Frank YangIt was a bit embarrassing running not one but two contests around The Decemberists’ latest opus The Hazards Of Love without actually having heard the record, so a couple of weeks ago I went out and actually got myself a copy of the dang thing. I count myself a long-time fan of the band but haven’t been that taken with Colin Meloy’s more proggish, long-form compositions and Hazards seemed to be the grand culmination of those inclinations and honestly, I was afraid to hear it because I was afraid I’d hate it.

Happily, I don’t. I don’t love it, but definitely enjoyed it more than I’d expected. It moves briskly, the more overindulgent sections don’t overstay their welcome and nestled within the whole thing are a handful of standout songs that would have fit nicely on a conventional album. And the vocal performances from Shara Worden and Rebecca Stark, both in backing and as soloists, remind how good Meloy sounds when there’s a female foil for his vocals. And perhaps most importantly, now that he’s gotten the rock opera thing out of his system, perhaps he’ll get back to his real strengths as a storyteller within a single song rather than the multi-part epics.

But the one place where a rock opera belongs is on the stage, and the touring production of The Hazards Of Love finally arrived for a one-night stand in Toronto on Monday night at the Kool Haus. I had assumed that after their last visit in November 2006 that they’d continue their upwards trajectory through the city’s venues and visit us next at Massey Hall, which would have been ideal for a show such as this. But it was the haus of kool yet again.

Touring support came from Cincinnati’s Heartless Bastards, who’d been having a pretty good year with the response to their latest album The Mountain. I had some trouble listening to the album not because of the music, but because of the mastering – the way it distorted on playback, I was sure I’d gotten a bad copy of the CD or something. Then I (accidentally?) got sent another and again, distortion. I understand that fuzz is part of their sound, but this was something else entirely. Finally getting past that, I was able to appreciate what everyone was and that’s a thick slab of country-blues rock anchored by Erika Wennerstrom’s raw, raspy vocals and greasy guitarwork. That’s also what we got in the live setting, their impressively visceral set going over well with the Decemberists’ (presumably) more cerebrally-oriented audience.

Though judging from the nervous anticipation in the audience, it’s probably a mistake to assume that the Decemberists fanbase doesn’t love the band with body parts besides the brain. After all, as soon as keyboardist Jenny Conlee took the stage to get things started, she was presented with a rather massive bouquet of flowers – welcome back to Toronto! Starting with “Prelude”, she was followed shortly by the rest of the band – much shrieking for Meloy, naturally – and for the next hour it was The Hazards Of Love, non-stop and I think that even if I didn’t appreciate the album, I’d have enjoyed the live performance. They didn’t go so far as to actually act out the narrative, it’s a bit too vague for that, but you couldn’t help but be impressed with how tightly they moved through the piece, with all the attendant instrument and stage changes, without missing a beat. Things did lag somewhat around the 3/4 mark, just as the record does, but the big finish more than compensated. For my money, the best part of the show was the fact that Worden and Stark were along for the tour and able to not only recreate their vocal parts, but add some impressive visual pizazz to the proceedings – Stark embodying the sweet and innocent Margaret and Worden the vampish, glammy forest queen. I’d always known that Worden had the voice for more theatrical endeavours but she also had the moves.

With Hazards wrapped, you’d have to think the band exhausted and so the 15-minute break was well-earned. But let it never be said the Decemberists don’t offer value for dollar, and so when they returned, it wasn’t just for an encore but an almost-full second set, made up of songs new – both songs just-unveiled over the weekend were aired out – and old, ranging from “The Crane Wife” from their last record to “Shiny” off their debut 5 Songs EP, all punctuated by entertainingly rambling banter from Meloy. It seems that having to remain mum throughout all of The Hazards Of Love was a real trial for him, as he was positively loquacious in the second set, chatting and working the crowd as much as singing. The highlight, however, was once again thanks to the Diamond ladies Worden and Stark as they came out to trade verses on a positively ripping cover of Heart’s “Crazy On You”. So so good – check out the video from their Minnesota show if you don’t believe me.

