Jason ArthursIf you’ve not yet read Our Noise: The Story of Merge Records, the Indie Label That Got Big and Stayed Small, then get up right now, go out, buy a copy, and read it cover to cover right now. It’s okay, I’ll wait. And when you’re done, we can discuss plans to road trip down to Chapel Hill, North Carolina, to give Mac McCaughan and Laura Ballance big hugs, because the story of Merge is as much the story of them, and as such, is the story of Superchunk.

And though they’ve almost always coexisted, the arcs of each story don’t necessarily run concurrently – Superchunk’s heyday was the 1990s when they were one of the prototypical college rock bands laying the blueprint for what the kids now call indie, and though they’ve been around over 20 years, Merge only really became a powerhouse label in the past eight or nine years, after Superchunk went on hiatus following 2001’s perhaps prophetically titled Here’s To Shutting Up. If that were the final word, from the band, it would have been a fitting one as it found the once fuzz-coated pogo-tastic rockers in a relatively gentler frame of mind and while their songwriting was still in top form, it felt like they were looking forward to a break. And a break they took, with McCaughan taking his solo project Portastatic into rockier, full-band realms accompanied by guitarist Jim Wilbur, drummer Jon Wurster becoming both Mountain Goat and comedian and Ballance shepherding Merge to greatness. If the ‘Chunk were done, they should have had no regrets.

But sometimes a hiatus is actually a hiatus. Although they’d done sporadic shows since taking Shutting Up off the road, starting with the Merge XX anniversary celebrations last Summer, Superchunk began edging back into active status and following the release of the Leaves In The Gutter EP last year, there came word of a new album, their first in almost a decade. That record – Majesty Shredding – arrives next week and when I say it sounds just like a Superchunk record, I mean that with the highest possible praise. It fuses the pop perfection they’d reached with Shutting Up with a consistent level of energy, excitement and volume that you’d have to go back over 15 years in their discography to match. From the whine of feedback that opens “Digging For Something”, Shredding collects everything great about all that is Superchunk into eleven great, pogo-worthy tracks that individually might not measure up to the very best songs the band has ever written but as an album is as satisfying a listen as anything in their discography. It’s probably unrealistic to hope that this will be the start of a run of equally good records every year or two, but considering that I wouldn’t have even expected this record to exist as recently as a year ago, it’s kind of the best gift ever.

Majesty Shredding is streaming at NPR a week ahead of its release. I had previously hoped that the September 23 date in Montreal would imply a Toronto one the following night, apparently it’s not to be. I finally got to see them at SxSW in March and will do so again in a month at Matador 21, but still have my fingers crossed that a local show will appear on the books sooner rather than later.

MP3: Superchunk – “Digging For Something”
Stream: Superchunk / Majesty Shredding

Also up for stream at NPR and out next week is Blonde Redhead’s new long-player Penny Sparkle. They’re in town at The Phoenix on October 17.

Stream: Blonde Redhead / Penny Sparkle

NPR’s album stream slam continues with Of Montreal’s False Priest, out next Tuesday. Spin also gets in on the act with a new MP3 from said record available to download.

MP3: Of Montreal – “Sex Karma”
Stream: Of Montreal / False Priest

And out this week and streamable is Interpol’s latest Interpol. JAM, The National Post and Spinner have conversations with guitarist Daniel Kessler, presumably conducted when they were in town last month.

Stream: Interpol / Interpol

Deerhunter have put out a video from their forthcoming record Halcyon Digest, due out September 28. They’re at the Opera House on October 19.

Video: Deerhunter – “Helicopter”

Both NYC Taper and Bradley’s Almanac are sharing live recordings of Built To Spill shows from the past month or so.

Spin finds out how The Thermals got their name, while PopMatters turns in a regular old interview. They play Lee’s Palace on October 9.

Ra Ra Riot explain their cat-powered new video to Chart.

Black Cab Sessions runs the gamut with featuring Lissie, in town at the El Mocambo on October 19, and this one with The Flaming Lips – no bubble walk.

Rolling Stone takes Wilco’s Jeff Tweedy back to the days of Yankee Hotel Foxtrot for some insight on what that tumultuous period was like while Muzzle Of Bees has assembled a tribute album to Summerteeth recorded by all Wisconsin artists.

JEFF The Brotherhood are in town on October 20 at The Horseshoe.

Caleb ByersIt’s been a half-decade since Kathryn Calder joined The New Pornographers in 2005, and in that time she’s gone from handling the impossible task of pinch-hitting on tours for Neko Case to appearing on their last three albums and becoming an as integral part of the band – her parts may not have the force of personality as Case’s, but her more delicate approach offers an important contrast and gives Carl Newman another invaluable tool in assembling his power pop symphonies. But prior to joining the Pornographers, Calder had her own creative outlet in Immaculate Machine and while she retains a membership card for the Victoria-based band, she’s largely ceded that outfit to guitarist Brooke Gallupe. Which basically meant that a solo album was pretty much an inevitability, but that doesn’t make Are You My Mother? any less of a surprise.

