LastFMYou must understand how it pains me to say this, but at long last two of the artists whom I’ve been waiting to come to Toronto for most of this year – Norwegian firebrand Ida Maria and New Zealand ’80s acolyte Ladyhawke – have finally set a date… and I have Perez Hilton to thank. The two are the marquee acts of the first Perez Hilton Presents tour and as much as I hate to think he and I have anything in common besides rudimentary MS Paint skills, in this case, we’ve got some of the same taste in music.

Both Maria’s Fortress ‘Round My Heart and Ladyhawke’s self-titled debut are irresistibly catchy, the former by means of giddy, boozy energy and the latter with big, retro synth-pop hooks. I should have seen both at SxSW back in March but visa issues kept Ida Maria from making any of her scheduled appearances (save Hilton’s party) and while Ladyhawke’s set wasn’t the most dynamic show, just hearing those songs live was plenty to get excited about.

So despite the name that will surely be posted in big, neon letters above the marquee (figuratively speaking), I will trek out to the Opera House on September 17 to see Ida Maria and Ladyhawke along with Frankmusik, another act apparently with the PH seal of approval, and hope that wonderfully sugary pop wipes out the bad taste of the tour sponsor. Whether you’re able to do the same is between you and your conscience. Full dates at The Music Slut.

MP3: Ladyhawke – “My Delirium”
Video: Ida Maria – “I Like You So Much Better When You’re Naked”
Video: Ida Maria – “Oh My God”
Video: Ida Maria – “Stella”
Video: Ladyhawke – “Paris Is Burning”
Video: Ladyhawke – “My Delirium”
Video: Ladyhawke – “Dusk Till Dawn”
Video: Ladyhawke – “Back Of The Van”

The Verve reunion that went so triumphantly last year? Exclaim and The Guardian report that it’s – wait for it – history.

BBC talks to Mani Mounfield of The Stone Roses on the occasion of the band’s 20th anniversary, which will include a multitude of reissues of their debut album at all price points as of today. The Guardian, meanwhile, has gotten some video footage of the band in the studio recording “Fool’s Gold”.

QRO talks to Aleks Campesinos! of Los Campesinos! about her impending departure from the band and subsequent reclamation of her surname.

NME has some info on Sigh No More, the debut album from Mumford & Sons, finally ready for an October 5 release in the UK.

The Boston Globe talks to Bat For Lashes’ Natasha Khan.

The Telegraph is the latest media outlet to catch onto the ’80s revival trend in pop music, talking to La Roux’s Elly Jackson about the movement.

Also mentioned in that piece is Little Boots, with whom The Telegraph has a separate feature interview. She’s at Wrongbar on September 14.

The Quietus talks to The Big Pink. There’s a new video from A Brief History Of Love, out September 22, and they’ll be at Lee’s Palace on November 29.

Video: The Big Pink – “Dominos”

Ambient/post-rock outfit Sian Alice Group have a date at the Drake Underground on October 16 as part of a massive Fall tour in support of their new album Troubled, Shaken, Etc..

Video: Sian Alice Group – “Close To The Ground”

Shonen Knife will be at the Horseshoe on October 18, tickets $15.50. Their new album Super Group is out August 25.

MP3: Shonen Knife – “Super Group”
Video: Shonen Knife – “Super Group”

Stereogum has premiered the next video from Yo La Tengo’s Popular Songs, out September 8. They’re at the Opera House on October 3.

Video: Yo La Tengo – “Avalon Or Someone Very Similar”

Sweet Oblivion has an interview with School Of Seven Bells, who have a date at Lee’s Palace on October 15.

Paste gets to know Chairlift.

Bradley’s Almanac is sharing MP3s of a Telekinesis show in Cambridge, MA from earlier this year.

Decider talks to Kim Deal of The Breeders and Pixies, the former of whom are at Lee’s Palace this Saturday and the latter at V Fest on August 29.