At this point they’d been going for two hours, including the intermission, so I assumed things were done and headed out. Silly me. From the street behind the Kool Haus, I heard them once again come out for an encore and thankfully one of the venue security guys needed some air because he propped open one of the doors and I was able to hear “Eli, The Barrow Boy” and a massive sing-along “Sons & Daughters” finally wrap the evening. Holy cats those guys and gals can put on a show.

Chart also has a review of the show. NOW, hour.ca, Isthmus and The Chicago Tribune have interviews with The Decemberists and NPR is streaming some highlights of their set from the Newport Folk Festival over the weekend as well as their rendition of The Hazards Of Love in its entirety from SxSW in March.

Photos: The Decemberists, The Heartless Bastards @ The Kool Haus – August 3, 2009
MP3: The Decemberists – “The Engine Driver”
MP3: The Decemberists – “The Soldiering Life”
MP3: The Decemberists – “Here I Dreamt I Was An Architect”
MP3: Heartless Bastards – “The Mountain”
MP3: Heartless Bastards – “Early In The Morning” (acoustic)
MP3: Heartless Bastards – “Searching For The Ghost” (acoustic)
MP3: Heartless Bastards – “If I Were A Carpenter”
Video: The Decemberists – “Crazy On You” (live in Minnesota)
Video: The Decemberists – “O Valencia”
Video: The Decemberists – “16 Military Wives”
Video: The Decemberists – “The Tain”
Video: The Decemberists – “The Soldiering Life”
Video: The Decemberists – “Here I Dreamt I Was An Architect”
Video: The Decemberists – “The Bachelor & The Bride”
Video: Heartless Bastards – “All This Time”
MySpace: The Decemberists
MySpace: Heartless Bastards

Lucinda Williams is in town for two nights at the Queen Elizabeth Theatre on October 10 and 11. Seeing as how it’s her 30th anniversary tour, the first night she will be performing selections from her 20th century albums, from Ramblin’ through Car Wheels On A Gravel Road, while the second night will focus on the last 10 years, from Essence through last year’s Little Honey. Wow.

A Camp has released a new video from Colonia.

Video: A Camp – “Love Has Left The Room”

The Singing Lamb interviews Amy Millan. Her second solo album Masters Of The Burial is out September 8 and she plays the Mod Club on October 14.

The Black Heart Procession will release a new album in Six on October 6 and are touring to support including a November 5 date at Lee’s Palace. PitchforkTV is also streaming a film that accompanied the band’s 2002 album Amore del Tropico.

MP3: The Black Heart Procession – “Rats”
Video: The Black Heart Procession – “The Witching Stone”
Video: The Black Heart Procession: The Tropics Of Love

State talks to Ed Droste of Grizzly Bear, who will be at day one of Virgin Festival Ontario, August 29 at Burl’s Creek.

Earfarm interviews Andrew Kenny of The Wooden Birds. They also played a studio session for Paste.

Clash has a feature on Explosions In The Sky.

New Radiohead song will cost you one quid. What, you wanted to pay what you can again? Pfft. Details on the track at NME.

So the Blur reunion… over and done? Alex says so, Damon says so, Graham says not so fast?

MySpaceThough of no relevance whatsoever to the contents of the actual post, some discussion emerged in the comments one of last week’s posts wherein the ongoing V Fest-spotting games turned to the possibility of Blur possibly making an appearance at the Ontario edition, unofficially set to happen August 29 and 30 in Burl’s Creek near Orillia. As much as I’d like that to happen – they’re on a very short list of acts who could get me to venture up that way and endure all the logistical joys that go along with it – I didn’t think it likely on account of the fact that though they’d surely be greeted like gods here, their profile in the US isn’t terrific, probably not known as anything but the “woo-hoo!” band outside of your major markets. The point being that I questioned whether it’d make financial sense to extend their reunion tour to this side of the Atlantic, and on top of that none of the press I’d read about their Summer appearances in the UK had hinted they’d intended to bring things across the pond.

Well it appears I spoke a bit too soon. Billboard reports that the band are indeed considering options in America with a Live Nation UK representative is quoted as saying, “There are no plans beyond T in the Park [July 12] and Oxegen [July 10]. They are talking about some American shows still in the same time frame. There are possibilities of some European ones as well.” It’s hardly an official declaration of intent, and sounds a bit non-committal to imagine they’ll be participating in a festival that should be set to announce their lineup (hopefully) soon – never mind the question of whether the people who’d see Blur are the same audience the now top-40 radio skewed fest is targeting. But it certainly offers some hope that those of us who missed ever seeing the band live their first time around might get a second chance, at some point.

