Frank YangYou may have noticed my first two dispatches from Osheaga dwelled a bit on the hot, humid weather – this was partly because it was one of the defining factors of the weekend and certainly affected mine and everyone else’s experience, but also for some context. Because for the third and final day of the festival, things went from just hot to hot and wet – great adjectives for search engine optimization, not so great for spending the day outside. Indeed, the same storm system that shut down Lollapalooza the day before looked like it was aiming to put another notch in its belt and wallop Montréal and while it wasn’t sever enough to consider cancelling anything pre-emptively – the forecast was mainly for scattered thundershowers – it certainly had people keeping an eye on the sky as well as on the stages.

The stage manager at the Forest stage certainly was, and though Nika Danilova of Zola Jesus was certainly taking the weather in stride – soundchecking with a bit of Rihanna’s “Umbrella” was cute – but just two songs in and under a steady but not excessive rainfall, the stage lights went off and they declared the set over even though at that point the sky was actually beginning to clear. Danilova pleaded her case but for naught, and much to the vocal dismay of the audience, the show was over. Now I can appreciate wanting to err on the side of caution, particularly in light of the rash of stage collapses at festivals in the last couple years, but this seemed excessively paranoid and raised the question of what the festival’s “rain or shine” policy actually meant – people couldn’t get their money back, but they weren’t necessarily entitled to any of the performances they paid for? Troubling. If there was any silver lining to these rain clouds, it’s that in the 10 minutes that Zola Jesus performed – I’d never heard her save her contribution to the last M83 record – I quite liked what I heard of her operatic goth-pop and would be seeking some more out. So there was that.

DIY and The Moscow News have feature interviews with Danilova.

Photos: Zola Jesus @ Scène des arbes- August 5, 2012
MP3: Zola Jesus – “Vessel”
MP3: Zola Jesus – “Sea Talk”
Video: Zola Jesus – “Seekir”
Video: Zola Jesus – “Vessel”
Video: Zola Jesus – “Sea Talk”
Video: Zola Jesus – “Night”
Video: Zola Jesus – “Clay Bodies”

Also in them “I’d never really heard them or paid much attention but I’ll go see them anyways” category was Cambridge, Massachusetts’ Passion Pit, though I’ll admit that my curiosity was more due to the drama that had surrounded frontman Michael Angelakos as they released their second album Gossamer a couple weeks earlier – specifically the announcement that he was battling a bipolar disorder and cancelling a swath of tour dates as a result. Not that I went to gawk – I just found it interesting that this date, along with a few other festival dates, were still on and even though what I had heard of their first record Manners was at best annoying – Angelakos’ falsetto and I did not get along – most accounts were that this new record was much better.

Not that I know what a bipolar condition looks like – probably nothing overt – but Angelakos looked pretty hale and hearty on stage, and certainly energetic. As his bandmates pounded out declarative synth-rock riffs, he was leaping on monitors, waving around mic stands, and generally working the crowd like a pro. And happily, there was minimal to no falsetto to be heard, or at least I didn’t notice it. The guy’s got a reasonably soulful voice in its normal range, it was nice to hear him use it instead of resorting to gimmickry. And though I’m sure it was just coincidence, there was something fitting about how the weather went from overcast to a downpour to sunshine in the first 15 minutes of their set. Because it stayed sunny.

Rolling Stone has an in depth interview with Angelkos about his mental health issues.

Photos: Passion Pit @ Scène de la montagne – August 5, 2012
Video: Passion Pit – “Take A Walk”
Video: Passion Pit – “Constant Conversations”
Video: Passion Pit – “Little Secrets”
Video: Passion Pit – “To Kingdom Come”
Video: Passion Pit – “The Reeling”
Video: Passion Pit – “Sleepyhead”

One of the festival’s bleach-blonde witch-pop artists had already been taken down by the weather; what were the odds that both would? Thankfully, pretty bad. I had thought that the otherworldly environs of Iceland, where I last saw them, was the perfect setting for Toronto’s Austra but it turns out a suddenly sunny Montréal Summer afternoon worked pretty well, too. Dressed for the season in brightly-coloured dresses, Katie Stelmanis and her bandmates successfully got those assembled at the Green stage to ignore the burgeoning mud pit at their feet and dance. There was one new song in her set which from a single cursory listen shouldn’t alienate any fans, and I want to say that some of the lyrics were sung in French, but honestly with Stelmanis’ operatic delivery it was hard to say for sure.