I didn’t realize that Magnet was slowly putting their back issue feature content online. This is fantastic news, as they’ve had some terrific stories over the years including this one about the Minneapolis scene of the ’80s, focusing on The Replacements and Husker Du. As I recall, the interviews with the three members of Husker Du were particularly fascinating reading. I’ll be looking through my back issues of Magnet to see what other goodies might have found their way online.

And while looking back to the past, a request from a friend – back on November 20, 1999, Joe Strummer & The Mescaleros played a ridiculously good show at the Warehouse in Toronto at which he and I were in attendance. Apparently this show was webcast with state-of-the-art 1999 webcasting technology, possibly also broadcast via radio, and apparently bootlegs exist. My question to any and all out there reading – do you have a copy of this, and if so, can you share? Please and thank you? Thanks.

Chrissy PiperThe Mountain Goats have revealed (revelated?) details of their next album and rather than utilize more of his typically cryptic or obscure song titles, John Darnielle has instead opted to name all twelve songs on The Life Of The World To Come after Bible verses. Whether these are meant as shorthand for each song’s real, divinely-inspired title or if he’s just drawing thematic parallels is unclear, but what’s for certain is that the title of the first released MP3, linked below, is easier to say (and type) than “So the Lord God banished him from the Garden of Eden to work the ground from which he had been taken” (that’s the referenced verse, I looked it up online. I’m not quoting scripture from memory, goodness no).

In a posting announcing the new record on their website announcing the new album, along with production details and the October 6 release date, Darnielle denies he’s found religion in any conventional sense or is planning on railing against it with the new record, but will expound more on how it has inspired the new record in the near future. He’s also just announced a slew of Fall dates which will have Final Fantasy, who did string arrangements on the new record, as support. There’s no local date as yet – perhaps because Final Fantasy would possibly be a larger draw in his hometown than the headliner, and that’s just awkward. But I’m sure the Goats will be up this way to spread their gospel sooner or later so in the meantime, just enjoy the new track and give praise to whatever or whomever you choose that there’s a new Mountain Goats record en route. Hallelujah!

MP3: The Mountain Goats – “Genesis 3:23”

My copy of the book has yet to move to the top of my to-read queue and my copy of the album is in a USPS/Canada Post mailbag somewhere so I can’t talk too much about either of Joe Pernice’s new project It Feels So Good When I Stop but will hope to be all caught up before his show at the Dakota Tavern on September 24. In the meantime, read up on it with feature pieces on Joe at The Patriot Ledger, Blurt, The Boston Globe, Things I’d Rather Be Doing, The Boston Herald, Metro, The New York Post and The Pittsburgh Tribune-Review.

Ohbijou are this month’s cover story in Exclaim and the band have announced Fall cross-Canada tour but if you think that there’s not going to be a hometown show either in that three day gap between Ottawa and Sudbury or when the whole thing’s over in late November, you’re taking crazy pills.

Ca Va Cool has an interview with the The Rural Alberta Advantage and Laundromatinee has a video feature on the band. By all accounts, last week’s show at the Horseshoe was pretty special – can’t wait to see them again, albeit in what’s probably an absurdly large stage, at V Fest on August 29.

Daytrotter has posted up a session with The Coast. They’re at the Horseshoe on Thursday night.

Spinner has the next installment in the Reverie Sound Revue blog tour, a performance of “The Leisure Lost”.

Check out the new video from Mew taken from No More Stories, out August 25. They’ll be at V Fest on August 30.

Video: Mew – “Introducing Palace Players”

Pitchfork has premiered the first MP3 from The Raveonettes, whose In And Out Of Control is due October 6 and who will be at the Phoenix on October 22.

MP3: The Raveonettes – “Suicide”

The Manic Street Preachers’ first North American tour in a decade, including an October 4 date at the Phoenix, will indeed be in support of a domestic release – the excellent Journal For Plague Lovers will be out in North America on September 15.