Also Blur-related, to coincide with their reunion shows the band is releasing a double-disc best of to supplant the circa-2000 Best Of Blur which, I’m not ashamed to admit, gets more rotation with me than any of their individual studio albums. Midlife: A Beginners Guide To Blur will be released on June 15 and while its 25 tracks is obviously more than Best‘s 18, but I cannot endorse any collection that excludes “End Of A Century”. Sorry. Details on the comp at NME.

Returned prodigal guitarist Graham Coxon appears to have been designated band spokesperson leading up to the reunion shows, which is curious since he’s always been the most recalcitrant of the four. But I suppose it gives him a chance to also talk up his new solo record, The Spinning Top. He tells News Of The World that Alex James’ memoirs encouraged him to return to the fold, talks to This Is Nottingham about what it’s like to be back together, talks mainly solo works with The Sun and Drowned In Sound and covers both bases with BBC.

And because it’s one of Graham’s and also one of the best Blur tunes to say nothing of one of my favourite videos ever – “Coffee & TV”.

Video: Blur – “Coffee & TV”

The Pop Cop scores an interview with Stuart Murdoch about God Help The Girl, which I’ve elected to not write in italics because it’s in reference to the project and not the possible accompanying film/musical/whatever. But if I reference God Help The Girl the album, out June 23, such as in the context of Drowned In Sound doing an extensive review and analysis of the record, it will be noted in italics what with it being a proper title. I know you care about these little OCD things as much as I do.

With the UK release of The Bachelor just over a week away, Patrick Wolf is streaming the whole thing on his MySpace and I’m not afraid to say this will likely be one of my favourite albums of the year. He gives a three-part interview to Drowned in Sound, a video interview to NYLON – his North American label – and talks about his London to This Is London. The Bachelor gets a North American release on August 11 but if you’re able to resist getting an import version before then, you’re stronger than I. He plays The Mod Club on June 15.

Stream: Patrick Wolf / The Bachelor

NPR has a World Cafe session with Bat For Lashes.

The first video from Florence & The Machine’s debut Lungs is now available. The record is out July 6.

Video: Florence & The Machine – “Rabbit Heart (Raise It Up)”

The Chester Chronicle talks to Little Boots’ Victoria Hesketh about Hands, out June 8.

Polly Scattergood discusses her debut self-titled album, out this week in North America, with The Yorkshire Evening Post.

Jimi Goodwin of Doves reviews his musical upbringing with Pitchfork. They play the Kool Haus on June 1.

The Times and Irish Times talk to Jarvis Cocker.

NME reports that Radiohead have begun work on their next album.

PitchforkTV is broadcasting a Tindersticks show recorded in New York – if you missed their last tour, this is worth your time. They’re magnificent.

Aversion interviews The Horrors.

Check out the new video from Robyn Hitchcock & The Venus 3.

Video: Robyn Hitchcock & The Venus 3 – “I’m Falling”

The Scotsman and The Line Of Best Fit profile My Latest Novel. Their second album Death & Entrances was released this week.

Pitchfork talks to The Twilight Sad’s James Graham about their forthcoming album Forget The Night Ahead, out September 22.

Former Boo Radleys songwriter Martin Carr asks ten questions of Mogwai. Carr will release his first solo album under his own name – previous efforts came out as Brave Captain – on July 13. NME has details on Ye Gods (And Little Fishes).

Under The Radar interviews Los Campesinos.

FabChannelAfter considerable listens, I think I’ve twigged on to why I’m so taken with The Golden Spike, the debut album from Leeds’ Sky Larkin’s. The crackling pop-punk energy, barely contained in the power trio configuration, the odd and wiry yet undeniably accomplished guitarwork, the raspy vocals that can’t quite conceal the sweetness underneath – they remind me of Land Of Talk. A more youthful version, to be sure, with more exuberance and less anxiety, but the parallels – now that they’ve occurred to me – are obvious.