Exclaim has a video session with the band where they perform the aforementioned new song “Painful Like” and Spinner has an interview. And to the surprise of absolutely no one, Austra have been announced as the special guest for the Saturday, September 29 lineup at Paper Bag Records’ 10th anniversary show at The Great Hall.

Photos: Austra @ Scène vertes – August 5, 2012
MP3: Austra – “Lose It”
MP3: Austra – “Beat & The Pulse”
Video: Austra – “Spellwork”
Video: Austra – “Lose It”
Video: Austra – “Beat & The Pulse”

I like Australia’s Tame Impala alright – their 2010 debut Innerspeaker was a nice bit of psychedelic space-rock – but that they were not only popular enough to be playing a late afternoon mainstage slot at a festival of this size but draw a pretty big and enthusiastic audience genuinely surprised me. Their fans clearly knew and liked their prog rock and they like it chilled out and spacey, seemingly cheering every key and tempo change and certainly every extended guitar solo. They’ve a big sound, but not an aggressive one, and their stage presence is similarly subdued. I wouldn’t say they’re much to look at or watch up there, but you’d have to open your eyes from you reverie to notice, and not many of those listening were prepared to do that. Enjoyable overall, but not quite able to keep my festival-ADD interest for the duration. And considering that the last time I saw them in May 2011, frontman Kevin Parker felt obliged to inform us all that Osama Bin Laden had been killed – the least he could have done this time out was announce the official fall of the al-Assad regime. Alas, no dice, but at least there was that evening’s episode of The Newsroom ready to indulge my nostalgia.

Stereogum and Spin talk to Parker about their new record Lonerism, due out October 9.

Photos: Tame Impala @ Scène de la rivière – August 5, 2012
MP3: Tame Impala – “Runway, Houses, City, Clouds”
Video: Tame Impala – “Expectation”
Video: Tame Impala – “Lucidity”
Video: Tame Impala – “Solitude Is Bliss”

When James Mercer and his reconstituted Shins came through Toronto last September – fully six months before their new record Port Of Morrow would be released – there were a lot of questions, not least of which being that it had almost been a half-decade since their last album came out; did anyone still care? The success of that record and the fact that the band were playing as large stages as they did before they went on hiatus proved quite unequivocally that they still did, and was a testament to the power of a good pop song. And if there’s one thing The Shins have, it’s good pop songs.

They also had some bad luck with the weather. Though the skies stayed fairly clear through Tame Impala’s set, they darkened in a hurry as soon as The Shins took the stage and as opener “Kissing The Lipless” built to the first big chorus, they opened up and utterly drenched everyone and everything. Everything save their spirits – the fans seemed to love it and if the band were concerned about little details like electrocution, it didn’t show. Mercer was as animated and energized up there as I’d ever seen him, and certainly seemed more integrated with his bandmates than in the Fall where they looked very much like hired hands. I stuck around for a while, savouring all the old, familiar tunes, but my tolerance for getting soaked was apparently lower than everyone elses.

The Wall Street Journal and Entertainment Weekly have conversations with James Mercer.

Photos: The Shins @ Scène de la montagne – August 5, 2012
MP3: The Shins – “Australia”
MP3: The Shins – “Phantom Limb”
MP3: The Shins – “Kissing The Lipless”
MP3: The Shins – “So Says I”
MP3: The Shins – “Know Your Onion!”
Video: The Shins – “It’s Only Life”
Video: The Shins – “No Way Down”
Video: The Shins – “The Rifle’s Spiral”
Video: The Shins – “Simple Song”
Video: The Shins – “Bait & Switch”
Video: The Shins – “Australia”
Video: The Shins – “Phantom Limb”
Video: The Shins – “So Says I”
Video: The Shins – “Turn On Me”
Video: The Shins – “The Past & Pending”
Video: The Shins – “New Slang”
Video: The Shins – “Kissing The Lipless”
Video: The Shins – “Know Your Onion!”

