Frank YangThanks to the rather depressed state of both the music and publishing industries, it’s not really surprising that in Canada we’re down to just one national music magazine, the venerable Exclaim. So it’s kind of telling when heading into a month where two of the three biggest names in Canadian rock (at least from the indie POV) are releasing new records, they instead opt to put a relative unknown just releasing their first full-length on the cover; which is to say they’re clearly pretty high on Hannah Georgas.

Though originally hailing from Newmarket, out on the outskirts of Toronto, Georgas is now based in Vancouver and it’s there that her just-released debut This Is Good was recorded. The title of the record might be an easy mark for critics, but by and large it delivers on that promise – she probably even could have gotten away with calling it This Is Very Good. It takes Georgas’ seemingly disparate jazz and folk influences and finds a common ground in the realm of radio-friendly pop music. Some of the stylistic ranginess smacks more of trying to cover bases rather than genuine eclecticism and the production could use a little less gloss and more atmosphere, but those quibbles fade in the light of the sheer catchiness of many of the numbers. Georgas has a flexible voice, possessing some of Feist’s breathiness, some of Sarah Harmer’s folksome twang as well as a quirky extrovertedness that’s hers entirely, and puts it to good use on standouts like “Chit Chat”, “Bang Bang You’re Dead” and the title track.

She put both her voice and songs on display Tuesday evening, when she marked both the release of her album and her issue of Exclaim with an in-store performance at Criminal Records, following a proper show at the Garrison the night before. Backed by a two-piece band, Georgas turned in set that showcased both her subdued and scrappy sides (alliteration unintentional) in front of a decently-sized, if maybe overly respectful audience. Not to suggest that there should have been acting out, but sometimes the between-song silence at in-stores just feels… awkward. But she seemed grateful for the attentiveness, and in return proved that while it’s probably overreaching to suggest she’ll ever attain the status of either of the acts she bumped off the Exclaim cover, it’s pretty much certain that for the next little while, at least, you’ll be hearing more of and about Hannah Georgas.

The Vancouver Sun has a feature interview with Georgas.

Photos: Hannah Georgas @ Criminal Records – April 27, 2010
MP3: Hannah Georgas – “Chit Chat”
Video: Hannah Georgas – “Thick Skin”
Video: Hannah Georgas – “The Beat Stuff”

The San Francisco Chronicle talks Forgiveness Rock Record with Broken Social Scene’s Charles Spearin. The record is out next Tuesday and the band play the Toronto Islands on June 19.

Also out next week is The New Pornographers’ Together. The National Post talks to that band’s Kathryn Calder; they play the Sound Academy on June 15.

The Calgary Sun, Georgia Straight and JAM talk to Jace Lasek of The Besnard Lakes, who will be at the Mod Club on June 17 as part of NXNE.

NOW previews Caribou’s May 3 show at the Phoenix by talking to Dan Snaith.

Holy Fuck have released the first video from their new record Latin, due out May 11. They’re at the Molson Amphitheatre on July 9 opening up for Metric.

Video: Holy Fuck – “Latin America”

The Hold Steady are also making May 4 a day to hit up your local record store – their new one Heaven Is Whenever is out that day, and they talk to Spinner about some of the themes of the new album. They’re at the Kool Haus on July 17.

The Skinny talks to Matt Berninger and Aaron Dessner of The National while GQ finds the band showered and blue blazered in a fashion spread, alongside some of their New York indie rock brethren. Their new opus High Violet is out May 11 and they play two nights at Massey Hall on June 8 and 9.

The Antlers, who open up both of those National shows, are featured in The Georgia Straight and their video session series at PitchforkTV ran three parts this week.

Interpol appear ready to get back in the game, offering up a new MP3 for free from their website and sporting a shiny new logo. They promise more information – presumably an album release date and touring news – soon, but in the meantime, offer you “Lights”. Not bright, just lights.

Under The Radar interviews Alex Scally and Victoria Legrand of Beach House at Coachella. They’re playing as part of the Toronto Islands show on June 19.