And, of course, after I’d written that, I did a little archive digging and discovered that in my first post about the band, way back in August 2008, I said the first taste of the band “grab(bed) me in a way that I don’t think I’ve been grabbed since I first heard Land Of Talk”. Technically, though, I was only using LoT as a chronological reference point and not necessarily as a stylistic one, as I’ve now done. But I actually completely forgot I said that and the preceding paragraph was written completely ignorant of that original observation. Okay, I’m boring the life out of me now. Moving on.

Band comparisons notwithstanding, I’m also totally taken with The Golden Spike because it’s a superb bit of guitar pop. Katie Harkin, she of the aforementioned guitarwork and vocals, is a forceful presence and her songs are unconventional and elliptical enough to encourage intensive listening, yet remain utterly melodic and hummable. It’s a corker of a record, and surely one of the finer debuts we’ll see this year. As previously mentioned, their label Wichita Recordings are setting up North American operations and The Golden Spike will be one of their first domestic releases – you can be certain I’ll let you know more about that as information becomes available.

FabChannel webcast the band’s show in Amsterdam this past weekend but don’t have it up in their archives for your eternal enjoyment just yet. They have, however, prepped a couple of songs from the show and have graciously allowed me to share them with you. Please enjoy.

MP3: Sky Larkin – “Fossil, I”
MP3: Sky Larkin – “Molten”
Video: Sky Larkin – “Beeline”
Video: Sky Larkin – “Fossil, I”
Video: Sky Larkin – “Molten”
Video: Sky Larkin – “One Of Two”
MySpace: Sky Larkin

Emmy The Great talks to NME about some of her lyrics and reveals the story of her “first love”. Drowned in Sound also has a two-part interview with the singer.

Details on the debut full-length from Florence & The Machine are still forthcoming, but this pre-order listing at CDWow seems to hint at July 6th release date, or thereabouts. Much more confirmable is the April 28 release of the A Lot Of Love, A Lot Of Blood EP, which collects her singles to this point and an unreleased track.

MP3: Florence & The Machine – “Kiss With A Fist”
Video: Florence & The Machine – “Kiss With A Fist”
Video: Florence & The Machine – “Dog Days Are Over”

Spinner talks to PJ Harvey and John Parish about their working history together. Their collaborative album A Woman A Man Walked By is out March 30.

CD Times interviews The Joy Formidable.

QRO talks to Los Campesinos!. They’re at the Opera House on April 1.

This Is Fake DIY and Clash converse with Tilly & The Wall.

Magnet takes it upon themselves to identify the five most overrated and underrated Radiohead songs.

Exclaim! has a feature-length interview with Neko Case and have also assembled a timeline tracking her life and times. Her new album Middle Cyclone is out next Tuesday and the title track is now available to download. Her label is also giving away autographed copies of the record. She’s at Trinity-St Paul’s on April 17 and 18.

MP3: Neko Case – “Middle Cyclone”

Maria Taylor has a date at the El Mocambo on April 17, tickets $10. Her new record LadyLuck is out April 7. $10

MP3: Maria Taylor – “Time Lapse Lifeline”
Video: Maria Taylor – “Time Lapse Lifeline”

Ladyhawk return for a show at the Horseshoe on April 23, tickets $12.50.

MP3: Ladyhawk – “I Don’t Always Know What You’re Saying”
MP3: Ladyhawk – “S.T.H.D.”

Elvis Perkins In Dearland will be hitting the road in support of their self-titled record, due March 10, and will play the Horseshoe on April 29.

MP3: Elvis Perkins In Dearland – “Shampoo”

Not part of their upcoming Spring itinerary, but Plants & Animals will be at the Mod Club on May 7.

MP3: Plants & Animals – “Bye Bye Bye”

And finally, an incredulous shout-out to Zoilus’ Carl Wilson, who will be appearing on The Colbert Report next Wednesday night to talk about his 33-1/3 book Let’s Talk About Love: A Journey To The End Of Taste. All instigated, if you didn’t know, by the Green Goblin 2. What a strange, strange thing.

