SethA Yo La Tengo show can be a pretty variable thing – even without taking into account the spinning wheel of randomness that dictated the course of their recent tours – seemingly depending on how the band is feeling and regardless of what record they have to promote. I’ve seen them play ultra-extended and often tedious versions of the likes of “Blue Line Swinger” and “Nuclear War”, usually when it seems Ira isn’t in the best mood and might even be taking it out on the audience, and also seen nearly transcendent sets that balance out their pop and experimental sides, replete with jokes, jams and synchronized dancing.

I can tell you one thing, though – when the band visits Toronto next on April 21, you’ll get none of the above. And that’s because it’s nothing like a regular tour stop, but instead an appearance for the closing gala of the Images Festival, wherein they will perform The Sounds Of Science. For the unfamiliar, that’s a series of short nature films made by the avant-garde French director Jean Painlevé in the 1920s and 30s about aquatic life which the band created a score for a screening at the 2001 San Francisco Film Festival and have performed only very occasionally as well as releasing as the album The Sounds Of The Sounds Of Science and the DVD Science Is Fiction: 23 Films By Jean Painlevé (though the DVD features completely different compositions). I have the former and while I can’t claim it’s one of my more listened-to Yo La records – okay, I hardly ever play it – it’s quite lovely and this will be a unique experience.

Tickets for the screening, which will take place at The Toronto Underground Cinema, are $25 in advance. And no, they probably won’t play “Sugarcube”.

MP3: Yo La Tengo – “The Love Life Of The Octopus”
Video: Yo La Tengo – “Sea Urchins”

Norwegian-born, Sweden-based singer-songwriter Ane Brun will pay us a rare visit on May 10 when she plays The Great Hall in support of her new record It All Starts With One, which will be getting a North American release soon. Tickets for the show are $16.50 in advance.

Video: Ane Brun – “Worship” (featuring Jose Gonzalez)

Playground interviews Icelandic composer Ólafur Arnalds.

DIY has a feature piece on The Big Pink.

SXSW poses some questions to James Graham of The Twilight Sad.

The New York Times profiles Jonny Greenwood’s activities both within and without Radiohead. He’ll be with them when they play Downsview Park on June 16. I assume.

The Joy Formidable have released a nice little session video to coincide with their just-started North American tour, which finishes with a sold-out show at Lee’s Palace on April 2.

Video: The Joy Formidable – “The Everchanging Spectrum of a Lie” (live in session)

Rolling Stone talks to Steve Earle about his appreciation for The Rolling Stones.

NPR is streaming the whole of the new Lost In The Trees album A Church That Fits Our Needs ahead of its formal release next Tuesday. They’re at The Drake on April 6.

Video: Lost In The Trees – “Red”
Stream: Lost In The Trees / A Church That Fits Our Needs

eMusic and NPR interview Andrew Bird.

Filter and DIY talk to James Mercer of The Shins. Port Of Morrow is out March 20 and they play The Molson Amphitheatre on August 4.

The AV Club’s Undercover series returns, kicking off with Sharon Van Etten and Shearwater – or “Shearwater/Van Etten” – covering Tom Petty & The Heartbreakers and Stevie Nicks. Awesomely.

Texas bound! Seeya.

Neil KrugThe Söderberg sisters of First Aid Kit make no attempt to represent themselves as anything other than what they are – two girls barely on either side of 20 harmonizing on heartfelt songs that conjure the spirit of bygone and world-weary Appalachian folk traditions a world and era away from the from the Stockholm suburbs where they grew up. It’s a contrast and harmony that made their first two releases – 2008’s debut EP Drunken Trees and the 2010 full-length The Big Black & The Blue so interesting; feeling simultaneously young and old, wise yet naive, clearly foreign yet still so authentic.