Le Blogotheque Take-Away Shows Quasi.

Clash gets a behind the scenes look at Disconnect From Desire from School Of Seven Bells – the new record is out July 13.

John Stirratt of Wilco tells Faster Louder the band are going to be spending the Summer recording and offers some speculation on what the next record might sound like.

Because apparently three months is all it takes for bruises to heal, Titus Andronicus are coming back to kick Toronto’s asses all over again when they play the Horseshoe on July 14. The Courier-Journal talks to frontman Patrick Stickles.

MP3: Titus Andronicus – “A More Perfect Union”

The Specials have finalized their make-up date for the canceled Toronto show last week – they’ll now be at the Sound Academy on August 27.

Mark SeligerPerhaps cognizant of the fact that their new record would be ripped and leaked to the internet approximately 41 minutes and 20 seconds after the first store opened up on Saturday for Record Store Day and the first of those 600 limited edition LPs sold, The Hold Steady have made Heaven Is Whenever available to stream at NPR in its entirety, more than two weeks ahead of its official May 4 street date. The record is their first since the departure of keyboardist Franz Nicolay and accordingly, first impressions reveal a leaner, more guitar-driven sound though there’s still keyboard flourishes where necessary and, if my ears don’t deceive me, some clarinet action as well.

The first leg of North American touring for the album only covered some American west coast and southeast dates, but after a month in Europe in June, they’re back on the road in July and while full dates are still forthcoming, one is confirmed for July 16 at the Kool Haus in Toronto with The Whigs as support. Yes, it took a while but it appears that everyone’s favourite bar band is now too big to play bars. They’re still trying to make the show special, however. Dubbed “Sneakers & Speakers”, it’s being co-presented by former Toronto Raptor and on-record music aficionado Matt Bonner – the Red Rocket – and a portion of the ticket sales will be donated to the Toronto Boys & Girls Club. Tickets for the show will be $21.50 and go on sale Friday. Update: Full tour dates from the second North American leg are up, and it looks like the T.O. show is the tour closer. If you think THAT’S not going to be beer-soaked, you are dumb.

And if you want to hear how the new stuff sounds alongside the old, NYC Taper is sharing a recording of the band’s show at the Bowery in New York last week.

Stream: The Hold Steady / Heaven Is Whenever

Also coming soon to your ears via advance stream is High Violet, the new record from The National. Starting this Friday, it’ll be streaming at The New York Times for the two and a half weeks leading up to its May 11 release. That’s right, the Old Gray Lady is getting her rocks off. Drowned In Sound and Black Book have features on the band, who will be at Massey Hall on June 8 and 9.

Filter Q&As The Antlers, who have released a new video from Hospice and are opening up both of those Massey shows for The National. There’s a streamable session with the band at WPGU wherein they cover The xx and if you head over to their website, you can currently download two pre-HospiceNew York Hospitals and Cold War.

Video: The Antlers – “Sylvia”

The San Francisco Bay Guardian, Santa Barbara Independent and Aquarium Drunkard have interviews with Beach House. They play the Toronto Islands on June 19.

The Colorado Springs Independent and OC Weekly talk to Alan Sparhawk of Retribution Gospel Choir.

The Courier-Journal, NorthJersey.com and Spinner talk to Titus Andronicus frontman Patrick Stickles.

Filter thinks you should already know Ted Leo. He’s at Lee’s Palace on June 26.

Voxy has an interview with Wilco’s John Stirratt.

MBV Music has got the first MP3 from the forthcoming Pernice Brothers record Goodbye, Killer. It’s out June 15.

New LCD Soundsystem video. I hope they dress their roadies up like pandas whilst on tour. This Is Happening is out May 18 and they play the Kool Haus on May 25.

Video: LCD Soundsystem – “Drunk Girls”

M.I.A. will release her third album, as yet untitled, on June 29.

