trespasserswilliam.comThe new year is traditionally held as a time for fresh starts and new beginnings, but it can also be a symbolic time for drawing things to an end or perhaps more appropriately, wrapping up something to begin something else. Not that that was the only reason it wasn’t a complete surprise when Seattle duo Trespassers William took to Facebook this week to announce that the band would be shelved for the foreseeable future.

Despite completely winning me over with their second album Different Stars – one of my favourites of the decade – their gorgeously sad and languid dreampop led by Anna-Lynne Williams voice and slide guitar never really seemed to catch on beyond a devoted audience to whom the sound of melancholy captured at 100 frames per second and replayed in exquisitely detailed slow-motion was the best thing ever. Even so and despite seemingly endless lineup changes – Williams and guitarist/multi-instrumentalist Matt Brown were the only constants – they carried on for a decade and a half and are now moving onto other things. Williams records solo as Lotte Kestner and is half of Ormonde, while Brown performs as Disinterested; Trespassers William may now be silent, but the voices that comprised it are not.

Similarly, while we’ll not be getting the follow-up to 2006’s Having that was promised for this year, that won’t be the final word from the band. In 2009, the released the European EP The Natural Order Of Things and at the start of last year, digitally released a compilation b-sides and to coincide with the announcement of the hiatus, have cleared the vaults with another digital release in New Songs & Outtakes, consisting of a couple of new songs that had been targeted for the fourth record and other goodies.

I’m sad that they never managed to put together a North American tour that brought them to Toronto, but am glad I was able to catch them at SXSW in 2008 and again in 2010, and to have had the fortune of living with their music for so long.

Update: Again, via Facebook, the band have announced that their b-sides/unreleased material currently available via Bandcamp will be getting a proper physical release. Details to come, but the digital sales will be ending this weekend.

MP3: Trespassers William – “Lie In The Sound”
MP3: Trespassers William – “Vapour Trail”
MP3: Lotte Kestner – “Crush The Bird”

Iron & Wine have released a new video from last year’s Kiss Each Other Clean.

Video: Iron & Wine – “Godless Brother In Love”

At The Paris Review, Dean Wareham keeps a tour diary about taking the “Plays Galaxie 500” shows to Japan.

Independent Weekly talks to Eric Bachmann of Crooked Fingers.

Nicole Atkins plays a video session for The Huffington Post.

Cursive, accompanied by Cymbals Eat Guitars, will be in at The Horseshoe on March 31. Tickets are $16.50 in advance. Cursive’s new album I Am Gemini comes out on February 7; Cymbals Eat Guitars released Lenses Alien last year.

MP3: Cursive – “The Sun & Moon”
MP3: Cymbals Eat Guitars – “Rifle Eyesight (Proper Name)”
MP3: Cymbals Eat Guitars – “Definite Darkness”

The Huffington Post profiles and interviews Warpaint.

And another Yo La Tengo Hannukah show is up over at NYC Taper; that’s five of them now.

Pitchfork bears bad news for those who thought the new Sleigh Bells album Reign Of Terror would be the perfect Valentine’s Day soundtrack; it has been pushed back a week from February 14 to the 21st.

Frank YangIn discussing the latest St. Vincent album Strange Mercy, I mentioned that Annie Clark’s greatest strength as a songwriter was her creative restlessness; a trait which has over the course of her relatively short career already taken her to more interesting places than some artists even conceive of visiting. If we turn our attention to her live show, that title of “most appropriate single adjective” would probably have to be “control”.

Just as she has a very specific idea of how her compositions should sound on record, she hits the road with a very specific idea of how they should be presented on stage, such that each time I’ve seen her its been not only with a different set of musicians, but a different configuration of instruments and sounds. Not that you need much more than Clark, her voice and her guitar to spellbind; that’s all she brought on her first visit back in February 2007 before her debut Marry Me was released and it was far more memorable than Midlake’s headlining set. Her last time through Toronto in August 2009, the more complex orchestration of Actor necessitated a multi-instrumentalist, multi-tasking five-piece St. Vincent. So who and what would they be for the leaner and more snarling Strange Mercy?

