Frank YangSince being Mr Ubiquity back in 2005, circa Illinois, Sufjan Stevens has largely gone quiet – a collection of Christmas carols here, a tribute to a New York expressway there, but certainly not a new album by conventional standards, and certainly not a continuation of his fifty states initiative.

So by those standards, this Autumn is a bounty for Sufjan fans – there’s the October 6 release of Run Rabbit Run , a rejigged and re-orchestrated version of his 2001 electronic salute to the Chinese zodiac Enjoy Your Rabbit and then a couple weeks later the multimedia extravaganza The BQE on October 20. And then there’s the intimate Fall tour which brings Mr Stevens and who-knows-what theme to Lee’s Palace on Thursday night – there don’t appear to be any costumes this time around, but there are new songs and old favourites drawn mainly from Illinois and Seven Swans. What you hear there is the sound of no one complaining.

It also gives me an excuse to dig up this week’s brief but lovely selection, Mr Stevens covering R.E.M. solo at Judson College in November, 2003. And even though work has only just begun on a new album, R.E.M. are putting out a new record this Fall in the form of the cryptically-titled Live At The Olympia In Dublin, out October 27.

MP3: Sufjan Stevens – “The One I Love”
Video: R.E.M. – “The One I Love”

Ben RitterHospice, the much-praised new record from Brooklyn solo project turned trio The Antlers, is an exceedingly difficult listen for me. The album is built around a central narrative about a man losing a loved one to cancer and it’s so successful in evoking the emotions and atmosphere around that that when I listen to it, my teeth clench and chest tightens. It’s actually physically uncomfortable.

Hospice accomplishes this by means both obvious and not. To the former, the ghostly production with its hazy atmosphere and subtle whirs, clicks and swells in the background do a good job of evoking the sterile yet foreboding atmosphere of hospitals and cancer wards, where the whiff of hope is faint at best. And Peter Silberman’s voice, all wavering falsetto, is made for gut-wrenching whispers-to-screams though that dynamic is put into effect only sparingly and thus retains its effectiveness. In less capable hands, these tools could still get the desired emotional response, but only in a mechanical and manipulative sense – the way that even terrible suspense films can still make you jump as a reflex, not out of genuine fear. Hospice, though, possesses an intangible sense of genuineness that gives its strange, haunting beauty a real and painful weight and heft that’s tinged by all-too-brief moments of uplift. All the more remarkable considering that Silberman remains coy about how much of the story played out on the record is autobiographical and how much is fiction.

So while I don’t know if Silberman has gone through the experiences he details in such clarity, I can say that while the details and settings of his tale don’t fully line up with my own, the underlying emotions conveyed definitely resonate and often feel like touching – no, grabbing and squeezing – a raw nerve. Hospice captures the anxiety, anger, fear, denial and despair of being past hope and the bleak understanding that the only way out will come with a price that can’t be comprehended but must be paid. I did not enjoy listening to this record, nor did I enjoy writing this piece, but I think it helped.

There’s an Interface session with the band at Spinner, another video session at Laundromatinee and Exclaim has a very brief interview. The band are currently on tour and will be in Toronto next Thursday night, September 24, for a couple of performances – a free in-store at Criminal Records at 6PM and a headlining show at the Horseshoe later that night. Tickets are $10.50 in advance but courtesy of Against The Grain, I’ve got three pairs of passes to give away to the show. To enter email me at contests AT chromewaves.net with “I want to see The Antlers” in the subject and your full name in the body. Contest closes at midnight, September 22.

MP3: The Antlers – “Two”
MP3: The Antlers – “Two” (remastered)
MP3: The Antlers – “Bear”
Video: The Antlers – “Two”
MySpace: The Antlers

There’s a preview track available from Sufjan Stevens’ forthcoming multimedia project The BQE – out October 20 – and it’s a real departure, all shredding guitars, vocodered vocals and fat synths. No of course not, it’s orchestral and twinkly and pretty and has an excessively long title. Pure Sufjan. He’s at Lee’s Palace on October 1.

MP3: Sufjan Stevens – “Movement VI—Isorhythmic Night Dance With Interchanges”

GQ UK talks to Grizzly Bear’s Ed Droste.

Early Day Miners give Aquarium Drunkard a tour of Bloomington, Indiana. Their new record The Treatment is out next Tuesday.

Filter talks to Mark Linkous of Sparklehorse and Brian Burton, aka Danger Mouse, about their Dark Night Of The Soul collaboration.

