Frank YangI’m not sure what purpose Barcelona’s Parc del Forum, a fairly massive, considerably paved waterfront park on the edge of the city, is used for the rest of the year – it seems to built up and out of the way for just hanging out in – but for one weekend in May, at least, it’s a pretty terrific spot to hold a music festival. Some more grassy spaces would be welcome and being long and narrow, it can be a haul from one stage to the next, but when you realize you’re seeing a fantastically well-curated lineup of artists right on the shores of the Mediterranean, then a little bit of walking doesn’t seem like such a big deal.

As a North American festival-goer used to things kicking off at the crack of noon, it was odd to see Primavera Sound’s schedule not getting underway until late afternoon each day and going until almost the crack of dawn. But as it turned out, this was a pretty sweet arrangement – assuming you didn’t have to work in the morning – as it saved you from being in a wide open space during the hottest part of the day and let you do touristy things while still packing in a full slate of acts.

My Thursday began at the San Miguel mainstage for Of Montreal and though it had been a few years since I last saw them live, it was good to see that they hadn’t tamed things down at all in the interim. Quite the opposite, actually, as in addition to the psychedelic electro-funk that you find on their records, the show was crammed with such curiosities as costume changes, balloon acrobats, Mexican wrestlers and epic man versus she-pig battle re-enactment. For any other band, these technicolor shenanigans would probably constituted doing something special for the festival but for Of Montreal? Just another day at the office.

Post-Of Montreal, it was time to wander the grounds a bit and get the lay of the land and coming across the ATP Stage, I stopped to listen to London’s Seefeel for a bit, having read something about them on the Twitters. I caught about 10 minutes of their set but apparently this was just the outro of their final song, consisting of a pulsing, groovy bit of drone-dub that played quite nicely against the backdrop of the sea. Might have been nice to have actually heard a song, but what can you do.

By this time, night had fallen and ater verifying that none of the festival’s wifi points were working – no surprise but really, why even pretend they’ll work? – it was over to the Ray-Ban Stage where I was susprised to find Big Boi on stage and punctual. Maybe he was jet-lagged and thought he was two hours late. Either way, his crew had been hard at work pre-set to round up pretty girls from the audience – and this being Spain there were a lot of them – and had them on-stage as dancers. Fun to watch for a bit but after hearing the couple of Big Boi/Outkast songs I knew, it was time to move on.

The first can’t-miss act of the festival, for me at least, as Grinderman. Yes, I’d seen Nick Cave and company’s alter ego at their North American debut last Fall but whereas some acts excel in a club-sized environ, I posit that the potency of Grinderman actually comes across better in a big outdoor setting. With the extra stage and pit space to move around in, Cave seemed extra unhinged as though he amped up his intensity to make sure all the thousands in attendance got their fair share. In particular, the camera shots of Cave stalking the pit between audience invasions during “Kitchenette” reminded of ringside footage from a prize fight and in “Honey Bee”, he proved that he may be the only man on earth who can make bee noises and arm flapping come across sinisterly. Grinderman were loud, raw and exhilarating and it’s a good thing that at set’s close when Cave encouraged everyone to Suicide, he specified the band playing the next stage over and not the act. Because after their performance, this was not a man you wanted to say no to.

Circa their latest self-titled album, there’s been much talk about how Interpol’s time is past, how they’re on the decline – that’s not a position that would have gotten much traction with the thousands who showed up for their 1AM set on the Llevant Stage. And for as much as you can complain that Interpol does the same thing over and over again, there were a few new things to come out of their set. For instance, Daniel Kessler speaks Spanish – at least I think it was Kessler who addressed the audience fluently in their native tongue, I suppose it could have been Paul Banks. I couldn’t tell from way back in the field. And also different was the speed at which they plowed through their songs – tempos on most numbers were ratcheted up from the norm, perhaps for a more efficient set. It wasn’t necessarily better, but it was different. But otherwise, Interpol was Interpol. And I have no idea who’s playing bass for them now.