First, opening up were Cold Specks who had to make waves in Europe with her debut 7″ release before getting some attention back home; though Cold Specks is now based in London, Al Spx originally hails from the borough of Etobicoke. Performing seated as a two-piece with an accompanying guitarist/vocalist, Cold Specks tried to win over the packed, talkative room without a lot of success. Her meditative gospel-folk songs and their low-key deliver was designed more to haunt than command, and this wasn’t really the environment for that approach to succeed. Those of us up front were able to appreciate its subtleties and the way the weight of the material built slowly as the set progressed, but even from in close it was very gradual. Getting the opportunity to make her debut on a big stage like this may have been an impressive achievement, but Cold Specks is probably better suited to smaller rooms and more attentive audiences for now.

St. Vincent, on the other hand, has well and properly graduated to rooms of this size. Backed by a drummer manning a kit the size of which seemed physically impossible for an individual to manage and two keyboard/synth players, Annie Clark delivered a set that was configured for and leaned heavily on Strange Mercy – no horns or second effected vocal mic this time – only dipping slightly into Actor and not even acknowledging Marry Me until the finale of the show. The new material was delivered with gusto, Clark shifting from siren to shredder with the shake of her head and unleashing the squalling guitar breaks that so happily punctuate the record, unleashing chaos but in a totally precise manner (though having the strobe lights continually synched with the solos seemed a bit on the nose over the course of the night). The intensity of her performance was an interesting counterpoint to her poise between songs, where she would graciously acknowledge the shouts of, “we love you!” and “you’re so pretty!” from the audience while tuning or offer up some charming anecdote to make everyone fall in love with her just a little bit more.

This isn’t to suggest that it was an operation of military precision; “Dilettante” took three tries to get right, with Clark having to stop herself twice on account of forgetting the lyrics though she made the exercise of soliciting cues from the audience one of the most endearing moments of the night. It was with the late-set cover of The Pop Group’s “She Is Beyond Good & Evil” – rendered far more aggressively than any of her own material – that the show seemed to allow more anarchy to seep in. Shortly thereafter, Clark appeared to break the theremin during its solo on “Northern Lights” and though the encore opened with a lovely keyboard-vocal arrangement of “The Party”, it closed with a riff-heavy, almost metal-derived version of “Your Lips Are Red” which saw Clark turn an edge-of-stage guitar solo into an impromptu crowd surf – while sustaining both the soloing and her perfect posture – before getting back on stage and basically attacking her roadie with her guitar (in what I presume was a playful manner). It was a fantastic finale to an impressive show and showed that maybe the best thing about Annie Clark’s being in control is her ability to lose it.

NOW, The National Post, and The Globe & Mail also have reviews of the show while The Grid has a quick interview. The Toronto Star has a profile of Cold Specks.

Photos: St. Vincent, Cold Specks @ The Phoenix – December 15, 2011
MP3: St. Vincent – “Surgeon”
MP3: St. Vincent – “Actor Out Of Work”
MP3: St. Vincent – “The Strangers”
MP3: St. Vincent – “Now Now”
Stream: Cold Specks – “Holland”
Video: St. Vincent – “Cruel”
Video: St. Vincent – “Laughing With A Mouth Of Blood”
Video: St. Vincent – “Actor Out Of Work”
Video: St. Vincent – “Jesus Saves I Spend”

NYC Taper has got one of The National’s homecoming High Violet finale shows available to download, including the two new songs – “Rylan” and “I Need My Girl” – that the band has been premiering on this tour.

Also at NYC Taper – My Morning Jacket’s Madison Square Garden show from last week.

Rolling Stone has premiered the new video from Nicole Atkins’ Mondo Amore.

Video: Nicole Atkins – “Hotel Plaster”

Exclaim reports that Cat Power will be releasing some new material in the form of a charity single on Christmas Eve. Details are still forthcoming but it’s confirmation that Chan Marshall has been doing stuff. Musical stuff.