The Fader have got an MP3 of the Blonde Redhead contribution to 4AD’s Record Store Day 12″ available to download.

MP3: Blonde Redhead – “Not Getting There”

CokeMachineGlow has an interview with A Sunny Day In Glasgow.

A Head Full Of Wishes reports that Dean & Britta’s soundtrack for the 13 Most Beautiful… Songs for Andy Warhol’s Screen Tests film will be getting a release this Summer.

Tonight’s Los Campesinos! gig at the Phoenix has been canceled due to volcanic activity; the band are still stuck in the UK. Refunds available at point of purchase.

Following their April 23 show at the Horseshoe, Heavy Trash will play an in-store at Sonic Boom on April 24 at 2PM.

Daniel, Fred & Julie are scheduled to play an in-store at Soundscapes on April 26 at 7:30PM.

It’s almost a V Fest 2008 reunion when Silversun Pickups and Against Me! hit the road with The Henry Clay People for a North American tour that includes a June 29 date at the Sound Academy in Toronto; tickets $34.50 in advance.

Crowded House will be at Massey Hall on July 12 in support of their new record Intriguer, due out June 12. The Herald-Sun and The Daily Telegraph talk to Neil Finn about the new album.

Edward Sharpe & The Magnetic Zeros have a July 30 date at the Phoenix, tickets $19 in advance.

MP3: Edward Sharpe & The Magnetic Zeroes – “40 Day Dream”

Bernard Butler gives BBC6 a guitar lesson, teaching them – and you – how to play “Animal Nitrate”. Probably the closest we’ll ever come to hearing him play Suede songs again.

Frank YangAnd to think, I almost stayed home to watch The Pacific. What can I say? Some nights I’m just lazy. But thankfully, I managed to haul my ass out of the apartment on Monday night to head down to the Horseshoe for what would turn out to be a pretty special show from Megafaun and Sharon Van Etten.

It was Van Etten who was the main draw for me – her 2009 debut Because I Was In Love is more beguiling with every listen and my first attempt to see her live at SxSW wasn’t satisfactory thanks to an overly chatty crowd and uncooperative guitar amp. Background chatter wasn’t an issue on this night, though, as the crowd at the ‘Shoe was decidedly sparse when Van Etten took the stage armed only with her Gibson ES-135, her songs and her voice.

And oh, what a voice. So powerful and yet so fragile, overtop her fingerpicked guitarwork and wrapped around her sad songs, it pulled everyone in the house – hell, it probably pulled bystanders in off the street – closer and closer, until most were seated on the floor around the stage, enraptured. They’d have had to be under the influence of something to be willing to sit on the Horseshoe floor – have you ever seen that thing under house lights? But kidding aside, Van Etten’s set – her last of this short tour and for the next while as she works on her second album – was a stunner, including both songs from Love and new material, capped off with a finale of “Tornado”, backed up be Megafaun. And as perfectly suited as her material is to solo performance – sadness is a solitary thing, after all – it sounded as good if not better with a band behind it.

Said band also sounded pretty good on their own, as it turned out. I wasn’t especially familiar with Megafaun coming into the night – I think I’d spun their latest album Gather, Form & Fly once or twice – but went in with an open mind and proceeded to have it blown, just a little. As befit their North Carolina roots, the impressively-bearded trio – two brothers and their drummer – crafted folk-rock with a distinctively southern drawl, but beneath that genial, harmony-laden surface there was so much more going on. There was jazz virtuosity in their musicianship, proggish ambitions in the frequently twisty song structures and a jam band’s delight in simply playing. That delight was shared in full by the small but devoted audience, and that gave the show less the feel of a concert than an intimate get-together of friends. Nowhere was this more evident than the encore, which Megafaun seemed almost embarrassed to be taking – climbing down off the stage and playing three more songs amongst their fans. All throughout the night, the band emphasized how much they were enjoying the evening and how exceptionally special this show was. For some acts, this is boilerplate stage banter but it was obvious from the looks on their faces and the hugs exchanged with fans afterwards, that they meant every word and every note. Just marvelous.