Music Snobbery interviews Anna Ternheim, in town on October 14 at the Horseshoe.

Out next week, September 22, is the self-titled debut from Monsters Of Folk – it’s currently available to stream at their MySpace. They play Massey Hall on November 2 and Reuters has an interview.

Stream: Monsters Of Folk / Monsters Of Folk

PopMatters interviews Emily Haines of Metric. They play Massey Hall on October 20 and 21.

Chad Van Gaalen, who has a show at the Church Of The Redeemer this Saturday night – September 19 – has made an EP’s worth of outtakes and whatnot from Soft Airplane available for free download at softairplane.com. His Black Mold alter-ego has also just released a new video.

Video: Black Mold – “Metal Spiderwebs”

Exclaim talks to head Hidden Camera Joel Gibb about plans to take their new record Origin:Orphan, out Tuesday, to the stage. The theatre stage, not the concert stage. Though they’ll do that too come December 5 at the Opera House. Which despite the name is not an opera stage.

Islands are streaming their new record Vapours, out next week, at Exclaim and have set a November 7 date at the Mod Club in support.

MP3: Islands – “Vapours”
Stream: Islands / Vapours

Also at Exclaim – details on the sophomore record from Basia Bulat. It’s entitled Heart Of My Own and will be out on January 26 of the new year. Here’s a taste.

MP3: Basia Bulat – “Gold Rush”

UK electro-pop outfit We Have Band will be at the Drake Underground on October 22. They’ll have a digital EP available Grab a new remix track at RCRDLBL.

MP3: We Have Band – “Hear It In The Cans”
Video: We Have Band – “You Came Out”
Video: We Have Band – “Oh!”

J Tillman may be the drummer for Fleet Foxes but he’s also an established solo artist and he will continue to establish his solo-ness with his new record Year In The Kingdom, which is out next week. He’ll be touring to support and has a date at the Horseshoe on November 11, tickets $13.50. And if you need more reason to attend, consider the fact that he is one funny dude. Seriously.

MP3: J Tillman – “Earthly Bodies”

Denver Westword talks to The Depreciation Guild, who’ve been named as support for School Of Seven Bells at Lee’s Palace on October 15 along with Los Angeles’ Warpaint. It pains me to miss this show for Wilco, but sacrifices must be made.

MP3: Warpaint – “Billie Holiday”
MP3: Warpaint – “Elephants”

And one more September 22 release to talk about – the Higher Than The Stars EP from The Pains Of Being Pure At Heart. The title track and a non-EP remix of the title track are available to download.

MP3: The Pains Of Being Pure At Heart – “Higher Than The Stars”
MP3: The Pains Of Being Pure At Heart – “Higher Than The Stars” (Others In Conversation remix)

Rob Sheridan & Tamar LevineThey do try their best, I believe that, but it might be time to declare any Virgin Festival in Canada to be well and truly cursed. Don’t get me wrong, despite everything, I’ve always had a great time at the three in Toronto thus far, but you can’t really say they’ve gone smoothly. In 2006, they lost one headliner in Massive Attack (Broken Social Scene wasn’t a bad pinch hitter at all, but that it was necessary was unfortunate) and then there was the infamous 15-minute set from The Flaming Lips. The 2007 edition fared a bit better but still lost Amy Winehouse and Peter Bjorn & John without equal calibre replacements. Last year saw the the headliner famously assaulted onstage.

And that’s just the Toronto editions. As the rumour goes, last year’s Vancouver edition was cancelled outright after Pemberton poached Coldplay as headliner. And this year, after keeping silent well into the Spring as to whether there’d even be a festival this year, they came out and announced five across the country, most of which befell some sort of calamity. Vancouver was struck by lightning and had to cancel the headline set by The Roots. Halifax lost headliners The Tragically Hip at the 11th hour and had to make up for it by making the whole event free. Montreal headliners New Kids On The Block failed to contract food poisoning before their set and were able to perform. I think Calgary managed to avoid any sort of disaster their two years running – good on them.

Which left Ontario. Though still the subject of many complaints, I thought the 2009 lineup was pretty solid – but the decision to hold it an hour north of the city at Burl’s Creek in Oro was met with howls of protest from the 416. And it wasn’t just whinging from those who didn’t like going north of Bloor – there were genuine logistical concerns about transportation, traffic, accommodations and whatnot. But I guess the assumption was that the absence of those who didn’t want to leave the city would be made up for by others in southern Ontario who would find it easier to not drive downtown and a lovely time would be had by all.

