Frank YangEven in this age of band reunions run amuck, the returns of some outfits to active duty seem highly unlikely. Maybe the animosity between the principals is too deep for even the biggest prospective paydays to put aside, or the prospect of being regarded as a nostalgia act rather than active, vital artist is too unpalatable, or maybe the band’s audience wasn’t all that big the first time around and their legend hasn’t necessarily grown enough in the interim to make it seem worthwhile.

Any and all of these could reasonably have applied to early ’90s alt.country outfit Scud Mountain Boys. A falling out, the specifics of which have grown vague, left it so that singer-guitarist Joe Pernice hadn’t spoken to the other three in some fourteen years, Pernice had since established himself as a successful bandleader via Pernice Brothers and solo artist, and though the Scuds certainly had their devotees, their name wasn’t exactly topping anyone’s list of dream Coachella headliner reunions. And yet last Summer, following the death of a close mutual friend, Pernice decided to reach out to his former bandmates and revisit the old material – net result, a string of live dates along the east coast in early 2012 that wrapped up, for the moment, this past Saturday night at Lee’s Palace in Pernice’s adopted hometown of Toronto.

Any question about the vibe of the night was answered with the band’s stage setup, carried over from their original incarnation – a kitchen table set up in the middle of the stage, adorned with a small lamp and surrounded with comfortable chairs. It was both symbolic, hearkening to the band’s beginnings sitting around a kitchen table playing music together, and practical, giving them a place to put their drinks. And with regards to my earlier comments that no one was waiting for this reunion – that’s not to say that it wasn’t welcome; a few hundred locals were out for the occasion, and some were louder and rowdier than the band themselves.

Being more a fan of the Pernice Brothers’ ornate pop than the Scuds’ country leanings – relatively speaking, just to be clear – I’ve always preferred the more produced third album Massachusetts to their sparser, earlier records Pine Box and Dance The Night Away (collected and rereleased as The Early Year) but hearing the earlier material was a great reminder that those simpler recordings still contained some great, great songs. And also that as much as history has framed the Scuds as Pernice’s old band – and he was great, having shaved for the occasion and looking a lot like Elvis Costello, and still a hilarious onstage personality who despite planning to become a Canadian citizen this year, hadn’t forgotten his Boston roots (“Pogge or Rask?”) – the others were far more than just a supporting cast. Drummer Tom Shea was deft on mandolin for the front half of the show before taking up behind the drum kit, bassist Stephen Desaulniers’ voice has more of an innate twang than Pernice’s honeyed vocals and guitarist Bruce Tull’s leads offered a great balance of emotion and melody.

The 90-minute set was actually more dynamic than a show anchored around a kitchen table might have implied, the Massachusetts material almost rocking out (thought still seated) and main set closer “Cigarette Sandwich” coming across particularly rollicking. But perhaps most importantly, given the history of the band, everyone onstage seemed to be having a grand time of it and that spirit carried over into the audience, including former Pernice Brothers and current Sadies drummer Mike Belitsky. He was texting taunts at Pernice during the encore, causing him to crack up whilst trying to sing the somber Cher cover of “Gypsies, Tramps and Thieves” (the table was also good for holding mobile phones). A hilarious end to a wholly entertaining show, and if that ends up being it for the Scuds reunion – there are no more dates on the sched and Joe will be turning his attention to the new Pernice Brothers record due out this year – then it went out on a high note.

The Washington Post has an interview with Pernice about getting the band back together.

Photos: Scud Mountain Boys @ Lee’s Palace – February 25, 2012
MP3: Scud Mountain Boys – “Grudge Fuck”
Stream: Scud Mountain Boys – “In A Ditch”
Stream: Scud Mountain Boys – “Sangre de Cristo”

Both The Line Of Best Fit and DIY crash Stephin Merritt’s hotel room to record Magnetic Fields video sessions, while NPR has new album Love At The Bottom Of The Sea streaming in full before it emerges next Tuesday. They’re at the Sound Academy on March 30.

Stream: The Magnetic Fields / Love At The Bottom Of The Sea

Spin solicits a list of Sharon Van Etten’s favourite things; The Ottawa Citizen also has a chat.

Frankie Rose – whose CV takes her through such acts as Crystal Stilts, Dum Dum Girls, Vivian Girls and The Outs – has released her acclaimed debut under her own name alone in Interstellar and will bring it to The Shop Under Parts & Labour on May 2.

MP3: Frankie Rose – “Little Brown Haired Girls”

Beirut has released a new video from last year’s delicious The Rip Tide. Hear it, and others like it, when the band are at The Sound Academy on July 19.