Charlotte Hatherley’s new album New Worlds has been given a UK release date of October 19 – hoping the North American release will be October 20 and those long-ago promises of promotion and touring on this side of the Atlantic still hold. There’s an interview with Hatherley at Spoonfed.

MP3: Charlotte Hatherley – “Colours”

Hatherley’s sometimes-day job Bat For Lashes have released a new vide from Two Suns. Filter also has a feature interview with Natasha Khan.

Video: Bat For Lashes – “Sleep Alone”

Another Mercury prize nominee with a new video is Florence & The Machine. Someone certainly got themselves a production budget.

Video: Florence & The Machine – “Drumming Song”

NOW has an interview with La Roux, who is also included in this “Brit Pop Girls” feature at Interview along with Little Boots and Ladyhawke.

Paper talks to Polly Scattergood.

BeggarsSince I went to the trouble last week of making my generally meaningless predictions for the 2009 Mercury Prize nominees, it only makes sense that I take a look at the actual shortlist – announced this morning – and compare. And the first thing that I find is that the UK’s bookies, who ostensibly do this sort of thing for living, don’t have any more clue than I do. While only one of my picks made the actual list – and really the only one I expeted to – neither of the oddmsakers’ two favourites – Doves’ Kingdom Of Rust or Little Boots’ Hands – were to be found in to this morning’s announcements, whereas perennial critical kicking bags Kasabian did. Of course, if The Horrors can put out a career-salvaging album and garner a nod, why not Kasabian? I haven’t heard it – maybe it’s brilliant. Maybe. Also surprised that La Roux made the list while Little Boots did not because, well, I much prefer Little Boots to La Roux. Go figure.

Anyways, the nominees for this year are as follows:

Bat For Lashes / Two Suns / MP3: “Glass” (live)
Speech Debelle / Speech Therapy / Video: “Go Then Bye”
Florence & The Machine / Lungs / MP3: “Kiss With A Fist”
Friendly Fires / Friendly Fires / MP3: “Jump In The Pool”
Glasvegas / Glasvegas / Video: “Geraldine”
Lisa Hannigan / Sea Sew / MP3: “Lille”
The Horrors / Primary Colours / MP3: “Sea Within A Sea”
The Invisible / The Invisible / Video: “London Girl”
Kasabian / West Rider Lunatic Pauper Asylum / Video: “Vlad The Impaler”
La Roux / La Roux / MP3: “Bulletproof” (Joe & Will Ask remix)
Led Bib / Sensible Shoes / MP3: “Yes, Again”
Sweet Billy Pilgrim / Twice Born Men / MP3: “Truth Only Smiles”

I’m sure there’ll be complaints and criticisms galore, but with almost half the list being female artists the Mercury will at least avoid the “solo white male” complaints leveled at the Polaris Prize shortlist this year, and similarly you’d never find something like contemporary jazzers Led Bib on a nomination list open to 140 critics. I don’t necessarily advocate the exclusive jury approach over the inclusive, but it does yield some interesting results.

Anyways, my money remains on Bat For Lashes – obvious, sure, but I stand by it – but I can also get behind Florence or The Horrors. Either way, I don’t really have a horse in this race, I’m just a curious bystander. BBC has launched their Mercury minisite complete with interviews with the nominees, The Guardian has already gotten fresh odds from a bookie on the shortlist, Clash comments on the list and NME‘s editors have also chimed in on who they think will take the big prize come September 8. NME has also provided a bluffer’s guide to the nominees so you can sound all knowledgeable and stuff at the water cooler (though you could probably say whatever the hell you want about any of them because your co-workers probably won’t know what the hell you’re talking about).

The Guardian talks to Friendly Fires – they’re at Lee’s Palace on August 10.

Paper declares Little Boots to be one of their sounds of Summer and Stuff New Zealand and The Mirror also have features. She’s in town at Wrongbar on September 14.

Oh, hello three unreleased songs from My Bloody Valentine. Did you get lost en route to the studio to be added onto those Isn’t Anything/Loveless reissues which never came out? That’s okay, leaking to the internet is probably best for everyone involved.

