Frank YangIf you want to be technical about it, territories and their associated release dates being what they are, Jessie Ware doesn’t actually have any music released in North America besides the If You’re Never Gonna Move EP, but if you think she sold out The Opera House on Saturday night on the back of that… Well it’d have been plausible, since it cherry picks three superb cuts from her debut Devotion, plus a cover and a remix, but in reality the massive success of the album in her native UK last year has already made her a genuine rising star on this side of the pond, even if the domestic edition of Devotion doesn’t come out until April 16 – essentially a meaningless date unless you’re looking to not pay import prices for an LP or something.

In any case, it was a packed house and if Ware alone wasn’t enough draw, New York-based duo MS MR took the opening slot on the tour with their own respectable head of buzz. Pronounced “Miss Mister” – Lizzy Plapinger, the “miss” in question to keyboardist/vocalist Max Hershenow’s “mister” – cleared that up early on, they brought energy levels to match their day-glo streetwear aesthetic (and Plapinger’s impressively rainbow-hued hair). Under normal circumstances, MS MR would be easily filed under synth-pop, but given the way the live drums dominated the sound, that epithet felt inadequate to their heavy, earthy sound. Further, Plapinger’s vocals wasn’t the sort of light, rangy instrument you’d usually find in the genre, instead having a texture ore suited to blues or classic rock tropes – and yet here she was. The soulful set-closer “Hurricane” was probably the best synthesis of what they could and should do with the tools at hand, and while it provided a clear-cut high point, it also showed their other material wasn’t up that level yet. Maybe someday, but not yet. Their debut album Secondhand Rapture is out May 14 and they’re back for a show at Wrongbar on May 22.

Everything about Jessie Ware – from her rich, emotive voice through the sleek, 21st-century electro-soul that makes Devotion so delicious to the black-and-white jacket and pants ensemble she wore onstage Saturday night – is elegant. She sounded divine, taking up at the front of the stage alone while her three-piece backing band all set up along the back, spending the next hour delivering heart-rending and hip-moving numbers from Devotion – all but “Something Inside” made the set list – as well as the Bobby Caldwell cover from If You’re Never Gonna Move and reprising her “Valentine” single with drummer Dornik Leigh cover Sampha’s original parts. Not that there should have been any doubt that she could sound as good live as on record, the relatively stripped-down live band arrangements gave the material a different dimension and feel, but it was still gratifying to see and experience. And yet for as good as she was musically, the trait that was most on display this evening was just how wonderfully goofy she was.

If there’s any kind of manual about how an ascendant soul diva should behave onstage, Jessie Ware didn’t get a copy. Or perhaps she threw it out and instead subscribed to the Adele school of thought, which is simply “be yourself”. Ware had no airs about her whatsoever, and when not singing – and even sometimes while – was clearly having a great time bantering and interacting with the audience, posing for photos, comparing outfits, and cracking jokes; goofing with the crowd did cause a couple of flubs in the performance, but she recovered perfectly and the moments only added to the show. An argument could be made that she was more delighted to be there, for her first Canadian show, than her fans were – and they were plenty delighted.

The arguable show-stopper of the night was a breathtaking “Wildest Moments”, but it wasn’t the final word as they wrapped with “Running”; there was no encore, but the job was well and truly done. At one point in the show, Ware mentioned that though this was her first Canadian performance, she had actually been in Toronto a couple years ago as a backup singer. This was probably in reference to the 2011 SBTRKT show at Wrongbar which presently gives attendees bragging rights because of a surprise Drake appearance, but in the not-too-distant future, it might be most notable as the first time superstar Jessie Ware set foot on a Toronto stage.

Exclaim and BlogTO also have reviews of the show. The Georgia Straight, Stereogum, and Exclaim have interviews with Ware, and NPR has a World Cafe session. Both Ware and MS MR have just released new videos.