It’s a tension that’s less pronounced on their second album The Lion’s Roar, but that’s because rather than tip things one way or the other, they’ve managed to not just balance their elements but blend them. Credit must go to veteran producer Mike Mogis, an expert at helping bands bloom creatively while keeping their roots firmly intact – sonically, the album stays close to the sparer arrangements of the debut but when it needs to get big, it does – but you cannot discount the experience the duo have gained in the past couple years on the road; they’ve simply gotten much better, and were pretty good to begin with. The weightiness that’s always existed in their songwriting feels more comfortably borne, and yet Roar also contains some of their most buoyant songs to date – “Emmylou”, a gorgeous paean to two of the great partnerships of country music, is an early frontrunner for one of the songs of the year and “I Found A Way” soars close behind.

I don’t think there was ever a time when First Aid Kit were regarded as any sort of novelty – “oh look, young Swedish girls who think they’re country!” – but if anyone ever took them less seriously for any of that, they’ll be hard-pressed to hold onto those prejudices. The Lion’s Roar is a strong statement and demands to be heard.

MTV UK has an interview with First Aid Kit, who kick off a headlining North American tour at the end of this month and will be at the Great Hall in Toronto on April 4. Tickets for the show are $18 in advance but courtesy of Embrace, I’ve got two pairs of passes to give away for the show. To enter, email me at contests AT chromewaves.net with “I want a First Aid Kit” in the subject line and your full name in the body. Contest closes at Midnight, March 31.

Stream: First Aid Kit – “Emmylou”
Stream: First Aid Kit – “The Lion’s Roar”
Video: First Aid Kit – “Emmylou”
Video: First Aid Kit – “The Lion’s Roar”

In talking about another young female Swedish artist worth watching – Amanda Mair – I’ve been saying that her self-titled debut was supposed to come on back on February 15; that it did, but only in Sweden, apparently. about.com has a June 5 North American release date written down and DIY reports that it will be out officially in the UK on June 11. To tide us over, another single is now available to download to go with the previously released video. It’s good.

MP3: Amanda Mair – “Sense”
Video: Amanda Mair – “Sense”

Under The Radar brings word of a collaboration between the wonderful I Break Horses and the I-hadn’t-heard-of-them-before-now Philadelphia-based electronic outfit CSLSX, the first fruits of have both a downloadable and video. I Break Horses are at The Sound Academy on May 5 opening for M83.

MP3: CSLSX & I Break Horses – “Violent Sea”
Video: CSLSX & I Break Horses – “Violent Sea”

DIY chats with Norwegian pop collective Team Me, who are on my to-see list at SXSW next week (NEXT WEEK). If all goes well, you’ll be hearing more about them hereabouts. Their debut To The Treetops is out next week.

MP3: Team Me – “With My Hands Covering Both of My Eyes I Am Too Scared To Have a Look At You Now”

The Line Of Best Fit introduces Kiasmos, the new electronic project from Ólafur Arnalds.

Stream: Kiasmos – “Thrown”

New York Magazine has an in-depth profile piece on Bjork and NYC Taper has posted recordings of another of her NYC residency shows from last week.

DIY and The Sun get to know Dry The River, the next great folk-rock hope out of the UK. Their debut Shallow Bed is out April 17 in North America, and they’re streaming the excerpts of the whole thing with commentary over here. The intrigued can see them March 27 at The Garrison opening for Bowerbirds.

Video: Dry The River – “Chambers & The Valves”

Those scamps in Radiohead have announced another block of North American dates and Toronto is in the mix. They’ll be at Downsview Park on June 16 with Caribou, and I’ll save you from double-checking the calendar – that is indeed the Saturday of NXNE. The festival has managed to hold its own agains interloping major shows in the past, but if it takes a free Iggy & The Stooges show to counter Pavement/Broken Social Scene, they’re gonna need something pretty major to keep the kids in the city this time around. But whatever you end up doing that day, let’s not overlook the fact that this means the Caribou machine is back in action, and that’s good news for everyone. Tickets for Radiohead go on sale at noon on Friday.

MP3: Caribou – “Odessa”
Video: Radiohead – “Lotus Flower”

Daytrotter welcomes The Naked & Famous to their studios for a session. They play The Sound Academy on April 5

Digital Spy and DIY talk to Pip Brown of Ladyhawke, whose second album Anxiety has been pushed back from its March 27 release date all the way to May 25.