I had completely forgotten about the UK’s Engineers, purveyors of Pink Floyd-esque ambient rock on their self-titled debut back in 2005 but they’re still kicking and have just released their second album with Three Fact Fader, which is just as dreamy but with some more kick. The Quietus and The Line Of Best Fit have interviews with the band about their time away and their return.

Video: Engineers – “Clean Coloured Wire”

The Village Voice talks to Frightened Rabbit, who have a sold-out show at the Horseshoe on Wednesday night, July 22.

The Quietus has details on the new Editors album In This Light And On This Evening, which appears to have been pushed back a few weeks and is now set for an October 12 release.

Oasis were apparently (almost) attacked (hugged) onstage again. Hey guys, maybe it’s you.

Stepping back from life as a Raconteur, Brendan Benson will release a new solo album in My Old, Familiar Friend on August 18 and follow that up with a spot of touring, including an August 24 date at the Mod Club in Toronto – tickets $13.50.

Aussies An Horse must like it here – they’re back for their fourth Toronto show in six months on September 11 at the Drake Underground, tickets $10.

MP3: An Horse – “Postcards”

Brazilian psych legends Os Mutantes will release their first album in over 35 years in Haih, out September 7, and are at the Opera House on October 2, tickets $25.

Yo La Tengo are at the Opera House on October 3, meaning I have to choose between Yo La and Destroyer that same evening at the Horseshoe. I do not like these sorts of dilemmas. Their new album Popular Songs is out September 8.

MP3: Yo La Tengo – “Periodically Double Or Triple”

Those who worship the drone and get unnerved by unnecessary key changes – hell, chord changes – will be thrilled to hear that The Raveonettes are hitting the road this Fall with The Black Angels. Full dates are still trickling out but the Toronto stop will be October 22 at the Phoenix, tickets $18.50. The Raveonettes talk to Spinner about their just-completed their new album In and Out of Control, which has a shiny release date of October 6. The Black Angels haven’t been up to much since last year’s Directions To See A Ghost. Billboard has full dates and words with Sharin Foo.

MP3: The Raveonettes – “Dead Sound”
MP3: The Black Angels – “The First Vietnamese War”

Peter Bjorn & John are back again on November 11 for another date at the Phoenix – tickets $20. They’re also at the Molson Amphitheatre this Friday, July 24, opening for Depeche Mode but if that’s news to you, you’re probably not going.

Video: Peter Bjorn & John – “Nothing To Worry About”

Spinner.ca’s endless feature series on the history and future of Canada’s independent music scene turns its lonely eyes to Montreal in its latest installment, talking to members past and present of Arcade Fire, The Dears and The Stills.

Jennifer TzarSo I got an email last week from a fellow at the BBC asking me if I wanted to offer up some thoughts and/or predictions on the shortlist for the UK and Ireland’s Mercury Prize, which is set to be revealed next Tuesday. Having been largely off the mark in what I expected to make the shortlist for Canada’s Polaris Music Prize last week, and actually knowing how that process works, I figured I couldn’t possibly do any worse with the Mercurys – a prize whose process was almost completely unknown to me and which tends to draw from a much broader range of candidates than my little indie rockist world.

I’ve since learned that the 12 albums on the shortlist are selected by the same shadowy group of journalists, musicians and other industry illuminati types who choose the winner – a far cry from the Polaris’ jury, which endeavours to be as inclusive of journos and whatnot as possible and only saving the star chamber treatment for choosing the winner. And so to the BBC fellow’s original request, I’m not really sure if I should attempt to predict what albums will make the short list, what albums should make the short list or what albums I’d like to make the short list. I know I’d fail miserably at the first task and it’s impossible to accomplish the second without a much more comprehensive knowledge of all the possible nominees so that basically leaves the wholly subjective wish list, which is fine with me, but I’ll try to temper my picks with some degree of realism.