Video: Beirut – “Vagabond”

Baeble Music has premiered a new video from The Wooden Birds, taken from Two Matchsticks.

Video: The Wooden Birds – “Long Time To Lose It”

Drowned In Sound chats with Andrew Bird, whose new album Break It Yourself is out March 6 and now streaming in full at NPR.

Stream: Andrew Bird / Break It Yourself

NPR welcomes Nada Surf for a World Cafe session. They play The Opera House on April 4.

Spin interviews James Mercer of The Shins. Their new album Port Of Morrow comes out March 20.

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

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

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

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

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

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

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

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

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

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

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

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

MP3: The Heartless Bastards – “Parted Ways”

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

Video: Neon Indian – “Polish Girl”

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

MP3: Foster The People – “Pumped Up Kicks”

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

MP3: Of Montreal – “Wintered Debts”

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

MP3: Shearwater – “Breaking The Yearlings”

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

MP3: School Of Seven Bells – “The Night”

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

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

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

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

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

Video: The Wooden Birds – “Criminals Win”

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

Daytrotter has posted up a session with The Submarines.

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

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

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

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

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

Frank YangIn case anyone was wondering – and I certainly was earlier on on Saturday night – there is no air conditioning at The Garrison. Had I known this for sure beforehand, it would have been another compelling reason – right behind a week-old broken bone and backlog of television to watch – to stay home and just not deal with the world. But EMA was in town and easing myself off prescription meds as I was, getting out for a show was the sort of distraction I could use.

I confess to no familiarity with Erika Anderson’s last band Gowns, but her debut under the acronym identity Past Life Martyred Saints has been on fairly heavy rotation over the past couple months. Its a fascinating balance of rawness and poise, grunge and folk, all tied together with Anderson’s almost uncomfortably bare and confessional lyrics – I quite wanted to see how it would all come off live.

As did a healthy number of other people – a couple hundred by my guesstimate – all adding to the general sweatiness of the proceedings but also providing plenty of incentive for Anderson and her three bandmates to turn in an impressive show despite looking like hot messes before even playing a note. Throughout their hour-long set they alternately and simultaneously evoked Sonic Youth – thanks in no small part to Anderson’s Kim Gordon-esque vocals – and The Velvet Underground – duelling violins in a rock context will do that – all with a distinctly ’90s alt-rock vibe that was equal parts Nirvana and Pavement.

Between songs Anderson was chatty, a bit dorky and a lot funny, a decidedly different character than you might expect given the open wound vibe of the album’s stream of consciousness confessionals. But expecting every live show to be some sort of catharsis would be unreasonable and probably unhealthy – instead the show contained a healthy dose of attitude and snarl and was delivered with a surprising degree of theatricality. Things weren’t so polished, however, that after closing the set with a properly intense and stage-messing “California”, Anderson had to spend a little while putting her pedals and gear back together before being able to close out with one more song. Short, sweet and satisfying. And sweaty. Oh so sweaty.

Photos: EMA @ The Garrison – July 23, 2011
MP3: EMA – “Milkman”
MP3: EMA – “The Grey Ship”
Video: EMA – “California”
Video: EMA – “Milkman”

St. Vincent has set up a StrangeMercy.com to build anticipation for album number three, Strange Mercy, before its release on September 13 and via a Twitter campaign, the first MP3 from the album was made available last week.

MP3: St. Vincent – “Surgeon”

Dum Dum Girls have also offered the first preview of their new record Only In Dreams, due out September 27. They play Lee’s Palace on October 16.

MP3: Dum Dum Girls – “Coming Down”

And Ume have shared the first sample of their new record Phantoms, out August 30.

MP3: Ume – “Captive”

The Chicago Tribune gets to know Wild Flag, whose self-titled debut drops September 13. They play Lee’s Palace on October 11.

Exclaim and The Globe & Mail talk to Eleanor Friedberger about her solo works and what’s next for The Fiery Furnaces. Though here just last week for a solo show, word is Friedberger will be back with a full band sometime in October. A new video from Last Summer also came out a few weeks ago.

Video: Eleanor Friedberger – “Roosevelt Island”

The Calgary Herald profiles The Head & The Heart.

Black Book checks in with Ivy about their return to active duty with All Hours, in stores September 20.

The Big Takeover, AV Club and Austin 360 have chats with Andrew Kenny of The Wooden Birds.

The Quietus interviews Zach Condon of Beirut. They play The Phoenix on August 2 and 4 and release a new album in The Rip Tide on August 30.

