Frank YangThe timing of Beirut’s first shows back in Toronto in a couple of years was a bit curious, coming as it did three weeks before the release of their new record The Rip Tide (though it’s out digitally tomorrow). You wouldn’t hear any word of complaint about it from their fans, however, as most would already be acquainted with the new material via live recordings circulating online and any opportunity to see the Zach Condon-led orkestar was to be celebrated, not questioned. Particularly when there were two of them – I was at the second show last Thursday evening – and especially when Owen Pallett was going to be there as support.

Pallett’s presence wasn’t just happenstance – he worked on their 2007 album The Flying Club Cup and they with him on his Spectrum, 14th Century EP and they’d toured together in the past. So lots of history there and thus completely appropriate that Pallett opened his set and the show with a reading of “Cliquot”, the song he co-wrote and sang lead on from The Flying Club Cup. Normally it wouldn’t be notable that Pallett played the first couple songs of the show on his own as with a few exceptions he’s been a solo performer for much of his career, but this was one of the first shows billed as Owen Pallett & Les Mouches wherein he was joined by Rob Gordon and Matt Smith, his bandmates in said pre-Final Fantasy trio. I was curious as to how this would work, not just because I’ve always loved the one-man orchestra aspect of Pallett’s live shows but because my memories of Les Mouches circa seven or eight years ago aren’t especially fond (personal musical taste).

It didn’t take long for any potential misgivings to be put to rest, however, as Smith and Gordon’s contributions to Pallett’s compositions were stunning. The drums were used less for rhythm than as accents and filling in the orchestral space, alternately evoking tuba and timpani parts, while Smith’s guitar was put to work simulating a brass section or pizzicato sings; only on the rare occasions where they were intended to sound like conventional guitar and drums did they sound at all odd. They were at their fullest-sounding when Kelly Pratt of Beirut joined in on trumpet but as their set wound down, it was back down to Pallett on his own. Les Mouches were meant to rejoin on “This Is the Dream of Win and Regine” but technical difficulties scuppered that visit to Has A Good Home, meaning the two final songs were a terrific cover of Caribou’s “Odessa” and finally Heartland‘s “Lewis Takes His Shirt Off”. By rights, an artist of Pallett’s stature shouldn’t be opening up for anyone, particularly in his hometown, but I’m certainly more than happy he did.

I’ve only ever been a casual Beirut fan, mostly indifferent to Gulag Orkestar while everyone else was losing their minds for it. It took a rousing SXSW 2007 set and some time spent with The Flying Club Cup to win me over and even then, I didn’t make it to any of their local shows since then. All of which is to say this would be my first proper Beirut concert experience, and it was a good one. I’d go so far as to say that having only a moderate degree of familiarity with their records enhanced my enjoyment of it as the twists and turns of the songs – all horns and swoons, loping bass, wheezing accordion and martial drums and on a few occasions Pallett’s violin – were made all the more exciting from the not knowing what could come next. And of course, it would be remiss to not mention Condon’s rich, sonorous voice which for all the swirling instrumentation remains the core of Beirut. He’s blessed with pipes that can make just about anything sound timeless and romantic, which he uses to full effect and when combined with the theatricality inherent in the act of stepping back and raising a horn to your mouth, it’s hard not to put on a stirring show.

The set list covered all points of the Beirut discography including more than half of The Rip Tide, which suited me just fine as in my estimation it’s their finest work yet; more song-focused than their earlier works and leaner-sounding while remaining plenty lush. I was a bit surprised that the March Of The Zapotec/Realpeople Holland got as much play as it did, but pleasantly so as in peeling away the more overt electronic elements from the Realpeople material turned them into some of the highlights of the show, particularly main set closer “My Night With The Prostitute From Marseille”. At an hour and fifteen minutes including encore, the show ran a bit shorter than I’d expected but the arc of the journey was pretty much perfect.

BlogTO was also on hand for Thursday’s show while The Globe & Mail, Exclaim and The National Post offered thoughts on the Tuesday night show.

The Rip Tide is streaming in full at NPR up until its August 30 street date.