With my obsessions with the weather pretty much established, I’ve no problem admitting that I’d spent much of the day tracking the incoming storm via satellite radar maps. Based on the accumulated data, I figured that I would be able to take in Bloc Party relatively unscathed and then skip out on mainstage headliners Metric and The Black Keys just when the brunt of the storm hit. Science! That it was already raining moderately to heavily by the time I got to the Green stage certainly didn’t fit the plan, but it was good to see that the conservative attitude towards the weather that opened the day had seemingly been replaced with a sturdy, “the show must go on” attitude – the roadies were wrapping just about everything electronic on stage in plastic sheeting, but showed no signs that they weren’t going to go ahead with the set.

Kele Okereke was certainly up for it. Clad in a colourful shirt louder than some of the PAs at the festival and sans guitar, the Bloc Party frontman was all party, rain be damned, and led the London quartet through a ripping reading of “Octopus”, the lead single from their forthcoming album Four. It was – and is – an odd song, with its stuttering riff and loopy vocals, and taken as a representative of the new material does indicate that the random and experimental (and polarizing) direction of 2008’s Intimacy was more a signpost than a detour. Live, however, it was delivered with enough energy and conviction to persuade even the hardest skeptic that it was a winner.

Only one other track from Four made the set – the power chord-heavy “Kettling” – with the rest dedicated to older material and rewarding the audience for their willingness to wait in the weather by soundtracking their collective decision to ignore the “no crowd surfing” signs with gusto – Okereke thanked security for their diligence in making sure no one got hurt by dedicating “This Modern Love” to them; I’m sure they appreciated the gesture. It was certainly the most raucous audience I’d seen all weekend, with no one caring about the rain but instead revelling in it and the mud, both figuratively and literally. Though allotted a full hour for their set, Bloc Party wrapped their set at 45 minutes with a thundering and exhausting “Helicopter”; I would have liked for them to keep playing, sure, but that was also as perfect a place to wrap the set as any. And the fest. Though the rain had let up by this point – apparently the storm that I’d expected to hit the headliners had gotten there early and instead soaked me – I was tired, hungry, wet, and just done. Osheaga was the first big outdoor fest I’d done in over two years, and as much fun as it was, I’ve got a feeling it might have been my last.

Four is out August 21, and in addition to their September 10 show at the Danforth Music Hall in Toronto, Bloc Party have added a second show on September 11 – tickets $25 and $35 in advance. BBC and The Fly talk to them about their new record. Their set from New York earlier this week will be available to stream on demand today – sometime – at YouTube.

Photos: Bloc Party @ Scène vertes – August 5, 2012
MP3: Bloc Party – “Banquet”
Video: Bloc Party – “Octopus”
Video: Bloc Party – “One More Chance”
Video: Bloc Party – “One Month Off”
Video: Bloc Party – “Talons”
Video: Bloc Party – “Mercury”
Video: Bloc Party – “Flux”
Video: Bloc Party – “Hunting For Witches”
Video: Bloc Party – “I Still Remember”
Video: Bloc Party – “The Prayer”
Video: Bloc Party – “Helicopter”
Video: Bloc Party – “Two More Years”
Video: Bloc Party – “Pioneers”
Video: Bloc Party – “Banquet”
Video: Bloc Party – “So Here We Are”
Video: Bloc Party – “Tulips”
Video: Bloc Party – “Little Thoughts”

The Quietus has details on the next album from Patrick Wolf. A double album entitled Sundark & Riverlight, it doesn’t feature new songs but completely acoustic re-recordings of selections from throughout his recording career, all of which makes the intimate and acoustic setup of his upcoming Fall tour so much more logical. The album comes out on September 25, which just happens to be the day that Wolf is in Toronto at the Music Gallery, and support on this tour comes from Canada’s own Woodpigeon. More special than you can shake a stick at. Same Same and Q News both have interviews with Wolf.

MP3: Woodpigeon – “For Paolo”

Ladyhawke has made a date at The Hoxton on September 15 as part of a North American tour in support of her second album Anxiety.

Video: Ladyhawke – “Blue Eyes”

John LindquistPatrick Wolf doesn’t really look old enough to be celebrating a decade of anything save no longer being a teenager but despite having just turned 29 less than a fortnight ago, the dramatic/romantic English singer-songwriter has been making music and releasing records since his debut EP in Fall 2002; his first full-length Lycanthropy followed in Summer 2003.