That new Guided By Voices album, Let’s Go Eat The Factory? NPR has got that up to stream, two weeks before its January 1 digital release and a full month before its January 17 physical release.

Stream: Guided By Voices – “Let’s Go Eat The Factory”

Their visit in the Fall a casualty of the cancelled Vaccines tour, Tennis have made a date at The Horseshoe for February 29, just a couple weeks after their second album Young And Old is released on February 14.

MP3: Tennis – “Civic Halo”
MP3: Tennis – “Self-Seal Mishap”
Video: Tennis – “Deep In The Woods”

Youth Lagoon will bring his much year-ended debut album The Year Of Hibernation to Lee’s Palace on March 31. Blare has an interview.

MP3: Youth Lagoon – “July”

Memphis country-punk stalwarts Lucero are back at Lee’s Palace on April 14. Their new album Women & Work will be out in the Spring, presumably in time to sell at these shows.

Video: Lucero – “What Are You Willing To Lose?”

Spin has got the new Sleigh Bells single available to stream. Reign Of Terror is out February 14.

Stream: Sleigh Bells – “Born To Lose”

Paste has posted a video session with Centro-Matic.

Marcelo KrasilcicThe Magnetic Fields are back. But wait, you might argue, they never really went away. Sure, three albums in the past decade doesn’t really match the rate of output that Stephin Merritt was maintaining in the ’90s – particularly when you take into account his other projects – but it ain’t nothing. And yet it’s accurate on many levels that The Magnetic Fields are back: they’re back on Merge, the label that released their greatest records including the risky and magnificent 69 Love Songs, after a decade on Nonesuch; they’re back to their signature mix of synths and acoustic instruments after largely abandoning keys and the like on those last few albums in favour of strictly electric and acoustic arrangements; and they’re back with a new record that makes both these points salient on March 6 with Love At The Bottom Of The Sea. Their last few records got mixed reviews, but with the number of resets that seem to accompany this one, it’s hard not to be a little optimistic.

And the band will also be back on the road immediately following the album’s release with an extensive itinerary that brings them to Toronto’s Sound Academy on March 30. It’s an interesting choice of venue considering their last couple visits have been at the acoustically sterling Queen Elizabeth Theatre in February 2010 and Trinity-St. Paul’s in July 2004, and the last thing that the everyone’s favourite lakeside shoebox can be accused of is being a sympathetic venue. But hey, maybe they’re going for the big rock show this time and they need somewhere they can set off pyrotechnics. In any case, tickets are $30 for floors and $37.50 for balconies, and while the fan pre-sale is on now, the Live Nation mobile app presale is Friday at 10 and the regular on-sale is Saturday.

There’s no preview track from the album available yet, but here’s a seasonal one from the last record and a classic one from 69 Love Songs.

MP3: The Magnetic Fields – “Everything Is One Big Christmas”
MP3: The Magnetic Fields – “The Book Of Love”

In other, “guess who’s coming to town” news, earnest folk-poppers The Head & The Heart will be in town on March 13 at The Opera House, tickets $18.50 in advance. Their last visit was back in February and considering how much their star has risen since then, I’m surprised it will have taken them over a year to make it back here. In any case, here’s a World Cafe session at NPR to hold you over until then.

MP3: The Head & The Heart – “Down In The Valley”
MP3: The Head & The Heart – “Lost In My Mind”

Also making a return engagement is EMA, last sighted hereabouts in July. No venue upgrade this time out – she’s at The Garrison again on March 13 – but considering that Past Life Martyred Saints will be showing up on at least a few year-end lists, expect this show to have a little less elbow room than that one. Tickets are $13.50 in advance and Rolling Stone has an interview.

MP3: EMA – “Milkman”
MP3: EMA – “The Grey Ship”

Texas family act Eisley will be in town to help kick of Canadian Musicfest, playing The Drake Underground on the Wednesday night, March 21. They’ll be touring both this year’s The Valley as well as a new EP entitled Deep Space, due out on February 14. Examiner.com has some info on the EP and their tour itinerary.