The Concordian talks to Megafaun’s Phil Cook and Daytrotter has posted a session with the band. Their North American tour continues through the end of April – do see them if you can. They’re also releasing a new mini-album entitled Heretofore later this Summer – info at Pitchfork.

Photos: Megafaun, Sharon Van Etten @ The Horseshoe – April 5, 2010
MP3: Megafaun – “Volunteers”
MP3: Megafaun – “The Fade”
MP3: Megafaun – “Kaufman’s Ballad”
MP3: Sharon Van Etten – “For You”
MP3: Sharon Van Etten – “Consolation Prize”
MP3: Sharon Van Etten – “Love More”
Video: Megafaun – “Impressions Of The Past”
Video: Sharon Van Etten – “For You”
MySpace: Megafaun
MySpace: Sharon Van Etten

The Boston Globe, Nashville Scene, The Pittsburgh Post-Gazette, The Pittsburgh Tribune-Review and Interview sits down with Midlake, who will be a the Mod Club on May 21.

Delusions Of Adequacy talk to Shearwater’s Jonathan Meiburg.

NYC Taper is sharing a recording of Wilco’s epic three-hour set in Montclair, New Jersey from last weekend. The band just announced they will curate their own festival – the Solid Sound Festival – from August 13 to 15 at the Massachusetts Museum of Contemporary Art in North Adams Massachusetts, which if you were wondering is at the border of Mass and New York, about 7 hours from Toronto. The bill will feature Wilco, natch, and most/all of their spin-off acts and other artists to be announced later.

Rawkblog, SF Weekly and CMJ have interviews with Miles Kurosky while The Bay Bridged gets Kurosky back together with some of his Beulah bandmates to play songs from his solo record The Desert Of Shallow Effects, which are available to download.

MP3: Miles Kurosky – “The World Won’t Last The Night” (live at The Bay Bridged)
MP3: Miles Kurosky – “Dead Language Blues” (live at The Bay Bridged)

NOW talks to Liz Powell of Land Of Talk about losing and finding her voice. They’re at Lee’s Palace tonight and their new record is targeted for an August release.

Filter gets to know Mumford & Sons.

For Folks Sake and The New York Times talk to Laura Marling, while La Blogotheque is offering a live track for download. Her new album I Speak Because I Can gets a North American release as of this week.

Hurricane Bells – the new project from Longwave frontman Steve Schlitz – will be at the El Mocambo on May 19. Their debut album, Tonight Is The Ghost, is due out next week.

Video: Hurricane Bells – “This Year”
Video: Hurricane Bells – “Monsters”

Nathaniel Rateliff & The Wheel, who impressed whilst opening for Laura Marling back in February, has a date scheduled for the Drake Underground on May 30. His new record In Memory Of Loss is out April 27.

MP3: Nathaniel Rateliff & The Wheel – “Early Spring Till”

Delta Spirit and Ezra Furman & The Harpoons will be at the Mod Club on June 26. Paste has details on Delta Spirit’s new record, History From Below, due out June 8.

MP3: Delta Spirit – “People C’Mon”
MP3: Ezra Furman & The Harpoons – “Take Off Your Sunglasses”

Fresh off their sold-out gig opening for Miike Snow at The Phoenix, Delorean will be back in town at Wrongbar on July 14.

Frank YangI’ve seen Shearwater’s latest album The Golden Archipelago referred to as the final part in both a trilogy and triptych in the band’s discography, completing the set started with 2006’s Palo Santo and 2008’s Rook. The “trilogy” appellation doesn’t really fit, however, as it implies that there’s some sort of overarching narrative across the records whereas the single unified tapestry implied by calling it triptych seems much more appropriate. Not that these are anything more than semantics – what is important is that The Golden Archipelago more than measures up to the immense heights set by Palo Santo and Rook.