Photos: Jessie Ware, MS MR @ The Opera House – April 6, 2013
Video: Jessie Ware – “Imagine It Was Us”
Video: Jessie Ware – “Sweet Talk”
Video: Jessie Ware – “Night Light”
Video: Jessie Ware – “Wildest Moments”
Video: Jessie Ware – “110%”
Video: Jessie Ware – “Running”
Video: Jessie Ware & Sampha – “Valentine”
Video: MS MR – “Hurricane” (version two)
Video: MS MR – “Hurricane” (version one)
Video: MS MR – “Fantasy”

The San Francisco Chronicle and San Francisco Examiner talk to Johnny Marr about going solo. He’s at The Phoenix on April 27.

The Guardian, Village Voice, Filter, and Clash talk to James Blake about his new album Overgrown, out now. He plays The Danforth Music Hall on May 4.

Clash profiles Daughter, whose debut If You Leave gets a North American release on April 30. They play The Great Hall on May 7.

Beady Eye appear ready to drop their Dave Sitek-produced second album on June 10. A first, horn-infused, sample from the album has been made available to stream.

Stream: Beady Eye – “Flick Of The Finger”

In conversation with DIY, Katie Harkin offers updates on what’s been happening with Sky Larkin – including lineup changes – and confirms that their third album will be coming out this Summer.

Spinner and Black Book interview head Frightened Rabbit Scott Hutchison.

British Sea Power discuss their latest Machineries Of Joy with DIY and New Statesman.

Frank YangSo this is the first time in nine years that I am NOT in Austin for SXSW; reasons for this are myriad, but the broad strokes can be inferred from this. So while this means rather than embarrassment of concert riches to choose from, my live music options amongst bands not deep in the heart of Texas were decidedly shallower, but still pretty great – after all, Veronica Falls were back in town.

It was at SXSW 2011 that I first made the acquaintance of the Anglo-Scottish quartet, proceeding to catch them at home and abroad, with their show at The Garrison last February the last show I caught in support of their self-titled debut, and just as well – as much as I loved the record, there was only so much mileage to be squeezed out of a single 36-minute collection.

That wasn’t an issue on Tuesday night when they returned to The Garrison with their second album Waiting For Something To Happen exactly one month old and still fresh and delightful. It strikes the perfect balance of keeping what made their debut a gem – the throwback ’80s-styled indie-pop exulting under moodily overcast skies – and improving it with catchier hooks, stronger vocals in all departments – melodies, harmonies, expressiveness – and just enough extra stylistic boundary-pushing. It was everything I would have wanted in a follow-up, and that it gave them excuse to come back to town was all the better.

Openers Cold Showers keep a pretty low online profile – it took more digging than it should have to establish they hail from Los Angeles – but putting a finger on their sound wasn’t nearly as difficult. Their dark, post-punk sound mines the territory of early Cure and Joy Division, but they manage to avoid sounding dismissively derivative. Built on a bed of muscular, mechanical drumming, prone to measured bursts of noise, and surprisingly melodic while maintaining a persistant broodiness. Not the most exciting, presentation-wise, but it sounded good.

It was funny to go back and re-read my writeup of last year’s Veronica Falls show at The Garrison because I noted the problems the band were having with their on-stage monitor mixes – funny because a year later, they still seemed to be having the same issues. But still, except for the drums sounding a bit overloud – more because of Patrick Doyle’s right foot than any sound reinforcement issues – the house mix sounded fine. Though hardly overly-polished on record, live they added an appealing extra layer of grit to the proceedings and were incrementally more energized than they were whilst supporting their debut; frontwoman Roxanne Clifford was bouncing around the stage, whipping her hair about, and even cracked smiles when not grimacing at the sound coming from their monitors. Having twice the material to draw from meant this show was nearly twice as long as their last visit, with the set list split almost evenly between the two records and for the encore, they acquiesced to a fan request for “Starry Eyes”, a b-side that pre-dated their debut. It would have been nicer to see more people on hand – I wouldn’t have put the attendance much more than who came out last year – but at least the fans were ardent.