The new single from Bon Iver is up for grabs. Their just-started tour hits The Sound Academy on August 8.

MP3: Bon Iver – “Holocene”

Spinner has got a new MP3 from Richard Buckner’s next album Our Blood available to download while NPR is streaming the album in whole ahead of its August 2 release date.

MP3: Richard Buckner – “Escape”
Stream: Richard Buckner / Our Blood

Stereogum gets a progress report on the new Crooked Fingers record Breaks In The Armor, due out October 11, and the Archers Of Loaf reunion.

Pitchfork has streams of the latest Flaming Lips releases – the ones that come on USB sticks embedded in gummy fetuses – and there’s also a video for a track they recorded with Lightning Bolt. The Boston Herald and Montreal Gazette have interviews with Wayne Coyne.

Video: The Flaming Lips with Lightning Bolt – “I Want To Get High But I Don’t Want Brain Damage”

FFWD and The Montreal Gazette chat with Yo La Tengo.

The AV Club offers a newcomer’s guide to the works of R.E.M..

Crawdaddy talks memoirs with Bob Mould.

Frank YangYou might not have guessed it to listen to their records, as laid-back and fuzzy blanket-like as they were, but the American Analog Set were an amazing live act. Not through on-stage antics or pyrotechnics or the like, but by how unbelievably tight they were as a unit. The sound of Andrew Kenny’s soft voice and echoing guitar overtop the bed of vibraphone and Farfisa was the very definition of hypnotic and each of the two Toronto shows I saw prior to their disbanding in 2006 were magical. So given that Kenny’s new outfit The Wooden Birds shares many stylistic attributes with AmAnSet, it wasn’t unreasonable to hope that their first visit in support of their new record Two Matchsticks last night at The Drake would recreate some of that magic.

Support for the evening came from locals Heartbeat Hotel, whose psych-pop-laden Fetus Dreams I’d recommended picking up (for free) and who’d made a decent live impression back in December. They’d played out a fair bit since then, though, and some growth was to be expected. Even so, I didn’t expect that the echoey, slow burn that opened their set would be more the rule than the exception. The freewheeling sonic experimentation that marked Fetus Dreams seems to have been reined in, or the approach of flinging everything against the wall has served its purpose and they’ve now identified what stuck and what works; either way, Heartbeat Hotel circa Summer 2011 is a much more controlled, groove-oriented entity, yet still capable of getting noisy when needed. They’ve learned a lesson in musical economics that some bands take albums to master, if ever, and though it’d be nice if some of the energy of the LP could find its way back into their sound, based on the new material showcased – due for release in EP or album form this Fall – they’ll do well on the exam.

Even before The Wooden Birds played a note, it was pretty clear that this wasn’t going to be American Analog Set unplugged. For starters, Leslie Sisson was handling the acoustic guitar duties I’d assumed were Andrew Kenny’s on record, Kenny had no six-string of any kind, instead holding down the low end with a Thunderbird bass and whereas on the recordings electric guitar was used for texture or the occasional lead, the two electric setup implied that live, it would be decidedly otherwise. And indeed, it didn’t take very long to understand and appreciate that The Wooden Birds were no extension of anyone’s old band, but their own thing entirely; whereas AmAnSet shows were like exercises in hypnosis, this performance was wide-eyed and fully awake.

As the band showcased material from Two Matchsticks and its predecessor Magnolia, I couldn’t help think how someone for whom their first impression of the band was this show might find those decidedly mellower-sounding records. Because the live presentation of The Wooden Birds was definitely a much louder and more sprightly and widescreen-sounding affair. Tempos were stepped up appreciably, and rhythms given an almost country-western shuffle which would prove especially complimentary to the subtle twang of Sisson’s vocals. Those vocals were more than complimentary to Kenny’s voice – they sounded as lovely together as any two voices could – and for an hour or so, they led the band through a set of splendid pop. And for the AmAnSet fans in the audience – which I would assume to be most of them – they did Toronto the pleasure of honouring a request made the last time AmAnSet was in town, which is to say half a decade ago, and offered a reading of “Aaron & Maria” which they segued into a cover of Jackson Browne’s “Somebody’s Baby”. I went into this show hoping to relive a little AmAnSet magic but The Wooden Birds would have none of that; as stated they’ve got their own thing going on and that thing is simply lovely. If they’re coming through your town on their way back down to Austin, do go see them.

The Fort Worth Weekly and Sloucher have interviews with Andrew Kenny. There’s also a writeup and recording of much of the show over at Hater High.