Bat For Lashes / Two Suns – This record would actually fit all three angles – I want to see it make the list, it deserves to make the list and it almost certainly will make the list, thus making Natasha Khan an impressive two for two in Mercury nominations for her albums. It’s one of those records that’s distinctive, accessible and artistically ambitious – and also just excellent. Even without seeing the actual list, this is my odds-on pick to win… of course, Fur & Gold was also heavily favoured and didn’t end up winning.

MP3: Bat For Lashes – “Glass” (live)

Manic Street Preachers / Journal For Plague Lovers – I get the feeling that the Mercury jurors are all about the new and so the Manics’ best album in many years may get overlooked on account of its creators already being some degree of legend. And that would be a real shame because it also happens to be their most heartfelt album, perhaps ever, has a genuinely affecting backstory and frankly rocks like a mother.

Video: Manic Street Preachers – “Jackie Collins Existential Question Time”

Patrick Wolf / The Bachelor – I’m personally of the opinion that many of the accolades given to Bat For Lashes could also apply to Patrick Wolf, particularly his latest which currently ranks as one of my favourite records of the year, but don’t know how he’s generally rated critically in his homeland. I get the sense that his extravagant personality might work against him with some unable or unwilling to look past his flamboyant exterior to see the brilliance underneath. Their loss.

MP3: Patrick Wolf – “Vulture”

Micachu / Jewellery – I will fully admit this one is here as a bit of a hedge. I remain unsure if it’s a brilliant record or bollocks, but with every listen it steps more firmly in the direction of the former. If someone told me it was an utter long shot to make the list, I would agree and if someone else told me it was a lock, I would also agree. It perplexes me. Either way, I look forward to offering an “I told you so” if it is indeed nominated.

MP3: Micachu – “Lips”

Emmy The Great / First Love – There is no realistic way I expect Emmy’s debut to get a Mercury nomination. Yes, Laura Marling got a nod last year and came out of the same scene, but Emmy’s more cynical, sardonic approach doesn’t strike that same chord of timelessness that Marling’s does. But that said, and acknowledging that while First Love is very good it’s not fully representative of her at her best, I’m still exceedingly fond of the record and would love to see it get the boost that a nomination would provide.

MP3: Emmy The Great – “We Almost Had A Baby” (Simon Raymonde mix)

Fanfarlo / Reservoir – I don’t know sort of precedent there is for self-released records getting Mercury nominations are, but if we’re talking about worthy records based strictly on musical merit, I would think that this meticulously crafted piece of orchestral pop would get some serious consideration. It’s not groundbreaking or all that original, but it is lovely and lilting and makes me, at least, quite happy.

MP3: Fanfarlo – “I’m A Pilot”

So there’s my picks if I were allowed to decide half of the short list, and besides Bat For Lashes I don’t really expect any of them will make the cut – especially if you look at who the UK’s bookmakers are betting will win. I assume they’re basing their odds on things like sales, profile and critical buzz and have got it down to either Doves or Little Boots. The former I can understand, as they follow the slow and steady veteran model that got Elbow the big prize last year but whereas The Seldom Seen Kid was, in my opinion, a big leap forward for that band, Kingdom Of Rust doesn’t really set itself apart from its predecessors. As far as Little Boots goes, there’s no denying Hands is fun and catchy as all get out, but it seems a bit shallow to ordain as the best album in the kingdom. And looking at other frontrunners, I’ve already covered Bat For Lashes and am a bit perplexed to see La Roux rated so highly – her self-title has some high points but I find it pretty monotonous overall. Florence & The Machine’s Lungs I’ve not spent enough time with to render fair judgment.

All will come clear next Tuesday, with the winner to be announced September 8, but until then the speculation is the fun part. The Line Of Best Fit, To Die By Your Side and Music Snobbery were also asked by the Beeb to compile their picks for the shortlist, Clash has made their predictions and The Quietus is pulling for The Horrors. If you’ve got an opinion of what should make the list or even win outright, chime in in the comments.