Not so much.

An unexpected press release showed up yesterday around noon declaring that due to slow ticket sales and protests about the location, Virgin Festival Ontario had been moved from Burl’s Creek to the Molson Amphitheatre in downtown Toronto, barely two weeks before the event was scheduled to happen. Considering that many/most who had decided to go had already made travel and lodging arrangements, myself included, this wasn’t as much of the gift as it may have been intended to be. For example, I was able to get a full refund on my hotel room (I don’t camp) – I know others had booked non-refundable rooms. They’re now out a couple hundred dollars. Others who bought tickets early at full price will be justifiably upset that the new pricing structure offers much cheaper options, though refunds for tickets are available so you could trade those in and buy the cheaper Amphitheatre lawns if you just want to grab a piece of sod and chill out for a couple days. Mind you, those already holding tickets have been promised to be given first crack at the Amphitheatre’s floors and 200-level seats, though that may give you an idea of how many tickets were sold in the first place. I can’t say exactly how assignments will go, but it seems that those first in line will get wristbands granting GA floors and then everyone else will get assigned 200-level seating.

And while the festival organizers are assuring that all the announced acts will still perform, there’s other questions, like how the stages will be set up – the Amphitheatre itself can’t easily accommodate a second stage, particularly not one big enough to handle Pet Shop Boys or Pixies, who I would assume would be closing that one out on their respective nights. Which means that the second stage would have to go outside the Amphitheatre grounds and somewhere else in Ontario Place. Looking at the satellite imagery, the spot south of the Amphitheatre is the only logical place it could go but I have no idea what’s there and what might get mangled by a big stage and thousands of concert goers, never mind the fact that this is all going down when the CNE is on and Ontario Place will already be lousy with non-V Fest visitors.

So how will it all end up going down? Will the V Fest brand be able to recover from this year and convince people to return in the future? Will they even try? I have no idea, but am very curious to see. And while I really was warming to the idea of the Burl’s Creek experience (if not the insect bites that would ensue), I can’t say I’m not pleased that like past years, I’ll be able to get there by bike and be able to sleep in my own bed.

Anyways.

They were just here last month opening for Frightened Rabbit but The Antlers have since garnered their own immense buzz for their new album Hospiceand so are are coming back for their own show at the Horseshoe on September 24.

Speaking of shows, after Wilco’s October 14 show at Massey Hall sells out minutes after tickets go on sale this morning at 10AM, look for a second show to be announced for October 15. This comes from a press release for opener Liam Finn which lists both dates at Massey Hall and considering how Wilco have been playing the same venue since 2004 while their fanbase has arguably grown considerably, and the idea of a multi-night stand seems eminently logical though it makes my eight-year streak of seeing every Wilco appearance in Toronto considerably more difficult to maintain. LiveDaily has an interview with Wilco drummer Glenn Kotche.

And if that’s not enough Liam Finn for you, Bumpershine reports that he’ll play his own headlining show at Lee’s Palace on October 29 with Miracle Fortress as support. Finn’s new EP with Eliza Jane Champagne in Seashells is out September 1.

MP3: Liam Finn with Eliza Jane – “Plane Crash”
Stream: Liam Finn & Eliza Jane / Champagne In Seashells

Those waiting for Sufjan Stevens ticket information for the October 1 show, looks like Ticketmaster is your only option. Face value is $17.50 so you’ll be lucky to come away a ducat for under $30, all said and done. Also note: “Tickets cannot be picked up at the outlet. They must be picked by the cardholder, with credit card in hand and photo identification at the venue by the cardholder ONLY”. So there you go.

And Cryptacize, who are touring with Stevens, are the subject of a feature video/audio session over at Luxury Wafers.

MP3: Cryptacize – “Blue Tears” (live on Luxury Wafers)

Antony & The Johnsons have not only covered Beyonce, but they’ve made a video. No Jay-Z, though.

Video: Antony & The Johnsons – “Crazy In Love”

Previously venue-less, the August 30 Throw Me The Statue show will now be happening at The Boat with support from The Brunettes and Nurses. And if you dig on Nurses, they’re back in town on October 15 at the Drake Underground with Le Loup.

