VirginThe short list of nominees for the 2010 Mercury Prize – awarded to what is deemed the best British or Irish album of the past year – was announced this week and somewhat surprisingly, I didn’t find myself immediately hitting up Wikipedia to see who half the nominees were the way I have the last few years. Not only did I know who pretty much all the artists nominated were, but I’d even heard fully half of the records. Come on, Mercury judges, you’re clearly not trying hard enough to be obscure.

I was particularly pleased to see Laura Marling’s sophomore effort I Speak Because I Can get a nod, making her two for two in Mercury nominations in her short but impressive career so far. I was pleased, but not surprised, as the new record is arguably superior to her 2008 debut Alas, I Cannot Swim, and I thought that record was superb. Whereas the debut contrasted Marling’s wise yet youthful words and voice with a folk-pop accompaniment that often tilted toward the jaunty, the follow-up is somewhat starker and with a more traditional folk/Americana aesthetic that might be more conventional, but is perfectly executed and consequently more powerful. By way of example, the opening track “Devil’s Spoke” is darker and more driving than anything on Swim ever hinted at, but it’s offset by the exceptionally gentle and pensive, “Goodbye England (Covered In Snow)”.

Some of the change in tone between records can be attributed to the change in producers from the effective but relatively green Charlie Fink of Noah & The Whale to veteran Ethan Johns, but most of the credit goes to Marling’s growth as a singer and songwriter. On Speak, she taps into a place of even greater emotional depth and honesty, and articulates it with a sort of conversational poeticism that some artists couldn’t even conceive of, let alone practice. And though it’s been said many times, it really does bear repeating: she is just 20 years old, and the amount of talent she’s already been able to harness is staggering. I don’t think that Speak will win the Mercury – it’s probably too traditional for their tastes – but I do believe that every record she releases should and will be nominated. Because they’ll be that good.

Though it seems the Laura Marling tour itinerary checked Toronto off its list with the show at Lee’s back in February, she is in the area right now, appearing tonight at the Hillside Festival in Guelph. She also talks to NME about a 7″ single consisting of Neil Young and Jackson Frank covers that will be due out on Jack White’s Third Man Records on August 9. It’s unclear if plans to release a second album recorded with Ethan Johns this year are still on the front burner – I can’t imagine they’d want to dilute the attention that Speak continues to get.

Video: Laura Marling – “Rambling Man”
Video: Laura Marling – “Devil’s Spoke”

So if I don’t think Marling will take the Mercury, who will? Foals’ Total Life Forever grows on me more with each listen, but I get the sense that The xx are an inevitability. Their momentum has been growing steadily all year and shows no signs of abating. Their Fall North American tour, which sees them booked into some pretty massive halls, including Massey Hall on September 29, won’t seem quite so overambitious if they can bill them as “Mercury Prize winners The xx”. Not that most North Americans know what the Mercury Prize is. And if you don’t even know who The xx are, The Telegraph has an introductory profile.

For Folk’s Sake reports that Emmy The Great is nearly done writing her second album and will soon be headed into the studio to record. Those who sign up for her mailing list at Pledge Music can get an MP3 of “First Love” done live and mariachi style for free.

Spin offers a guide to understanding M.I.A..

Marina & Diamonds’ September 8 Toronto debut appearance has been moved from the El Mocambo to The Opera House. Tickets are $16.50 and all ducats for the El Mo show will be honoured in Leslieville.

With the start of his North American tour postponed by visa issues, Kele has rescheduled the date at the Mod Club which was supposed to happen next week for September 3, same venue. Tickets $20. And to make it up to fans, he’s released a new video.

Video: Kele – “Everything You Wanted”

The Charlatans have released a video for the first single from their new record Who We Touch, getting a North American release on September 14. Look for them at Lee’s Palace shortly thereafter on September 17.

Video: The Charlatans – “Love Is Ending”

Adam Franklin of Swervedriver and Toshack Highway has been driving the Magnet website all week.

