Frank YangIt used to be that at 8PM, you could still wander into Stubb’s relatively easily as most were still getting their beer and BBQ on and couldn’t be expected to be in go-mode so early in the night. Apparently those days are past. Upon arriving at one of Sx’s largest venues, I was greeted with a line that went down and around the block, certainly the largest one I’d ever considered getting into. But seeing as how I had no other enticing options for that time slot, I opted to line up with everyone else and hope for the best. Things moved at just the right speed to not abandon ship and I managed to get into the venue and as politely as possible, plow my way up to the photo pit just in time to be let in for Seattle’s Visqueen.

I had been enjoying Message To Garcia, the latest slab of power pop from Rachel Flotard and company, so to hear them start with a vocal-and-cello crooner was a bit of a surprise – had there been a change of direction in the past year, perhaps inspired by Flotard’s stint as sidewoman to Neko Case a few years ago? Not in the least – with song two, the electric guitars came out and the big rock began. Their set was only four songs, but they were jam-packed with hooks, riffs and melodies, anchored by Flotard’s not inconsiderable charisma.

It was as I was leaving Stubb’s and heading to the Hilton Garden 18th Floor – a clever name for a conference room on the 18th floor of the Hilton Garden hotel – that word of Alex Chilton’s passing reached me, ensuring that the rest of the night would be at least moderately bummed out. So in that sense, the serenely downcast sounds of Trespassers William were an ideal choice. The Seattle outfit do not tour North America much, so SxSW has been my only opportunity to see them – their show in 2008 was a considerably different affair from this one, featuring a much larger band and a much louder approach. This time out, it was just principals Anna-Lynne Williams and Matt Brown with some help on drums from Robert Gomez and accordingly, it was much quieter and intimate. Their set included a couple of new songs, hopefully from a forthcoming album, and closed with a remarkable cover of Radiohead’s “Videotape”, for which Williams’ voice seemed tailor-made. A welcome pause from the general chaos of SxSW.

A chaos which I flung myself right into by trying to get into Fanfarlo at the Galaxy Room Backyard next. There wasn’t any real urgency to see them this week since they’ll be coming to Toronto in a few weeks (April 9 at Lee’s, assuming that no passports are stolen), but gave it a go and after a moderate wait in line, got in just in time for the start of the set. Or what would have been the start of the set had they started on time. Instead, they continued to soundcheck for nigh on 20 minutes longer and then, when things were set and the clock ticking, the showcase sponsor actually came out and read a prepared introduction. Dude, the house is packed and things are already running stupid late. Shut up and get off. Which he eventually did and the London five-piece came on, playing an abbreviated set that didn’t quite match the grandeur of their show last year, but a big tent is not the Central Presbyterian Church so that probably couldn’t be expected. They sounded leaner and scrappier than that show, but more boisterous and less polite – positive things both. I attribute that to frontman Simon Balthazar’s not wearing a bow tie this time out.

Post-Fanfarlo, I was almost at Latitude 30 for Johnny Flynn when I decided I’d be better off seeing someone I’d never seen before, and that meant Norway’s Megaphonic Thrift – which turned out to be a great idea except that I had forgotten I hated Habana Calle 6 as a venue. They too were running late with sound check, not getting started until 15 minutes into their set, but you don’t need a lot of time to get across what they’re about. Take one part Sonic Youth and one part Dinosaur Jr, throw them in a blender and set to “pop” and let it ride. Hellaciously loud and rife with guitar abuse, if the above recipe sounds like an awesome combination to you, then The Megaphonic Thrift may well be the most awesome thing to come down the pipe in the last 10 years.

Ex-Pipette Rose Elinor Dougall went completely against SxSW convention by booking only one single show at the festival, official or otherwise, which made her midnight show at the Galaxy Room a must-see. Previewing material from her forthcoming solo debut Without Why, due out sometime this year, Dougall seemed quite keen to break from her past by trading polka dot dresses for a black leather jacket and assembling a band more keen on ’80s dreampop guitar textures than ’50s girl group sounds. Always the strongest singer in the Pipettes, Dougall’s solo material puts that voice front and centre overtop some solid songwriting and sharp pop sensibilities. I do wish the Pipettes Mk 2 all the luck in continuing on through all their roster changes, but it’s very clear that Dougall made the right choice in setting out on her own. Definitely looking forward to that album.