If he decides that it’s occasion enough for a world tour, I’m certainly not going to argue it. Neither his last album – 2011’s Lupercalia nor its companion EP Brumalia – got a proper (read: physical) North American release so his visits to this continent were limited to a mere handful of token US dates last Fall, meaning that Toronto hadn’t gotten a taste of his legendarily flamboyant – and mercurial – live shows since June 2009, circa the industrial-tinged The Bachelor.

This tour will be an acoustic one, featuring Wolf on harp, dulcimer, piano, and other such instruments and accompanied by a multi-instrumentalist, so while it will be interesting to hear how that material translates, it’s near-perfect for revisiting the material of his first two records and should also work well with the lushness of Lupercalia. And it’s also perfect for the setting they’ve chosen for the Toronto stop of the tour, which wil be September 25 at The Music Gallery. Tickets for that will be $25 and go on sale this Friday at 10AM.

And even as much as he’s in a retrospective mood, Wolf continues to look forward – he’s been working on a new record and aims to have it out this year. Twitter implies that more details on that will be coming sooner rather than later.

Video: Patrick Wolf – “The City”
Video: Patrick Wolf – “Together”
Video: Patrick Wolf – “The Falcons”
Video: Patrick Wolf – “Time Of My Life”
Video: Patrick Wolf – “House”

The only thing dismaying about the scheduling of this show is that it means I have to miss Dry The River’s return engagement. I fear I may have cursed them just a little bit as following their Toronto debut at The Garrison back in March, I said that the next time they came to town they’d surely be playing much bigger rooms. Well it turns out they’ll be playing rooms exactly the same size – the exact same room, in fact. They’re back on September 25 for a show at The Garrison, tickets $12, and while their ascent may not have been quite as rocket-like as I’d expected, they’ll still be fantastic. Promise.

MP3: Dry The River – “New Ceremony”

British funk-soul brothers The Heavy will be at Lee’s Palace on September 23 in support of their new record The Glorious Dead, due out August 21. Tickets for that are $15 in advance.

Video: The Heavy – “What Makes A Good Man?”

Having not released a record in six years or so and having cancelled her last scheduled show (and tour) in Summer 2010, it’s about time we heard back from Beth Orton. She’s announced details of a new record entitled Sugaring Season, due for release October 2, and a first video from said record. There’s also a new accompanying North American tour which brings her to the Mod Club on September 30, tickets $25. Yes, that’s the same room she cancelled out of last time. Bygones.

Video: Beth Orton – “Something More Beautiful”

Bloc Party have released the first video from their new record Four. It’s out August 21 and they play The Danforth Music Hall on September 10.

Video: Bloc Party – “Octopus”

NOW puts Hot Chip on this week’s cover in anticipation of Sunday night’s show at The Sound Academy.

Maxïmo Park is interviewed by DIY.

Prefix talks to Charles from Slow Club.

DIY has an interview with Patrick and Roxanne of Veronica Falls.

Friendly Fires clarifies some previously-made comments made about the direction of album number three, currently in progress, to NME.

Sweden’s Holograms are streaming their self-titled debut, out this week, over at Stereogum. They’re at The Shop Under Parts & Labour on September 11.

MP3: Holograms – “Chasing My Mind”
MP3: Holograms – “ABC City”
Stream: Holograms / Holograms

NPR has a stream of the first sample from Taken By Trees’ forthcoming Other Worlds, out October 2. She opens up for Jens Lekman at The Phoenix on October 4.

Stream: Taken By Trees – “Dreams”

That new Raveonettes song from Observator that was made available to stream a couple days ago? You can now download it. The album is out September 11 and they play The Phoenix on October 2.

MP3: The Raveonettes – “She Owns The Streets”

Justice have released a new video from last year’s Audio, Video, Disco and if it’s any indication of what they’ve got in store for their live show, their headlining slot at Historic Fort York on August 4 should be one to remember.

Video: Justice – “New Lands”

Pitchfork gets some insight into the new Tame Impala record Lonerism, due out October 9.

Kyle Dean ReinfordIf you listen to Hospitality, the debut album from the band also called Hospitality, you may quickly find yourself in a game of “where are they from?” based on singer Amber Papini’s accent and entries of any and all of the UK, Scandinavia or Australia/New Zealand would be perfectly reasonable. After all, the outfit’s idiosyncratic yet hooky pop style would fit quite easily in the musical traditions of any of the above.