Spinner and Spin talk to Spiritualized main man Jason Pierce about the upcoming and final recital of the complete Ladies & Gentlemen We Are Floating In Space happening at New York’s Radio City Music Hall next week.

The Guardian and Clash profile The Vaselines, whose Sex With An X is out on September 14 and will play The Horseshoe on October 30.

Paste catches up with Fanfarlo.

Abbey DruckerSo yes, it was a wonderful little vacation, thanks for asking. Lots of sun (maybe too much), friends (never too much), good food and not a little shopping. And since it was a long weekend on both sides of the 49th, there wasn’t a whole lot of interesting stuff showing up in the inbox but there was some, including the fact that School Of Seven Bells had begun streaming their new record Disconnect From Desire at Rolling Stone, more than a week ahead of its July 13 release date.

Its predecessor, 2008’s Alpinisms, was one of my favourites of the year with its soaring synth-gaze anchored by tribally rhythmic underpinnings, and so obviously the follow-up was on my “hotly anticipated” list. And, a few listens in, there’s no chance it will end up on my “disappointments” list. The key facets of the Seven Bells sound – which is to say the gorgeous vocals and harmonies of the Deheza sisters and the guitars of Benjamin Curtis cutting through the meticulously programmed beats and textures – are wholly intact and even more refined than on their debut, but delivered with a sleekness that was only invoked only sparingly on Alpinisms. In doing so, Disconnect sheds some of the more experimental nooks and crannies that made its predecessor an occasionally difficult listen but also gave it much of its character. Luckily, the new record has opted to trade those quirks for more melodies and hooks as well as being more overt in its 4AD-ishness and love of ’80s synth-pop, and that’s a deal I’ll accept any day. It’s too early to state conclusively, but Disconnect doesn’t seem to reach the same stratospheric heights as Alpinisms, but does maintain a more consistently high cruising altitude throughout.

And speaking of cruising, the band’s upcoming Fall tour took an interesting and exciting dimension when I heard some first-hand accounts of their shows at New York’s Mercury Lounge last month – specifically, the fact that the trio were now playing with a live drummer. The couple times I’d seen them perform, they’d sounded great but the show’s energy definitely suffered for their reliance on prerecorded backing tracks. Now with live drums in the equation, I’m extra excited for their upcoming September 15 date at the Mod Club – not just to hear the new material, but to hear how it all sounds live. Now if they could just get Claudia Deheza a keytar so she can move around a bit on stage, we’d be cooking with gas.

MP3: School Of Seven Bells – “Windstorm”
MP3: School Of Seven Bells – “Babelonia”
Stream: School Of Seven Bells / Disconnect From Desire

Spinner has details on exactly what lineup of Guided By Voices will be taking the stage at the Palms in Las Vegas on the weekend of October 1 to 3, and they’re not kidding when they say it’s the classic lineup. Seeing as how they’ll be sticking to period-correct material, expect to hear lots of Alien Lanes, Bee Thousand and Under The Bushes, Under The Stars. Oh yes. Rolling Stone talks to some of the folks at Matador about how the sure-to-be-epic Matador 21 birthday bash came together; tickets and packages go on sale this Friday and the theatre that it’ll all be taking place in holds 2100. I’ll leave you to figure out just how long you can afford to dither. And yes, I am talking to myself there.

Bradley’s Almanac is sharing a recording of the Pixies doing Doolittle in Boston last Fall.

James Mercer talks to Spinner about his timeline for taking The Shins out of mothballs and making a new record.

Spin checks in with The Submarines as they plug away on a new album.

Sharon Van Etten has released details of her second album, and though Epic will only contain seven tracks, on scales of emotionality and beauty, it’s sure to more than live up to its name. It will be released on October 5.

MP3: Sharon Van Etten – “Love More”

And a slew of show announcements, big and small. Well, mostly mid-sized. Phosphorescent will follow up their show at the Horseshoe this Saturday night (July 10) in support of new album Here’s To Taking It Easy with an in-store at Soundscapes on the following afternoon (July 11) at 5PM. American Songwriter has an interview with Matthew Houck.