As a nightcap, I stopped in at Latitude 30 en route back to the hotel to see London’s The Invisible. They did me the favour of playing “London Girl” as their second song of the set, so I didn’t feel too bad when I ducked out early. Their low-key, chilled-out groove was clearly doing it for some – there was some impressive dancing going on in the audience – but wasn’t what I needed just then. I was not going to need any help in falling asleep this night.

Annie BeedyThe last time Seattle’s Fruit Bats visited was way back in 2005, opening up for Son Volt at the Opera House and in support of their album Spelled In Bones. At the time, I couldn’t help but be disappointed in the album and show not for what they were, but what they weren’t – namely their previous effort Mouthfuls and the cozy little show at the long-defunct B-Side in 2003.

And as I stated at the time, it was mainly the departure of vocalist Gillian Lisee from the Fruit Bats lineup that I had trouble with, having been such a fan of the way she and main Bat-man Eric Johnson’s parts played off one another on that earlier record. Objectively speaking, Johnson and the new Fruit Bats lineup did just fine on their own in crafting winning and winsome folk-pop – perhaps even better, with a less sleepy and more dynamic sound – but at the time I was having none of it and subsequently paid little attention to them over the next few years. Which worked out well, as the Fruit Bats went on a hiatus of sorts shortly thereafter with Johnson bringing home paycheques as a member of The Shins. And though James Mercer has cleaned house somewhat since The Shins’ last record, at last check Johnson was not only still a member, but Fruit Bats bassist Ron Lewis had also been recruited as a Shin.

Fruit Bats has continued as an ongoing proposition, however, and this past Summer they returned with a new album in The Ruminant Band. And with the benefit of a few years perspective, it’s easier to appreciate what Johnson has done since Mouthfuls – the new record is another terrific collection of feel-good, classically-styled pop that goes down real easy. Those who like some bitter with their sweet would be well advised to look elsewhere, because angst and melancholy aren’t part of the Fruit Bats recipe – just head-nodding, toe-tapping and melody to spare. Not to say that some female harmonies wouldn’t be the perfect compliment at a few points, but that’s neither here nor there.

And Fruit Bats will be here for the first time since that Opera House show with Son Volt – they’ll be at The Horseshoe on March 24, tickets $10. Usually doctor’s orders are to hole up for at least a week post-SxSW to handle the breakfast taco withdrawal, but here an exception might be in order.

MP3: Fruit Bats – “The Ruminant Band”
MP3: Fruit Bats – “My Unusual Friend”
Video: Fruit Bats – “The Ruminant Band”
MySpace: The Fruit Bats

While the new Shins record has no more precise target than sometime in 2010, James Mercer’s side-project with the ubiquitous Dangermouse – Broken Bells – is much more real. The album isn’t out till March 8 but the duo are giving away an MP3 of “The High Road” for one day only – today – in exchange for your email address. Head over to their website to submit and receive. There’s more details on the project at Exclaim.

Paste checks in with The Long Winters’ John Roderick about an upcoming collaboration with Kathleen Edwards, which should see the light of day after the next Long Winters album is completed. Which can’t be soon enough.

Penny Black interviews Trespassers William, who also recently recorded a video session with Off The Beaten Tracks, featuring a couple of songs from Trespassers William side projects but performed by both principals of Trespassers William. Which sort of makes them covers but not. Trespassers William are recording a new album this year.

The second installment of Paste‘s “Moog Sessions” is up and features a performance from White Rabbits.

NPR is streaming a radio session with Monsters Of Folk.

Exclaim reports that the Flaming Lips cover album of Pink Floyd’s Dark Side Of The Moon will have the excessive but factually accurate title of The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing the Dark Side of the Moon. It will be released digitally only – tomorrow on iTunes and next Tuesday at other online retailers. Pitchfork talks to Wayne Coyne and his nephew Dennis (of the titular Star Death and The White Dwarfs) about their decision to remake the classic rock staple. NPR also has an interview with The Flaming Lips frontman about their other “proper” album, Embryonic.

IMDBAnother year, another… year. This here blogsite turns seven years old today, a milestone which simultaneously fills me with pride, amazement and some degree of despair. If you told me seven years ago that I’d still have enough free time and energy to be blogging extensively on an almost daily basis, I’d have thought you mad. Mad, I say. How would I have time on top of tending to the wife and kids and other domestic responsibilities I’d surely have acquired by then? Ahem. Yeah.