The truth of it, however, is far less foreign; they’re from Brooklyn, though if you want/need more exoticness than that, Papini originally hails from Kansas City. And the accent? Just affectation. That doesn’t make their tunes any less enjoyable, though, and it makes the odds that they’ll be able to tour North America that much greater – one in one, as a matter of fact. In support of the January 31 release of their debut on Merge, they’ve got a short tour of the northeast planned and it includes a January 11 date at The Horseshoe – while it doesn’t show up on the above itinerary, it is happening, tickets $10. And apparently they’re supporting some outfit called Caveman? Come for the Hospitality, stay for the Caveman or vice-versa? The important thing is that you go.

MP3: Hospitality – “Betty Wang”
MP3: Hospitality – “Friends Of Friends”

Also in the just-announced column – UK electro outfit Fujiya & Miyagi will be at Wrongbar on January 24 in support of this year’s Ventriloquizzing.

MP3: Fujiya & Miyagi – “YoYo”
MP3: Fujiya & Miyagi – “Sixteen Shades Of Black & Blue”

Danish disco-funk collective The Asteroids Galaxy Tour – yes that’s a real thing – will release their new record Out Of Frequency on January 31 and follow it up with a show at The Hoxton on February 6, tickets $16.50 in advance. I saw them back at SXSW 2009; they’re entertaining.

MP3: The Asteroids Galaxy Tour – “Major”
MP3: The Asteroids Galaxy Tour – “Around The Bend”

South Africa’s Die Antwoord haven’t announced a release date for their second album Ten$ion yet – their ditching their label probably has something to do with that – but having just announced a February 14 date at The Phoenix, one presumes that they believe it will be out sooner rather than later. Tickets for the show are $29 in advance.

Video: Die Antwoord – “Fok Julle Naaiers”

North Carolina’s Bowerbirds have announced a March 6 release date for their new record The Clearing, and they’ll bring it to The Garrison on March 27 as part of a full tour. You can hear the first MP3 from the record below.

MP3: Bowerbirds – “Tuck The Darkness In”

It’s interesting that the Nordic Music Prize – awarded to the best Scandinavian record – only has a lag time of a few days between announcing the long list, with a dozen records from each of Sweden, Denmark, Norway, Finland and Iceland, and the short list of a final twelve from all countries. And surprising to me, at least, that I Break Horses’ gorgeous debut Hearts wasn’t at least on the former. But then I have no idea what’s actually big in Sweden. I do know, however, that The Quietus and Loud & Quiet have features on the duo and that Maria Lindén has become my number one indie rock crush. Le sigh.

Lykke Li – who is on the Nordic long list for Wounded Rhymes – has released another of the random live session videos that she seems to have so many of.

Video: Lykke Li – “Youth Knows No Pain” (acoustic)

Patrick Wolf has a new video that appears both on this year’s Lupercalia and the Brumalia companion EP which is due out December 4. Still waiting on a North American release for either/both of these, Patrick. Stereoboard and The Oxford Student have interviews.

Video: Patrick Wolf – “Together”

The Guardian talks to Laura Marling, who has two sold-out shows at Camera Bar on December 7.

Anna Calvi covers TV On The Radio’s “Wolf Like Me” in session for The Guardian in what’s basically a proper video. Maybe she’ll bust that one out when she plays Lee’s Palace on December 8. The Vine also has an interview with Calvi. Update: Stereogum’s got an MP3 of the cover to download if you like.

Video: Anna Calvi – “Wolf Like Me”

Still Corners have released a new video from Creatures Of An Hour; they’re at The Horseshoe on December 9, opening up for The War On Drugs.

Video: Still Corners – “Into The Trees”

Clash talks artistic evolution with Horrors bassist Rhys Webb.

Londonist chats with Little Boots about her new single “Shake”, which presumably augurs a second album in the new year.

Exclaim documents the history of the now-resurrected Stone Roses.

Spin chats with Nick Lowe.