Photos: Veronica Falls, Cold Showers @ The Garrison – March 12, 2013
MP3: Veronica Falls – “Come On Over”
MP3: Veronica Falls – “Found Love In A Graveyard”
Video: Veronica Falls – “Teenage”
Video: Veronica Falls – “My Heart Beats”
Video: Veronica Falls – “Bad Feeling”
Video: Veronica Falls – “Come On Over”
Video: Veronica Falls – “Beachy Head”
Video: Veronica Falls – “Found Love In A Graveyard”
Video: Cold Showers – “BC”

Spinner talks to Billy Bragg about his new album Tooth And Nail, in stores next Tuesday. He plays the Danforth Music Hall on May 3.

NOW talks to CHVRCHES in advance of their Canadian Musicfest-opening show at The Mod Club on March 20.

For Folk’s Sake and The Chicago Tribune have interviews with Richard Thompson, in town next week at Massey Hall on March 22 opening for Emmylou Harris and Rodney Crowell.

British Sea Power have gone with the title track as the first video from their new record Machineries Of Joy, out April 1.

Video: British Sea Power – “Machineries Of Joy”

The Alternate Side has posted a video session with Jessie Ware. She makes her local debut at The Opera House on April 6.

British soul singer Laura Mvula – fourth on this year’s BBC Sound of 2013 poll – will make her local debut on April 20 at The Drake Underground in support of the just-released debut album Sing To The Moon. DIY has a feature piece.

Video: Laura Mvula – “Green Garden”

Johnny Marr offers DIY some thoughts on the likelihood of a Smiths reunion, and they’re not encouraging if you’re someone holding out hope for a Smiths reunion. Best just head to his show at The Phoenix on April 27 if you want to see Marr live.

Rolling Stone has premiered the new video from Foals’ Holy Fire; the NSFW warning seems pretty much a given by this point. They play The Kool Haus on May 11.

Video: Foals – “Late Night”

GQ has an interview with Kele Okereke of Bloc Party, who’ve just released a crowdsourced new video from Four. They’ll play Garrison Commons at Fort York as part of Field Trip on June 8.

Video: Bloc Party – “Truth”

The Fly has a feature piece on one of the possible saviours of British guitar rock, Peace; they’re in town on June 15 as part of NXNE.

The Line Of Best Fit reports that Pet Shop Boys have already completed a follow-up to last year’s Elysium; Electric will be out in June and of course there’s a trailer.

Trailer: Pet Shop Boys / Electric

The Vaccines have rolled out a new clip from their second album Come Of Age. They’re sort-of in town on August 24 in Simcoe taking part in the Mumford & Sons-led Gentlemen Of The Road Stopover fest. Mumford & Sons also have a new video from their own second record, Babel.

Video: The Vaccines – “Bad Mood”
Video: Mumford & Sons – “Whispers In The Dark”

TOY have rolled out another new video from their debut, TOY.

Video: TOY – “My Heart Skips A Beat”

The Twilight Sad has made a new song from the No One Can Ever Know sessions available to stream.

Stream: The Twilight Sad – “Tell Me When We’re Having Fun”

PopMatters chats with Patrick Wolf.

Consequence Of Sound and Blurt talk to Robyn Hitchcock about his new record Love From London.

Over at Talkhouse, Shearwater’s Jonathan Meiburg has an excellent essay/review about David Bowie’s new record The Next Day and the evolution of Bowie’s voice through the decades.

Windish AgencyAnd we wrap the week with (again) some link housecleaning from overseas, led by the next great Scottish synth-pop – if not spelling – hope, CHVRCHES. The trio, who placed a commendable fifth in the BBC’s Sound Of 2013 poll, don’t offer a groundbreaking sound but inviting electronic textures, sweetly earnest vocals, and big pop hooks really don’t ever go out of style.

They recently told an audience that their full-length debut shouldn’t be expected until the Fall, but they’re hoping to keep the excitement that started building around the band last Autumn going until then. Following a string of singles, they’ll issue the Recover EP digitally on March 25, and the title track from it will A-side a 12″ release for Record Store Day on April 20; a video for that tune was just released. Additionally, they’re headed down to Austin next week as one of SXSW’s buzz bands, and though they’re only doing a few select North American dates around the festival, Wednesday March 20 at Toronto’s Mod Club as part of Canadian Musicfest is one of them.

Billboard and Pitchfork both have feature interviews with the band.

