Frank YangWhile most bands spend their entire careers trying to nail down that elusive “signature sound”, actually achieving that goal can be as much a curse as a blessing. In the case of New York’s Asobi Seksu being “that band that sounds like J-pop meets My Bloody Valentine” certainly set them apart, but there’s only so much you can do within those boundaries and considering they damn near perfected it with their last album Citrus, the very real question facing them heading into album number three would have been, “what next?”

Their answer was to first strip the roster down to just principals Yuki Chikudate and James Hanna and then head back into the studio with much more Spector on their minds than Shields. And as you might expect, the resultant album Hush requires that the listener’s expectations be adjusted. Though things aren’t nearly as subdued as the album title might imply, they have traded in much of their fuzz-pedal squall for fluffier clouds of reverb and while the leaner sonic approach actually suits them quite well, it also seems their pop instincts were dulled in the process and by making their songs more atmospheric, they’ve also lost some substance. The record sounds more like a band in the process of creating a new identity rather than presenting a completed one.

Their live show, however, remains quite familiar as Tuesday night’s engagement at the El Mocambo proved. Though they’d paid a visit just five months prior, they still managed to draw a very healthy crowd and regardless of the band’s new creative direction, if they came expecting to be assaulted and battered by sound they weren’t disappointed. Apparently all the distortion pedals that didn’t make it into the studio were in the band’s touring van, because they had all their noisemaking toys along with them and weren’t afraid to use them – their signature Christmas and strobe light stage setup was also along for the ride. I was pleased to see that they’ve also developed a distinctive stage presence, with Hanna pacing the stage looking for pedals to stomp on and Chikudate cooly cooing into the microphone and whipping her hair around. And mixed in with the Citrus material and given the more muscular delivery, the Hush songs sounded much more alive, providing a bit of respite – but only a bit – from the sonic tumult of the older songs. If Asobi are looking for some pointers on where to take their sound, perhaps listening to a recording of one of their shows would be a good start – for my money, they’ve got the perfect formula right there.

Tourmates Bell also hailed from New York and the duo – frontwoman and namesake Olga Bell on keyboards and Jason Nazary on drums and both on laptops – were excited to be on their very first tour, this being the second show. Their sound is an interesting take on electronica, melding Bell’s powerful and elastic vocals with unconventional melodies, pop structures and dynamic live drumming. It’s the sort of thing that draws you in, then pushes you away and then pulls you back, sometimes all at once. Kind of strange but definitely intriguing.

Decider has an interview with Asobi Seksu, Gothamist has one with Bell.

Photos: Asobi Seksu, Bell @ The El Mocambo – March 3, 2009
MP3: Asobi Seksu – “Me & Mary”
MP3: Asobi Seksu – “Familiar Light”
MP3: Asobi Seksu – “New Years”
MP3: Asobi Seksu – “Thursday”
MP3: Asobi Seksu – “I’m Happy But You Don’t Like Me”
MP3: Asobi Seksu – “Let Them Wait”
MP3: Asobi Seksu – “Sooner”
MP3: Asobi Seksu – “Walk On The Moon”
MP3: Bell – “Magic Tape”
Video: Asobi Seksu – “Me & Mary”
Video: Asobi Seksu – “Thursday”
Video: Asobi Seksu – “Goodbye”
Video: Asobi Seksu – “Walk On The Moon”
MySpace: Asobi Seksu
MySpace: Bell

Black Book interviews Anthony Gonzalez of M83.

Ben Curtis of School Of Seven Bells talks to Drowned In Sound and This Is Fake DIY.

Pitchfork solicits a list of this and that from Stuart Staples of Tindersticks while NOW, The Washington Post, Express and New York Press settle for interviews. They play the Opera House on Tuesday night.

NME has details on Jarvis Cocker’s forthcoming album – relevant points are that it’s out May 19, but is still untitled now entitled Further Complications (via PF) and was produced by Steve Albini… now that’ll be a 180 from the Richard Hawley-helmed romantic lushness of the first record. Can’t wait.

Clash has an extended and thoughtful interview with Ian Brown about the history of The Stone Roses on the occasion of the 20th anniversary of their debut album. Yes, the “r” word comes up. No, don’t hold your breath.

Magnet Q&As Frightened Rabbit and NPR welcomes them to for an interview and session.

Gemma Hayes has released a new video from last year’s The Hollow Of Morning. I think the “swoon” is implicit anytime I write about her, is it not?

Video: Gemma Hayes – “Home”

Wireless Bollinger, The Daily Telegraph, The Independent and Clash interview Howling Bells, whose new album Radio Wars is – I’m sad to say – being rather justly pilloried. It’s just not very good and considering how much I’d been looking forward to it, is quite a disappointment. Not giving up on the band but it’s a let-down.

MP3: Howling Bells – “Into The Chaos”

Pitchfork reveals that one of the tracks on the new Wilco album – still untitled and set for a June release – will feature a duet between Jeff Tweedy and Feist.

To mark their upcoming tour in support of Neko Case, Crooked Fingers have released a new digital EP for “Your Control”, the closing track from their last album Forfeit/Fortune which is a duet between Eric Bachmann and Case. The EP also features a couple covers of Crooked Fingers tunes by Spoon and Lambchop.

Neko Case gives Spinner some of the ground rules for being in her band and talks to JAM about the naturalist themes that run through her work. She also talks to The Los Angeles Times and The Globe & Mail. She’s at Trinity-St Paul’s on April 17 and 18.

