Frank YangFunny thing about plans you’ve had etched in stone for weeks – they seem to be the ones that are the most fun to jettison. Leading up to SxSW, I had assumed I would stick around at Eastbound & Down through GZA’s set, which meant that my only opportunity to see Superchunk would be their Friday afternoon Village Voice show at La Zona Rosa. Easy. And yet instead of getting my Wu Tang on Thursday evening, I found myself back at the hotel staring at my schedule and contemplating a world of opportunities with that scenario out the window. And it was decided that this evening would be a Merge kind of evening.

That Superchunk were the “special guests” kicking things off there at 7:30 PM was a pretty poorly kept secret, but even without them it was sure to be a full house with the first of several SxSW appearances from Matt Ward and Zooey Deschanel, aka She & Him. I wanted to see both and not tromp all around Austin, so sitting in Cedar Street for a few hours seemed a good plan. But first there’d be some standing in line outside the courtyard waiting for doors to open at 7. And more standing. And more. Apparently, a late-running day show had mucked up the Merge schedule such that doors didn’t open until 7:50, obviously throwing the official schedule – which only would have allowed for a 15-20 minute Superchunk set – out the window. When wristbands were finally let in, I pulled a Cedar Street Slide (instead of fighting through the crowd in the courtyard, ducking into the restaurant that runs the length of the venue and bypassing them via the entrance at the front of the stage) and snagged a perfect spot at the foot of the stage as Superchunk were tuning up. Superchunk!

And man, was it worth the wait. The Chapel Hill quartet may not be on full active duty after a long hiatus, but they played like they hadn’t taken a day off. Pogoing around the stage like the kids do (or did), they played a much longer than expected set – eight songs – including a couple new ones which will appear on their just-completed new record (!!!). Those sounded great but I was of course stoked to hear the likes of “Hello Hawk” and “Hyper Enough”, as well as getting to tell Jim Wilbur that no one heard his last solo because he’d accidentally unplugged his guitar from a pedal mid-song. I had worried that going off schedule would make for a shorter Superchunk set, but it probably allowed for an even longer one and my night had hit it’s high point just as soon as it had begun. This, kids, is how it’s done.

Three of those kids were up next in the form of one of the label’s latest signings, London’s Let’s Wrestle. I’m a fan of their debut In the Court of the Wrestling Let’s, due out next week, and had been looking for an opportunity to catch them at SxSW before their April 18 show at the Horseshoe but while their songwriting and persona would appear to be of shambolic abandon, their show was decidedly more polite than expected. It sounded great and Wesley Patrick Gonzalez’s guitar had a pleasant self-destructing tone throughout, but their delivery was more of intensity than shenanigans, save for the final, instrumental title track of the album in which strings began breaking on his SG en masse, forcing him to mangle/wrangle them off whilst trying to play. Finally – some wrestling!

The last time I saw Radar Bros was also here in Austin, also at a Merge showcase in 2008. And like that time, their set was slow and leisurely, almost to a fault. I like a lot of the sounds and influences that Jim Putnam and company draw on, but delivered as they are in such a languorous fashion, it can be a bit maddening. Their new record The Illustrated Garden is out next week. I’m betting it sounds a lot like the one before it.

They may be called She & Him, but it’s really She & Him & Lots Of Backing Players – Matt and Zooey’s band is a big one, and as such, their soundcheck took an exceeding long time to get through. Any gains in time made up by compressing sets leading up to theirs were pretty much lost as they tried to get mics and monitors working. Not that anyone seemed to care, anticipation for the duo was high and hundreds of cameras at the ready… until they essentially turned off all the lights and a show official came on the mic and said that the band politely requested that no one take any photos during their show. Of course, few listened and when they finally strode out on stage, it was to a barrage of flashes and shutters. This performance had a markedly different feel from their SxSW debut two years ago, which was maybe their third-ever live performance. Despite being a seasoned actress, at that show Deschanel seemed very nervous and uncomfortable being in the spotlight, frequently looking to Ward for cues or confidence. This time out, she was far, far more at ease, chatting with the crowd, cracking jokes, jumping up and down and generally being adorable. Musically, things weren’t quite so polished as some sound issues persisted despite the elongated soundcheck and they were both working without a set list and against a shortened set time. Not that that seemed to matter to most in attendance, who were thrilled to be seeing the pair – or at least their silhouettes – and take in their timeless-sounding, AM radio-styled pop tunes. And as soon as they were done, the venue cleared out.