Brad FafejtaLast Summer I started getting hit up via IM by someone – associate, friend, fan, I don’t know – eagerly extolling the virtues of one New Zealand outfit named Cut Off Your Hands. Now getting ambushed out of the blue like that isn’t really the way to endear yourself – or whomever you’re promoting – to me, but I was feeling magnanimous and went and gave their MySpace a listen. And wasn’t impressed. It sounded like the sort of hepped up, jerk-and-stab New Wave/post-punk that seemed inescapable a couple years ago and now just seemed dated. I told anonymous PR dude it wasn’t turning the crank, he said he understood but also mentioned that the tracks I’d heard were demos, and that the band were working on the proper album with producer Bernard Butler… so yeah, that got my attention and I filed it away for future reference.

That future turned out to be late last month, when a copy of the finished product – You And I, in stores on Tuesday – showed up, and out of my deep respect for Butler and his work, I gave it a spin. And another. And another. To my surprise, I found if not addictive then quite enjoyable – even though the observations I’d made some months previous were still correct, I didn’t mind so much. In fact, the fact that they were mining a sound that was no longer so fashionable was part of the appeal – they sounded less like an outfit chasing a trend than one simply doing what they do. After all, before it was done to death it sounded pretty good, didn’t it? And Butler’s touch has also helped, buffing out some but not all of the edges and giving it just the right amount of sheen. Judging from the string of successes he’s had lately, the man has become a master of pop conciseness and brevity, ironic considering how grandiose and sprawling his vision was in his Suede days.

While it’s the uptempo songs that make the most immediate impression – Nick Johnston’s strained vocals and the band’s taut, musical gallop rather punch you in the face with danceable hooks – it’s the slower moments, where things retreat to an austere croon, that stood out for me. Not because they’re the best songs, but because they speak to a musical vision broader than the variations on a single theme that they’re currently best at. It’s easy to be dismissive of them – goodness knows I was – but I find I’m quite liking them regardless, and think they’ve got some significant upside above and beyond what they’ve already shown. And even if I’m wrong, they’re still turning out some catchy party pop songs and that’s alright with me as well.

The band are going to be on this continent and conducting a west coast tour in February supporting Ra Ra Riot, and more dates are forthcoming. And for some reason, they’ve cut three videos for one single and also one for the title track of the album, which does not appear on the album.

MP3: Cut Off Your Hands – “Turn Cold”
Video: Cut Off Your Hands – “Expectations” (version 1)
Video: Cut Off Your Hands – “Expectations” (version 2)
Video: Cut Off Your Hands – “Expectations” (version 3)
Video: Cut Off Your Hands – “Oh Girl”
Video: Cut Off Your Hands – “You And I”
MySpace: Cut Off Your Hands

Howling Bells have released a new and rather awful video from their sophomore album Radio Wars, which had been set for a February 9 release, but which I’m thinking is now unlikely. It’s almost still certainly going to be a late Winter/Spring release, but probably not quite so soon.

Video: Howling Bells – “Cities Burning Down”

Land Of Talk’s Liz Powell makes use of her voice while she still has it, talking to The National Post, The Toronto Sun, NOW and eye in advance of tonight’s show at the Horseshoe.

Oasis have turned their “let’s have buskers play songs from our new album” PR stunt in New York City last Fall into a little documentary. This took place just after the assault on Noel Gallagher in Toronto, hence his conspicuous absence from the proceedings.

Video: Dig Out Your Soul In The Streets

The Quietus reports that British Sea Power’s next album will be a soundtrack for the 1934 documentary Man Of Aran and consist of new and reworked old material. It is due out in the Spring. It will probably be odd.

Chart, The Courier Mail, The Daily Telegraph and The Age talk to Spiritualized’s Jason Pierce.

Pitchfork has details on the next stage in EMI’s neverending Radiohead back catalog exploitation campaign. It includes releasing all their past singles on 7″ 12″ vinyl and putting out deluxe CD/DVD editions of their first three albums, each of which will include the period-correct b-sides and promo clips. I’d be lying if I said that the idea of getting those b-sides in CD-quality wasn’t a tempting one, but the whole thing is just a bit too unsavory for my tastes. The CDs are out March 24, the 7″s 12″s on April 21.

The Bay Bridged and Black Book have interviews with The Raveonettes’ Sune Rose Wagner. They’re looking to release a new album for September.