Photos: Beirut, Owen Pallett & Les Mouches @ The Phoenix – August 4, 2011
MP3: Beirut – “My Night With The Prostitute From Marseille”
MP3: Beirut – “Postcards From Italy”
MP3: Owen Pallett – “A Man With No Ankles”
MP3: Owen Pallett – “Lewis Takes Off His Shirt”
MP3: Final Fantasy – “The Butcher”
MP3: Final Fantasy – “Ultimatum”
Video: Beirut – “Elephant Gun”
Video: Beirut – “The Concubine
Video: Beirut – “Postcards From Italy”
Video: Owen Pallett – “The Great Elsewhere”
Video: Owen Pallett – “Lewis Takes Off His Shirt”
Video: Final Fantasy – “Horsetail Feathers”
Video: Final Fantasy – “The Butcher”
Video: Final Fantasy – “He Poos Clouds”
Video: Final Fantasy – “This Lamb Sells Condos”
Stream: Beirut / The Rip Tide

Jens Lekman has made the title track of his forthcoming EP An Argument With Myself available to download. It comes out September 20.

MP3: Jens Lekman – “An Argument With Myself”

Pitchfork has got Peter Bjorn & John preforming the whole of their latest Gimme Some on camera. They play Lee’s Palace on September 2 and 3.

The North American dates in support of Bryan Ferry’s latest Olympia have been announced and a Casino Rama date on October 8 is standing in for a proper Toronto show.

Video: Roxy Music – “More Than This”

The Guardian profiles Devonté Hynes of Blood Orange, whose debut Coastal Grooves arrives August 30.

Laura Marling has released the first video from her next album A Creature I Don’t Know; the album is out September 13 and she plays The Great Hall on September 23.

Video: Laura Marling – “Sophia”

Spinner and The San Francisco Chronicle interview Ellie Goulding.

Jean-Baptiste MondinoThanks to the fact that the United Kingdom exists five hours into the future, I woke up yesterday morning just in time to see the short list for this year’s Mercury Prize – awarded annually to the best album in the UK and Ireland – commandeer my Twitter feed for a short while. The process by which the shortlist and winner is selected isn’t entirely clear to me – it’s not as transparent as Canada’s Polaris Prize – but in a way that mysteriousness makes it more interesting.

Even though the “how” isn’t clear, a few years of Mercury-spotting has made the “what” pretty easy to peg, at least in a manner of speaking. History shows that about half the list is the cream of the Brit-indie pop/rock crop and the other half is pulled from all manner of other genres, from jazz to pop to hip-hop to what have you and the net result is eleven or twelve – interesting there’s no fixed size to the short list – albums that offer a good amount of grist for the conversational mill. The dozen records competing for the prize are:

Adele / 21 / Video: “Rolling In The Deep”
James Blake / James Blake / MP3: “To Care (Like You)”
Anna Calvi / Anna Calvi / MP3: “Blackout”
Elbow / build a rocket boys! / MP3: “Open Arms”
Everything Everything / Man Alive / Video: “Final Form”
Ghostpoet / Peanut Butter Blues & Melancholy Jam / Video: “Cash And Carry Me Home”
PJ Harvey / Let England Shake / MP3: “Written On The Forehead”
Katy B / On A Mission / Video: “Carry Me Home”
King Creosote & Jon Hopkins / Diamond Mine / Video: “Bubble”
Metronomy / The English Riviera / Video: “The Look”
Gwilym Simcock / Good Days at Schloss Elmau
Tinie Tempah / Disc-Overy / Video: “‘Til I’m Gone”

I can only speak to first-hand experience with about half the list, but it’s not unreasonable to think that the winning album will be amongst that subset. Indeed, many have already narrowed it down to a two-artist race between Adele and PJ Harvey, and if it’s down to those two I’d give the edge to Polly Jean if for no other reason than last year’s XX win was the eminently obvious choice. I don’t necessarily see them doing that again. And while I’d have no problem with either, both of their records being massive achievements by a number of standards, I’d be pretty happy to see Anna Calvi sneak up the middle to take it. I do love her self-titled debut and am sad that her appearance at Osheaga next week will not come with a stop down the 401. Perhaps a Mercury win would encourage her to do another North American tour and give me the opportunity to finally see her live. I also continue to love Elbow’s latest but think the odds of them winning for two albums in a row are pretty slim – they don’t have the underdog card to play anymore.

In any case, the winner will be announced on September 6.

Washington City Paper talks to Wild Beasts, whose Smother seems to be the consensus surprising omission from this year’s short list. They also do a couple video sessions for WNYC and The Fader and will be at The Mod Club on September 29.

Spin talks to Daniel Blumberg and The Milwaukee Journal-Sentinel to Max Bloom, both of Yuck.

Emmy The Great talks to Clash about her personal grassroots campaign against News International.