Since putting aside their original mandate as the softer side of Okkervil River and becoming Jonathan Meiburg’s primary creative outlet, the Austin, Texas band have dedicated themselves to capturing the mystery and wonder of nature in the musical medium of prog/folk-rock and in the process, have carved a unique niche for themselves in the indie-rock landscape. The Golden Archipelago finds the band expanding their palette – though they’ve never restricted themselves to conventional instrumentation, the tones and textures at play here are more otherworldly than ever – while actually streamlining their songwriting into more pop-sized packages. No one would likely To be able to capture as much drama and majesty as they do without feeling rushed is an amazing achievement – “Castaways” lasts just three and a quarter minutes, but feels absolutely epic.

Epic is also a proper adjective to apply to Shearwater’s live shows, where they somehow manage to recreate the expansiveness of their recorded works. Since the first time I saw them in 2005 opening up for Mountain Goats, I’d been waiting for them to come back to Toronto in a headlining capacity but they’d been the perpetual undercard, at least until this past Thursday night when finally, it was “Shearwater” in big letters atop the Lee’s Palace marquee. Or at least the chalkboard outside the front door.

Anyone walking into Lee’s at around 9 and seeing Hospital Ships on stage would be forgiven for thinking they’d arrived two hours late and the headliner was already on. At various points in their set, the Lawrence, Kansas outfit included anywhere from three to five members of Shearwater, including frontman Jordan Geiger, also of Minus Story. Geiger apologized at one point for any sloppiness, saying they’d only been together a little while – maybe he was being ironic, considering how long the individuals on stage had been playing together in other projects – but it true that Hospital Ships weren’t exactly drum-tight up there, with some missed notes, cues and whatnot. But what they were was charming – Geiger was equipped with some pretty choice banter about visiting Toronto – and some solid, if not overwhelming tunes from their album Oh, Ramona.

Almost as long as I’d been waiting for Shearwater to come to town in a headlining capacity had I been waiting for Baltimore’s Wye Oak to come back to town, having missed their last appearance in May of 2008. I had seen them before though, back at SxSW 2008, a month before their debut If Children came out, and that show – like the album – spoke to me more about their potential than what they had actually accomplished at the time. A potential that was realized in a big way with last year’s follow-up The Knot, and happily that big leap forward has also carried over to their live show. Though it was still just Andy Stark behind the drum kit with keyboard and melodica at his side and Jenn Wasner on vocals and guitar, their confidence in what they were doing was clearly much greater and it made for a much more engaging performance. Stark’s ability to simultaneously manage the drums and keys was something to behold and Wasner put on a pretty impressive display of guitar heroics amidst leading the band’s aching, country-tinged dreampop. World take note – there’s not just one Baltimore-based duo out there right now that’s worthy of your notice.

Shearwater’s arrival onstage was heralded by a total dimming of the stage lights, an aesthetic choice that would sadly (for photographers, anyways) remain in effect through the whole show except for the one number where Meiburg asked, “how dark can we make it in here?”. But all the necessary luminosity for the night would be provided by their music, which would cover most of The Golden Archipelago and a handful of tracks from each of Rook and Palo Santo, all of which fit so well with each other that perhaps it should be mandated that all three are listened to in their entirety and in sequence. While Meiburg stayed in the (figurative) spotlight on either guitar or keys and of course his soaring voice, the band around him morphed with each song, adding and subtracting players and changing instruments as necessary. As always, Thor Harris proved himself the band’s secret weapon, not only handling the complex percussion that both anchors and buoys Shearwater’s sounds, but stepping out front on clarinet and teaming with bassist Kim Burke on the dueling glockenspiels of “Hidden Lakes”. Being the first time I’d seen them in a non-support, non-festival setting, it was the longest Shearwater set I’d seen – an hour-long main set plus two-song encore – and the extra time and lack of curfew really did allow the band the necessary space to properly stretch out and spread its wings. Simply grand.

Exclaim has a review of the show, while On Milwaukee and The National Post have conversations with Jonathan Meiburg.