MP3: Eisley – “Smarter”
Video: Eisley – “The Valley”

Howler may hail from Minnesota, but their rough and retro garage rock is making them all kinds of fans in the UK. Their debut America Give Up is out January 17 and they’ve got a date at The Drake on April 5.

Video: Howler – “Back Of Your Neck”

Oh hey Cults are coming back. Look for them at The Phoenix on April 25, tickets $20 in advance.

MP3: Cults – “Most Wanted”
MP3: Cults – “Go Outside”

Bear In Heaven’s new album I Love You, It’s Cool isn’t out until April 3 but the band already has the whole thing up for stream on their website – it’s just slowed down by 400,000%. Pitchfork has the what and why, as well as tour dates which include a May 5 date at The Garrison, tickets $11.50 in advance. Here’s a track from 2007’s Red Bloom Of The Boom, played at regular speed.

MP3: Bear In Heaven – “Bag Of Bags”

NOW and hour.ca talk to St. Vincent’s Annie Clark in advance of tonight’s show at The Phoenix.

The Shins have announced details of their long-awaited new record. Port Of Morrow will be out in March – Pitchfork has some specifics.

Daytrotter has posted a session with Wilco, recorded at the band’s Chicago loft.

NPR has Beirut’s final show of the year from last night available to stream, or will shortly. Check back.

Steve Earle offers his thoughts on the Occupy Wall Street movement to Knoxville.com.

Spin talks to Sleigh Bells about their forthcoming Reign Of Terror, which begins February 14.

The Atlantic talks to the director of Okkervil River’s video for “Your Past Life As A Blast”.

The AV Club gets Bob Mould to go One-Track Mind interview/performance sessions with Sugar’s “Hoover Dam”.

Another new Guided By Voices track is available to stream; it’s a super-short b-side from “Donut For A Snowman” written by Tobin Sprout. Let’s Go Eat The Factory is out January 1.

Stream: Guided By Voices – “One Two Three Four”

Bill Janovitz, he of Buffalo Tom and many covers, has posted something special: a Tom Waits cover which is credited as, “featuring Tanya Donelly but in fact features he on lead vox throughout. Usually Bill gives his covers away, but this one is being made available via The Right Track for a minimum donation of $0.99 to TargetCancer. Do it, the cause is good, the track is beautiful and we don’t get to hear Tanya’s voice nearly enough these days. And speaking of Buffalo Tom, The Boston Globe and The Phoenix talk to them about marking their 25th anniversary as a band.

Frank YangFor a guy who made his name on being sad and lonely, Justin Vernon sure has a lot of friends. The first Bon Iver record, For Emma, Forever Ago, became the soundtrack for broken hearts when it was released in 2008 and with this year’s self-titled letting some sun into his secluded musical cabin, so to speak, his legion of followers continued to swell. As of this past Tuesday night, he could list two sold-out shows at Massey Hall (approximately 5500 people), four Grammy nominations and high rankings on countless year-end reviews amongst his accomplishments – not bad for someone specializing in writing anthems of being one.

I couldn’t count myself amongst his devoted followers, though. While I appreciated both records well enough, they never reached that crucial frequency of emotional resonance with me that they clearly had with so many others – one perk of not having gone through any kind of traumatic breakup in the last while, I suppose. But having not seen him/them perform since catching a bit of one of his sets at SXSW 2008 and being genuinely curious as to what the live experience was like now – particularly in one of the city’s hallowed venue filled with his devotees – I made sure I was at the first evening of the two-night stand.

Support on this tour came from London’s Lianne La Havas; a new artist but not an unknown, having already garnered much attention in the UK and a spot on the BBC Sound Of 2012 long list despite having only a 4-song 10″ EP in Lost & Found to her name (plus a free-to-download live EP). While she came out on stage solo with just a guitar, she immediately made friends by flashing a megawatt smile and asking to take a photo of the audience before playing a note, then being charmed turned into being impressed when she began to play. Singing with a calm, conversational delivery, she mined a jazz-pop sound with an immediacy that belied its sophistication and showcased her intricate, rhythmic guitarwork and rich, soulful voice. Though she’d come from London at Vernon’s behest, it wasn’t hard to imagine her back on this stage before too long based entirely on her own merits.