Interview and The Sydney Morning Herald talk to Patrick Wolf about his new record Lupercalia while The Independent finds out how he and Patti Smith became friends.

JAM has a feature on White Lies, in town at The Phoenix on August 3.

NPR has a World Cafe session with Beady Eye.

The Grid is starting rumours that Noel Gallagher will be in town for a show the week his solo debut Noel Gallagher and the High Flying Birds is released in North America, which is to say November 8. Bookie’s not one to just make stuff up, so keep an eye out. Also, in conversation with The List, Gallagher says he takes no joy in Beady Eye’s failure to tear up the charts.

The Guardian talks to Adrian Utley and Geoff Barrow of Portishead, who have two shows at The Sound Academy on October 9 and 10; word is the first night is sold out and the second not too far behind.

Artrocker chats with Tim Burgess of The Charlatans.

eMusic talks reunions and reissues with Brett Anderson and Mat Osman of Suede.

According to The Guardian, the New Order split is about as final and acrimonious as you imagined it to be.

French dance-pop veterans Tahiti 80 are back with a new record in The Past, The Present & The Possible and a tour which brings them to The Horseshoe on September 22, tickets $13.50 in advance.

MP3: Tahiti 80 – “Keys To The City”

M83 has finally revealed specifics on and an MP3 from their next album, which will be a double-set entitled Hurry Up, We’re Dreaming. Pitchfork has details on the record, which will be out on October 18. M83 plays Lee’s Palace on November 18, tickets $20 in advance.

MP3: M83 – “Midnight City”

DIY has a profile of I Break Horses, whose debut Hearts is out August 15.

Spinner talks to Lykke Li.

Adult Swim is giving away a new song from The Tallest Man On Earth. Just because, I guess.

MP3: The Tallest Man On Earth – “Weather Of A Killing Kind”

In a perfect world, this would be an item about a new Jens Lekman album and world tour including a local date. But it’s not a perfect world so instead, it’s an item about a new EP entitled An Argument With Myself, due out September 20, and a US tour that doesn’t cross the border. The Secretly Canadian press release consists of an interview with Jens.

Stereogum has the first MP3 from the new Loney Dear record, entitled Hall Music and out on October 4. There’s also rumours/promises of North American dates in November.

Labrador Records, purveyors of the finest in Swedish pop, have put out a free label sampler entitled Stockholm Belongs To Us which collects tracks from all their active roster. Needless to say, it’s wonderful.

Consequence Of Sound and Pitchfork both have more details on Bjork’s Biophilia project, the album of which will be out September 27 and the app of which was released today – The Guardian takes it for a spin.

And speaking of Bjork, guess who’s going to Iceland Airwaves this October? Lots of people. Me amongst them. It’s unlikely I’ll be able to swing tickets to Bjork’s Reykjavík Concert Hall shows, but hey. Iceland!

FacebookHow do you like your British Sea Power? Abrasive and anarchic as on their debut The Decline Of British Sea Power? Slick and anthemic as on the follow-up Open Season? Or are you loathe to choose between the two and prefer the middle ground that album number three – Do You Like Rock Music? – treads upon?

If you raised your hand for option c), then the Brighton-based Brits’ fourth effort Valhalla Dancehall – out today – should be on your “to-buy” list because it confirms that BSP have established their own little musical kingdom between the aforementioned territorial extremes where their eccentricities and populist tendencies intermingle and coexist. And if you preferred either a) or b), then Dancehall still has much to offer because, let’s face it, they’re too inherently weird to ever be too conventional and their musical vision is too widescreen to ever allow them to go soft.

Though it treads familiar terrain, Dancehall still carves its own niche, distinct from its predecessors. While opener “Who’s In Control?” sets a frenzied tone, overall the titular qualities the defined Rock Music has been dialed down slightly with grandeur taking priority over bombast. There’s still plenty of the latter, make no mistake, but it’s delivered in a more polished manner with some of the white noise having resolved into more atmospheric qualities and they’re balanced with truly gentle moments such as “Baby” and plenty in between. If Valhalla‘s place in the BSP canon is to be summed up in one word, it’s “refinement” in that it takes all their by-now familiar touchstones and dresses them up in just the right amount of classy. To some that might sound like maturing and/or getting boring, but if it gives us more gems like album closer “Heavy Water”, with its subtle motorik pulse, then call it what you like – I’ll take it.

Clash has excerpted a portion of an interview with the band from their latest issue and The Fly also has a feature piece.