I left their set early so as to stake out prime bubble walk/confetti cannon position for The Flaming lips. There was some ambiguity about exactly which show they were going to be performing and I was mildly disappointed this didn’t turn out to be a Soft Bulletin show as I’m one of those who hold that album up as their masterpiece and material from it doesn’t get aired out in regular sets nearly as much as it should. But if it being otherwise meant that I’d get a repeat of last year’s stellar Molson Amphitheater show, then okay – I can deal. And a lot of it was the same, but that didn’t diminish the fun of it, particularly when you’re surrounded by people who’re witnessing the spectacle for probably the first time. Because it remains a hell of a thing. Twists on this particular show included bringing out a translator to greet and advise the audience of the opening space bubble walk, a Wizard Of Oz theme for the dancers with dozens of cute Dorothys whooping it up on either side of the stage, the giant exploding confetti balloons were new, the firing of laser hands at a giant disco ball was an inspired move and there was even a new song in the set with Steve Drozdt showing off some manner of iPhone app that he used to generate noises Kaos Pad-style. It’s nice to see their show continue to evolve with new material while maintaining the elements that are now basically trademarks of the Lips’ shows. Always a blast and you would hear people singing “Race For The Prize” into the night, long after the show was done.

I should note that I started to fade at 4am. I am allowed to fade at 4am. But it wasn’t done. The evening/morning closer was back at the Llevant Stage where Greg Gillis – aka Girl Talk – was flown in from Pittsburgh specifically for this show and when you only have to work for one hour, I imagine you give it your all. Of course as a mash-up artist/DJ, “giving it your all” is more just a figure of speech but for a guy with a laptop, Girl Talk live was a lot of fun. He also filled the stage with dancers and would periodically step out in front of or on top of his desk to dance it up himself, and then there were the thousands of partygoers getting down in sea of feathers, presumably left over from El Guincho’s set beforehand. Yes, it was a sight. Musically I only knew about half of the stuff he played – typically the Top 40/pop half, not the hip-hop half – but I can see why people enjoy his stuff so much. I stuck around for a while but eventually the rising sun and falling stamina forced an end to the day.

A new Flaming Lips EP done in collaboration with Prefuse 73 is available to stream at Paste.

And in other news.

Last night’s Friendly Fires show at The Phoenix has been rescheduled for October 23 at The Phoenix after drummer Jack Savidge was hospitalized “due to exhaustion”. Details at Exclaim. There’s a pre-exhaustion interview with the band at Interview.

White Lies are back for a show at The Phoneix on August 3, tickets $27.50 in advance.

Video: White Lies – “Bigger Than Us”

The Village Voice interviews Titus Andronicus frontman Patrick Stickles. They’re at The Phoenix on June 10.

Low play a Tiny Desk Concert for NPR and talks to The Skinny.

Exclaim reports that Stephin Merritt will be releasing a compilation of rarities spanning all of his various bands and projects in Obscurities, due out August 23 on Merge.

MP3: Stephin Merritt – “Forever And A Day”

NPR welcomes TV On The Radio for a World Cafe session.

Drowned In Sound and NPR interview Death Cab For Cutie. They play The Molson Amphitheatre on July 29.

Diamond Rings’ remix series continues with an interpretation of Austra’s “Lose It”. Diamond Rings plays Echo Beach on June 3 and Yonge-Dundas Square and Wrongbar on June 18 for NXNE.

MP3: Austra – “Lose It” (Diamond Rings remix)

Fucked Up’s new opus David Comes To Life is now streaming in whole at NPR, in advance of its release on June 7. They’re playing Yonge-Dundas Square and Wrongbar on June 16 for NXNE and the Air Canada Centre on August 9. Tourdates UK has an interview with Damian Abraham.

Stream: Fucked Up / David Comes To Life

Evening Hymns are featured in a Takeaway Show; they play the Music Gallery for NXNE on June 16.

Dan Mangan has cobbled together some tour footage into a new video, presumably the last from Nice, Nice, Very Nice before his third album Oh, Fortune arrives in September. You can also stream his set this weekend at Sasquatch over at NPR.

Video: Dan Mangan – “Sold”

JAM interviews Sloan. They have two dates at the Mod Club for June 21 and 22.

Kyle JohnsonWith his 2009 self-titled debut album as Telekinesis, Seattle’s Michael Benjamin Lerner established several bona fides. First, playing every instrument on the record without ending up over- or under-produced was no mean feat, although having Death Cab’s Chris Walla on hand in the producer’s chair certainly helped. Secondly, he could write the hell out of a power-pop tune, what with the record being packed top to bottom with instantly likeable and memorable numbers. Third… well who needs a third point when you’ve got those first two down?