MP3: Throw Me The Statue – “Ancestors”
MP3: Nurses – “Caterpillar Playground”
MP3: The Brunettes – “Small Town Crew”
MP3: Le Loup – “Beach Town”

Deerhoof will be doing a free show at Yonge-Dundas Square on September 17, somehow related to TIFF. Is there a Deerhoof documentary premiering that I don’t know about?

MP3: Deerhoof – “+81”

The Flaming Lips have set an October 13 release date for their next album Embryonic. Rolling Stone has details and Pitchfork is streaming a song from the record, and early response to new material from those who’ve lost interest in the band nearly as much as I have is quite positive.

Spinner and Billboard talk to Death Cab’s Ben Gibbard and Son Volt’s Jay Farrar about their work on One Fast Move or I’m Gone, the soundtrack album for a documentary on Jack Kerouac by the same name. The album will be out October 20 and there are plans for a tour to follow.

Video: Jay Farrar – “San Francisco”
Trailer: One Fast Move or I’m Gone: Kerouac’s Big Sur

Laura Marling discusses her plans for album number two with BBC.

The Pittsburgh Post-Gazette talks to Decemberists guitarist Chris Funk and The Philadelphia Inquirer to Colin Meloy.

The Dan Deacon show at Sneaky Dee’s on November 3 isn’t his only local date – he’s also at the Great Hall on November 4.

Luxury Wafers talks to Oliver Ackermann of A Place To Bury Strangers. Their new one Exploding Head is out October 6 and they’re at the Mod Club on October 27.

Frank YangSome shows you want to see in a packed, sweaty club. Others you don’t. In the case of St. Vincent, more than two years removed from her last visit to Toronto, you’ll take her anywhere you can but as much as I love the Horseshoe Tavern, its sweltering environs on Saturday night weren’t what I’d call the ideal setting for Annie Clark’s elegant pop and its Jekyll-and-Hyde/frosted miniwheat balance of beauty and abrasion. The band did what they could to dress it up, hanging white drapes across the back wall and setting up some dramatic lighting, but something more akin to a church or theatre would have seemed more appropriate. Or perhaps just somewhere with more effective air conditioning.

Opener Gentleman Reg has been somewhat ubiquitous on Toronto stages since the Spring release of his latest record Jet Black, but considering the length of the layoff between it and 2004’s Darby & Joan, he can be forgiven for making the most of the opportunity. Reg Vermue has always had a gift for blending folk and pop, but I’ve felt he needed the proper backing players for his songs to properly shine – an opinion that was shared, apparently, because the band that he’s assembled for Jet Black really hits that sweet spot, though I’m not sure if the players on the record were the same ones on stage with him on Saturday – I don’t have the proper roster notes to comment. Either way, the balance of feyness and punch on display this evening seemed just right and it was good to see Reg settled so comfortably in the role of frontman. I’d missed numerous opportunities to see him play throughout the Summer – glad to have finally rectified that.

As distinctive as Annie Clark’s creative vision is, live she’s also much-defined by her band, or lack thereof. The first time I saw her in February 2007, she was supporting Midlake and operating solo, and as such made heavy use of looping pedals and a Stompin’ Tom-approved board for percussion. The next time in Austin that September she’d expanded to a power trio format and though that configuration sounded a little more conventional, it freed her up musically. This time, she was fronting a five-piece St. Vincent complete with utility players tasked with handling a myriad of instruments including guitar, bass, keys, violin, saxophone and clarinet – obviously ready to do the orchestrations and textures of Actor justice.

And the presence of those extra players made a world of difference in recreating the new material, of which the set list was mostly comprised (as well as the solo cover of “Dig A Pony” which again seems to be a set staple). It’s hard to imagine “Marrow” or “Black Rainbow” without the trill of the woodwinds and brass, but there they were, adding crucial accent to Clark’s crystalline voice (or chorused/delayed/voice when she sang through her second mic) and then getting gleefully obliterated when she went in for a fuzzed-out, shred-happy guitar break. And it was that wanton and wonderful collision of beauty and brutality, punctuated by Clark’s charmingly off-kilter banter, that defined the evening. That and the stifling heat.

Panic Manual and eye have reviews of the show. The Globe & Mail has a feature interview with Annie Clark while Renegade Bus has an interview with Evan Smith, one of the backing musicians who makes St. Vincent a band and not just a pseudonym.