XFM is streaming a studio session with Bat For Lashes.

Bumpershine has an interview with Fanfarlo and is also giving away some CDs.

The Mirror and BBC have interviews with Florence Welch of Florence & The Machine.

Ms Lily Allen has a new video from It’s Not Me, It’s You.

Video: Lily Allen – “22”

NME has details on an upcoming re-release of Friendly Fires’ self-titled debut on August 31 which will include a new song, a disc or remixes and a live DVD. They play Lee’s Palace on August 10 and have a DJ gig at The Social later that night. Clash also has an interview with the band.

MP3: Friendly Fires – “Jump In The Pool”

Been waiting for this date to be confirmed for a little while now – Britrock prevails as The Twilight Sad, BrakesBrakesBrakes and We Were Promised Jetpacks hit the El Mocambo on October 10, tickets a mere $12. The Twilight Sad’s new album Forget The Night Ahead is out out September 22, BrakesBrakesBrakes’ Touchdown came out earlier this Spring and the Jetpacks debut These Four Walls hit stores last week.

MP3: The Twilight Sad – “Reflection Of The Television”
MP3: BrakesBrakesBrakes – “Don’t Take Me To Space (Man)”
MP3: We Were Promised Jetpacks – “Quiet Little Voices”

I missed this interview with Charlotte Hatherley at the Big Takeover website when it was originally posted back in May, but considering her new solo record New Colours isn’t due out till September at the earliest – maybe even October – I don’t think there’s any particular rush. But there is a new video!

MP3: Charlotte Hatherley – “Colours”
MP3: Charlotte Hatherley – “White”
Video: Charlotte Hatherley – “White”

This isn’t an official video for the title track of Camera Obscura’s latest My Maudlin Career, but the clip compiled of home videos taken on their recently-completed North American tour is certainly charming. They’ve also chosen to celebrate Bastille Day yesterday by giving away an MP3 of their last single “French Navy”.

MP3: Camera Obscura – “French Navy”
Video: Camera Obscura – “My Maudlin Career On The Road”

Torontonians disappointed that Arctic Monkeys didn’t make plans to visit over the August long weekend despite being up the 401 at Osheaga can celebrate – they’ve set a date at the Kool Haus for September 29 in support of their new album Humbug, due out August 25 and the first single from which, “Crying Lightining”, is streaming at their MySpace. Full tour dates at Spin.

Mogwai’s Stuart Braithwaite bemoans the demise of music journalism at Drowned In Sound.

Maximo Park are keeping a tour diary for Spinner. They’re at Lee’s Palace on September 18.

Frank YangSure, it was billed as the Nylon Summer Music Tour, implying a traveling roadshow with all performers on some sort of equal footing, but everyone knew that this was the Patrick Wolf tour and the other three acts were just the openers. Or at least that’s what I’d thought going into Wednesday night’s stop at the Mod Club in Toronto – and even if the audience was on board with that train of thought, it was obvious from the get-go that the bands didn’t necessarily agree and were set to make the most of their time on stage to win over the Wolf disciples.

Lead-off hitters Jaguar Love seemed to me the most curious additions to the bill, at least considering their pedigree. Formed from former members of The Blood Brothers and Pretty Girls Make Graves, I thought they might be too loud or aggro for the crowd, not that I really had a notion of what the very much all-ages crowd were expecting. But my preconceived notions went right out the window when the duo, backed by beats off a laptop, tore into their set of super-energized, adrenaline-infused party rock. Singer Johnny Whitney and guitarist Cody Votolato were in constant motion, the former belting it out with his remarkable classic rock wail while the latter never stopped riffing the hell out of his Rickenbacker, whipping the crowd into a frenzy that you never see at a show at 8PM. Not once but twice did the duo leap into the audience, never missing a beat, and quite literally got this party started right. Absurdly fun, it was evident that anyone hoping to be able to stand back and have a nice, passive night out was at completely the wrong show.