Photos: Shearwater, Wye Oak, Hospital Ships @ Lee’s Palace – April 1, 2010
MP3: Shearwater – “Black Eyes”
MP3: Shearwater – “Castaways”
MP3: Shearwater – “Rooks”
MP3: Shearwater – “The Snow Leopard”
MP3: Shearwater – “Red Sea, Black Sea”
MP3: Shearwater – “Seventy-Four, Seventy-Five”
MP3: Shearwater – “I Can’t Wait”
MP3: Shearwater – “Room For Mistakes”
MP3: Shearwater – “An Accident”
MP3: Wye Oak – “Take It In”
MP3: Wye Oak – “Warning”
MP3: Hospital Ships – “Bitter Radio Single”
MySpace: Shearwater
MySpace: Wye Oak

Beatroute interviews Beach House, who will be at the Toronto Island Concert on June 19.

Also on the islands that day are Band Of Horses, who’ve shared the first look/listen of their new album Infinite Arms, out May 18.

Video: Band Of Horses – “Compliments”

Wilco will be streaming their live shows in Boston and Concord tomorrow and Wednesday night, respectively, at their Roadcase.

Superchunk’s Mac McCaughan talks to Metro about their first new record in almost a decade, due out later this year. Mac and Jim Wilbur will be in town on Wednesday to play a special acoustic set at The Royal following the screening of the film Passenger Side, which features their music (amongst others) and stars the guy with the unreasonably large jaw from Party Down. NOW talks to director Matt Bissonnette about the film.

PitchforkTV has a Tunnel Vision live video of Memory Tapes from the same show I was at. I only spent a little bit of the video trying to see if I could spot myself – the rest was remembering how marvelously well Memory Tapes works and sounds live. You might not expect it, but ’tis true.

The Irish Independent talks to Damon Krukowski about the legacy of Galaxie 500.

Spinner, The San Francisco Chronicle, Financial Times, Georgia Straight and Yorkshire Evening Post interview Jonsi, whose Go is out tomorrow and who plays the Sound Academy on April 30 and May 1.

Having now (presumably) recovered from the equipment theft that forced the cancellation of last week’s show at the Drake, Toro Y Moi has set a new date at Wrongbar for April 17.

MP3: Toro Y Moi – “Blessa”

UK punk forbears Buzzcocks have scheduled a North American tour to coincide with the re-release of their first three albums, Another Music In Another Kitchen, Love Bites and Different Kind Of Tension, wherein they’ll be playing the first two in their entirety in addition to other classic tracks. Spin has the full tour itinerary, which includes a May 19 date at the Opera House in Toronto.

Video: Buzzcocks – “What Do I Get”

London’s Turin Brakes will be at the Mod Club on May 20 in support of their new record Outbursts, out in North American on April 20.

Video: Turin Brakes – “Sea Change”

And while we’ve yet to see an official NXNE press release, some of the bigger names who’ll be at the festival have started leaking out – LA punk legends X and Seattle grunge forebears Mudhoney are doing a free show at Yonge-Dundas Square on June 17 and Man… Or Astroman and Mudhoney are playing the Horseshoe on June 18. Not a bad start.

Frank YangAs of Monday night, it had been four and a half years since I saw Spoon live and just over four years since I’d been to The Sound Academy (nee The Docks) for a show. One of these streaks I was anxious to break; the other I was not. To be fair, I only missed one of their Toronto shows – a 2008 appearance at the Kool Haus in support of Ga Ga Ga Ga Ga – but apparently that was the one where they officially crossed over to “rock star” status. That last time at The Phoenix in November 2005, it felt like a show for Spoon fans – this time, at a room three times the size but just as full, it felt more like the show was simply the place to be that night. That’s not intended with any snarkiness, just an observation.