Photos: The Wooden Birds, Heartbeat Hotel @ The Drake Underground – July 10, 2011
MP3: The Wooden Birds – “Two Matchsticks”
MP3: The Wooden Birds – “False Alarm”
MP3: Heartbeat Hotel – “Fins Of A Shark”
MP3: Heartbeat Hotel – “Walls Of Dry Clouds”
MP3: Heartbeat Hotel – “The Hello Barrel”
Video: The Wooden Birds – “Two Matchsticks”
Video: The Wooden Birds – “Hometown Fantasy”
Video: Heartbeat Hotel – “Windowsill #1”

Though just announced as support for The Vaccines show at The Phoenix on September 27, Young Buffalo will do a little advance work with a free show at The Horseshoe on July 26.

MP3: Young Buffalo – “Only We Can Keep You From Harm”
MP3: Young Buffalo – “Anthems For A 17-Year Old Girl”

On the NXNE schedule in June for like a nanosecond, Massachusetts’ Dom will be in town for real for a show at The Garrison on August 9, the same day their new Family Of Love EP is released.

MP3: Dom – “Living In America”

Marnie Stern and No Joy team up for a show at Wrongbar on September 23. The Riverfront Times has an interview with Ms Stern.

MP3: Marnie Stern – “Transparency Is The New Mystery”
MP3: No Joy – “Hawaii”

Suuns have slated a show at The Garrison for October 2 and there’s a new video session up over at For No One.

MP3: Suuns – “Up Past The Nursery”

Shonen Knife will be at The Horseshoe on October 20 to kick of a 30th anniversary tour and next week’s release of their new record Osaka Ramones, a Ramones tribute record. Tickets for the show are $14.50 in advance, full dates at Exclaim.

Video: Shonen Knife – “Ramones Forever” (live)

Spinner has the first sample of the first Ivy album in six years, All Hours due out September 20, and it seems that in the time away they’ve discovered their inner discotheque. They wear it well.

MP3: Ivy – “Distant Lights”

USA Today profiles The Head & The Heart.

Spin checks in with Stephen Malkmus about his new solo record Mirror Traffic, due out August 23. He and his Jicks play The Phoenix on September 21.

NBC San Diego, The Georgia Straight and San Diego City Beat chat with The Rosebuds, in town on August 9 at The Sound Academy opening up for Bon Iver.

Stereogum talks to the director of Handsome Furs’ racy new video. They’re at The Horseshoe on August 1 and 2.

Video: Handsome Furs – “What About Us”

Spin gets a guided tour of Fucked Up frontman Damian Abraham’s domicile. Their next date is August 9 at the Air Canada Centre with Foo Fighters.

Sax-toting Polaris shortlister Colin Stetson has an interview in The Globe & Mail and a session up at Daytrotter. He plays The Drake Underground on August 26.

Loud & Quiet talks to Timber Timbre.

Southern Souls has posted a video session with Jenn Grant.

The Wilderness Of Manitoba are featured in an interview and video session with The Alternate Side.

The documentary film which led to a rather nasty exchange between filmmaker Vincent Moon and Arcade Fire management – Miroir Noir: Neon Bible Archives – will be getting a screening at the TIFF Lightbox on Wednesday evening at 7:30PM as part of Images Festival. Probably safe to say neither filmmaker nor subjects will be in attendance.

Trailer: Miroir Noir: Neon Bible Archives

dcfc-tour.netThough if I’m being period-correct, the title of this post should probably read “American Analog Set’s Andrew Kenny”, seeing as how when the Home: Volume V EP was released in 2003, he was still fronting his beloved Austin-based atmospheric-pop outfit. Only since putting it in mothballs a half-decade ago has he had The Wooden Birds at the top of his resume. But semantics.

The mini-album was a split release that paired a set of Kenny compositions with a set by Death Cab For Cutie frontman Ben Gibbard, done bedroom studio-style, and a bonus of each covering one of the others’ songs. This here is Kenny’s take on the closing track from Death Cab’s emo-tacular debut Something About Airplanes, condensing the original’s drawn-out atmospheric jam to something simpler and more wistful, though Kenny could do a Motorhead cover and it’d feel wistful. For his part, Gibbard covered AmAnSet’s “Choir Vandals” from Know By Heart.

Kenny’s new outfit The Wooden Birds are in town at The Drake next Sunday night, July 11, for their first-ever Toronto show in support of album number two, Two Matchsticks. Death Cab For Cutie bring their latest Codes And Keys to The Molson Amphitheatre on July 29.

MP3: Andrew Kenny – “Line Of Best Fit”
Stream: Death Cab For Cutie – “Line Of Best Fit”