The last few anniversary posts have tended along the lines of “hey, this site is another year older and I still haven’t gotten a life – that’s awesome, thanks for stopping by” but this year, I’ve decided to do something just a little more involved and put together one of those things that bloggers live for – a top ten list. “Top Ten Favourite Records That Have Come Out Since This Blog Has Been In Existence”, to be precise.

While the specific criteria for inclusion in said list was a bit nebulous, the selections weren’t – they were actually completely obvious. Each of these albums are ones that I have completely fallen in love with over the past seven years, initial infatuation evolving into long-term, meaningful relationships. I intend to grow old and sit on rocking chairs on a veranda with these records. They are my go-to records for when I’m feeling overwhelmed and need to be reminded of why I continue to seek out new music. My desert island discs of the past 7/10 of a decade. Did these records change my life? Maybe not, but they definitely made it better.

As, incidentally, have all of you who come by, read and made this whole exercise worthwhile over the past years. So for that, I thank you. Now make with the clicky.

(more…)

MySpaceWhat do you get when you have a pile of random news and links, not a lot of time and definitely not enough caffeine in your system? A post like this.

NME reports that British prog-rock space cadets Muse have announced the release of their fifth studio album, The Resistance, for September 14 with massive world touring to follow. I had thought they might feasible V Fest Toronto headliners, following their shiny red-jumpsuited performance at the first edition in 2006 but they seem to have all their record promotion ducks in a row with the US U2 support dates and the European headlining dates – any visits to Canada will probably come much later.

But there is some V Ontario news – the dates and one of the acts performing have basically been confirmed thanks to Mute Math’s MySpace – they’re listed as performing at V Fest Toronto on August 29 and 30.

The Dodos will release their third album Time To Die on September 15. Expect to hear some of the new material when they open up for Beirut at the Phoenix on July 6 9.

The duo of Sam Coomes and Janet Weiss have reconvened as Quasi have a new, still-untitled record in the can. Look for it to have a name by the time it comes out on October 27.

Wayne Coyne of The Flaming Lips confirms to the BBC that their new record will be a double-disc affair entitled Embryonic and is targeted for a September, though more likely later in the Fall release. He also gives a video interview to Clash. Hey, maybe they can headline V Fest. They still technically owe us a show.

Drowned In Sound has a two-three-part interview with Manic Street Preacher Nicky Wire. NME quotes bandmate James Dean Bradfield as saying that their next album will be a more upbeat affair than their current release, Journal For Plague Lovers.

The New Yorker salutes Sonic Youth, who have released a video from The Eternal. They are at Massey Hall on June 30.

Video: Sonic Youth – “Sacred Trickster”

NPR interviews Elvis Costello, who will be at Massey Hall on August 28.

Bowerbirds are showing off a second MP3 from their new record Upper Air, due out July 7. They will be at Sneaky Dee’s on July 14

MP3: Bowerbirds – “Beneath Your Tree”

Her Acid Tongue album was released last Fall, but Jenny Lewis has only just released a first video from it.

Video: Jenny Lewis – “Black Sand”

Decider interviews The Decemberists, playing a date at the Kool Haus on August 4.

Dinosaur Jr’s J Mascis talks about American Hardcore to The Quietus. Their new record Farm is out next Tuesday.

Magnet has a Q&A with Bob Mould, who is playing guest editor at their website this week. He and his band have a date at the Mod Club on October 5.

Interview interviews An Horse.

Mille-Feuille talks to Anna-Lynne Williams of Trespassers William about her various musical projects.

JAM has an interview with Great Lake Swimmers’ Tony Dekker.

Decider has a talk with Natasha Khan of Bat For Lashes.

Charleston City Paper has an extensive feature on Band Of Horses.

Washington City Paper talks to John Stirratt of Wilco. Wilco (The Album) is out June 30.

The Quietus examines the thespian endeavours of David Bowie.

MySpaceIt’s one of those bits and bobs days. Let’s begin.

Seattle dreampop artisans Trespassers William, who appear to once again be down to the core membership of guitarist Matt Browne and singer-guitarist Anna-Lynne Williams, have released details about their next release. The Natural Order Of Things is a five-track EP which follows 2007’s The Noble House as the band’s second consecutive mini-album since their last full-length, 2006’s exquisite Having.