To recreate the solitary vibe of the recorded works, Bon Iver wouldn’t need to be anything more than Justin Vernon, a guitar and maybe some snow. So that Bon Iver was, instead, a nine-piece band armed with an orchestra’s worth of horns, percussion and guitars was the first sign that those expecting the show to be a celebration of sadness might be in for a surprise. Intimacy was not to be the tone of the evening, with the introverted nature of the songs checked in favour of grand, extroverted arrangements with big, jammy breakdowns, choral vocals and a constant trilling of horns and strings, all accented by a pulsing, occasionally strobing light show. No, no log cabin atmosphere here.

The way that opener “Perth” segued smoothly via instrumental breakdown into “Minnesota, WI” set the tone for the evening, with few breaks between songs or even much in the way of silence. Perhaps that responsibility was assigned to the audience, because they were pin-drop quiet throughout the show, utterly respectful and even reverent. It was notable that the devoted didn’t seem to mind at all that the songs that they had connected so directly and deeply to weren’t nearly as open-hearted as they were on record, the constant flurry of instrumentation effectively keeping the listener from getting too close. Some of the interludes worked, like Colin Stetson’s circular breathing clinic as his saxophone bridged “Holocene” and “Blood Bank”, but a lot of it felt overdone and unnecessary.

This was made especially clear when his bandmates left Vernon alone on stage for a tender solo electric reading of “Re: Stacks”, which he dedicated to Kathleen Edwards and was head and shoulders the highlight of the night. Even though it only lasted the one song, the moment of vulnerability echoed through the rest of the show which felt more open, more plaintive. Set closer “Skinny Love” pulled two-thirds of the band from their instrumental duties and cast them as a gospel chorus complete with hand claps and foot stomps and the show finale of “The Wolves (Act I and II)” struck the perfect balance of beauty and violence thanks to the room-shaking efforts of the dual drummers.

It’s odd that the person who went into the show demanding the least left as one of the few who expected more, but I’d have preferred more starkness, more of the sadness that I thought was what gave the Bon Iver records their power. But perhaps, given that things seem to be going pretty damn well for Vernon these days, trying to tap into that emotional well or act as though he had might have felt dishonest to him. Or maybe he just wanted to do something different. In any case, it’s completely and objectively true that Bon Iver, the live experience, was an impressive one and left the vast majority satisfied. And that on the way home, it began to snow.

The Toronto Sun, Toronto Star, and NOW have reviews of the show, while Paste has a feature piece on the artist who made their album of the year. Lianne La Havas is profiled in NOW, The Fader, and The Guardian and performed sessions for Le Blogotheque and Black Cab Sessions.

Photos: Bon Iver, Lianne La Havas @ Massey Hall – December 6, 2011
MP3: Bon Iver – “Holocene”
MP3: Bon Iver – “Calgary”
MP3: Bon Iver – “Blood Bank”
MP3: Bon Iver – “Skinny Love”
Stream: Lianne La Havas – “Don’t Wake Me Up” (live)
Video: Bon Iver – “Holocene”
Video: Bon Iver – “Calgary”
Video: Bon Iver – “Wolves (Act I & II)”
Video: Lianne La Havas – “No Room For Doubt”

Californian ambient-electronica artist Tycho will be at Wrongbar on January 14 as part of a tour to showcase his album Dive.

MP3: Tycho – “Hours”
MP3: Tycho – “Coastal Brake”

The Heartless Bastards will be at The Horseshoe on February 20 in support of their new record Arrow, due out the week before on February 14, tickets $15.50 in advance. The first MP3 from the album comes courtesy of Rolling Stone.

MP3: The Heartless Bastards – “Parted Ways”

Just here in October, Neon Indian have set a return engagement for their latest Era Extraña at The Phoenix on May 8. Admission $20 in advance, full dates at Pitchfork.