For the follow-up, Lerner sent the band he toured the first record with home and again holed up with just himself, Walla and another brace of songs. The result? 12 Desperate Straight Lines, which doesn’t offer any sort of dramatic reinvention of what Telekinesis is or does, but does take it to enough different terrain to set it apart. And by different, I mean darker, or at least as dark as a record laden with “ba ba ba” singalong choruses can get.

The hooks may remain, but the innocence of the debut is considerably muted; that there was a failed relationship between records one and two is no surprise to who takes an even cursory listen to the lyrics. And even if the words go in one ear and out the other, the more propulsive tempos and chunkier, riffier guitars and cribs from The Cure – albeit the poppiest aspects of The Cure – certainly speak to there being both some catharsis and moping going on behind the scenes of this record’s creation. You could still rightly describe it as sunshine-y, but you can’t ignore the shadows that are cast throughout and all in all, that makes for a more interesting picture.

Telekinesis are playing The Horseshoe this Sunday evening, March 6. Tickets are $11 in advance but courtesy of Collective Concerts, I’ve got five pairs of passes to give away for the show. To enter, email me at contests AT chromewaves.net with “I want to witness Telekinesis” in the subject line and your full name in the body and have that in to me before 5PM, March 5 – that’s Saturday evening, as in tomorrow. And if you can’t make the show, there’s also an acoustic in-store performance at Sonic Boom earlier that evening at 7PM.

Rolling Stone has an interview with Benjamin Michael Lerner.

MP3: Telekinesis – “Car Crash”

The Guardian interviews The Strokes about the making of their new record Angles, which is out March 22 and from which they’ve released a first video and made available a second song to stream at NME.

Video: The Strokes – “Under Cover Of Darkness”

The Creator’s Project has a short documentary feature video on Interpol.

Crawdaddy talks to Travis Morrison of The Dismemberment Plan about his songwriting method. Back when he was writing songs. The Chicago Sun-Times also ran a feature piece last month.

New York’s Beach Fossils will be in town on April 20 for a show at Parts & Labour. They followed up last year’s self-titled debut with the What A Pleasure EP last month.

MP3: Beach Fossils – “Calyer”

Battles will be at The Horseshoe on April 29, previewing material from their new record Gloss Drop which is out June 7.

Beatroute talks to The Dodos about their new record No Color, which is out March 14 but available to stream at Hype Machine right now.

Stream: The Dodos / No Color

Speakers In Code has an interview with Nicole Atkins, who has been keeping a tour diary of her current jaunt over at Spinner. Explore Music has a video session and interview while MPR is streaming a radio session.

NPR has a World Cafe session with Lissie available to stream.

NYC Taper is sharing a recording of a Drive-By Truckers show at the Bowery Ballroom from last month. Deleware Online and the San Jose Mercury News have features on the band.

Rolling Stone talks to My Morning Jacket about their new record Circuital, which will be out sometime this Spring.

Spin has got a stream of Thurston Moore’s contribution to Sing For Your Meat, the forthcoming Guided By Voices tribute album, due out on Record Store Day (April 16).

Spinner solicits Wayne Coyne of The Flaming Lips’ thoughts on Charlie Sheen. Just because.

American SongwriterWhen Jeff Mangum, prodigal godhead of that which is largely called indie, gave a rare performance in a Brooklyn loft last December, people freaked out. And reasonably so – the Neutral Milk Hotel-ier had been basically been retired and out of sight for nigh on twelve years, his band having dissolved post-In The Aeroplane Over The Sea and in the intervening years, his legend only grew. So the idea of him suddenly surfacing to play a show probably seemed like a once in a lifetime occurrence.

Except that it wasn’t. My theory at the time was that this was far from a one-off but the start of a return to music for Mangum, who was probably tired of the mythology that had grown around him and wanted to begin the process of deconstructing it, of saying “hey – I’m a guy with a guitar who wrote some songs” and maybe pave the way to being able to write, release and perform some more. And so it really wasn’t a surprise that 2011 started with a trickle of additional live show announcements – first as a special guest at the Portishead-curated I’ll Be Your Mirror at Asbury Park, New Jersey in September, then as curator of the All Tomorrow’s Parties in Somerset, UK in December, and now additional non-festival dates have begun trickling out, and at the moment they begin in Toronto.