My experience with Calder as a songwriter goes back as far as the first couple Immaculate Machine records and while they were decent enough pop records, they weren’t particularly exceptional within the realm of Canadian indie. The years of apprenticing to Carl Newman have clearly paid off, however, as Mother is a remarkably fully-realized solo debut, and while it features plentiful contributions from various Pornographers and other Vancouver-based musicians, Calder is clearly in the driver’s seat throughout. One might be forgiven for assuming that given her role as singer and keyboardist in the Pornographers, Calder solo might turn out a record of singer-songwriter-oriented girl-and-piano material. And while at its quieter moment Mother does strip things down to just that, numbers like album opener “Slip Away” and the barreling “Castor And Pollux” are as grandiose pop as anything the New Pornographers might create and just as instantly memorable. Mother is rangy and engaging, built around Calder’s crystalline, pitch-perfect yet expressive voice and perhaps more importantly, her impressive songwriting chops.

The New Pornographers are frequently called a “super-group”, implying that each of their members are as equally accomplished on their own as they are in the band – with Are You My Mother?, Kathryn Calder steps up and makes that even more true.

MP3: Kathryn Calder – “Arrow”
MP3: Kathryn Calder – “Slip Away”
Video: Kathryn Calder – “Slip Away”
MySpace: Kathryn Calder

If you missed North Carolina’s Lost In The Trees when they played a free show here back in June (which I previewed but did not manage to attend), they’re back on September 27 at the Drake Underground in support of Mercury shortlisted Irish act Villagers. They’ve also got a new Daytrotter session up for grabs.

MP3: Lost In The Trees – “Fireplace”
MP3: Lost In The Trees – “All Alone In An Empty House”

Winter Gloves will mark the September 7 release of their second album All Red with an acoustic in-store performance at Kops Records that same night at 5:30PM.

MP3: Winter Gloves – “Plastic Slides”

Toronto power-pop aficionados The Golden Dogs will follow up their September 17 show at the Drake Underground with a September 23 in-store performance at Soundscapes at 7PM. Their new record Coat Of Arms came out last month.

MP3: The Golden Dogs – “Permanent Record”

The Great Hall will certainly be the scene of mayhem on October 12 when the tour teaming Lightning Bolt and Dan Deacon hits Toronto. Those wanting to be out of the line of fire can take refuge on the stage because neither performer will be setting up there.

MP3: Lightning Bolt – “Colossus”
MP3: Dan Deacon – “Get Older”

LA duo No Age will be releasing their second album Everything In Between on September 28 and have announced an extensive Fall tour to support – the Toronto date comes November 18 at the Polish Combatants Hall.

MP3: No Age – “Glitter”

The Toronto Star talks to Peelander Yellow of Peelander-Z, in town to make things silly at the Velvet Underground on September 1 and The Silver Dollar on September 2.

Spinner talks to Lissie about the attention her penchant for covers has gotten her and her debut album Catching A Tiger; The Independent also has a feature. She’s at the El Mocambo on October 19.

Spinner talks to Interpol drummer Sam Fogarino and Black Book solicits a list of the band’s favourite NYC hang outs. The band’s self-titled effort will be out September 7 and they’ve just released a second video from it.

Video: Interpol – “Barricade”

Ted Leo talks to Billboard about the making of the off-off-off-off-Broadway video for “Bottled In Cork”.

NPR is streaming a World Cafe session with LCD Soundsystem.

The Guardian salutes 4AD on the occasion of the legendary label’s 30th anniversary.

And a note to folks in Toronto that if you’re looking for something to do of the cinematic variety this week, you could do much worse than to check out No Heart Feelings at the Royal, where it’s screening through Thursday of this week. It’s a romantic comedy (but not really a rom-com) set in an eminently familiar Toronto from three local first-time directors and though imperfect – it suffers from the atmosphere-and-dialogue-in-lieu-of-plot vagueness that’s all too common in independent film – it’s still a winner thanks to its charm and authenticity (though I don’t do as much in and around the city nearly as much as their characters do, I have no problem believing that people actually DO these things and that I’m really just a shut-in). Don’t take my word for it, check out positive reviews in The Globe & Mail, The Toronto Star and The National Post.

Trailer: No Heart Feelings

Doron GildIt’s understandable if Toronto fans of Syracuse’s Ra Ra Riot waiting for them to come back to town turned their frowns upside down and then right back again when their local appearance this coming Saturday was announced – rather than a proper club show to showcase the material from their just-released-today second album The Orchard, they were booked in at the Molson Amphitheatre opening up for City & Colour and Tegan & Sara. Which isn’t to say that some of their fanbase ven diagrams don’t overlap, but most were probably hoping for something a little more intimate and inexpensive.