Video: Neon Indian – “Polish Girl”

So apparently Toronto has a new outdoor venue up at Downsview Park, and it’s called The Meadows and may be an inland equivalent to Echo Beach at Ontario Place. In any case, it’ll be hosting at least one show next Summer – Foster The People on June 19. The Grid has a little more info on the space.

MP3: Foster The People – “Pumped Up Kicks”

Rolling Stone talks to Kevin Barnes of Of Montreal about their new record Paralytic Stalks, out February 7. Pitchfork has a track from the album available to download.

MP3: Of Montreal – “Wintered Debts”

Spin has posted the first MP3 from the new Shearwater record Animal Joy and it sounds a damn sight tougher than anything off their last three records. Quite keen to hear the rest. It’s out February 14 and they’re at Lee’s Palace on February 21.

MP3: Shearwater – “Breaking The Yearlings”

Also in preview mode is School Of Seven Bells, showing off the first track from their new record Ghostory, out February 28. Ben Curtis and Ally Deheza talk to NBC New York about the new record.

MP3: School Of Seven Bells – “The Night”

JAM checks in with Matt Berninger of The National, who’ve begun work on their next record but make no guarantees about when it might be done. They play the Air Canada Centre tonight.

The Toronto Star and NOW profile The War On Drugs in advance of their show at The Horseshoe on Friday night.

Spinner chats with Annie Clark of St. Vincent. She’s at The Phoenix on December 15.

The Quietus talks to Real Estate. They’re at Lee’s Palace on January 20.

The Wooden Birds have released a new video from Two Matchsticks.

Video: The Wooden Birds – “Criminals Win”

How do you make Mates Of State even cuter? Put them behind a Tiny Desk. NPR did.

Daytrotter has posted up a session with The Submarines.

Having just confirmed the existence of their new record Reign Of Terror last week, Pitchfork reports that Sleigh Bells have given it a release date of February 14.

Andrew Bird has announced a March 6 release for his new record Break It Yourself; details at Exclaim.

The AV Club reports that bassist Shonna Tucker has amicably left Drive-By Truckers.

Quite a scare for Guided By Voices fans yesterday when word came that they had cancelled their European festival commitments for 2012 and had supposedly split up again. A clarification from the band’s PR confirmed that all live dates had been pulled due to “personal problems”, but that in addition to the January 1 release of Let’s Go Eat The Factory, the band were already working on a second album of new material entitled Class Clown Spots A UFO with a targeted release date in May.

But the silver lining of that cancellation was that it allowed The Afghan Whigs to confirm that they had reunited for their first shows in 13 years and would be taking GBV’s place at the May All Tomorrow’s Parties festival in May as well as curating their own event in New Jersey in September. Details at Spin.

Frank YangA little into her show at The Drake Underground on Saturday evening, Nicole Atkins mentioned that this was her first-ever solo show in Canada, and that performances of this format were usually reserved for more casual one-off performances back home in New Jersey during the holidays. Indeed, though Ms Atkins has been no stranger to Toronto stages since releasing her debut Neptune City back in 2007, she’s always been accompanied by some iteration of her band The (Black) Sea. I’d have to go back to SXSW 2007 to recall the last time I saw her in a stripped-down acoustic format (also the very first time overall), and even then she was backed by a hastily-recruited drummer and second guitarist because The Sea had gotten lost en route.

The call for backing players is a reasonable one as both her records – Neptune City and this year’s Mondo Amore – are pretty produced affairs, but it’s key to remember at her core Atkins is a folk/blues-rooted singer-songwriter and has had more than her share of experience performing with just her guitar, voice and songs. That’s all she brought with her on this evening and it was more than enough. Well, those and some hilarious anecdotes; for serious, the evening could have just been her sitting there – no guitar – and telling stories and it would have been worth the price of admission. But yes, she sang too.