Which is a shame because Wye Oak were up next. I’d have liked to have stuck around and if they were remotely on schedule, I would have but still needing to grab some dinner at 11PM and with a few blocks to traverse to Lamberts for my last stop of the night, I needed to be on my way. Lamberts was where current UK it girl Marina & The Diamonds was set to hold court and, having a thing for UK it girls, I wanted to see what this was all about. Again, the start time was delayed massively by technical issues – seeing six guys huddled around a rack case with a flashlight and shrugging is never a good sign – but unlike most SxSW showcases thus afflicted, this one would hardly be cut short. When they were finally ready to go, Marina Diamandis bounded onstage clad in Planet Hollywood overalls and a giant woolen shawl with animal ears… clearly, she was not going to be your conventional diva. And not being able to quite put my finger on what she was about was kind of the overarching theme for her set. Her voice is powerful, but with enough quirks and tics to not be too cookie cutter mainstream. the musical backing is synth-heavy, but it’s not made for the dancefloor. The lyrics are dense and pop-culture referencing, but not ironic. She’s beautiful, but not conventionally glammy (see above outfit). Whatever she’s doing, it’s been a hit in the UK and if the couple hundred people crammed into the club are a representative sample of North America (which they’re not), then when her debut The Family Jewels is released over here on May 25, it’ll do just as well. For my part, I remain intrigued if not yet completely won over.

superchunk.comThis one’s for the oldsters. Of which I am one. But not old enough to have ever seen Superchunk live… okay, I am, but wasn’t tuned in enough to have caught them before they went on hiatus in the early ’00s. Which is why for SxSW this week, for all the shiny young things looking to make a splash, the one act I am most looking forward to seeing is the ‘Chunk. In recent years they’ve come out of retirement just enough to make occasional live appearances like the one or two they have planned for Austin this week. One of them I will have to miss due to other commitments and logistics, so if you’re looking for me, La Zona Rosa on Friday at 3PM is a good start. And if I’m not there, then call the cops because the bats have taken me.

And while all I want to hear from them is their own songs, if, say, Matt Gentling and Eric Bachmann from fellow ’90s college rock heroes Archers Of Loaf were to join them onstage as they did in Atlanta in February 2001 and tear through “Harnessed In Slums”, well allowances can be made. Not that I expect that to happen. Really. Gentling was only a temporary touring member of Band Of Horses so while they’re in town, he probably won’t be. And as Bachmann recently tweeted, he’s getting started on the next Crooked Fingers record, so he’s busy doing God’s work.

Would you look at how young Bachmann looks in that video? Gadzooks.

MP3: Superchunk – “Harnessed In Slums”
Video: Archers Of Loaf – “Harnessed In Slums”

Lilja BirgisdottirWhen it was revealed that Jon Thor Birgisson was going to be working on a project separate from Sigur Ros, many – well me, at least – assumed that the instrumental Riceboy Sleeps record which came out earlier this year was it. But in fact, it was credited to Jonsi & Alex, the titular Alex being Alex Somers of Parachutes and Birgisson’s boyfriend and the project being something else completely. Which is just as well because while it was a pretty piece of atmosphere, Riceboy Sleeps didn’t really engage as a piece of music and didn’t do much to tide one over while waiting for the new Sigur Ros record.

When flying solo as just Jonsi, however, the results are more satisfying. Details on Birgisson’s debut album entitled Go were revealed last week alongside the first MP3 – “Boy Lilikoi” – and it’s definitely not lacking in substance. Big and colourful, it finds Birgisson singing in English overtop buoyant and burbling pop arrangements, courtesy of Bjork arranger Nico Muchly and The National producer Peter Katis. This track and the extra audio samples available on the Jonsi website seem to ensure that Go will be enough like Sigur Ros to entice and satisfy fans of Sigur Ros, but different enough to justify not being Sigur Ros.

The album will be out on March 23 of next year, and a world tour to support will follow. Which basically ensures that the new Sigur Ros record won’t be out until Fall at the earliest.

MP3: Jonsi – “Boy Lilikoi”
MP3: Riceboy Sleeps – “Boy 1904”
MySpace: Jonsi

Rolling Stone talks to Ted Leo about his new album The Brutalist Bricks, available March 9. For a sneak preview of the new material, check out this downloadable live show from last week courtesy of NYC Taper.

Magnet does the over/under thing with Built To Spill’s oeuvre.