Though The Horseshoe played host to a legendary, almost-never-was Neutral Milk Hotel in 1998, Mangum’s return will be in the suitably reverent environs of Trinity-St. Paul’s on August 12 and 13. Tickets are $32.50 and will go on sale as follows: a limited pre-sale of paperless tickets will begin at 10AM on Friday, February 25 with the presale password being made public at the Collective Concerts website on Wednesday, February 23 at 3PM. Presale customers will be allowed to purchase four tickets per order, per customer, per show. Public on sale begins on Saturday, February 26 at noon via usual outlets – Ticketmaster, The Horseshoe, Rotate this and Soundscapes – and purchases will be limited to two per customer.

Exciting news, to be sure, though one wonders what this does to the chances of Mangum showing up with the upcoming Elephant 6 Holiday Surprise Tour which hits The Horseshoe on March 18 – it had been a pretty safe bet that Mangum would show up on at least some of those dates, and he might still. But if you’re not the gambling sort and the guarantee of a night of great tunes from his Elephant 6 compatriots isn’t enough to convince you, then these Trinity shows should be just the ticket. Not that you had much choice since the Holiday Surprise show is sold out anyways.

The Wall Street Journal welcomes Jeff Mangum back from the wilderness with a timeline of his “lost years”.

MP3: Neutral Milk Hotel – “Holland 1945”

From lost legends to exciting newcomers, Australia’s Tame Impala and London’s Yuck are teaming up for a North American tour that includes a stop at The Phoenix in Toronto on May 1, tickets $20. I’m not that familiar with Tame Impala but Yuck, whose wonderfully grungy ’90s power-pop-laden self-titled debut just came out this week and has been on heavy rotation in my ears. Spin thinks Tame Impala will be the next big thing while Spinner has an interview with Yuck.

MP3: Yuck – “Rubber”
MP3: Tame Impala – “Runaway, Houses, City, Clouds”

John Vanderslice will take his orchestrally-powered latest White Wilderness on the road this Spring, though it’s unlikely he’ll have an actual orchestra with him – you couldn’t fit one in the Drake Underground, where he’ll be on May 10. You will, however, be able to fit his tourmate Damien Jurado, and Jurado isn’t a small guy.

MP3: John Vanderslice – “The Piano Lesson”
MP3: Damien Jurado – “Gillian Was A Horse”

The Independent talks to Dean Wareham.

Pixies drummer Dave Lovering tells Billboard that the band are contemplating what to do after their run of Doolittle shows – including April 18 and 19 at Massey Hall – are done. Either do the full-album show treatment for another of the records or – horror of horrors – write and record new material.

Buffalo Tom is streaming the whole of their just-released new record Skins, out March 8.

Stream: Buffalo Tom / Skins

I haven’t been keeping track of whether The Flaming Lips have made good on their song-a-month promise, but they have uploaded a 12-part simul-song to YouTube, so that sort of counts I guess.

NPR has got a World Cafe session with Liz Phair.

Also stopping in at NPR’s World Cafe for a coffee and session are Superchunk.

Spinner talks to The Strokes’ Albert Hammond Jr about their new record Angles, out March 22.

The Montreal Gazette and Toronto Star have feature pieces on Interpol.

Pitchfork reports that the new Death Cab For Cutie album Codes & Keys will be released on May 31.

NPR has a World Cafe session and Pitchfork and Crave interview features with The Decemberists.

The Independent Weekly, Paste, Blurt, Prefix, The Wall Street Journal, NBC and Spinner profile Drive-By Truckers, whose new record Go-Go Boots is out next week but streaming now in whole at Spinner.

Stream: Drive-By Truckers – “Go Go Boots”

The Alternate Side has a video session and interview with Iron & Wine.

Will Sheff of Okkervil River blogs about his experience at the Grammy Awards (he was nominated for best liner notes) for Billboard. Their new record I Am Very Far is out May 10. A video of one of the new songs, recorded last month when they played Late Night With Jimmy Fallon, has just been posted online – check it out at Prefix.

Bright Eyes have released a new video from their new record The People’s Key. The Quietus also has an interview with Conor Oberst, who plays The Sound Academy (with his band) on March 13.