Frank YangSo here we are, with both post-Oasis projects with their debuts officially out in the wild – the Liam-led Beady Eye having released Different Gear, Still Speeding back in March and Noel Gallagher’s Noel Gallagher’s High Flying Birds out this week. Given the not-so-greatness of Liam’s Oasis output, the bar for the former was set fairly low and Different Gear‘s meat-and-potatoes Brit-rock had no problem clearing it, with “not bad” counting as a big win. Noel, on the other hand, had considerably more to live up to what with not only having penned some of the most memorable British rock anthems of his generation, but having been the one pulled the pin on the grenade that finally, inevitably, killed Oasis. Though looking at it from another perspective, Beady Eye had everything to prove while Noel could point as his songbook and say, “what the fook have YOU done?”.

The best and the worst thing you can say about High Flying Birds is that it’s pretty much what you’d expect from a Noel Gallagher solo record, with his respective weaknesses and strengths on full display. Amongst the former are his penchant for cribbing lyrics and melodies from others wholesale, and may of the words that are his are vague and nonsensical, though at least they rhyme. However just as he did in Oasis, he’s able to marry them with an unimpeachable gift for melody, a delivery that makes them sound profound and a flair for dressing them up in big arrangements that aren’t too overcooked (obviously this took some time to learn). It can be frustrating to sing along with words that make no sense, but sing along you will.

That said, for all the familiar motions, Birds feels distinct from an Oasis record for reasons beyond the absence of Liam’s rock’n’roll sneer. Perhaps in being freed from the inherent compromises of a band and being able to take full creative control, Gallagher has been able to fully assume the role of composer rather than just songwriter and consequently, Birds feels more meticulous in its execution than any Oasis record I can recall. Some might bemoan its mid-temponess or dearth of guitar heroics, but let’s be fair – he’s made those records already. High Flying Birds doesn’t necessarily revitalize or recontextualize what Noel Gallagher is about – not even remotely, if we’re being honest – but it is well-crafted, tuneful and likeable. Well I like it, anyways, and that’s why despite not getting accredited to cover the show in an official capacity, I headed down to Massey Hall about 20 minutes before showtime and patronized my first ever scalper. Less than half face value? Sure.

Though not sold out – two nights at Massey is a tall order for many acts, even one who sold out arenas with his old band – the hall was nearly full and crackling with the energy of fans who’d not seen the elder Gallagher since that fateful Virgin Festival 2008 appearance where he was assaulted onstage, if not earlier. The vibe was not unlike that at The Sound Academy in June when Liam led Beady Eye into town for their first visit, though feeling a bit older and with fewer (no) Union Jack flags hanging from the balconies.

Unlike Beady Eye, however, Noel had already said that the Oasis songbook was very much fair game for his solo shows and to prove it, the show opened with “(It’s Good) To Be Free”, a 17-year old b-side from a non-album single. Not just the hits, then. Oasis material would actually comprise almost half the 90-minute set, spanning the breadth of their catalog but with no small amount of revisionist history applied – “Wonderwall” got the Ryan Adams treatment, “Supersonic” was stripped down to acoustic guitar and piano (and would be a post-show point of contention for being a Liam song) and “Talk Tonight” given the full band treatment. It was as though Gallagher was more than willing to indulge his fans’ desire to hear the old material, but wasn’t going to make head-to-head comparisons of Oasis and his High Flying Birds easy.

As for the new material, not only was the album played in its entirety, but a b-side and new song thrown in for good measure. All of it was played pretty much verbatim from the album arrangements and in workmanlike fashion from Gallagher and his five-piece band – the crowd was enthused but Gallagher didn’t seem particularly interested in stoking the fires, just in doing his thing. It would have been unreasonable to expect him to discover some heretofore unknown wellspring on on-stage charisma upon assuming the role of frontman, but at least Gallagher seemed chipper in bantering with the crowd.

Early on, he told an audience member who’d not heard the new record that, “it’s going to be a long fucking night for you then” and later, when the inevitable topic of his younger brother came up (he has a home in Toronto), he responded to someone calling out that they’d seen Liam around town buying shoes, “were they high heels?”. Noel has a well-earned reputation for shooting his mouth off about anything and everything, but he’s got a sense of humour. The encore was a triple-bill of Oasis numbers – “Little By Little” from Heathen Chemistry, “The Importance Of Being Idle” from Don’t Believe The Truth and, finally, predictably and thrillingly, “Don’t Look Back In Anger”. That finale was spared any rejigging and performed as it always has – how else do you lead the singalong? And sing along everyone did.