The Quietus reports that Sonic Youth should be done their next album, currently entitled The Eternal, in time for a June release. This will be their first for Matador.

Peter Bjorn & John will release Living Thing on March 30.

Pitchfork has the first MP3 from Asobi Seksu’s new record Hush, out February 17.

MP3: Asobi Seksu – “Familiar Light”

Handsome Furs have released an MP3 from their new album Face Control. It’s out March 10 and they play the Horseshoe on March 13.

MP3: Handsome Furs – “I’m Confused”

eye has posted the results of their annual music critics poll, and going over the results, I’m wondering why I even bothered participating. Exactly one of my picks in any category made the final tallies.

Likewise, my suggestion for the CBC Radio 2 “Playlist For Obama” – Destroyer’s “My Favourite Year” – also doesn’t appear to have made the cut. My original suggestion was actually anything by Godspeed You! Black Emperor but it was decided that a 20-minute instrumental was probably too long to use. More like too AWESOME.

Photo by Frank Yang

Dear every other touring band in the world: we appreciate your interest, but your services are no longer required. We have Nick Cave & The Bad Seeds.

My ticket to their show at the Kool Haus had been sitting on my corkboard for something like six months, and with every listen to Dig, Lazarus, Dig!!!, to say nothing of my ongoing explorations of his back catalog, I couldn’t wait for Wednesday night to come fast enough. Cave’s live show has long been regarded as legendary and as a recent convert, I was most anxious to see the spectacle for myself.

The openers were Black Mountain, who were making the most of their visit to the 416 with two shows – three if you include their Polaris gala performance – in five days. As they took the stage, one helpful audience member called out, “please don’t suck!” – no worries there. Despite myriad opportunities, I’d never seen the Vancouver quintet live before and was quite handily impressed. Despite their sludgy, stoner-rock reputation they weren’t unnecessarily loud and displayed considerable musical nimbleness in delivering tracks from In The Future, highlighted by Stephen McBean’s guitar heroics and Amber Webber’s unearthly vocals. And it’s quite an endorsement that the full house of Cave devotees seemed to quite enjoy their set, sending them off with an enthusiastic “you guys were pretty good!”. Which they certainly were.

But on this night, the bar for performance would be set considerably higher than “pretty good”. With the Bad Seeds taking up every square foot of the expanded Kool Haus stage – and if I can make a comic geek joke, Warren Ellis looks an awful lot like Alan Moore – Cave bounded on stage and turned “Night Of The Lotus Eaters” from a relatively low-key, mood piece on album into a searing and sleazy opening salvo that would set the tone for the show. Cave, natty in a purple pinstripe suit, prowled and pounced around the stage looking like the mad preacher offspring of Mephisto and Elvis here to welcome the apocalypse and convince the audience that they should as well. By rights, the persona that Cave inhabits in song and on stage should come off as theatre but he inhabits it so bloody well that there is no questioning it.

Not all was fire and brimstone, though. If his demon-possessed orator wasn’t able to convince you to join his merry voyage of the damned, then with jacket doffed and extra shirt button undone, his seductive balladeer would surely seal the deal. Not that he needed to try that hard to get the crowd to follow him anywhere or even at all – judging from the many declarations of love from the audience, all returned by Cave of course, they were his from note one. Credit must also go to the Bad Seeds, an absolutely crack musical outfit capable of moving from anarchic skronk to elegiac beauty at the drop of the hat, but at the end of the day it’s about Cave, who is definitely one of the most charismatic performers I’ve ever seen.

The one hour, forty-five minute set was pretty much a perfect blend of old material and new, one third drawn from Lazarus and the rest from the entire breadth of his 25-year career. He even seemed to take requests, delivering an elegant “Ship Song” in response to a placard in the audience, though set lists from the rest of the tour implied that it’d have made an appearance anyways. But gestures like that, as well as designating a girl in the audience as “keeper of the towel” – as in the increasingly sweat-soaked implement that he and she tossed back and forth throughout the show – are what make Cave such an engaging frontman. Well, that and an incredible voice, presence, catalog of songs and mustache.