Video: Bright Eyes – “Shell Games”

The new DeVotchKa record 100 Lovers is up to stream at NPR in advance of its March 1 release.

Stream: DeVotchKa / 100 Lovers

The San Francisco Examiner and Spinner have interviews with and NYC Taper a live recording from last week of Nicole Atkins; she’s at The Horseshoe on February 26.

Asobi Seksu released their lastest Fluorescence this week and released a new video from it. They also have a chat with Spinner and will be at The Horseshoe on February 27.

Video: Asobi Seksu – “Trails”

NYC Taper has a live recording and Spinner an interview with Wye Oak, whose Civilian is out March 8 and who play The El Mocambo on April 9.

Paste and So Much Silence chat with Michael Benjamin Lerner of Telekinesis. They play The Horseshoe on March 6 and have an in-store at Sonic Boom earlier that afternoon.

Stereogum checks in with Fleet Foxes on the status of their new record Helplessness Blues, out May 3.

Rolling Stone is holding a competition to choose who will grace an upcoming cover – vote Ume.

nicoletakins.comThat Nicole Atkins’ 2007 debut album Neptune City was a favourite in these parts is a matter of public record, but does that mean it was a perfect record? No, not at all. As a vocalist and songwriter, Atkins has never tried to hide her New Jersey roots or the classic rock, blues and country traditions that informed her formative years so drenching her first record in big, romantic orchestral arrangements was a gutsy case of trying something completely unexpected from the get-go. And by and large, it succeeded though it was more because of Atkins herself and sometimes despite the production choices.

So opting to strip things down for her second effort, the just-released Mondo Amore, might seem a little less creatively adventurous but hearing Atkins operating completely within her comfort zone and playing to her strengths more than validates the decision. The front half of Amore showcases the rock instincts that were sublimated on Neptune City, from the sinister and slinky leadoff “Vultures” through the countrified “Cry Cry Cry” and barrelling “You Come To Me” – some of the genre nods can be a little on the nose, but their energy more than makes up for it.

As invigorating as side one of Mondo Amore is, it’s the smouldering side two that really seals the deal, dimming the lights, raising the reverb and spotlighting Atkins at her wounded, torchy best. The compositions themselves wouldn’t have been out of place on Neptune City, but whereas a track like “Heavy Boots” might have reached its crescendo accompanied by legions of strings, Amore drives the emotional quotient home with cavernous piano and understatedly snarling electric guitar. There’s still plenty of drama on tap, but it’s delivered more naturally and thus more effectively – Amore is less theatre, more boozecan, and all the better for it.

The New York Times, Seattle Post-Intelligencer, Palo Alto Daily News, Largehearted Boy, Spinner, NorthJersey.com, Blurt, Interview and BlogCritics all have features on Nicole Atkins. Her North American tour is underway and will make its way to The Horseshoe in Toronto on February 26. The whole of Mondo Amore is currently available to stream at Spinner.

MP3: Nicole Atkins – “Vultures”
Video: Nicole Atkins – “Vultures”
Stream: Nicole Atkins / Mondo Amore

Conor Oberst discusses the new Bright Eyes modus operendi with Billboard. The People’s Key is out next week and they’re at The Sound Academy on March 13.

Pitchfork is streaming Okkervil River’s new non-album single “Mermaid” while talking to Will Sheff about their new record I Am Very Far, due out May 10. Sheff also takes Spin through the new album track by track.

Austin360 celebrates Shearwater drummer Thor Harris.

Buffalo Tom is making an acoustic EP entitled Bones available for free download from their website in advance of the release of new album Skins next week.

Le Blogotheque has a Take-Away Show with Local Natives.

The Telegraph profiles Drive-By Truckers, whose latest Go-Go Boots arrives February 22.

There’s a new MP3 from J Mascis’ forthcoming solo record Several Shades Of Why, out March 15. He’s at The Great Hall on March 11 for Canadian Musicfest.

MP3: J Mascis – “Is It Done”

Oh hey it’s a new Kills video. Blood Pressures is out April 4 and they play The Sound Academy on May 1.

Video: The Kills – “Satellite”

Phantogram have released a new video from last year’s Eyelid Movies.

