much better, and were pretty good to begin with. The weightiness that’s always existed in their songwriting feels more comfortably borne, and yet Roar also contains some of their most buoyant songs to date – “Emmylou”, a gorgeous paean to two of the great partnerships of country music, is an early frontrunner for one of the songs of the year and “I Found A Way” soars close behind.

I don’t think there was ever a time when First Aid Kit were regarded as any sort of novelty – “oh look, young Swedish girls who think they’re country!” – but if anyone ever took them less seriously for any of that, they’ll be hard-pressed to hold onto those prejudices. The Lion’s Roar is a strong statement and demands to be heard.

MTV UK has an interview with First Aid Kit, who kick off a headlining North American tour at the end of this month and will be at the Great Hall in Toronto on April 4. Tickets for the show are $18 in advance but courtesy of Embrace, I’ve got two pairs of passes to give away for the show. To enter, email me at contests AT chromewaves.net with “I want a First Aid Kit” in the subject line and your full name in the body. Contest closes at Midnight, March 31.

Stream: First Aid Kit – “Emmylou”
Stream: First Aid Kit – “The Lion’s Roar”
Video: First Aid Kit – “Emmylou”
Video: First Aid Kit – “The Lion’s Roar”

In talking about another young female Swedish artist worth watching – Amanda Mair – I’ve been saying that her self-titled debut was supposed to come on back on February 15; that it did, but only in Sweden, apparently. about.com has a June 5 North American release date written down and DIY reports that it will be out officially in the UK on June 11. To tide us over, another single is now available to download to go with the previously released video. It’s good.

MP3: Amanda Mair – “Sense”
Video: Amanda Mair – “Sense”

Under The Radar brings word of a collaboration between the wonderful I Break Horses and the I-hadn’t-heard-of-them-before-now Philadelphia-based electronic outfit CSLSX, the first fruits of have both a downloadable and video. I Break Horses are at The Sound Academy on May 5 opening for M83.

MP3: CSLSX & I Break Horses – “Violent Sea”
Video: CSLSX & I Break Horses – “Violent Sea”

DIY chats with Norwegian pop collective Team Me, who are on my to-see list at SXSW next week (NEXT WEEK). If all goes well, you’ll be hearing more about them hereabouts. Their debut To The Treetops is out next week.

MP3: Team Me – “With My Hands Covering Both of My Eyes I Am Too Scared To Have a Look At You Now”

The Line Of Best Fit introduces Kiasmos, the new electronic project from Ólafur Arnalds.

Stream: Kiasmos – “Thrown”

New York Magazine has an in-depth profile piece on Bjork and NYC Taper has posted recordings of another of her NYC residency shows from last week.

DIY and The Sun get to know Dry The River, the next great folk-rock hope out of the UK. Their debut Shallow Bed is out April 17 in North America, and they’re streaming the excerpts of the whole thing with commentary over here. The intrigued can see them March 27 at The Garrison opening for Bowerbirds.

Video: Dry The River – “Chambers & The Valves”

Those scamps in Radiohead have announced another block of North American dates and Toronto is in the mix. They’ll be at Downsview Park on June 16 with Caribou, and I’ll save you from double-checking the calendar – that is indeed the Saturday of NXNE. The festival has managed to hold its own agains interloping major shows in the past, but if it takes a free Iggy & The Stooges show to counter Pavement/Broken Social Scene, they’re gonna need something pretty major to keep the kids in the city this time around. But whatever you end up doing that day, let’s not overlook the fact that this means the Caribou machine is back in action, and that’s good news for everyone. Tickets for Radiohead go on sale at noon on Friday.

MP3: Caribou – “Odessa”
Video: Radiohead – “Lotus Flower”

Daytrotter welcomes The Naked & Famous to their studios for a session. They play The Sound Academy on April 5

Digital Spy and DIY talk to Pip Brown of Ladyhawke, whose second album Anxiety has been pushed back from its March 27 release date all the way to May 25.