MP3: British Sea Power – “Who’s In Control?”
MP3: British Sea Power – “Living Is So Easy”
Video: British Sea Power – “Living Is So Easy”
Stream: British Sea Power / Valhalla Dancehall

The Line Of Best Fit and The Fly have feature pieces on Esben & The Witch, whose debut Violet Cries is out on February 8. I said after seeing them open for Foals back in September that I’d wait until I heard the album before passing judgement on whether they were worth paying attention to… and having heard it, I’m still paying attention.

The Quietus talks to PJ Harvey about her new record Let England Shake, due out February 15.

The first single from Noah & The Whale’s forthcoming Last Night On Earth has a video and the album itself has a proper release date – it will be out on March 8 and they’ll be at the Mod Club on March 24.

Video: Noah & The Whale – “L.I.F.E.G.O.E.S.O.N.”

NME reports that Glasvegas have given their second album the title of Euphoric Heartbreak; sorry Glasvegas dudes, but I will not indulge you with including the “///” or “\\\” when writing the title because it is, how you say, bullshit. Only M.I.A. got away with that because she’s batshit. The first single from said record will be made available this weekend and the record is due out sometime in the Spring.

The Fly checks in with Patrick Wolf, who’s in the studio working on his next album – it’s still untitled but will be out in May. twentyfourbit has some live video of Wolf previewing new material at a recent London show.

Synth-pop pioneers Orchestral Manoeuvres In The Dark are back, both with a new album in History Of Modern (released last year) and their first North American tour in over two decades – it will kick off on March 5 at The Phoenix in Toronto, tickets $28.50. Between you and me and the internet, I played their best-of In The Dark a fair bit in high school. No I wasn’t cool. Is that just becoming clear now?

Video: Orchestral Manoeuvres In The Dark – “If You Leave”

The Radio Dept. talks to Spinner about some of the more political angles of their work. Their compilation album Passive Aggressive is out January 25 and they’re at Lee’s Palace on February 7.

Spin is streaming the new single from Lykke Li; her new record Wounded Rhymes will be out on March 1 and she plays The Phoenix on May 22.

Pitchfork has details on Peter Bjorn & John’s new record Gimme Some, due out March 29. Spin talks to Peter Moren about the record.

Jens Lekman has taken to his blog to announce that 2011 will, if the stars align, see him release a new album. And an EP. If the stars align.

Julien BourgeoisThe inimitable Jens Lekman has been a bit quiet since wrapping up support for 2007’s Night Falls On Kortedala but a the last couple weeks have seen not quite a flurry of activity from the Swedish singer-songwriter, but definite signs that he’s not been idle while away.

First came what he called “A Summer In 3/4 Time”, a downloadable mix/mash-up that started as a remix he did for Au Revoir Simone and turned into an extended aural treatise on 3/4 and 6/8 tempos spanning all eras and genres of pop music with some film quotes thrown in for good measure. There’s a breakdown of the what and the why at his Small Talk journal, but really all you need to know is this.

And while that was very unexpected and enjoyable, the real treat came last week when a new song surfaced and was made available for free in exchange for an email. It also came with an extended backstory describing its origins – your boilerplate boy loses girl on the eve of the US election, fakes being happy on Swedish TV and writes a song about it – but what’s most important is that the song is big and sweeping and pure Jens. And bodes very well for his next record, whenever it’s done.

MP3: Jens Lekman presents A Summer in 3/4 Time

Yours Truly solicits an acoustic performance from First Aid Kit; they’re back in North America this Fall and are at the El Mocambo on October 15.

The San Francisco Chronicle interviews Joanna Newsom.

NYC Taper is sharing a recording of The National at Terminal 5 in New York last week.

The Fly solicits an In The Courtyard video session from The Morning Bender. See them in a similar setting on Wednesday afternoon when they play a free acoustic set outside The Big Chill ice cream in Little Italy, in between opening gigs for The Black Keys at the Kool Haus on August 4 and 5.

Spinner talks to Greg Edwards of Autolux. Transit Transit is out this week and they are at Lee’s Palace on August 24.

Matt Pond PA will be at the Mod Club on October 1. They released The Dark Leaves back in the Spring.

MP3: Matt Pond PA – “Grave’s Disease”

Punk legends Bad Religion will be in town on October 14 at a venue to be announced in support of their new record The Dissent of Man, out September 28.