So for those folks, it’s time to get happy again as it was announced yesterday that the band would be sticking around in town a few more days (or maybe just driving back from Syracuse, it’s not far) to play a special show at the Mod Club next Monday night with no advance tickets; admission is limited to those who either buy a copy of The Orchard at one of the city’s independent record stores (Soundscapes, Criminal Records, Rotate This and Sonic Boom), online via Arts & Crafts or who enter a contest by emailing contest@arts-crafts.ca. Obviously total capacity is limited and nothing is guaranteed, but it’s a pretty cool chance to see a terrific live band in a more amenable setting than, say, the Amphitheatre. And am I the only one who appreciates the clockwork nature of Ra Ra Riot’s visits? This will be the third year in a row they’ve come through within the two week span around the start of September. Okay, maybe it’s just me.

Soundproof talks to violinist Rebecca Zeller while Exclaim has a combination interview/review. Intereview!

MP3: Ra Ra Riot – “Boy”
Video: Ra Ra Riot – “Boy”

Prior to taking the stage at the Horseshoe later that night in full-band mode backed by Mike Watt and The Missingmen, Lou Barlow will be showcasing his solo and acoustic (presumably) side via an in-store at Criminal Records this Saturday, August 28, at 7PM. Express Night Out and Isthmus Daily Paper talk to Barlow.

MP3: Lou Barlow – “Losercore”

Seattle’s Mt. St. Helen’s Vietnam Band will bring their shiny new record Where the Messengers Meet to the Drake Underground on September 18.

MP3: Mt. St. Helen’s Vietnam Band – “Leaving Trails”
MP3: Mt. St. Helen’s Vietnam Band – “Hurrah”

The resuscitated, presumably still very loud and almost certainly still pissed off Atari Teenage Riot will be at the Phoenix on October 4.

Video: Atari Teenage Riot – “Revolution Action”

Illinois girl Lissie, whose debut Catching A Tiger is probably a lot more pop and less country than most would have expected but still a good showcase for her talents, will make her Toronto debut at the El Mocambo on October 19, tickets $12.50. If the buzz around her continues as it has, expect this one to sell out quickly, even if it’s just to people who want to hear her cover Lady Gaga. MTV has an interview.

MP3: Lissie – “Little Lovin'”
MP3: Lissie – “In Sleep” (live)
Video: Lissie – “Cuckoo”

Ted Leo has released a glorious new video which is the culmination of all his retirement talk since way back in July… well played, sir.

Video: Ted Leo & The Pharmacists – “Bottled In Cork”

The Montreal Mirror have a short interview with Patrick Stickles of Titus Andronicus (who appears in the aforementioned Ted Leo video – did you see him and his mighty beard?). They’ve made available for download the opening track from The Monitor, edited down to radio length, and while it’s logical in that it’s pretty long in its original form, know that the proper way to experience the song is as it appears on the record – followed by the rest of the record.

MP3: Titus Andronicus – “A More Perfect Union” (radio edit)

There’s a new Antony & The Johnsons for a song from both the Thank You For Your Love EP, out today, and the Swanlights full-length, out October 12.

Video: Antony & The Johnsons – “Thank You For Your Love”

Sufjan Stevens has put out an epic-length EP entitled All Delighted People which is available to stream for free and to download from his Bandcamp for $5 and sets the stage for what we might expect when he plays Massey Hall on October 13.

QRO talks to Scott Devendorf of The National.

The National Post talks to Greg Edwards of Autolux, in town tonight at Lee’s Palace.

Pitchfork has details on the next A Sunny Day In Glasgow, which will be called Autumn, Again and be available to download completely for free as of October 19. Until then, you can have one track. But just one.

MP3: A Sunny Day In Glasgow – “Drink Drank Drunk”

Spinner and Exclaim talk to The Drums, who’re at The Mod Club on October 21.

Frank YangFull writeup of the day over here.

Lissie
– Big and raw-voiced Illinois native Lissie Maurus released her debut EP Why You Running last year. Aquarium Drunkard and BBC have interviews.
Photos: Lissie @ Red-Eyed Fly – March 20, 2010
MP3: Lissie – “Little Lovin'”
MySpace: Lissie

Sharon Van Etten
– Brooklyn singer-songwriter who released her spare and beautiful debut in Because I Was In Love last year was recently featured in a Daytrotter session. She plays the Horseshoe on April 5.
Photos: Sharon Van Etten @ Red-Eyed Fly – March 20, 2010
MP3: Sharon Van Etten – “For You”
MP3: Sharon Van Etten – “Consolation Prize”
MP3: Sharon Van Etten – “Love More”
Video: Sharon Van Etten – “For You”
MySpace: Sharon Van Etten