So with all the evidence gathered – live and on record – how do the two post-Oasis projects measure up? Both have turned in decent efforts without offering anything new, but neither is a patch on Oasis in their prime – but to be fair, most of Oasis’ career isn’t a patch on Oasis in their prime either. With Beady Eye, Liam seems to want to recreate the rock’n’roll heyday of Oasis without invoking Oasis, whereas Noel is content to acknowledge his legacy without resting on it. I’d go so far as to say if you took both their records and combined the best moments into one, you’d have the best Oasis record in some years. To be at their best, as both brothers once sang, they need each other. Maybe someday they’ll once again believe in one another.

The Toronto Sun, Exclaim, The Globe & Mail, Toronto Star, NOW, Spinner and National Post also have reviews of the show and Los Angeles Times and National Post also have feature interviews.

Photos: Noel Gallagher’s High Flying Birds @ Massey Hall – November 7, 2011
Video: Noel Gallagher’s High Flying Birds – “AKA… What A Life”
Video: Noel Gallagher’s High Flying Birds – “If I Had A Gun”
Video: Noel Gallagher’s High Flying Birds – “The Death Of You & Me”

In talking to NME, Damon Albarn reveals that Blur have been recording and discussions about more touring in 2012 have taken place. None of which is a commitment to anything, but it is something.

BBC chats with Arctic Monkeys frontman Alex Turner.

Band Of Skulls have set a date at The Phoenix for March 30 of next year in support of their new album Sweet Sour, out February 21. Tickets are $17.50 in advance. Exclaim has details and dates and there’s a video for the first single from the album.

Video: Band Of Skulls – “The Devil Takes Care Of His Own”

DIY talks to Kele about his new EP The Hunter.

Clash interviews Florence Welch of Florence & The Machine.

Artrocker profiles Los Campesinos!, whose new record Hello Sadness is streaming at NPR ahead of its November 15 release date.

MP3: Los Campesinos! – “By Your Hand”
Stream: Los Campesinos! / Hello Sadness

Interview, The Independent and Londonist talk to Summer Camp on the occasion of the release of their debut Welcome To Condale this week.

Pitchfork reports that The xx have begun work on their second album, and will be documenting the process via cryptic animated gif.

The ink barely dry on the their Toronto debut last month, London’s Still Corners will be back on December 9 at The Horseshoe in support of The War on Drugs. The Georgia Straight and Houston Press have interviews and Radio K is streaming a session with the band.

MP3: Still Corners – “Into The Trees”

The AV Club talks to Charlie Fink of Noah & The Whale.

Spinner interviews Laura Marling.

The Guardian gets two generations of folk music – Billy Bragg and Johnny Flynn – to discuss the relevance of protest music today.

Patrick Wolf has released a new video from Lupercalia, which continues to await a North American release. In 2012, perhaps. The Gay Times talks to Wolf about his impending nuptials.

Video: Patrick Wolf – “The Falcons”

Rocksucker talks to The Twilight Sad about their third album No One Can Ever Know, due out in February.

Clash marks the 20th anniversary of My Bloody Valentine’s landmark Loveless album, while The Quietus reflects on the significance of The Jesus & Mary Chain’s debut Psychocandy.

And while not nearly on the level of either of those records, I greatly appreciate Drowned In Sound saluting The Closer I Get, the second album from Nottingham’s Six By Seven. Terribly underappreciated over their tenure, at their best – which would be that record – there was no more beautifully aggressive and misanthropic rock band out there. After a few ill-fated reunions, the band is done but if you go to their website, their last great record – 2004’s relatively sunnier :04 – is available for free download in exchange for an email. You should do this thing.

MP3: Six By Seven – “Bochum (Light Up My Life)”
Video: Six By Seven – “Eat Junk Become Junk”

Frank YangSome have been lumping Portishead’s return to recording and touring, starting with the release of 2007’s Third, in with the spate of ’90s band reunions and reconciliations which the more cynical would assume be intended to cash in on the nostalgia of today’s 30-somethings. This is basically wrong. Yes, the band were last properly active in the late ’90s, their second self-titled album coming out in Fall 1997, but what separates Portishead from the pack are that Third was written and recorded if not released before their return to the stage and rather than rest on past laurels as the progenitors of what would become datedly known as “trip-hop”, they opted to evolve far beyond what they were known for and leave the genre behind. There was no trip-hop on Third, only dark and fascinating Portishead. The band didn’t go away, they were just taking their time, and in the interim no one was able to replicate what they did.