MP3: CHVRCHES – “The Mother We Share”
Video: CHVRCHES – “Recover”

NOW talks to Tame Impala ahead of tomorrow night’s show at the Kool Haus.

Premier Guitar talks to David Bowie guitarist Earl Slick about making The Next Day, which is out next Tuesday but available to stream right now at iTunes.

Stream: David Bowie / The Next Day

DIY, Clash, and The Toronto Sun chat with Kate Nash, in town at The Horseshoe on March 15.

7Digital, The Guardian, and The Quietus talk to Brett Anderson of Suede about their new album Bloodsports, due out March 18. NME, on the other hand, wants to talk about making the video for “Animal Nitrate” circa Suede, all those years ago.

The Big Takeover and FasterLouder chat with Stornoway about their second album Tales From Terra Firma, due out March 19. They play The Horseshoe on May 9.

NPR talks to Richard Thompson about his latest album, Electric. He plays Massey Hall in support of Emmylou Harris on March 22.

Though the video disappeared as quickly as it appeared – presumably destined to resurface closer to the April 1 release date of She Paints Words In Red – Slicing Up Eyeballs points out that the new single from The House Of Love is at least available to stream.

Stream: The House Of Love – “A Baby Got Back On Its Feet”

Drowned In Sound noses around Ólafur Arnalds’ Reykjavik studio. For Now I Am Winter gets a North American release on April 2.

NPR has a radio session and V and The Scottish Sun interviews with Jessie Ware, making her Toronto debut April 6 at The Opera House.

James Blake has come up with a novel way to share the next preview track from his forthcoming Overgrown, out April 8. Sure, you can just listen to the stream on the Tumblr, but you can also call the number and hear it over the phone. Though maybe the stream is easier. He plays The Danforth Music Hall on May 4.

Stream: James Blake – “Digital Lion”

The Line Of Best Fit asks The Joy Formidable where they look for inspiration. They play The Phoenix on April 12.

The first video from the new Phoenix record Bankrupt! has arrived; the video is mental and the song is Phoenix. The record is out April 23 and they headline the inaugural Grove Festival at Niagara-On-The-Lake on August 3.

Video: Phoenix – “Entertainment”

Pitchfork checks in with Jose Gonzalez about the new Junip self-title coming April 23.

Reddit hosted an AMA with Johnny Marr while New Statesman mostly wanted to ask about politics and GQ about going solo. Marr is at The Phoenix on April 27.

Pitchfork interviews Foals. They’re at The Kool Haus on May 11.

Laura Marling has announced a May 28 release date for hew fourth album Once I Was An Eagle and is streaming the first single from it. Details on the record available at DIY.

Stream: Laura Marling – “Where Can I Go?”

4AD has details on the new album from Camera Obscura, entitled Desire Lines and due out June 4. They play The Toronto Urban Roots Fest at Garrison Commons a month later on July 4.

With a new album ready for release later this year, British electronic outfit Mount Kimbie have set a North American tour that brings them to The Hoxton on June 5.

Video: Mount Kimbie – “Carbonated”

NPR has a World Cafe session with The xx. They play Downsview Park on June 6.

Another of the up-and-coming bands that’s supposed to save British guitar music – Peace – have announced a North American tour that brings them to town on June 15 at a venue to be determined for NXNE.

MP3: Peace – “California Daze”
Video: Peace – “Bloodshake”

Paste checks in with Iceage, themselves checking in at NXNE on June 15 and 16.

GQ examines the sartorial considerations of Dancin’ Thom in the new Atoms For Peace video from AMOK.

Video: Atoms For Peace – “Ingenue”

Jack Featherstone, Max ParsonsAt long last, Little Boots is finally ready to let the follow-up to 2009’s Hands out of the studio and into the world. I don’t think anyone – not even Victoria Hesketh – expected it to be almost four years between debut and follow-up, but according to Spin, it took her that long to find the sweet spot between being the “proper songs” she wanted to write and the disco dance floor bangers she was expected to.