FacebookTo promise that something is coming in “early 2012” may be sufficient detail when that date is still a ways off on the horizon, but at a certain point it will eventually actually be early 2012 – as it is now – and when that time arrives you’d best have a little more to offer. That first part of that scenario was most of 2011 for London’s Clock Opera, who despite sounding more than ready for prime time when I first saw them last SXSW and reconfirmed at Iceland Airwaves have been rather shy about offering any details about their debut album besides that it’d be out “in early 2012”.

Well refreshingly quietly, details of their debut album came to light at the very end of last year by way of an iTunes preorder link, and really all you need to know is that it’s called Ways To Forget and will be out – in the UK at least – on April 9. Going for a soft launch with that info may prove to be wise as I expect things will get exceptionally fast-paced for this quartet as word of their electro-anthemic rock – think a younger Elbow armed with sequencers – and attendant excellent live shows gets out.

And the first shot in that metaphorical attack came yesterday with the release of a second video for the song “Once And For All”, which already had a perfectly good clip for the original single release but seeing as how it was re-recorded for the album, a new, heartstring-tugging vid was clearly in order. And so here it is, along with what I would consider to be sufficient argument that Ways To Forget will be one of the highlight releases of, well, early 2012.

MP3: Clock Opera – “Once And For All”
MP3: Clock Opera – “Belongings” (live at Maida Vale)
Video: Clock Opera – “Once And For All” (2012)
Video: Clock Opera – “Lesson No. 7”
Video: Clock Opera – “Belongings”
Video: Clock Opera – “Once And For All”
Video: Clock Opera – “White Noise”

The Ting Tings – whom I am convinced are part of a larger sociological experiment to discern exactly what the shelf life of formerly buzzy but ultimately vapid pop bands is – hope that enough people still remember who they are to buy their second album Sounds From Nowheresville, out February 27 in the UK and shortly thereafter in North America, and to go see them when they play The Phoenix on April 6. To say nothing of paying $26 to do so. Spin has a conversation with the duo about the new record.

Video: The Ting Tings – “Hang It Up”

I can’t say I was too interested in the previously-announced return of Cults to town – happening April 25 at The Phoenix, but the fact that Spectrals – aka London-based retro-pop revivalist Louis Jones – would be opening makes me a bit more keen. His debut Bad Penny came out last Fall.

MP3: Spectrals – “7th Date”
MP3: Spectrals – “Peppermint”
Video: Spectrals – “Bad Penny”

The Arctic Monkeys talk evolution with The Sydney Morning Herald. They open up for The Black Keys at The Air Canada Centre on March 14.

The Alternate Side has a session to watch with We Were Promised Jetpacks.

Gold Flake Paint talks to James Graham about the third Twilight Sad album No One Can Ever Know. It’s out February 21 and they band are at Lee’s Palace on February 29.

Loud & Quiet plays go-between in facilitating a Q&A between Veronica Falls and Johnny Marr. Veronica Falls are at The Garrison on February 14.

Is This Music chats with David Gedge of The Wedding Present. They bring Seamonsters to The Horseshoe on March 25.

Spinner talks to Rosa Rex of Peggy Sue; DIY also had a year-end chat with the band.

Laura Marling has put together a poetry- and art-powered minisite for “The Beast”, which one assumes is the next single from A Creature I Don’t Know.

Clash and The Guardian have pieces on hotly-tipped singer-songwriter Beth Jeans Houghton, whose debut album backed by The Hooves Of Destiny – Yours Truly, Cellophane Nose – is out February 28. A video from said record came out last month.

Video: Beth Jeans Houghton & The Hooves Of Destiny – “Sweet Tooth Bird”

For Folk’s Sake and American Songwriter meet First Aid Kit, whose new record The Lion’s Roar – out January 24 – brings them to The Great Hall on April 4.

DIY and BBC profile Swedish duo Niki & The Dove, whose debut album is due out sometime this Spring.

The Line Of Best Fit – who agreed with me that I Break Horses’ debut Hearts was their favourite of 2011 – goes through the album track-by-track with Maria Linden. They’re opening up for M83 at The Sound Academy on May 6; DIY talks to Anthony Gonzalez of that outfit.

Q gets former label honcho Alan McGee to offer a buyer’s guide to the Creation Records catalog.