BrooklynVegan reports that The Antlers will be opening up for Editors on their upcoming North American tour, including the February 16 date at the Phoenix in Toronto. The Irish Times interviews Peter Silberman.

The Fader has posted their recent cover story on Bon Iver online while NME reports that a charity album entitled A Decade With Duke, pairing Justin Vernon with his Eau Claire, Wisconsin high school’s jazz band in performing Duke Ellington songs, Bon Iver songs and a few standards. NPR has a feature piece on the collaboration.

Though they just announced details of their next studio album, entitled Beat The Devil’s Tattoo and out on March 9, Black Rebel Motorcycle Club don’t want folks to forget they also just released a live album – they’ve released a video of four live performances and are offering up one of the tracks to download. Their two worlds collide when they play songs from the new studio album in a live setting on April 1 at the Phoenix.

MP3: Black Rebel Motorcycle Club – “Whatever Happened to My Rock and Roll (Punk Song)” (live)
Video: Black Rebel Motorcycle Club / Live

Paste kicks off their new “Moog Sessions” – featuring videos of performances recorded at the Moog factory in Asheville, North Carolina – with Yo La Tengo.

The Skeleton Crew Quarterly interviews Venice Is Sinking.

For Folk’s Sake interviews Jenn Wasser of Wye Oak.

Drive-By Truckers will release their new studio album The Big To-Do on March 16 – details at Muzzle Of Bees.

This week, PitchforkTV is streaming the 2004 Superchunk documentary, Quest For Sleep.

Video: Superchunk: Quest For Sleep

The Thermals’ Hutch Harris talks lyrics with Paste. Their next album is out September 7, 2010.

The Line Of Best Fit interviews Beach House about their new album Teen Dream, out January 26.

The Independent has an extensive interview with Wilco.

Austinst has information on The Golden Dossier component of Shearwater’s new album The Golden Archipelago, which they are hoping to finance via Kickstarter. The album is out February 23.

Christmas has come early for fans of over-the-top British arena rock and those with nostalgic memories of the ’90s-era Canadian indie rock. Different gifts, though they could well be the same fans. To the former, word that Muse have added a March 8 date at the Air Canada Centre to their Spring 2010 North American tour in support of this year’s The Resistance. Support on the tour will come from Silversun Pickups.

Video: Muse – “Uprising”

And to the latter, the long-rumoured Thrush Hermit reunion appears to be a go. Official confirmation and full dates are still forthcoming, but an eastern leg of the tour appeared on last week and puts the reunited Haligonians at Lee’s Palace in Toronto for two nights, March 26 and 27. Once and future Thrush Hermit frontman Joel Plaskett also just released a new video from Three. Update: Plaskett has confirmed the reunion in an interview with Exclaim.

Video: Joel Plaskett – “You Let Me Down”

Frank YangThis was the first year in many years that I did nothing at all involving TIFF. Not a screening, not a party, nothing. But I did get to do something tangentially cinematic on Wednesday evening, and that was attend a lovely little private show at the Dakota Tavern by The Swell Season, perhaps still better known as Glen Hansard and Marketa Irglova, the real-life incarnation of the protagonists from the film Once and for it, winners of the 2008 Academy Award for Best Original Song.

But while that film and award have obviously defined their career, it hasn’t been their career – prior to the soundtrack to the film, they released a self-titled album and come October 27, will release their second proper record in Strict Joy, and while that date is still some time off, the duo were in town to do some promotion and to play this show at a room a miniscule fraction of the size of Massey Hall, where they’ll be on November 3. Special? Yes it was.

Though accustomed to much larger settings, the duo were perfectly comfortable in the down-home environs of the Dakota. Rather than use her own portable keyboard, Irglova opted to use the house upright piano, giving proceedings a distinct roadhouse (and slightly out of tune) flavour. This left her set up back somewhat on the stage and put Hansard front and centre, which is how it would have seemed anyways – he was the stereotypical gregarious Irishman, quick with the wit and charm in between songs, at one point thanking those in attendance for coming to this show instead of going to see his countrymen U2 at the Rogers Centre (where they were headed after the performance, apparently).