Paul RainsOne of the criteria – really, the main one – for my year-end list was basically, “how many times did I listen to this record?”. Which I think is reasonable. If we were to take out the “must have been released in 2011” stipulation, however, the list would have been rather different – at least to the extent that Allo Darlin’s 2010 self-titled debut would have surely made the list. And if I’d assembled a supplementary list of favourite 7″ singles of the year, their “Darren”/”Wu-Tang Clan” picture disc – a tribute to the Hefner frontman and cover of one of his compositions as The French – would have been at the top (and the bottom as it was the only 7″ I bought this year).

If it’s not clear, the ukulele-powered, Aussie-fronted London quartet rather charmed me this year and for the reasons why, check out my review of the record and also of their live show in June. And so after playing catch-up on their back catalog (well, the one album and a handful of singles) this year, I’m trilled that details on their second album have started to come to light. It was known that it’d be called Europe as far back as the Summer, but now Altsounds reports that a first single entitled “Capricornia” will be out on February 13 with the full-length to follow sometime in May. eburban ups the ante by saying the record will be released in North America by Slumberland – a fact confirmed by the band via Twitter – and on April 3 with a North American tour to follow. Those bits are unconfirmed but I’m certainly on board with hoping its true.

In any case, a first taste of the new album comes via a video assembled from tour footage for the song “Tallulah”, and if you’re guessing that’s a reference to indie-pop forebears Talulah Gosh – spelling aside – you’re probably right. And if you’re guessing I’m saving a spot on the “favourites of 2012” list for Europe, you’re also probably right.

MP3: Allo Darlin’ – “My Heart Is A Drummer”
Video: Allo Darlin’ – “Tallulah”

Pitchfork reports that Stuart Murdoch has turned to Kickstarter to gather financing for his musical film adaptation of God Help The Girl, hoping to get it done before turning his attention to the next Belle & Sebastian record. So if you want that follow-up to Write About Love sooner rather than later, chip in a bit.

MP3: God Help The Girl – “Come Monday Night”

In conversation with Rolling Stone , Ben Lovett of Mumford & Sons compares the band’s new material to both Black Sabbath and Nick Drake. Neither Black Sabbath or Nick Drake fans are impressed.

Both sides of the new Radiohead single are available to stream and purchase from your preferred digital retail outlet.

Stream: Radiohead – “The Daily Mail”
Stream: Radiohead – “Staircase”

Chart talks covers with Anna Calvi.

Artrocker gets an update on the return of Bloc Party from drummer Matt Tong.

Sweden’s Mary Onettes have prepared a new EP entitled Love Forever, half of it produced by Dan Lissvik who made the last Young Galaxy such a gem. I’d have been looking forward to whatever they put out next but this makes it extra tantalizing. It’s out February 28.

Interview talks to Swedish duo Serenades.

The Guardian interviews Anthony Gonzalez of M83. They’re at the Sound Academy on May 6.

Jim Sclavunos tells Faster Louder that while Grinderman is on the back burner for now, The Bad Seeds are indeed back in action.

Frank YangFor the first part of Thursday night, I was – as recounted yesterday – happily seeing my favourite band deliver the best performance of theirs I’d ever seen. So why, in the name of all that’s holy, did I leave early? Because of Anna Calvi. The British-Italian artist released one of my favourite records of 2011 (ooh, year-end list spoiler!) in her self-titled debut, but fate seemed determined to keep me from seeing her perform it live.

First, her CMW and SXSW showcases – which were legion – were cancelled due to an arm injury, then the make-up date in May came on the exact same night I was in Barcelona seeing Pulp (yes, no sympathies, I understand) and then, even though I know there technically wasn’t a local date, her being on the bill at Osheaga in Montreal in August felt like missing her again. So nothing – not even the aforementioned conflicting show – was going to keep me from catching this latest date. Though the cabbie that took me from the Air Canada Centre to Lee’s Palace certainly gave it a shot, managing to catch every red light between one venue to the next and not seeming to get a read on my urgency in the back seat. Maybe I wasn’t swearing loud enough.