MP3: Phosphorescent – “It’s Hard To Be Humble (When You’re From Alabama)”

You may want to lump them in with the reunion bandwagon, but when Polvo and Versus roll into Lee’s Palace on August 13 for their first local shows in forever and a day, it’ll be in support of new albums – Polvo’s In Prism came out last year and was their first album in 12 years while Versus’ On The Ones And Threes will mark their first release in a decade when it finally comes out on August 3. Tickets for the show are $16.50 in advance, and yes of course they’ll play some of the old stuff.

MP3: Polvo – “Beggar’s Bowl”
MP3: Versus – “Invincible Hero”

Admiral Radley may not be a familiar name but the principals – Jason Lytle and Aaron Burtch, both formerly of Grandaddy, and Aaron Espinoza and Ariana Murra of Earlimart, might be. And if they are, you may be inclined to check them out on their upcoming tour, which stops in at the Horseshoe on August 15, tickets $13.50 in advance. Their debut I Heart California is out next week and is streaming in whole at NPR. Filter also has an interview.

MP3: Admiral Radley – “I Heart California”
Stream: Admiral Radley / I Heart California

Denmark’s Efterklang will bring this year’s Magic Chairs back to town for a show at Lee’s Palace on September 8; tickets are $12.

MP3: Efterklang – “Modern Drift”

Having conquered England, Marina & The Diamonds sets her sights across the Atlantic with a Fall tour in support of her debut The Family Jewels that’s still to be formally announced but will include a September 8 date at the El Mocambo in Toronto. Tickets for the show are $16.50 in advance, and I’m pretty sure this one will sell out fast. The Queen just visited; our Anglophilia is at a fever pitch. The San Francisco Examiner talks to Marina Diamandis.

Video: Marina & The Diamonds – “Oh No!”

Swedish psychedelic merchants Dungen will trip people right out when they play the Horseshoe on October 10; tickets are $17.50 in advance. Their new album Skit | Allt is out on September 14 – details and full tour dates at Pitchfork.

MP3: Dungen – “Satt Att Se”

The legendary Nick Lowe will return to the Mod Club on October 13 and while it’s true he was here a few years ago at the same venue, this time he’s bringing a full band. Ticket $34.50.

Video: Nick Lowe – “Cruel To Be Kind”

And another legend coming to town – same-ish era, also immeasurably influential but different stylistic wheelhouse – is Gary Numan. Look for him at the Opera House on October 24.

Video: Gary Numan – “Cars”

Josh Ritter and his new record And So The World Runs Away will be at the Phoenix on October 26.

Video: Josh Ritter – “The Curse”

Frank YangFull writeup of the night over here.

Superchunk
– Chapel Hill indie rock legends coming out of retirement with a new album later this year; Mac McCaughan talked to Under The Radar back in December about how that was going. McCaughan and guitarist Jim Wilbur will be in Toronto on April 7 to play at The Royal for the premiere of Passenger Side, a film in which Superchunk’s music appears – details at Exclaim, advance tickets over here.
Photos: Superchunk @ Cedar Street Courtyard – March 18, 2010
MP3: Superchunk – “Misfits & Mistakes”
MP3: Superchunk – “Never Too Young To Smoke”
MP3: Superchunk – “Rainy Streets”
MP3: Superchunk – “Becoming A Speck”
MP3: Superchunk – “Pink Clouds”
MP3: Superchunk – “Detroit Has A Skyline” (acoustic)
MP3: Superchunk – “Nu Bruises”
Video: Superchunk – “Mower”
Video: Superchunk – “Untied”
Video: Superchunk – “Driveway To Driveway”
Video: Superchunk – “Package Thief”
Video: Superchunk – “Art Class”
Video: Superchunk – “Throwing Things”
Video: Superchunk – “Precision Auto”
Video: Superchunk – “Fishing”
Video: Superchunk – “Watery Hands”
Video: Superchunk – “First Part”
Video: Superchunk – “Hyper Enough”
MySpace: Superchunk