Still, her fans have been able to accompany her on that journey of discovery as she’s been releasing new songs intermittently since late 2011 as sort of signposts of the journey; two of those three already-previewed tracks will appear on the new record – entitled Nocturnes – when it’s released on May 7. Details on the release can be had at Billboard and the first official single from it is available to hear via free download or watch via video.

Some might argue – and perhaps correctly – that Little Boots didn’t deliver on the massive hype that accompanied her BBC Sound of 2009 win, but there’s no arguing that Hands was a very solid album of catchy electro-pop and if Nocturnes offers more of the same, then we’re all better off.

MP3: Little Boots – “Motorway”
MP3: Little Boots – “Every Night I Say A Prayer”
Stream: Little Boots – “Superstitious Heart”
Stream: Little Boots – “Shake”
Video: Little Boots – “Motorway”

Drowned In Sound, Billboard, MTV Hive, Consequence Of Sound, and NPR talk to Johnny Marr about going solo; The Messenger came out this week and he brings The Healers to The Phoenix on April 27.

CBC Music has an interview and The Alternate Side a session with Palma Violets, whose debut 180 is out this week and streamable at NME. They play Lee’s Palace on May 3.

Stream: Palma Violets / 180

Spin is streaming the whole of Mogwai’s just-released soundtrack for French zombie television series Les Revenants, and keeping on topic, Stuart Braithwaite offers The Guardian his five favourite undead bits of cinema.

Stream: Mogwai / Les Revenants

The Guardian interviews Thom Yorke about Atoms For Peace, whose debut AMOK is out this week.

Spin and CBC Music talk to Kate Nash about her latest Girl Talk, which is also streaming in whole at the CBC and from which a new vide was just released. The album is out March 5 and she brings it to The Horseshoe on March 15.

Video: Kate Nash – “3AM”
Stream: Kate Nash / Girl Talk

The Line Of Best Fit, The Quietus, and Stereogum talk to Robyn Hitchcock about his new record Love From London, out March 5.

Today in David Bowie: The Guardian compiles a profile of the Thin White Duke based on the recollections of those who’ve known him from childhood through today, Mr. Porter offers a guide to Bowie style through the years, NME crows about getting an exclusive cover photo, and Rolling Stone learns more about the Next Day sessions from drummer Zack Alford and guitarist Gerry Leonard. The album arrives March 12 and oh yeah the video for the second single from it is out now.

Video: David Bowie – “The Stars (Are Out Tonight)”

eMusic solicits a list of favourite sophomore albums from Veronica Falls, who are too modest to include their own Waiting For Something To Happen on the list. They play The Garrison on March 12.

Crack has a feature piece on Daughter, whose debut If You Leave is out March 18 in the UK and April 30 in North America. They play The Great Hall on May 7.

The Telegraph has not one but two interviews and NPR a World Cafe session with Richard Thompson, who opens for Emmylou Harris at Massey Hall on March 22.

eMusic and The Scottish Sun interview Frightened Rabbit, who’ve a new video from Pedestrian Verse to show off. They play The Phoenix on March 31.

Video: Frightened Rabbit – “Backyard Skulls”

Spinner and The Independent have features and Yours Truly a video session with Jessie Ware, whose Devotion gets a North American release on April 2 and plays The Opera House on April 6.

DIY has the details of Charli XCX’s long-overdue debut album; True Romance is due out on April 15. MTV Hive also has an interview with the artist, who will be in town at the Sound Academy on May 23 opening for Marina & The Diamonds.

Art Brut will sum up their career thus far with the release of a double-disc best-of/rarities compilation entitled – of course – Top Of The Pops. It’s out April 16.

Still Corners have announced details of their second album, entitled Strange Pleasures, out May 7, and based on the second sample – “Fireflies” was released as a single last Fall – it will not be Creatures On An Hour part two. At all.

MP3: Still Corners – “Berlin Lovers”

Spin has an interview and The Line Of Best Fit an acoustic session with Foals. They are at The Kool Haus on May 11.

The Wedding Present might be getting attention mostly for their Hit Parade recital tour, but they’ve also just put out a new video from last year’s Valentina. There’s also an interview at The New Zealand Herald.