Video: Bad Religion – “New Dark Ages”

How do you know Broken Social Scene are down under? Interviews in Australia’s The Vine and New Zealand’s Under The Radar. And oh yeah, their new video is out.

Video: Broken Social Scene – “Forced To Love”

If you haven’t heard it yet, NPR is streaming the whole of Arcade Fire’s The Suburbs – out now if you’re analog and tomorrow if you’re digital. They play the Toronto Islands on August 14.

Stream: Arcade Fire / The Suburbs

And last but certainly not least – Grinderman is at the Phoenix on November 11, full dates at Pitchfork. Grinderman 2 is out September 14.

Trailer: Grinderman 2

Max WeilandFor so long has Clinging To A Scheme, the third album from Sweden’s The Radio Dept, been promised and not delivered that it’s become something of a myth – if someone were to tell me that when it was finally to be released unto the world that it would be delivered by Axl Rose and Kevin Shields riding unicorns, I’d probably believe it.

But it finally arrives in stores next week, and fans who’ve been waiting for upwards of four years for another Radio Dept record will find that it… is another Radio Dept record. The trio haven’t used the time away to reinvent themselves or their sound, but with only two records to their names over twelve years of existence, you can hardly accuse them of having fallen into a holding pattern or phoning it in. They’ve simply adhering to the template laid out in their two masterpieces so far, Lesser Matters and Pet Grief, and written (and discarded and rewritten) songs until coming up with a collection they were happy with, and this is how long its taken. While it’s true that wrapping pop songs built on strings and electronics in fuzzy blankets of sound isn’t unique in and of itself, very few have managed to strike as perfect a balance between shimmer and static as The Radio Dept, and that’s even before you factor in their distinctly Scandinavian melancholy.

Within the boundaries of what makes a Radio Dept album, however, there are some adjustments from past works. Sonically, it largely retains the cleanliness of Pet Grief but some of the rough edges of Lesser Matters has crept back into the mix – welcomely, I might add – creating a blended texture that’s quantitatively different from but more quintessentially characteristic than anything they’ve done before. The mood of Clinging is also lighter, with a handful of genuinely bouncy numbers that would probably have felt out of place on the beautifully downbeat Pet Grief, but overall it moves at the pace of a thoughtful stroll and the vibe is that of someone trying their best to have a good time and be happy and not really succeeding. And it’s that contrast and combination of smiling whilst frowning that’s the source of much of The Radio Dept’s magic, a magic which is present in abundance on Clinging To A Scheme. Yes, it sounds just like The Radio Dept, but that’s all we ever asked for.

Penny Black talks to frontman Johan Duncanson about the long road to the record and what lies ahead for the band.

MP3: The Radio Dept – “Never Follow Suit”
MP3: The Radio Dept – “Heaven’s On Fire”
MP3: The Radio Dept – “David”

The Mary Onettes are releasing a new 7″ for Record Store Day and for those who won’t be able to get their hands on a copy, they’re giving away the a-side for free.

MP3: The Mary Onettes – “The Night Before The Funeral”

Interview interviews jj.

Jens Lekman recalls the state of Swedish indie in the ’90s to The Jakarta Post.

The Vancouver Sun, Bay Area Reporter and The AV Club have conversations with Jonsi, while Grapevine talks to him and collaborator Nico Muhly. Jonsi plays the Sound Academy on April 30 and May 1.

The Telegraph and Houston Chronicle talk to Frightened Rabbit frontman Scott Hutchison. They’re at the Opera House on May 4.

LCD Soundsystem have put up a stream of their new record This Is Happening, weeks ahead of its May 18 release date. They will be at the Kool Haus on May 25.

Stream: LCD Soundsystem / This Is Happening

The Toronto Star and CNN chat with Sam Coomes and Janet Weiss of Quasi. They’ll be at The Horseshoe on Sunday night, April 18.

The jokers at MBV Music have posted the cover art to the new Pernice Brothers record, which is coming out on June 15 with the cheery title of Goodbye Killer.

Spin talks to Stephen Malkmus on how the Pavement reunion came to be while North County Times chats with rhythm section Bob Nastanovich and Mark Ibold. Said reunion rolls into the Toronto Islands on June 19.

Beach House are giving away one of the tracks on their Record Store Day 12″ EP. Get it – if you’re early and lucky – this Saturday. They’re also playing the Toronto Islands on June 19.

MP3: Beach House – “Zebra” (UK Edit)

Filler has an interview and fashion spread with Holly Miranda. She plays the El Mocambo on May 20.