In any case, I made it and only missed the first 10 minutes or so of her set. Unfortunately, her set was only about 45 minutes in total so it felt awfully brief, but what I did see made the anxiety of the cross-city club-hopping worthwhile. Backed by a drummer and percussionist/harmoniumist (?) and without the aid of any kind of set dressing, Calvi nonetheless managed to transform Lee’s Palace from a rock club into a cabaret, an opera house, a smoky jazz lounge, all by virtue of her music. Okay, suggesting there was no visuals at play is just wrong; done up in her stage uniform of blood-red blouse and lipstick with jet-black pants and stilettos, she was quite the striking figure. But her appearance wasn’t why it was impossible to take your eyes off of her. No sir.

It’s a toss-up which is more astonishing, Calvi’s vocals or her guitar skills, and in a live setting she doesn’t make it any easier to choose. To the former, she was more breathy than belty, slowing songs like “Suzanne & I” down for a more sensual and seductive delivery – if that’s even possible – and also to make the moments where she unleashed the full strength of her voice that much more powerful. And as for her instrumental abilities, well let’s just say that Telecasters have long been my favourite guitar but I’ve never wanted to BE one so much before. Any time she stepped away from the mic to take a solo, it was eye-opening and jaw-dropping the sounds she was able to coax out of the most basic of electric guitars; the soaring and guttural instrumental break in set-closer “Love Won’t Be Leaving” was particularly unexpected and devastating.

The set seemed to comprise the whole of her album (this was confirmed by folks who’d seen the whole show) and a couple of covers, the recently-released reinvention of TV On The Radio’s “Wolf Like Me” and Frankie Laine/Edith Piaf standard “Jezebel” for the encore, so that it still seemed short was no one’s fault but the cabbie. But I suspect that even if the show had run two hours, I’d still be wanting more. Next time.

NOW also has a review of the show while JAM, The Montreal Mirror, Winnipeg Free Press, Under The Radar, and The Vine all have interviews with Calvi.

Photos: Anna Calvi @ Lee’s Palace – December 8, 2011
MP3: Anna Calvi – “Blackout”
MP3: Anna Calvi – “Jezebel”
Video: Anna Calvi – “Suzanne & I”
Video: Anna Calvi – “Blackout”
Video: Anna Calvi – “Desire”

So very pleased to see that Slow Club will be touring their second album Paradise to North America – they’ve just announced a February 19 date at The Rivoli, tickets $12 in advance and worth every penny. For a preview, check out this video session just posted at They Shoot Music and also this interview at DIY.

Video: Slow Club – “Where I’m Waking”
Video: Slow Club – “Two Cousins”

Billboard has posted excerpts from year-end cover story on their artist of the year, Adele, in which she says to not expect a third album anytime soon.

Spinner and The Toronto Star have interviews with Laura Marling, whose recent concert for Philadephia’s WXPN is available to stream at NPR.

Spinner has a video session and interview with Florence & The Machine and Florence Welch talks to Rolling Stone about how well things are going with her in the wake of Ceremonials‘ release.

Over at The New Yorker, Sasha Frere-Jones articulates why Emmy The Great’s Virtue was one of the best records of the year. I concur!

The Twilight Sad will treat the February 21 release date of their third record No One Can Ever Know like a starter’s pistol for a North American tour which will bring them through Lee’s Palace on February 29 en route to SXSW.

MP3: The Twilight Sad – “Kill It In The Morning”

The Guardian is streaming a video of Richard Hawley covering The Velvet Underground’s “Waiting For My Man” at last week’s Other Voices festival. This reminds us of two things: first, Richard Hawley is awesome and second, Richard Hawley is due a new album. Let’s have it, then.

Fire Records has posted details of the three Pulp reissues they’ll be putting out in the new year – each of Freaks, Separations and It will be remastered, appended with bonus tracks and set free into the world on February 13.