Let’s Wrestle
– London trio whose debut In the Court of the Wrestling Let’s has just been released in North America and will be at the Horseshoe on April 18 in support of Quasi.
Photos: Let’s Wrestle @ Cedar Street Courtyard – March 18, 2010
MP3: Let’s Wrestle – “We Are The Men You’ll Grow To Love Soon”
Video: Let’s Wrestle – “I Won’t Lie To You”
Video: Let’s Wrestle – “We Are The Men You’ll Grow To Love Soon”
Video: Let’s Wrestle – “I’m In Fighting Mode”

Radar Brothers
– Former Medicine guitarist Jim Putnam returns with The Illustrated Garden, another collection of languid, atmospheric guitar pop.
Photos: Radar Brothers @ Cedar Street Courtyard – March 18, 2010
MP3: Radar Brothers – “Horse Warriors”
MP3: Radar Brothers – “On The Line”
MP3: Radar Brothers – “Warm Rising Sun”
MP3: Radar Brothers – “Papillon”
Video: Radar Brothers – “Brother Rabbit”
Video: Radar Brothers – “When Cold Air Goes To Sleep”
Video: Radar Brothers – “On The Line”
Video: Radar Brothers – “Papillon”
MySpace: Radar Brothers

She & Him
– Duo of M Ward and Zooey Deschanel just released their second album of classic AM-era pop in Volume Two and will play a sold-out show at The Phoenix on June 9. NPR, Exclaim and Spinner have interviews.
Photos: She & Him @ Cedar Street Courtyard – March 18, 2010
MP3: She & Him – “Why Do You Let Me Stay Here?”
Video: She & Him – “In The Sun”
Video: She & Him – “Why Do You Let Me Stay Here?”
MySpace: She & Him

Marina & The Diamonds
– British chart-topper seeks to conquer America with a new EP in The American Jewels laying the groundwork for the May 25 release of her full-length debut The Family Jewels on May 25. She talks about her song “I Am Not A Robot” to Wales Online and is interviewed by Paste.
Photos: Marina & The Diamonds @ Lambert’s – March 18, 2010
Video: Marina & The Diamonds – “Hollywood”
Video: Marina & The Diamonds – “I Am Not A Robot”
Video: Marina & The Diamonds – “Mowgli’s Road”
Video: Marina & The Diamonds – “Obsessions”
MySpace: Marina & The Diamonds

Frank YangFunny thing about plans you’ve had etched in stone for weeks – they seem to be the ones that are the most fun to jettison. Leading up to SxSW, I had assumed I would stick around at Eastbound & Down through GZA’s set, which meant that my only opportunity to see Superchunk would be their Friday afternoon Village Voice show at La Zona Rosa. Easy. And yet instead of getting my Wu Tang on Thursday evening, I found myself back at the hotel staring at my schedule and contemplating a world of opportunities with that scenario out the window. And it was decided that this evening would be a Merge kind of evening.

That Superchunk were the “special guests” kicking things off there at 7:30 PM was a pretty poorly kept secret, but even without them it was sure to be a full house with the first of several SxSW appearances from Matt Ward and Zooey Deschanel, aka She & Him. I wanted to see both and not tromp all around Austin, so sitting in Cedar Street for a few hours seemed a good plan. But first there’d be some standing in line outside the courtyard waiting for doors to open at 7. And more standing. And more. Apparently, a late-running day show had mucked up the Merge schedule such that doors didn’t open until 7:50, obviously throwing the official schedule – which only would have allowed for a 15-20 minute Superchunk set – out the window. When wristbands were finally let in, I pulled a Cedar Street Slide (instead of fighting through the crowd in the courtyard, ducking into the restaurant that runs the length of the venue and bypassing them via the entrance at the front of the stage) and snagged a perfect spot at the foot of the stage as Superchunk were tuning up. Superchunk!