And most Swell Season songs are led by his voice and guitar anyways, with Irglova adding understated but crucial harmonies and piano accompaniment – her presence may be understated, but it’s still omnipresent. It’s remarkable how full they’re able to make their arrangements with just those four instruments at their disposal. They did swap places for a song, with Irglova taking the guitar and lead vocals and Hansard hitting the ivories, but by and large it was Hansard in the spotlight. Though the show ran only around 40 minutes, they struck a decent balance between the new material and old. Being really only familiar with the soundtrack and not heard the new record, I’m not in a position to comment on where their sound is going relative to where it’s been, but it did seem like the new material lacked the sense of anguish that ran through most of the songs in Once, instead taking on a more peaceful or perhaps resigned tone. “When Your Mind’s Made Up” was the exception, delivered with the fire (and perhaps overdramatic delivery) that was Hansard’s signature in The Frames but by and large the show was a gentle one. Unsurprisingly, the highlight was “Falling Slowly”, which Irglova started on piano but abandoned quickly due to tuning conflicts with the guitar, instead joining Hansard on his chair up front for a proper duet and stayed for their final song, a cover of Tim Buckley’s “Buzzin’ Fly” – the perfect finale to the show.

Just as the romantic relationship between Hansard and Irglova was a key talking point circa Once, the end of said relationship prior to the release of the new record is sure to be of interest to spectators. But anyone looking for Richard and Linda Thompson-style tension would have been disappointed – there was still plenty of genuine warmth between the two, implying they’ve either found a place of balance or are much better actors than you’d expect. Given their long and complex backstory, it’s futile to try and fully comprehend the emotions that were palpable between the duo and though that’s obviously a compelling facet of their story, it’s really no one’s business but theirs. We get the music, and that’s plenty.

Photos: The Swell Season @ The Dakota Tavern – September 16, 2009
MP3: The Swell Season – “In These Arms”
MySpace: The Swell Season

Rolling Stone talks to director Jonathan Demme about making the Neil Young Trunk Show concert film.

Dean Wareham interviews Buffy Sainte-Marie for Magnet.

Prefix and Access Atlanta chat with Son Volt’s Jay Farrar while The Austin Chronicle reports that Farrar has teamed up with Will Johnson , Anders Parker and Jim James to put more of Woody Guthrie’s words to music, a la Mermaid Avenue. Obviously any discomfort Farrar has with being measured against Jeff Tweedy is long past – good for him.

There’s interviews with Yo La Tengo’s Ira Kaplan at Washington City Paper, The Daily Times, Spinner, The AV Club and Billboard. Last night’s show in DC is also streaming at NPR. Yo La Tengo are at the Opera House on October 3.

Unexpected, yes, but also real – Pavement are getting back together, more than a decade after calling it quits, for a world tour that will kick off next September in New York City and visit a number of as-yet undetermined “big towns” (as which I hope Toronto qualifies). There will also be a compilation album released at some point next year to let newcomers understand why indie rock fans of a certain age are getting whipped into a frenzy by the news, but they’ve stated quite clearly that this is not a prelude to a permanent reunion – it’s a one-off tour and that’s it. Stephen Malkmus will be working on the new Jicks album this Fall and Scott Kannberg’s first solo record (albeit as Spiral Stairs) The Real Feel will be out October 20. Kannberg discusses how the Pavement reunion came about with Rolling Stone.

MP3: Spiral Stairs – “Maltese Terrier”

Aquarium Drunkard interviews Big Star drummer Jody Stephens about the band’s new Keep An Eye On The Sky box set, while Interview talks to John Fry, owner of Ardent Studios in Memphis where the band tracked much of their early, classic material. Spinner also talks to Stephens and is streaming one of the rarities which has surfaced in the box set.

NPR is streaming Unmap, the debut album from Volcano Choir, aka the new project from Bon Iver’s Justin Vernon – the album is out Tuesday. Spinner talks to Vernon about the project.

Stream: Volcano Choir / Unmap

Bishop Allen are heading out for a Fall tour which will bring them to the El Mocambo on October 30.

MP3: Bishop Allen – “Dimmer”
MP3: Bishop Allen – “The Ancient Commonsense Of Things”

Thunderheist have set a date at the Mod Club for December 3.

Gawker has posted an excerpt from Our Noise, the new book chronicling the first twenty years of Merge Records, and have a nice Q&A with Mac and Laura of the label (and Superchunk) in the comments.

Brittany GrayTo call the Wheat story a long and winding one would be more than a little bit of understatement. I’ve made following the band something of a spectator sport over the years so when word came out that they band – whom you could never take for granted still existed let alone were working – had a new album coming out, a follow-up to 2007’s tentative and uneven but wholly welcome Everyday I Said A Prayer For Kathy And Made A One Inch Square, I reached for the popcorn.