Video: Phantogram – “When I’m Small”

Ahead of their show at The Horseshoe later that evening, Telekinesis will play an acoustic in-store at Sonic Boom at 7PM on March 6. Their new record 12 Desperate Straight Lines is out next Tuesday.

MP3: Telekinesis – “Car Crash”

Magnet Q&As John Vanderslice, whom they’re letting play website editor for the week.

The final deluxe-ass Pavement reissue – that for Terror Twilight – will see the light of day sometime in November.

Eater talks food and drink with Ted Leo.

The Phoenix New Times interviews Interpol drummer Sam Fogarino while eye catches up with School Of Seven Bells. They’re both at The Sound Academy on February 15.

Exclaim reports the new TV On The Radio record has a name – Nine Types Of Light – and should be out this Spring.

And because for a short time yesterday people trying to get the new Strokes MP3 basically broke the internet, here it is. It sounds like The Strokes. Angles is out March 22.

MP3: The Strokes – “Under Cover Of Darkness”

PolyvinylSo I’ve had to check myself a couple times from taking a, “Shugo Tokumaro‘s music is so weird and wonderful, it must be because he’s Japanese!” angle on this writeup. Because even though it’s not incorrect – Tokumaru IS Japanese and sings entirely in Japanese and many things that come out of Japan are weird and wonderful to Western sensibilities – it’s too reductive and doesn’t give Tokumaru enough credit for what he’s done with his music.

His latest album, Port Entropy is the second of his records I’ve had the pleasure of immersing myself in after 2008’s Exit and like its predecessor, it’s a whimsical whirlwind of instruments and orchestration, almost all played by Tokumaru, that lifts aloft his winsome and dreamlike melodies. For all the musical sophistication and cinematic scope of his recordings, the songs at their core have a childlike simplicity and pop appeal that transcends things like language or culture, and anyways “la la la” pretty much means the same thing universally.

Port Entropy was released in the Spring of 2010 in Japan and will be out in North America on February 15. Tokumaru toured over here behind Exit, assisted in the live setting by members of such acts as Beirut and The National, and word is that he’ll be crossing the Pacific again to support the new record.

MP3: Shugo Tokmaru – “Lahaha”
Video: Shugo Tokmaru – “Lahaha”
Video: Shogu Tokumaru – “Tracking Elevator”
Video: Shugo Tokumaru – “Rum Hee”

Spin talks to Bob Nastanovich about the future of the Pavement reunion, which apparently isn’t as over as though who saw them melt down at Matador 21 might have guessed – but even if they play more shows, don’t expect any new material.

PopMatters, Exclaim and The Star-Tribune talk to Mark Olson of The Jayhawks.

Spinner talks to Nicole Atkins about her Canadian connections while Vol. 1 Brooklyn asks her about her reading habits. Atkin’s second record Mondo Amore is out February 8 and she plays The Horseshoe on February 26.

State and Baltimore Magazine talk to Dean Wareham.

Black Book returns to Chicago’s Wicker Park with Liz Phair. Nashville Scene also has an interview.

The National Post, The Independent and Time talk to Colin Meloy of The Decemberists, who are at The Sound Academy tomorrow night. NYC Taper is sharing a recording of their show in New York from last week.

Paste catches up with Sam Beam of Iron & Wine.

Le Blogotheque serves up an order of Take-Away Show with Spoon, up-sized to include downloadable MP3s of the performance.

The Georgia Straight talks to Daniel Kessler of Interpol, who have a date at The Sound Academy on February 15.

The Strokes make the press rounds in advance of the March 22 release of Angles, offering interviews to Spinner, Myspace and Spin.

Beggars USA reports that Alela Diane will release a new record entitled Alela Diane & Wild Divine on April 5th.

The New Zealand Herald and Pitchfork talk to Sufjan Stevens.

In support of the release of their new record Long Live on February 15, Snowblink will play an in-store at Soundscapes on March 3 followed by a record release show at The Music Gallery on March 5.

MP3: Snowblink – “Ambergris”

Plants & Animals will warm up for their March 5 show at Lee’s Palace with an in-store across the street at Sonic Boom that same afternoon at 4PM.

MP3: Plants & Animals – “Tom Cruz”

The National has words with Dan Bejar of Destroyer. They are at Lee’s Palace on March 31.

NOW checks in with Joel Gibb of The Hidden Cameras.