Video: The Wedding Present – “Mystery Date”

Pitchfork has premiered the new video from Bat For Lashes, taken from The Haunted Man.

Video: Bat For Lashes – “Lillies”

The Line Of Best Fit reports that The Big Pink is now officially a solo project for Robbie Furze, with Milo Cordell opting to leave the band. If you’re not sure which was which, if you’ve ever seen The Big Pink live then Cordell was the one you never noticed.

Jon ShardIt’s been a while since both Morrissey and Johnny Marr have been in the news simultaneously, and not just issuing denials of Smiths reunions. Moz, unfortunately, is making headlines for his health issues and resulting tour cancellations – though that’s probably better than for making outrageously offensive comments – but Marr’s press cycle is decidedly more positive as he’s now just a week out from the release of his new record The Messenger.

It’s not entirely clear to me why The Messenger is being called his solo debut; even though 2003’s Boomslang was credited to Johnny Marr & The Healers, I don’t think anyone looked at it as a songwriting partnership between Marr and Zak Starkey. Of course, the fact that that record wasn’t very good may play a part in why they’d rather present The Messenger as its own standalone thing rather than a follow-up. In any case, with the February 26 release date of the new record almost upon us, the whole of it is now available for advance stream at Rolling Stone.

I’m not sure what general expectations around the record are. It’s great to have Marr and his guitar back and not just playing sideman, even though that’s the role through which his legend was largely formed. For my part, I just wanted it to be better than Boomslang which was disappointingly lacking in personality and sounded like a late-era Britpop also-ran. The Messenger feels sprightlier, more melodic, and more classically Marr – more jangle than riff. Whereas I couldn’t wait for Boomslang to be over, I’ve been hitting repeat on The Messenger – consider it endorsed?

Pitchfork, Clash, and Time have interviews with Marr and NME got him to play “Heaven Knows I’m Miserable Know” for the first time in a quarter-century by way of a guitar lesson. Marr’s North American tour – backed by The Healers but not the same Boomslang Healers – kicks off in April and will stop in Toronto at The Phoenix on April 27.

Stream: Johnny Marr / The Messenger

The Sun, The Guardian, and eMusic have features on Nick Cave & The Bad Seeds on the occasion of the release of Push The Sky Away today. They play Massey Hall on March 23.

The Fly interviews Iceage. Their new album You’re Nothing is out today.

Esquire has an interview with Thom Yorke, usually of Radiohead but lately of Atoms For Peace. Yorke and his AFP compatriots hosted a Reddit AMA yesterday in advance of the release of AMOK on February 26, and have also begun streaming the new album in whole at NPR. Oh, and if a Thom Yorke-Flea collaboration doesn’t float your boat, know that Radiohead will be reconvening this year to work on a new album.

Stream: Atoms For Peace / AMOK

NPR is streaming Shout Out Louds’ latest effort Optica ahead of its February 26 release date. They play The Opera House on May 14.

Stream: Shout Out Louds / Optica

The Line Of Best Fit interviews Søen Løkke Juul of Indians, who are at The Drake on March 5.

The Independent talks to Kate Nash about her third album Girl Talk, due out on March 5. She plays The Horseshoe on March 15.

For Folks Sake talks to Stornoway about their second album Tales From Terra Firma, coming March 19. They’ve just released the first video from the album.

Video: Stornoway – “Knock Me On The Head”

Clash interviews The Joy Formidable about their new record Wolf’s Law, which they bring to The Phoenix on April 12.

Phoenix have premiered the first sample of Bankrupt! at Pitchfork by way of lyric video, and yes it sounds like Phoenix. Bankrupt! is out April 22.

Lyric Video: Phoenix – “Entertainment”

Primal Scream have released the first video from their new record More Light, which is due out on May 6.

Video: Primal Scream – “2013”

The Line Of Best Fit talks to Foals, in town at The Kool Haus on May 11.

Though there’s maddeningly no word on an actual full-length release, Kate Jackson – ex-Long Blondes – has made the whole of her recording sessions with Bernard Butler available to stream. Which will have to suffice for the foreseeable future.

NPR welcomes Bat For Lashes for a World Cafe session.