I got a taste of the new material at SxSW in March at a performance that you couldn’t call flawless – the complexities of trying to recreate the new material live with just a trio were evident and the new stuff didn’t immediately file itself in the “win” column – but did nicely showcase the band’s joie de vivre at simply making music. The actual new record, White Ink Black Ink, out next Tuesday, maintains that sense of joy but delivers the material much more confidently – unsurprisingly, this is a band more comfortable in the studio than on the stage. Ink follows the template laid down by Kathy, with the same sort of restless creativity and messy enthusiasm but whereas the ADD left Kathy feeling somewhat distracted, Ink comes across as a more fully realized and crafted record – still meandering but with more purpose and even when it doesn’t know where it’s going, it gets there with more vim and vigor.

So on its own merits, Ink is an enjoyable bit of art-pop but for a long-time fan such as myself, it’s impossible to consider it without wondering how it compares to their early highwater marks, Medeiros and Hope & Adams. And the simple fact is, objectively or subjectively, it doesn’t because it can’t. Wheat have left that the hazy, slow motion aesthetic of their salad days far behind, and even if that period did yield superior songs – I think that’s fair to say – it’s obvious they’re very much occupied and enthused about working in the now, and Ink is evidence that the new direction might yet yield gems as rich as their earlier period. Asking them to go back would be like asking the beautiful wallflower who finally got the courage to step out on the dance floor, as awkward as their moves might be, to return to the shadows. It’s not going to happen, and probably shouldn’t anyways.

Express Night Out gets a track-by-track guide to the album from Scott Levesque and Brendan Harney. There’s also an EPK video to watch, if you are so inclined.

And because I happened to get two copies of the album for review purposes – three if you count an early CD-R, four if you count the digital version – I will happily give one away to a reader. If you’d like it, email me at contests AT chromewaves.net with “I want the Wheat” in the subject line and your full mailing address in the body and get that in to me before midnight, July 24. Contest open to whomever.

MP3: Wheat – “Changes Is”
MP3: Wheat – “H.O.T.T.”
MP3: Wheat – “El Sincero”
MySpace: Wheat

Penguin Books has an interview with Joe Pernice about his forthcoming novel It Feels So Good When I Stop, out August 6, and you can now read an excerpt from it. Pernice will be at the Dakota Tavern on September 24 to play some songs from the soundtrack and read from the book – tickets are $18.50 and go on sale tomorrow.

Daytrotter welcomes Blitzen Trapper back for their third? fourth? millionth? session. They’ve also released a new video from last year’s Furr and have chats with Decider and The Daily Iowan.

Video: Blitzen Trapper – “Black River Killer”

JAM and Pitchfork talk to The National’s Bryan Devendorf and Bryce Dessner, respectively, while Decider looks at how Matt Berninger draws on Charles Bukowski for inspiration. And Pitchfork is streaming the band’s contribution to a forthcoming tribute album to Ciao My Shining Star, a tribute album to Mark Mulcahy coming out September 29. I will freely admit I have no idea who Mark Mucahy or Miracle Legion are/were, but they’ve got some heavyweight fans.

The Line Of Best Fit interviews St Vincent. She is at the Horseshoe on August 8.

Baltimore City Paper spends some time with hometown kids Wye Oak, whose rather lovely second album The Knot is out next Tuesday, July 21. The band also compiled a mix tape for Magnet.

The AV Club talks to Mark Olson of The Jayhawks.

The Riverfront Times talks to Son Volt’s Jay Farrar and gets the scoop on a forthcoming Jack Kerouac-themed collaboration between he and Death Cab For Cutie’s Ben Gibbard.

FFWD has an interview with Bruce Peninsula, who’ve just scheduled a date at the Horseshoe for October 1.

Neko Case discusses her songwriting process with The Kansas City Star.

The Dodos aren’t waiting for their new album Time To Die to leak well before its September 15 release date – they’re streaming the whole thing right now on timetodie.net and Pitchfork has an MP3 available to download. They will be at Lee’s Palace on October 17.

MP3: The Dodos – “Fables”
Stream: The Dodos / Time To Die

Daniel Johnston is hitting the road this Fall, including an October 17 date at the Mod Club – tickets $27.

Our Noise is the forthcoming book documenting the first 20 years of Merge Records, and in advance of its September 15 publication date, it has received a swanky website. Tangentially, Pitchfork is streaming the a-side to Superchunk’s recent limited edition 7″ single.