For the encore, Cave and company delivered the two lead tracks from the double-disc masterpiece Abbatoir Blues and The Lyre Of Orpheus, the former turned into a squall of punk rock anarchy and the latter a lurching bit of audience call-and-response, and as a show finale, a scorched earth “Stagger Lee”. Oh mama. So worth the wait.

With Cave’s entire catalog being remastered and reissued in expanded form, I’m waiting a bit before delving further into his works but having now gotten a taste of what awaits me beyond The Best Of and what I’ve already gotten – I just ordered up the Abbatoir Blues Tour set – I can’t wait. The Globe & Mail has an interview with Cave and there’s more joyous reports from Wednesday night’s congregation at eye, Exclaim!, The Toronto Sun and Chart.

Photos: Nick Cave & The Bad Seeds, Black Mountain @ The Kool Haus – October 1, 2008
MP3: Nick Cave & The Bad Seeds – “Dig, Lazarus Dig!!!”
MP3: Black Mountain – “Tyrants”
Video: Nick Cave & The Bad Seeds – “Dig, Lazarus Dig!!!”
Video: Nick Cave & The Bad Seeds – “Night Of The Lotus Eaters”
Video: Nick Cave & The Bad Seeds – “More News From Nowhere”
Video: Nick Cave & The Bad Seeds – “Midnight Man”
Video: Black Mountain – “Wucan”
MySpace: Nick Cave & The Bad Seeds
MySpace: Black Mountain

Oasis’ new record Dig Out Your Soul is currently streaming in its entirety over at the band’s MySpace. It’s out for reals on Tuesday. NME has a piece on Gold And Silver And Sunshine, the making-of doc that’s going to accompany the album in some form, and JAM has some more from Noel Gallagher on the infamous stage attack from last month. Speaking of which, the band have announced a North American tour in December… and curiously, there’s not Toronto date? I wonder why?

Stream: Oasis / Dig Out Your Soul

Radiohead have selected the winner of their “make a video for In Rainbows” contest and made it the official video for “Reckoner”. Which they’re also holding a remix contest.

Video: Radiohead – “Reckoner”

Dave Gedge of The Wedding Present talks about life in California to LiveDaily and reveals to The Georgia Straight that after recording El Rey with Steve Albini, they went back and re-recorded the whole of their debut George Best with him. The Wedding Present are at Lee’s Palace tonight and if you’re going, remember it’s an early show – doors 7:30, Dirty On Purpose at 8:15 and Wedding Present at 9:30 – all over by 11.

Filter discusses matters sartorial with Flight Of The Conchords.

The Secret Machines have offered up the first taste of their new, self-titled album, out October 14. They’re at Lee’s Palace on October 22.

MP3: The Secret Machines – “Atomic Heels”

The Denver Post talks to Oliver Ackerman of A Place To Bury Strangers.

Last seen opening up for The Dandy Warhols, Los Angeles’ Darker My Love are at the Horseshoe for their own show on November 30, tickets $8.50.

QRO interviews The Coast, who are also profiled by The Guardian.

Sloan’s Jay Ferguson chats with The Muse.

The Wilmington Star-News rightly acknowledges both parts of a kick-ass tour crossing the continent, talking to both Okkervil River’s Will Sheff and Crooked Fingers’ Eric Bachmann. The latter’s Fortune/Forfeit is out on Tuesday.

The Tripwire interviews Jose Gonzalez.

The Stranger stops being strangers with Silver Jew David Berman.

After ceasing publication in the real world this past Spring, No Depression is back as a newfangled website, and they’ve got a feature on Basia Bulat. Welcome back.

Earlier this week Pitchfork put together a listing of all the medium and major album releases still due in 2008. I also maintain such a calendar for my own purposes but less interesting than what they noted that I didn’t – a new Wheat album on November 11 and a Cat Power EP on December 9 that shows she’s still in covers girl mode, guess The Sun isn’t coming this year – was what is apparently not showing up this year after all. I don’t necessarily know if these would show up on the ‘Fork radar, but I had been anxiously awaiting First Love from Emmy The Great and Clinging To A Scheme from The Radio Dept, both of which had been originally targeted for a September release. Obviously that’s not happened. My fingers are crossed that at least one will surface before the year’s out, but more than likely their reserved spots in my year-end list will have to carry over to ’09.