Any momentum built up from the opening set, however, ground to a halt before France’s Plastiscines took the stage. Though you think that the tour would have had the routine for switching between sets down to an art by this point, it seemed that each band member was having some sort of mic or equipment problem that turned into a 30-plus minute wait to get sorted out. By the time they were ready to go, the natives were a bit restless and the quartet probably had more than their share of work cut out for the to win the house over. The Plastiscine recipe is pretty straightforward – four attractive French girls playing what would be considered garage rock if it weren’t so immaculate-sounding. Think The Donnas with less rock attitude and slightly more poppy gleefulness. Perhaps the snarliness will develop as they become more seasoned – though not awkward, per se, they were still a bit reticent in performance. Perhaps counting on our alleged bilingualism, they addressed the crowd in French and whether they were actually understood or not, it got a positive response, as did their charming if predictable cover of Nancy Sinatra’s “These Boots Were Made For Walking”. Despite the rough start, they were able to shake off the delay and turn in a good set that steadily improved and finished on a high note.

If the Plastiscines were lacking in genuine rock grit, the quota was more than made up for by St Louis’ Living Things. With a singer that looked like some genetic crossing of Ian Astbury, Iggy Pop and Richard Ashcroft, they served up good, old-fashioned rock laden with attitude and a healthy dose of photo-friendly posing. Musically it wasn’t the most distinctive stuff you’d hear, but the delivery was just right and the performance engaging – literally. The band pulled audience members onstage to dance and gyrate with them and also leapt into the crowd, not the first act of the night to do so nor would they be the last, but they definitely ratcheted the already-high energy level up another notch, and set the table nicely for the headliner.

Oh, Patrick Wolf. Seen him twice before, and even when you think you know what to expect, you never know what to expect. Given the darker tone of his latest excellent album The Bachelor, a heavier approach was likely – and this was borne out when he stepped out in an giant black… I don’t even know what the hell he was wearing, but rather than pick up his viola or ukulele, he strapped on a decidedly rock-correct Flying V electric guitar before tearing into “Oblivion”. He didn’t do much with it besides play one-finger barred power chords – no shredding solos, thanks – but symbolically, it set the tone for the show.

As dramatic as his recordings are, they pale compared to Wolf the live performer. Every move, every sound, is rich with theatricality and imbued with his intense and mercurial personality – it might come across as ridiculous if he wasn’t so utterly committed to it, and his fans are no less devoted to him. They hung on every syllable, every note and shrieked with every piece of clothing shed. Personal highlights were an intense “Count Of Casualty” (disrupted a bit by some idiot screaming, “Afghanistan!” behind be through the extended outro) and the string-laden “Damaris” – I realize that the the sound was far too lush for just the violin and viola being played live, implying some pre-recorded enhancement, but who cares – it sounded amazing. As the show progressed, he got progressively more undressed until around 50 minutes into the show, when down to just suspenders and his lederhosen, he started into “Tristan” from Wind In The Wires and just a minute or so in, abruptly declared the stage monitors to be the worst he’s had all tour and stormed off stage. After a few awkward bars, his band stopped and followed him off.

It was unclear whether this was it, a most disappointing end to what had been a terrific night, or if he might return to at least give one last song and say goodbye. Hopes were raised when the crew came out and began re-soundchecking the stage setup and after about 10 minutes, the tour manager apologized and said that Wolf would be back in a moment. And it seemed that Wolf had taken the unscheduled intermission to raid the costume closet, because when he did return to the roar of the house, it was clad in an undone shirt and a leather thong. Appropriately, the band kicked off the unusual encore with “Hard Times”, Wolf taking full advantage of the Flying V’s phallic imagery, and then he went to the keyboard for the crowd-pleasing “Magic Position”. Considering that that had been the show-closer for the rest of the tour, most were probably expecting that it was the finale, the show salvaged with a proper finish, but Wolf wasn’t done – not by a long shot. He then tore into a gloriously aggressive “Accident & Emergency”, then shed the shirt – just the thong now – and put on a bizarre knit headdress and collar for a stirring, “Who Will”. Any one of these could have been a fitting finale, but Wolf was apparently dead set on making up for his earlier outburst – say what you will about his diva-ish tendencies, but the man will not let his fans down and for that he deserves respect.