Free Energy
– Philadelphia champions of ’70s-styled, arena-sized power-pop will release their debut Stuck On Nothing on May 4.
Photos: Free Energy @ Red-Eyed Fly – March 20, 2010
MP3: Free Energy – “Free Energy”
MP3: Free Energy – “Hope Child”
Video: Free Energy – “Free Energy”
MySpace: Free Energy

The Middle East
– Dramatically-inclined Australian collective collected more and more accolades with each day of SxSW. Their debut EP The Recordings of The Middle East came out last Fall. They will play The Horseshoe on May 5.
Photos: The Middle East @ Red-Eyed Fly – March 20, 2010
Video: The Middle East – “Blood”
MySpace: The Middle East

Slow Club
– See writeup from a day two.
Photos: Slow Club @ Barbarella – March 20, 2010

Frank YangIf you’ve been following SxSW coverage anywhere else over the last few days, then you know that Saturday, the final day of the festival, was cold. Damn cold. Colder than Toronto on that same day cold, which was particularly galling. I had brought just enough clothes so as to be able to layer a reasonably suitable outfit, so the loss of approximately 15 degrees overnight wasn’t enough to stop me from going out, just make it a bit less fun.

That said, I got out and about a little later than usual, opting to hit up Flatstock at the convention center first (no purchases, just browsing). A quick stop at the Rachael Ray party at Stubb’s came to nothing as the lineups for free food were massive – I like quesadillas but not to the point of spending an hour in line for them – and the music was already running a half hour behind schedule, so I popped into Red-Eyed Fly next door for WXPN’s day show and basically stuck around the rest of the day.

I arrived in time to catch most of the set from Lissie Maurus, who simply goes by Lissie. She’s an old-school country-rock singer-songwriter who isn’t banking on being fresh or innovative to get attention, just good. And she’s pretty good. Her voice has a raw yet wistful twang and her songwriting evocative and melodic, and oh yeah, she can play a pretty mean guitar as well. People have gotten much further with less, and judging from the jam-packed inside room at the venue, she was well on her way. Or people were just trying to get indoors.

The crowd was only slightly leaner for Sharon Van Etten’s set, but she had to contend with the sound of Jukebox The Ghost making a racket outside. This didn’t make for the most sympathetic environment for her quiet, heart-rending tunes and while she gamely tried to keep up by turning up, I couldn’t help thinking how perfect a setting St David’s Historic Synagogue would have been for her official showcase two nights prior. Or at least I imagine it was more perfect – I didn’t make it out to that show. Here’s hoping things are quieter for her when she plays the Horseshoe on April 5.

Despite the chill, it was to the outside stage for the next couple acts, and though it was Winter that was reminding us it wasn’t quite finished, Philly’s Free Energy were ready to be champions of Summer, at least musically speaking. People may have been expecting Cheap Trick to be the flag-bearers for big, ’70s power pop at this year’s festival, but with all respect to the veterans, Free Energy were untouchable when it came to hugely hooky, ass-shakingly great guitar rock. After their set, they handed out free copies of their debut Stuck On Nothing to all in attendance even though it’s not due out until May 4. The only catch was that it was on cassette. Thanks, guys.

I’d never heard of Australian 7-piece The Middle East before SxSW began, but they were one of the acts whose name got mentioned more and more with each of their performances so by this, their second-last show of the festival, I was actually making an effort to see what the hubbub was all about. Apparently they used to be some odd hybrid of folk-rock and post-rock, but now had a sound that was much more the former, but with some of the scope and grandeur of the latter and a heart-on-sleeve emotionality that tied it all together. With a short set time that was eaten up with soundchecking of their many, many instruments, they probably didn’t have time to really deliver their A-game and I wasn’t as won over as many seemed to have been with previous appearances, but I could see how it could happen.

At this point I was done with Red-Eyed Fly and crossed the street to Barbarella, which I didn’t realize used to be Spiro’s. And while the name had changed, the fact that it’s an awful room hadn’t. But I didn’t want to miss the chance to see Slow Club again – their one appearance at Eastbound & Found on Thursday was not going to be enough, especially since there was no indication that there’d be further North American touring in support of the Stateside release of their debut Yeah, So?. And perhaps because that record is so old to the band, despite not being available over here till March 30, the set again didn’t seem to include many of my favourite songs from that record but instead fresh tunes that at least still adhered to the album’s recipe for success: simple, gleeful guitar-and-drums arrangements, and wicked (witty) sharp songwriting. Highlights of the set included inviting the sisters of First Aid Kit up to sing a song before picking up and heading into the audience to play a tune amidst their public. They went back onstage for one final tune, but I preferred to leave the final impression of the show as that one, and anyways there was an enchilada calling my name.