Photos: St. Vincent, Gentleman Reg @ The Horseshoe – August 8, 2009
MP3: St. Vincent – “Actor Out Of Work”
MP3: St. Vincent – “The Strangers”
MP3: St. Vincent – “Now Now”
MP3: Gentleman Reg – “We’re In A Thunderstorm”
MP3: Gentleman Reg – “How We Exit”
MP3: Gentleman Reg – “Plan On Including Me”
Video: St. Vincent – “Actor Out Of Work”
Video: St. Vincent – “Jesus Saves I Spend”
Video: Gentleman Reg – “How We Exit”
Video: Gentleman Reg – “Rewind”
Video: Gentleman Reg – “We’re In A Thunderstorm”
Video: Gentleman Reg – “Boyfriend Song”
MySpace: St. Vincent
MySpace: Gentleman Reg

Here’s some news – St. Vincent’s one-time bandleader Sufjan Stevens has announced the details of his previously-implied Fall tour, and it’s a small one. As in venue. Though he could easily fill rooms two or three times the size for his first local show in four years, Stevens is opting for a club tour and will return to Lee’s Palace on October 1, where he played last in November 2004. Contrary to previous speculation, this show will not be in support of the BQE show/soundtrack coming out October 20, which raises the question not only of what material will be aired – a melange of Illinois, Michigan and Seven Swans seems most likely – but what the theme of the costumes will be. There had better be costumes, Sufjan. Don’t you be going sensible on us. Support for the tour will be Cryptacize, and tickets will be doled out very carefully. Ticket details are forthcoming later this week, but they will go on sale Satureday and be limited to two a person with them only being available to be picked up at the venue the night of the show. But you know that they could also insist that patrons have to eat a jar of flaming cockroaches before being admitted and Lee’s would be packed before 8PM.

MP3: Sufjan Stevens – “The Henney Buggy Band”
MP3: Sufjan Stevens – “The Man Of Metropolis Steals Our Hearts”
MP3: Sufjan Stevens – “Casimir Pulaski Day”
MP3: Sufjan Stevens – “Sister”
MP3: Sufjan Stevens – “Holland”
MP3: Cryptacize – “Blue Tears”

Flavorwire talks to Dean Wareham of Dean & Britta.

Pitchfork has a feature on Antony Hegarty of Antony & The Johnsons. Their new Aeon EP was released last week.

Mark Eitzel has revealed details of his next solo record, entitled Klamath and due out this Fall. Work is also beginning on a new American Music Club record.

Those holding their breath for the release of Final Fantasy’s Heartland can circle January 5, 2010 as a date to exhale. Owen Pallett revealed via Twitter that the record would be out the first week of the new year, and that’s the Tuesday of said week. Also noteworthy is that he has signed with Domino Records to release the album worldwide, though Blocks will presumably continue to handle things in Canada.

Victoria Bergsman will release her second album as Taken By Trees in East Of Eden, due out September 8. The first MP3 from it is available to sample and there’s a feature piece at National Geographic that follows Bergsman to Pakistan where she recorded the new record.

MP3: Taken By Trees – “Watch The Waves”

Paste reports that Built To Spill’s next album There Is No Enemy has finally been given a release date of October 6 – that’s the same day as night one of their two-night residency at Lee’s Palace in Toronto.

DCist, The New York Times and The Valley Advocate talk to Joe Pernice about his new book and album, It Feels So Good When I Stop. He’s at the Dakota Tavern on September 24.

There’s now some context for Thao with the Get Down Stay Down’s upcoming November 1 show at the El Mocambo – she’s releasing a new album in Know Better Learn Faster on October 13. Details at Blurt.

Lucia HolmIt’s been not quite two years since the release of Nicole Atkins’ debut album Neptune City and even taking into account the relentless touring that followed, you’d think she’s about due for a new record soon, right? As she tells Spinner, work on the follow-up is well underway with 38 songs written set to be pared down to a baker’s dozen for the record. But whenever it does come out, don’t look for it on Columbia Records; according to the New Jersey singer, she and the storied label “got divorced” and while she hasn’t settled on a new home, she’s looking to the indie route this time around. Also on the topic of change, her band The Sea has decided to adopt and adjective and they’ll now be known as Nicole Atkins & The Black Sea.

But until the new album is done and has a new home, Atkins is keeping busy – she was an integral part of AC Newman’s last studio and touring bands, she’s been playing gigs at JFK Airport, keeping a blog, rocking the Twitter and taking the time to record a little tribute to the late Michael Jackson. It would have been interesting to hear her try one of the funkier numbers, but a torch song to a rat works as well.