It’s difficult to say what sort of direction this new release will augur for the band – The Noble House was a significant departure from Having, abandoning the trademark sonic denseness of producer Dave Fridmann for a balance between sparer, folkier material more in line with their debut release Anchor and sprawling ambient/instrumental excursions. Couple that with the surprisingly loud and heavy (though in very relative terms) live performance I caught at SxSW last year and you’ve got an act whose only constant seems to be Williams’ beautifully mournful voice and the ability to surprise without becoming too unfamiliar. Am I excited to hear this new release? Yes, I’d say so.

The Natural Order Of Things is due out on the 25th of May via UK label Gizeh, and to pique interest, they’ve provided the lead track”Sparrow” for download. I’ve also provided a track from Having for those of you who haven’t heard it, which is unfortunately probably most of you.

MP3: Trespassers William – “Sparrow”
MP3: Trespassers William – “Safe Sound

Congratulations go out to Aquarium Drunkard, who has just released a tribute album to Paul McCartney’s 1971 solo record RAM with an impressive roster of Los Angeles-based talent including Earlimart and Radar Bros. The album is available to download for free, but listeners are encouraged to make a donation to Macca-approved charity No More Landmines.

It figures, but almost immediately following last week’s post anticipating the new record and tour from Ohbijou, word came down that the album release has been delayed and the previously-announced Spring tour – including the April 18 date at the Opera House – have been postponed. Details are still forthcoming, but until then savour “Black Ice”, as it’s all there’ll be for the time being.

Death Cab For Cutie have released a new video. Update: And this just in – the Death Cab is coming back to town for a show April 5 at the Sound Academy with Cold War Kids and Ra Ra Riot as support. Tickets $40.50, on sale Thursday.

Video: Death Cab For Cutie – “Grapevine Fires”

PopMatters interviews Mac McCaughan about matters Superchunk, Portastatic and Merge. Superchunk’s new Leaves in the Gutter EP is out April 7.

New York Magazine profiles The Mountain Goats and their fans.

Le Blogotheque filmed a Take-Away Show with Johnny Flynn in Buenos Aires.

NPR talks to Neko Case, whose Middle Cyclone is out today.

Halifax’s Dog Day will release their new album Concentration on April 21 – get a taste below. They play the The Drake Underground on March 14 as part of CMW.

MP3: Dog Day – “Rome”

Amos The Transparent will also be in town next week for CMW – look for them at Rancho Relaxo at 1AM on Friday night – and they’ll have a new release along with them. The My, What Big Teeth You Have… EP will be available at live shows through the Spring and Summer and receive proper distribution come Fall – you can hear a couple tracks at their MySpace.

Magnet speaks to Wheat’s Brendan Harney about the forthcoming reissue of Hope & Adams and Medeiros and new album White Ink, Black Ink.

Pulp (online UK magazine, not band) welcomes Woodpigeon to their, uh, boardroom? for a session. Available in video and downloadable audio forms.

Grizzly Bear’s Ed Droste writes Drowned In Sound a letter about their forthcoming album Veckatimest, out May 26.

Justin Townes Earle – son of Steve, yes, but an accomplished singer-songwriter in his own right – releases his debut sophomore effort Midnight At The Movies today and has a date at the Horseshoe on April 22, tickets $12.50. Laundromatinee featured Earle in a session a little while back, and if you’ve got a van to sell, he’s looking.

MP3: Justin Townes Earle – “Mama’s Eyes”
MP3: Justin Townes Earle – “What I Mean To You”

Yes, they were here just a few weeks ago but The Pains Of Being Pure At Heart are coming back again. Can they pack Lee’s Palace again, so soon? We’ll find out April 28 – tickets for that show are $10.

MP3: The Pains Of Being Pure At Heart – “Everything With You”

Lady Sovereign has a date at Lee’s Palace on May 1, tickets $20.

Loney Dear, whose Dear John has grown on me some since I reviewed it in January, has scheduled a North American headlining tour for May and will be at the Rivoli in Toronto on May 8.

MP3: Loney Dear – “Airport Surroundings”

They’re calling it “Unwigged & Unplugged: An Evening with Christopher Guest, Michael McKean and Harry Shearer”, but what it REALLY is is Spinal Tap. Only without the wigs. And costumes. And with Folksmen songs from A Mighty Wind. Okay, maybe it’s not really Spinal Tap. But it’s as close as you’re going to get anytime soon, and it’ll be happening at Massey Hall on May 21. Billboard has complete tour dates and details and Vanity Fair has an interview with the band… in character.

MP3: Spinal Tap – “Tonight I’m Gonna Rock You Tonight”