And man, was it worth the wait. The Chapel Hill quartet may not be on full active duty after a long hiatus, but they played like they hadn’t taken a day off. Pogoing around the stage like the kids do (or did), they played a much longer than expected set – eight songs – including a couple new ones which will appear on their just-completed new record (!!!). Those sounded great but I was of course stoked to hear the likes of “Hello Hawk” and “Hyper Enough”, as well as getting to tell Jim Wilbur that no one heard his last solo because he’d accidentally unplugged his guitar from a pedal mid-song. I had worried that going off schedule would make for a shorter Superchunk set, but it probably allowed for an even longer one and my night had hit it’s high point just as soon as it had begun. This, kids, is how it’s done.

Three of those kids were up next in the form of one of the label’s latest signings, London’s Let’s Wrestle. I’m a fan of their debut In the Court of the Wrestling Let’s, due out next week, and had been looking for an opportunity to catch them at SxSW before their April 18 show at the Horseshoe but while their songwriting and persona would appear to be of shambolic abandon, their show was decidedly more polite than expected. It sounded great and Wesley Patrick Gonzalez’s guitar had a pleasant self-destructing tone throughout, but their delivery was more of intensity than shenanigans, save for the final, instrumental title track of the album in which strings began breaking on his SG en masse, forcing him to mangle/wrangle them off whilst trying to play. Finally – some wrestling!

The last time I saw Radar Bros was also here in Austin, also at a Merge showcase in 2008. And like that time, their set was slow and leisurely, almost to a fault. I like a lot of the sounds and influences that Jim Putnam and company draw on, but delivered as they are in such a languorous fashion, it can be a bit maddening. Their new record The Illustrated Garden is out next week. I’m betting it sounds a lot like the one before it.

They may be called She & Him, but it’s really She & Him & Lots Of Backing Players – Matt and Zooey’s band is a big one, and as such, their soundcheck took an exceeding long time to get through. Any gains in time made up by compressing sets leading up to theirs were pretty much lost as they tried to get mics and monitors working. Not that anyone seemed to care, anticipation for the duo was high and hundreds of cameras at the ready… until they essentially turned off all the lights and a show official came on the mic and said that the band politely requested that no one take any photos during their show. Of course, few listened and when they finally strode out on stage, it was to a barrage of flashes and shutters. This performance had a markedly different feel from their SxSW debut two years ago, which was maybe their third-ever live performance. Despite being a seasoned actress, at that show Deschanel seemed very nervous and uncomfortable being in the spotlight, frequently looking to Ward for cues or confidence. This time out, she was far, far more at ease, chatting with the crowd, cracking jokes, jumping up and down and generally being adorable. Musically, things weren’t quite so polished as some sound issues persisted despite the elongated soundcheck and they were both working without a set list and against a shortened set time. Not that that seemed to matter to most in attendance, who were thrilled to be seeing the pair – or at least their silhouettes – and take in their timeless-sounding, AM radio-styled pop tunes. And as soon as they were done, the venue cleared out.

Which is a shame because Wye Oak were up next. I’d have liked to have stuck around and if they were remotely on schedule, I would have but still needing to grab some dinner at 11PM and with a few blocks to traverse to Lamberts for my last stop of the night, I needed to be on my way. Lamberts was where current UK it girl Marina & The Diamonds was set to hold court and, having a thing for UK it girls, I wanted to see what this was all about. Again, the start time was delayed massively by technical issues – seeing six guys huddled around a rack case with a flashlight and shrugging is never a good sign – but unlike most SxSW showcases thus afflicted, this one would hardly be cut short. When they were finally ready to go, Marina Diamandis bounded onstage clad in Planet Hollywood overalls and a giant woolen shawl with animal ears… clearly, she was not going to be your conventional diva. And not being able to quite put my finger on what she was about was kind of the overarching theme for her set. Her voice is powerful, but with enough quirks and tics to not be too cookie cutter mainstream. the musical backing is synth-heavy, but it’s not made for the dancefloor. The lyrics are dense and pop-culture referencing, but not ironic. She’s beautiful, but not conventionally glammy (see above outfit). Whatever she’s doing, it’s been a hit in the UK and if the couple hundred people crammed into the club are a representative sample of North America (which they’re not), then when her debut The Family Jewels is released over here on May 25, it’ll do just as well. For my part, I remain intrigued if not yet completely won over.