And while it took them a good while to get around to touring North America for the new record – three and a half years or so – they finally got around to it this Fall and brought their show to Toronto’s Sound Academy for two nights over Thanksgiving weekend, of which I was at the first evening. Portishead may not immediately seem like they’d be an incredible live band, what with being very much studio creations and not “rocking” in the conventional sense, but the PNYC live set proved they were fully capable of recreating the same sense of desolate and desperate wonder of their records on stage. There was no reason not to expect greatness. And while there was no orchestra accompanying them this time, playing in front of a riveting lightshow made up of recorded projections and live camerawork, the six-piece band was more than equipped to create every tone and texture needed to do their material justice. Be it seamlessly combining live and electronic drums, inserting a brilliant turntable break or just jazzing the tempos the right amount to keep the dirgier songs moving, they were delicate when needed but heavy as hell on demand.

And at the centre of them all, of it all, either draped over the mic or with back to the audience, was Beth Gibbons – the enigmatic voice and face of the band. Her sorrowful, emotive vocals were reflected in the pained expressions on her face as she sang, and with her refusal to do interviews you couldn’t help but wonder if she was in character up there or if she was actually laying herself bare; in either case, whatever emotions Portishead were channelling were coming directly through her. At points her vocals seemed undermixed, not an unusual occurrence at the Sound Academy, but you couldn’t help thinking it was also deliberate to a degree, to allow for even more dramatic effect when she rose above the din. And despite the limits of her stage moves – she didn’t stay at the mic, face the crowd any longer than was necessary or say a word – she was a mesmerizing figure to watch, to try and figure out. It was only at the very end of the final song, “We Carry On”, that the mask broke and Gibbons leapt into the photo pit, all grins, and shook hands with as many fans in the front row as she could. It was a stunning and surprising dropping of what was now clearly a performance, and what a performance.

Some fans might have found room to complain that the set list leaned too heavily on Third, overlooking the fact that it’s a brilliant record for the fact that it’s not their favourite, and yeah – a couple more songs off Portishead would have been welcome – but the there’s no ground to be had in arguing that the show was anything less than brilliant for it. Perfectly paced, presented and performed. Perfectly Portishead.

The Globe & Mail, The Toronto Sun, The New Zealand Herald, and Beatroute have interviews with the band. Examiner.com and NOW were on hand for Sunday night, Exclaim on Monday and it’s unclear when Torontoist was there.

Photos: Portishead @ The Sound Academy – October 9, 2011
Video: Portishead – “Chase The Tear”
Video: Portishead – “Magic Doors”
Video: Portishead – “The Rip”
Video: Portishead – “Machine Gun”
Video: Portishead – “Glory Box”
Video: Portishead – “All Mine”
Video: Portishead – “Humming”

Spinner talks to Friendly Fires frontman Ed Macfarlane. They play The Phoenix on October 23.

Clash talks to Still Corners about their new record Creatures Of An Hour. They’re at The Drake Underground on October 25.

Clash reports that Patrick Wolf will report a new 6-song EP entitled Brumalia on November 28.

With the October 31 release of National Treasures impending, NME talks to James Dean Bradfield.

New Horrors video!

Video: The Horrors – “I Can See Through You”

The Fly has an acoustic courtyard session with Veronica Falls.

Interview talks to Ladytron’s Daniel Hunt.

Clash talks books with Slow Club.

Amor de Dias have released a new video from their debut Street Of The Love Of Days

Video: Amor de Dias – “Season Of Light”

Stereogum has premiered a new Fanfarlo video from their forthcoming second album, out sometime under some name.

Video: Fanfarlo – “Deconstruction”

Urban Outfitters have an interview with Anthony Gonzalez of M83 and are also streaming their new album Hurry Up, We’re Dreaming ahead of its release on October 18. Black Book also has an interview. They play Lee’s Palace on November 18.

Stream: M83 / Hurry Up, We’re Dreaming

Sweden’s Niki & The Dove have released a video for the title track of their debut EP The Drummer, due out on Tuesday.

Video: Niki & The Dove – “The Drummer”

The Line Of Best Fit has posted a video session with Loney Dear. He plays the Drake Underground on November 4.

NPR interviews Bjork.