MP3: Nicole Atkins – “Ben”

Also about due for a new record is Lightspeed Champion. He’s got a shiny new website and therein, says “The album is in the hands of the label for whenever they want to release it..but they’re good with that kind a thing, it’s their job! No idea when that will be though.” Which at least implies that it’s completed though it doesn’t give much hope that the October 2009 release date I had written down is still a go. But in the meanwhile, he’s offered a new song to those who register on his site entitled “Heavy Purple”, which is of a decidedly different flavour from anything found on Falling Off The Lavender Bridge.

Jarvis Cocker is also giving away the tunes – you can grab a different edit of Futher Complications’ “You’re In My Eyes (Discosong)” from his website. Hey Jarv, don’t think I haven’t noticed you didn’t add any more North American tour dates. ‘Cause I totally did.

Beatroute talks to The Decemberists’ guitarist Chris Funk and JAM to drummer Jon Moen. They’re at the Kool Haus on August 3.

Spin has excerpted a portion of this month’s Wilco cover story online and NewsOK has a conversation with Jeff Tweedy about how the band’s five-night stand at the Riviera in Chicago in December 2007 was a defining moment for the current lineup.

As the September 8 release of Yo La Tengo’s new album Popular Songs draws nearer, they’ve released information about the bonuses tied into the Buy Early Get Now pre-order promotion, the full Fall tour itinerary surrounding the previously-announced October 3 date at the Opera House in Toronto has been unveiled and there’s a second MP3 from the album now available for grabs.

MP3: Yo La Tengo – “Here To Fall”

M83’s Anthony Gonzalez tells The Riverfront Times exactly what it takes to get slapped by a Frenchman.

The Soulsavers, the latest project fronted by Screaming Tree/Gutter Twin/general man about town Mark Lanegan have slated a Fall North American tour including a September 25 date at the Mod Club in support of their new album Broken, out August 18.

eMusic, The Dallas Observer and Express Night Out talk to Jason Molina of The Magnolia Electric Co, who just released their new album Josephine and are sharing a new MP3 from it.

MP3: Magnolia Electric Co – “Little Sad Eyes”

Here’s a guy who hasn’t been sighted in these pages lately – Sufjan Stevens. Some are waiting for part the third in his albums saluting the fifty states; they can keep waiting, because he’s turned his sights on a geographical topic a bit more micro than that – the Brookyln-Queens Expressway. He staged the musical/cinematic/whatever production live in November of 2007 and come October 20, he’ll release a multimedia package consisting of a CD of the show, a DVD of the film portions and a ViewMaster slide of… well, unless you have a ViewMaster you’ll never know. He’s also re-releasing an old electronic album dedicated to the best (read: mine) year of the Chinese Zodiac entitled Enjoy Your Rabbit on October 6, so either of these could be the filling out his set when he hits the road this Fall, and yes, there should be a Toronto date. Probably right around the time he plays Pop Montreal. Keep an eye out.

Video: The BQE- A Film By Sufjan Stevens

There’s a new video from the new Hidden Cameras record Origin:Orphan, due out September 22.

Video: The Hidden Cameras – “In The NA”

The National Post talks to The Rural Alberta Advantage. They’re at the Horseshoe on July 30.

Julian Plenti is the solo pseudonym of Paul Banks, lead singer of Interpol. The record is called Julian Plenti Is… Skyscraper and is out August 4. Whether or not a solo record from the lead singer of Interpol is necessary is unclear.

MP3: Julian Plenti – “Games For Days”
MP3: Julian Plenti – “Fun That We Have”

The Tripwire have a feature piece on Dinosaur Jr. They’re playing the Phoenix on September 30.

Daytrotter has a session and Cincinnati City Beat an interview with Bad Veins. They’re in town at the El Mocambo on August 2.

Buffalo News and Creative Loafing have interviews with Jason Lytle.

Chart has details on the second Flight Of The Conchords album, due out October 20 and bearing the title of I Told You I Was Freaky. It’ll contain all the songs featured in season two of the HBO show and while the second series got off to an alarmingly slow start, both comedically and musically, it took a serious upswing about midway through – right around the time that Michel Gondry sat in the director’s chair and gave us this bit of brilliance.

Video: Flight Of The Conchords – “Too Many Dicks On The Dance Floor”