Under The Radar reports that two Radiohead will release a new single of King Of Limbs-session tracks debuted as part of their From The Basement broadcast will be released as a digital single on December 19. If this interests you, then you’ve already heard the songs.

Video: Radiohead – “The Daily Mail” (live on From The Basement)
Video: Radiohead – “Staircase” (live on From The Basement)

Spinner reports that The Stone Roses have signed major label record deals for a third album to go along with their reunion. Gotta give them credit – if they’re going to make this a fiasco, they’re going all in.

The Guardian reports that Nick Cave called time on Grinderman on stage in Australia this past weekend. I can only assume this was a planned break to work on the new Bad Seeds record that had originally been targeted for release as early as this year, though clearly that’s been pushed until 2012. If it’s actually internal band friction, that’ll make that first Bad Seeds rehearsal awkward as it’s basically the same band.

Niki & The Dove have released a new video from their The Drummer EP. Update: Make that two videos?

Video: Niki & The Dove – “DJ Ease My Mind”
Video: Niki & The Dove – “Mother Protect”

The Stool Pigeon talks to the Söderberg of First Aid Kit about their new record The Lion’s Roar, out January 24. They’re at The Great Hall on April 4.

Frank YangI spent an inordinate amount of time at this year’s SXSW chasing around London’s Still Corners, my attempts to catch one of their many sets foiled by things like not noting the difference between AM and PM on set times, showcases falling three hours behind despite having only been running for two hours and the like. I eventually caught them at a day show in an Austin Convention Centre meeting room where the room setup didn’t even allow them to perform underneath their projected lightshow, instead playing in the dark while the movies ran on another wall, and even though it was about as un-vibey a setting as you could imagine, I was still totally smitten by their retro-cinematic dreampop, making their debut Creatures Of An Hour one of my more anticipated releases of the Fall.

With that past history, and even though I didn’t have any rational reason to be worried, I still half-expected some sort of calamity to befall their Toronto debut at The Drake Underground on Tuesday night. As it turned out there was a hiccup in the evening but it affected their tourmates Ganglians, who were apparently refused entry to the country and necessitated a couple of pinch-hitters to sub in. Personally, I’d have been happy if they just dispensed with the openers and let Still Corners play – and let me get home early – but no. I was actually fine with Foxes In Fiction opening things up; I’d seen Warren Hildebrand do his thing – which is fiddling with a table covered with samplers and keys while singing and playing guitar – at the Wintergaze show in December and while the presentation options of a one-man band are limited at best, his songs were solid enough to allow it. I guess I was feeling a little less generous this evening because while the music sounded fine – even the opening ambient sample-driven piece which he described as a “pretentious experiment composed today, won’t do anything like it again” – the slow-motion electro-pop failed to come across as any more than just pleasant, largely because of the static presentation. I appreciate that to change the live formula is to change all that is Foxes In Fiction and it certainly seems to be working for him, but… yeah. Could have used a little more engagement.

But I’d have rather had another half-hour of Foxes In Fiction than have to hear Mausoleum. The trio came across as amateurish Joy Division acolytes but any cues they took from that band were made to sound awful, mostly thanks to the singer’s barked, tuneless vocals. The only upside to their set was that it was short.

Thankfully there was enough time for the air and ears to clear before Still Corners took the stage, this time with the projections directed not only squarely at the stage but the two side walls as well, creating an extra-enveloping effect. Interestingly, the band started playing with frontwoman Tessa Murry standing out on the floor, facing the stage, for an extended moment before stepping onstage – an unexpected little bit of showiness from an outfit who otherwise seemed to prefer to stay in the shadows. And though Murray’s presence was largely as demure and ghostly as her atmospheric vocals would imply, they were also stronger live than you’d expect live and her heretofore unknown crooner side was given the spotlight on a couple of stripped down numbers including a cover of Springsteen’s “I’m On Fire”. It’s as though they’ve realized they have a bona fide frontwoman in her rather than just another instrument and are beginning to utilize that strength, even though she’s already so much the centre of the band’s sound. It’s hard to imagine that they already existed before she joined, seeing how much of their identity her vocals comprise.