This tour saw the band bringing two others on tour with them – one who surely benefited from being shown off in front of such-sized audiences and another that probably could have packed a respectably-sized room all on their own. The former of these were The Strange Boys, who hailed from Austin, Texas and proudly carried on that city’s tradition of psychedelic-garage rock. Granted, they weren’t overly trippy, preferring focused pop structures over sprawling jams and weren’t above injecting some twang into their sound, but their roots and skill at said stylings were clear. A little more energy or stage presence wouldn’t have been unwelcome, but still a solid start to the evening from a band making their first visit to Canada.

Deerhunter, on the other hand, were probably responsible for drawing no small percentage of the audience, if not just for themselves then for tilting the decision of whether to see Spoon in one the city’s least-favoured venues into the “yea” column. Though their psychedelic/shoegazing/pop affinities would make them seem the sort of thing I’d really be into, I had not listened to Deerhunter much before and certainly hadn’t seen them live. And now I wish I had, because their set was pretty superb – musically, they were far more direct (read: less wall of noise) than I’d expected, but with enough bludgeoning volume and droning excursions to keep it sufficiently trippy and the show itself was livened up with Bradford Cox’s space cadet stage banter, an unexpected stage invasion from one of The Black Lips (or perhaps expected considering that before they began the song, Cox dedicated it to his fellow Atlantans) and another guest appearance from Spoon’s Britt Daniel, who took over on guitar from Cox while the gangly bandleader engaged in some on-stage shenanigans I couldn’t actually see from my angle – see the eye review for specifics. As far as their recorded works go, I’ve only really spent time with Microcastle – further recommendations are welcome.

I don’t, however, need any help getting acquainted with the collected works of Spoon, having followed them attentively since 2001’s Girls Can Tell, and if there’s a downside to their consistently excellent output over this decade – hell, century – it’s that it can cause one to take them for granted a bit. Some have criticized this year’s Transference as being less focused than its pop-friendly predecessor Ga Ga Ga Ga Ga, I – for reasons I can’t quite articulate – prefer it. Both sides of the argument would have been perfectly happy with Monday night’s set list, then, as it opened with Transference’s sublime closer “Nobody Gets Me But You” and drew heavily from both records – seven tracks from each – while also hitting most of the essential notes from all the other Merge releases, even going as far back as 1997’s Soft Effects for the unexpected, “I Could See The Dude”.

In total, they ran through an impressive 25 songs over an hour and forty minutes, aptly showcasing the band’s unique sound and dynamic. Britt Daniel – he of the scratchy voice and stabby six-string – is front and centre, dancing around the stage in his herky-jerky manner as if pulled uncontrollably by his guitar but the contributions of his bandmates can’t be overstated, even if they seem perfectly happy to stay in the background. Eric Harvey’s keys provided the melodic underpinnings that allow Daniel’s guitar lines to wander while he impossibly tight and just funky enough rhythm section of Jim Eno and Rob Pope were omnipresent on this night – possibly because the Sound Academy’s acoustics leaned way towards the bassy. And don’t get me started on the sightlines – it’s a sad situation when you find yourself pining for the environs of the Kool Haus.

In my comments from that Phoenix show in 2005, I noted that ‘I will have to amend my one-line synopsis on Spoon live from “they put on a good show” to “they usually put on a good show, but sometimes they put on a GREAT show”. If Monday was a proper indication of how far they’ve progressed as a live act in the past half-decade, then their work on stage is almost on par with in the studio and I’ll have to update my notes to read, “they put on a great show” – no qualifiers.

Westword, NOW, CBC, The Quietus, The Toronto Star, The Chronicle Herald,NPR, The Toronto Sun and The San Francisco Chronicle have feature pieces on Spoon. Spin has excerpted this month’s feature piece that puts Britt Daniel in conversation with Ray Davies and New York Magazine talks to him about the art of the set list. Chart, The Globe & Mail and Exclaim have reviews of the show. The Fly profiles The Strange Boys.