The Ithaca Journal and NOW talk to AC Newman, who is playing Lee’s Palace next Wednesday night.

Peaches has a date at the Phoenix on May 20. Her new album I Feel Cream is out May 4.

Grizzly Bear have mapped out a massive tour in support of new album Veckatimest – the Toronto date is June 5 at the Phoenix. The album is out May 26.

The National Post recorded a video feature on Ohbijou circa their show at Lee’s Palace last November, including a street corner performance backed by The Acorn. And more clarity on the status of Beacons – the band has signed a deal in the UK with Bella Union, making them labelmates – at least over there – with Fleet Foxes and Andrew Bird. Pretty good company. Beacons is set for a June 8 release there and plans are afoot for the North American release and rescheduled tour dates to fall in line with that.

Paste talks to Craig Finn about The Hold Steady about their forthcoming live CD/DVD set A Positive Rage, due out April 7.

Blurt reports that Richard Thompson will be the subject of a four-disc box set entitled Walking On A Wire: Richard Thompson (1968-2009) and due out June 30.

NOW talks to creator Bryan Lee-O’Malley and director Edgar Wright about the upcoming Scott Pilgrim and its Toronto roots.

Update: Sad news – Dutch concert webcast site FabChannel is closing its (virtual) doors next week – you have seven days to go root through their massive and beautiful archives. Get to it.

Frank YangPlease understand, as much as I like them, I have no desire to make write-ups on Bruce Peninsula a weekly feature. However, their in-store performance at Soundscapes on Wednesday night to mark the release of A Mountain Is A Mouth merited a little more than cursory, “hey Bruce Peninsula played an in-store it was great let’s see what else is going on”.

Typically, in-stores involve a minimal setup – say acoustic guitar and mic into a PA – and a handful of songs, hopefully just enough to entice folks to buy a CD or attend a concert. And Bruce Peninsula did indeed invite the packed store to buy their album – cannily, the band set up across the width of the entire store and thus prevented anyone from being able to buy a CD from any other local independent artist – or a ticket to their February 22 show at the Polish Combatants Hall, but as far as the performance went there were no half-measures. The full band was in attendance – 10 members strong, though some different faces from when I saw them last – and they came equipped with electric guitars and drums (though just individual drums rather than full kits), intent on delivering almost a complete and proper show and demonstrating for those who hadn’t seen them before, the full power of the Bruce Peninsula live experience.

Their set ran almost 40 minutes, culminating in a stunning double-take of “Weave Myself A Dress” – double because it was being filmed for the Camera Music series on aux.tv – and to thank the audience for sitting through the same song twice (though really, we should have been thanking them) the band moved the drums into the middle of the audience for a rousing, pounding finale of “Crabapples”. A headshakingly good performance – isn’t it great/scary when bands you already expect the world from still manage to raise the bar? And I promise this’ll be the last BP-led post until their February 22 show. Unless it’s not.

Hour.ca and Metro have brief interviews with members of the band.

Photos: Bruce Peninsula @ Soundscapes – February 4, 2009
MP3: Bruce Peninsula – “Crabapples”
MySpace: Bruce Peninsula

Also at aux.tv’s Camera Music – an episode with Ohbijou, who will release Beacons in April and play the Opera House on April 13.

And to finish off the live video component of the post, head over to Baeble Music to see footage from Constantines’ show in Brooklyn last December. They’re at the Phoenix on March 31 and April 1.

The Toronto Star, National Post and Exclaim talk to Jenn Grant, who just released her sophomore album Echoes this week and will play the Mod Club on next Thursday, February 12.

Glasswerk and Edinburgh News introduce The Coast to the UK, where the band are kicking off a tour this weekend. They’ll be back in town for a homecoming show at the Horseshoe on February 28 alongside The Diableros and Oh No Forest Fires.

PopMatters chats with AC Newman, booked in at Lee’s Palace for March 11.

Austin Town Hall talks to Brendan Canning and Charles Spearin of Broken Social Scene, while The Georgia Straight talks to Spearin about his solo work with The Happiness Project, who have two dates at the Music Gallery on March 11 and 12.

The Vancouver Sun profiles Angela Desveaux, whose CMW showcase will find her at the Gladstone on Thursday, March 12.

Wireless Bollinger interviews Tony Dekker of Great Lake Swimmers. Lost Channels is out March 31 and they play the Queen Elizabeth Theatre on April 25.

Mark Hamilton of Woodpigeon makes a playlist for taking the train around Europe for The Calgary Herald and are the subject of a feature at The Georgia Straight.

Paste has details on the John Doe/Sadies collaboration Country Club, due out April 14.

Collider has a video interview with Brandon Routh (aka evil ex-boyfriend #3 Todd Ingram) wherein he says that the film adaptation of Scott Pilgrim, set to begin filming here in Toronto next month, will be a combination of live-action and animation. The penultimate volume of the series – Scott Pilgrim Vs The Universe – came out yesterday and I expect the final book will be timed to come out at the same time as the film next year, whenever that’ll be. I think one of the (many) reasons I love the series is that it creates a mythological Toronto which for me, at least, has never existed in any medium. And the mythology around cities is one of the reasons I love places like New York and London so much. The fact that our developing mythology includes killer robots and subspace expressways is just so much the better. And anyone who wants to set up field trips to stalk the production crews around the city, get in touch. No, I’m not kidding.