Also more pronounced live were the band’s facility with the drone and the pulse, built around whirring organ, twangy guitar and dubby bass, coming across more Stereolabby than I’d have expected and giving the sound more muscle than Creatures necessarily implied. But what I found most exciting about the show – not that the intended response for their gorgeously hazy set was necessarily excitement in any conventional sense – was how much more there was to Still Corners than I’d necessarily expected. If they simply continued making more records in their clearly-defined Morricone-meets-Slowdive aesthetic, there’d be a built-in audience for that style and sound for it and everyone would be happy – but more than that was the sense that there were still many more places they could take it, be they more seductive, romantic, mysterious or even rocking. I am more than happy to have Still Corners for what they are, but hadn’t necessarily expected more from them on future outings. That is no longer the case.

Paste has a video session with Still Corners and also declares them “Best Of What’s Next”.

Photos: Still Corners, Mausoleum, Foxes In Fiction @ The Drake Underground – October 25, 2011
MP3: Still Corners – “Into The Trees”
MP3: Still Corners – “Cuckoo”
MP3: Still Corners – “Don’t Fall In Love”
MP3: Still Corners – “Endless Summer”
MP3: Foxes In Fiction – “School Night”
MP3: Foxes In Fiction – “Lately (Deuxieme)”
MP3: Foxes In Fiction – “Flashing Lights Have Ended Now”
MP3: Foxes In Fiction – “15 Ativan (Song For Erika)”
Video: Still Corners – “Cuckoo”
Video: Still Corners – “Wish”
Video: Still Corners – “Don’t Fall In Love”
Stream: Still Corners / Creatures Of An Hour

Spinner talks to The Horrors.

Belle & Sebastian’s Stevie Jackson is streaming his debut solo record (I Can’t Get No) Stevie Jackson for one week only. Starting earlier this week.

MP3: Stevie Jackson – “Man Of God”
Stream: Stevie Jackson / (I Can’t Get No) Stevie Jackson

The Guardian and MTV discuss Ceremonials with Florence Welch of Florence & The Machine. It’s out November 1.

What’s better than a new video from the new Summer Camp record Welcome To Condale? How about a stream of the whole thing courtesy of The Guardian? Yeah. The record is out November 1.

MP3: Summer Camp – “Ghost Train”
Video: Summer Camp – “Down”
Stream: Summer Camp / Welcome To Condale

Stereogum has premiered a new video from We Were Promised Jetpacks’ second album In The Pit Of The Stomach.

Video: We Were Promised Jetpacks – “Human Error”

Also with a new video – Clock Opera. Their debut album is due out in March.

Video: Clock Opera – “Lesson No. 7”

The Line Of Best Fit has a two-part interview with Slow Club.

BBC discusses the art of pop songwriting with Jarvis Cocker, who just released a book of lyrics in Mother, Brother, Lover: Selected Lyrics.

BBC reports that despite Liam Gallagher’s olive branch of wanting to have an Oasis reunion in 2015, Noel is having none of it. Oh, those two.

Manic Street Preachers have put together a video archive to accompany the release of their National Treasures comp next week.

Rolling Stone solicits some thoughts on the legacy of R.E.M. from Radiohead’s Thom Yorke.

The Quietus talks protest with Billy Bragg.

I Break Horses have released a new video from Hearts, which got a North American release a couple weeks ago should you have had any problem finding copies at non-import prices hereabouts.

Video: I Break Horses – “Wired”

The Fader has a video session with Niki & The Dove

Paste is streaming the new Loney Dear album Hall Music, even though it came out some weeks ago. But it’s well-timed to remind you that they play The Drake Underground on November 5. And check out this interview with Emil Svanängen at Prospectus News.

MP3: Loney Dear – “My Heart”
Stream: Loney Dear / Hall Music

The Line Of Best Fit, Express Night Out, Exclaim, eMusic, 17 Dots and Spinner have interviews with Anthony Gonzalez of M83, in town at Lee’s Palace on November 18.

Prefix talks to Luke Steele of Empire Of The Sun.