Photos: Spoon, Deerhunter, The Strange Boys @ The Sound Academy – March 29, 2010
MP3: Spoon – “The Underdog”
MP3: Spoon – “I Turn My Camera On”
MP3: Spoon – “The Way We Get By”
MP3: Spoon – “This Book Is A Movie”
MP3: Spoon – “Mountain To Sound”
MP3: Spoon – “Chips & Dip”
MP3: Spoon – “Idiot Driver”
MP3: Deerhunter – “Wash Off”
MP3: Deerhunter – “Rainwater Cassette Exchange”
Video: Spoon – “Written In Reverse”
Video: Spoon – “The Underdog”
Video: Spoon – “Don’t You Evah”
Video: Spoon – “The Two Sides Of Monsieur Valentine”
Video: Spoon – “I Turn My Camera On”
Video: Spoon – “Sister Jack”
Video: Spoon – “Jonathan Fisk”
Video: Spoon – “Small Stakes”
Video: Spoon – “Everything Hits At Once”
Video: Deerhunter – “Agoraphobia”
Video: Deerhunter – “Strange Lights”
Video: The Strange Boys – “Be Brave”
Video: The Strange Boys – “Woe Is You And Me”

The Line Of Best Fit and Montreal Gazette have interviews with Jonathan Meiburg of Shearwater; The Gazette has also posted the full transcript of their interview. Shearwater play Lee’s Palace tomorrow night, April 1.

Also on the bill for that show are Wye Oak, who played a Tiny Desk Concert for NPR.

Daytrotter is featuring a session with Richard Buckner.

Paste reports that Tift Merritt will release a new record entitled See You On The Moon on June 1. The Fayetteville Observer has an interview with Merritt.

Pitchfork has details on Blitzen Trapper’s new album Destroyer Of The Void, due out June 8.

MP3: Blitzen Trapper – “Heaven & Earth”

Jeff Tweedy of Wilco is interviewed by The Miami Herald, Palm Beach Pulse and The Weekender while Le Blogotheque has a Take-Away Show with the band.

The Fly talks to The National frontman Matt Berninger about their new album High Violet, out May 11. They play Massey Hall on June 8 and 9.

LAist and The Dallas Observer chat with Ted Leo, who’s released a new video from The Brutalist Bricks. A Toronto show has also finally been announced – Ted and the Pharmacists will be at Lee’s Palace on June 26, tickets $15.

Video: Ted Leo & The Pharmacists – “The Mighty Sparrow”

Spinner, Prefix and Blurt have features on the Drive-By Truckers, who bring their new album The Big To-Do to Lee’s Palace for two nights next week, April 6 and 7.

Their respective members have moved on to new projects for the time being, but that hasn’t stopped Monsters Of Folk from releasing a new video from their self-titled album.

Video: Monsters Of Folk – “Dear God”

Crawdaddy profiles John Vanderslice.

NPR is streaming the entirety of Joanna Newsom’s concert in Washington DC last week.

Under The Radar talks to School Of Seven Bells’ Alejandra Deheza about their new album Disconnect From Desire. She says it will be out this Spring; it now being Spring, I am less confident than her about this point – it will be out this year, though.

Phantogram have released a new video from Eyelid Movies. If you’ve been having trouble finding in stores in Canada, there’s a reason – apparently it’s not out here until April 6, their deal with Barsuk not counting north of the 49th? Don’t know, but it’s worth seeking out wherever you have to go to do it. Playtonic Dialogues has an interview.

Video: Phantogram – “Mouthful Of Diamonds”

Portland atmospheric electronicist Eluvium will be at the Drake on May 22 in support of his new album Similes; tickets $12 in advance.

MP3: Eluvium – “The Motion Makes Me Last”

tUnE-yArDs brings her much-feted (but not really understood by me) debut BiRd-BrAiNs to the Horseshoe on June 13 – tickets $12 in advance. I tried, really I did.

MP3: tUnE-yArDs – “Sunlight”
Video: tUnE-yArDs – “Real Live Flesh”

Blurt, Pitchfork and Paul Westerberg – via The New York Times – eulogize Alex Chilton of Big Star.