After a lengthy monologue to the crowd about how much Toronto means to him – not just lip service, the city and its residents were a great influence around the era of The Magic Position – and also announcing he was going to get married soon and Patrick “Wolf” would be no more as he would take his husband’s surname, he nearly stripped off the thong while mocking his body and demanded that the pictures go on the internet (happy to oblige). And then donning a giant feathered vest, he tore into a ferocious reading of “Vulture” which saw him leap off the stage and onto the bar running down the length of the room, singing all the while, and then into the audience basically inciting a riot. Though breathless at the end of it, he had enough left for one more mosh – the even more chaotic “Battle” – before climbing back on stage to serenade a bit of “My Heart Will Go On” as a farewell.

And then that was the end of the show. After looking like he was going to cut the show short, Wolf extended it to a near-marathon. Bizarre and unforgettable, it was easily one of the most manically wonderful and bewildering performances I’d ever seen. Overheard as we staggered out of the club was, “what the hell was THAT?” That, anonymous concert compatriot, was Patrick Wolf.

Wolf gave Black Book a listing of his favourite spots in London. NYLON blogged the Toronto show and Chart was there, but left when Wolf did (the first time around). Panic Manual wisely stuck around.

Wolf promised to return later this year, and it’s a shame that he probably won’t choose to play the Mod Club again, given his disdain for their sound system because Wolf’s stage show plus the gorgeous lighting at the club makes for some great photos. Slightly NSFW depending on your work’s tolerance for sweaty, pasty white British asses.

Photos: Patrick Wolf, Living Things, Plastiscines, Jaguar Love @ The Mod Club – June 17, 2009
MP3: Patrick Wolf – “Who Will?” (Buffet Libre mix)
MP3: Patrick Wolf – “A Boy Like Me”
MP3: Living Things – “Oxygen”
MP3: Jaguar Love – “Bats Over The Pacific Ocean”
MP3: Jaguar Love – “Highways Of Gold”
Video: Patrick Wolf – “Hard Times”
Video: Patrick Wolf – “Vulture”
Video: Patrick Wolf – “Accident And Emergency”
Video: Patrick Wolf – “The Magic Position”
Video: Patrick Wolf – “Bluebells”
Video: Patrick Wolf – “The Libertine”
Video: Patrick Wolf – “Wind In The Wires”
Video: Patrick Wolf – “To The Lighthouse”
Video: Living Things – “I Owe”
Video: Living Things – “Let It Rain”
Video: Living Things – “Bombs Below”
Video: Living Things – “Bom Bom Bom”
Video: Plastiscines – “Barcelona”
Video: Plastiscines – “Loser”
Video: Jaguar Love – “Highways Of Gold”
MySpace: Patrick Wolf
MySpace: Living Things
MySpace: Plastiscines
MySpace: Jaguar Love

The Daily Growl solicits a seven songs list from Fanfarlo.

6 Day Riot have completed the first video from their forthcoming album 6 Day Riot Have A Plan, due out July 6.

Video: 6 Day Riot – “Run For Your Life”

Decider talks to Adam Franklin, who is playing the El Mocambo on July 6.

The Quietus has an interview with Elly Jackson of La Roux. Her self-titled album is out June 29 and she has a gig at the El Mocambo on July 31.

Spinner’s Interface welcomes Sigur Ros to their studios.

Jeff Tweedy of Wilco chats with The Las Vegas Sun. Wilco (The Album) is out on June 30.

The Star-Tribune talks to Colin Meloy of The Decemberists. They’re at the Kool Haus on August 3.