Brassy set opener “Maybe Tonight” set the tone for the night, which is to say it wouldn’t be a quiet, navel-gazey affair. She promised that the set would mostly be country versions of her songs – and indeed, “Cry Cry Cry” was extra honky-tonky-ish – but most songs retained their basic stylistic personalities and there were a fair number of what she called the “sad bastard” songs, but even those were delivered with energy and conviction thanks to her room-filling voice. The set was all over the place as far as where it drew from, covering both albums, the rarely-heard title track of her debut Bleeding Diamonds EP, a new song entitled “Call Me The Witch”, and covers of Leadbelly, Benji Hughes and Cotton Mather (about whom she spilled the beans regarding an upcoming reunion at SXSW). After complimenting the audience on how quiet and attentive they were all night, she invited all to join in on “The Way It Is” and for the show closer and in what’s becoming a bit of a Drake tradition, came offstage to play “Neptune City” in the audience with everyone singing along.

Make no mistake, I loved both the widescreen, ornate presentation of Neptune City and the rawer, rockier Mondo Amore but if for her third record Nicole Atkins decides to peel things back to little more than what we saw on Saturday night, I’ve no doubt it’d be just as sublime.

Hater High was also in attendance and has the whole show recorded and available to download; it all sounds great but the banter prior to “Hotel Plaster” is especially worth hearing. The Free Lance-Star also has an interview.

Photos: Nicole Atkins @ The Drake Underground – December 3, 2011
MP3: Nicole Atkins – “Vultures”
MP3: Nicole Atkins – “Vitamin C”
Video: Nicole Atkins – “Vultures”
Video: Nicole Atkins – “Maybe Tonight”
Video: Nicole Atkins – “The Way It Is”
Video: Nicole Atkins – “Neptune City”

The Quietus talks to Janet Weiss of Wild Flag.

NPR has a Tiny Desk Concert with tUnE-yArDs.

The Quietus interviews both Erika Anderson of EMA and Nika Roza Danilova of Zola Jesus.

Kind of an odd bill, but together The Black Keys and Arctic Monkeys get to cross “go on an arena tour of North America” off their to-do lists. They’re at the Air Canada Centre on March 14 – presale goes December 6 at 10AM, public onsale on December 9. The Black Keys’ new album El Camino is out Tuesday.

Video: The Black Keys – “Tighten Up”
Video: Arctic Monkeys – “Suck It And See”

Austin 360 talks to Jeff Tweedy of Wilco.

The second Archers Of Loaf reissue – Vee Vee – has an official release date of February 21, and The AV Club has all the salient info. And they’ve also got Eric Bachmann doing a
One Track Mind performance and interview for “Web In Front”. Meanwhile, Bachmann puts his Crooked Fingers hat on to chat with Creative Loafing and The Phoenix New Times.

MP3: Archers Of Loaf – “Harnessed In Slums”

The first official single from Guided By Voices’ reunion record Let’s Go Eat The Factory is now available to download, all 1:44 of it. It will probably take you longer to read this interview with Bob Pollard at The AV Club than to listen to the song.

MP3: Guided By Voices – “Doughtnut For A Snowman”

Loud & Quiet interviews Ryan Adams, in town at the Winter Garden Theatre on December 10.

Blurt talks to Britta Phillips of Dean & Britta about being the voice of Jem (of Jem & The Holograms) back in the ’80s while Listgeeks chats with both her and Dean Wareham. And over at Captain’s Dead, they’ve got a downloadable recording of the “Plays Galaxie 500” set they did at Primavera in Barcelona back in May.

The Daily Beast talks to Michael Stipe and Mike Mills about the end of R.E.M..

Charles Bradley has released a new MP3 from No Time For Dreaming. He and his Extraordinaires are at Lee’s Palace on February 11.

MP3: Charles Bradley – “Heartaches & Pain”

Wye Oak stops in by Berlin Sessions for a video session. They open up for The National at The Air Canada Centre on Thursday night.

NPR has a World Cafe session with Dum Dum Girls.

Spin points out that Sleigh Bells’ website has been highjacked by a trailer for what is presumed to be their new album. It’s called Reign of Terror and it’ll be out when it’s out.