Paolo ZerbiniI’m sure it’s purely coincidence, but it’s a hell of one that the title of If You Wait, the 2013 debut from London Grammar, is but one word apart from If You Leave, the 2013 debut Daughter. After all, both are London-based, female-fronted three-pieces with atmospheric aesthetics, singular vocal signatures, and who plumb the depths of the heart’s frailties for lyrical inspiration.

But while they occupy a similar space, London Grammar stake out their own territory. A ways away from Elena Tonra’s wistful sigh of a voice, Hannah Reid’s rich, husky alto is clearly a powerful instrument akin to Florence Welch’s but rather than use it to blow the doors off, she keeps it set on a deep and steady soul-infused smoulder that expresses her wounded sentiments in rich tones. The musical accompaniment, built largely around guitar and piano, is sparse by default but more than able to swell for effect and works well in adding to the twilight ambience. One does wish that Dan Rothman’s lines and style – palm-muted and echoed – was a little less xx-marks-the-spot, but there’s no arguing its effectiveness in this context.

If there’s a complaint to be made about If You Wait, it’s in that the London Grammar aesthetic is a little too defined and consistently applied and over the course of the record starts feeling a bit monochromatic. It feels like a photograph of something beautiful, viewable from a single angle, than a living, breathing thing – more than acceptable for now, but a limitation they’ll have to transcend sooner rather than later.

NME reports that If You Wait is presently the odds-on favourite to win the Mercury Prize, the shortlist of which will be announced tomorrow and whose winner will be announced October 30. The West Australian and The Guardian have feature pieces on London Grammar and The Line Of Best Fit has a video of their covering La Roux for BBC’s Live Lounge. If You Wait is out today, September 10, and their inaugural North American tour brings them to Toronto for a show at The Great Hall on October 4.

Video: London Grammar – “Strong”
Video: London Grammar – “Wasting My Young Years”

The Guardian has a stream of Summer Camp’s second self-titled album, out now, while The Fly has a feature piece on the duo and Noisey gets them to go through and comment on their old photo albums.

Stream: Summer Camp / Summer Camp

Interview, Spin, The Telegraph, Tone Deaf, and The Fly mark today’s release of Arctic Monkeys’ AM with feature interviews; they play The Kool Haus on September 15.

DIY and vita.mn talk to CHVRCHES as the September 24 release date of their debut The Bones Of What You Believe draws near; but first they play The Danforth Music Hall on September 15.

NPR is streaming the new Elvis Costello/Roots collaboration Wise Up Ghost ahead of its September 17 release date.

Stream: Elvis Costello with The Roots / Wise Up Ghost

Peter Hook updates The Hollywood Reporter on the attempts to take possession of those Joy Division/New Order master tapes rescued from the trash recently. And as you can assume from the word “attempts”, they’re not going well. Hook plays The Hoxton on September 18.

Pitchfork has got a stream of another new track from Laura Groves, nee Blue Roses, taken from her new EP Thinking About Thinking, due out September 30.

Stream: Laura Groves – “Pale Shadows”

Yuck has released an in-studio video of them getting their New Order on; their second album Glow & Behold comes out September 30.

Video: Yuck – “Age Of Consent”

Frightened Rabbit play a video session for The Line Of Best Fit from a pirate ship at the End Of The Road festival; they are at The Kool Haus on October 21.

The 405 talks to Polly Scattergood, who has released a new video from her second album Arrows, originally set for a June release but now locked in to an October 21 street date.

Video: Polly Scattergood – “Cocoon”

MTV Hive has an interview and NPR a World Cafe session with Franz Ferdinand, who’ve just put out a new video from Right Thoughts, Right Words, Right Action; they play The Kool Haus October 24.

Video: Franz Ferdinand – “Evil Eye”

Though still coy about details of a new album, The High Wire have made another new song available to download.

MP3: The High Wire – “The Thames & The Tide”

The xx tell NME they’re already at work on album number three.

Little Boots has released a new video from Nocturnes.

Video: Little Boots – “Satellite”

NME and Billboard talk to Billy Bragg about being recognized for his “outstanding contribution to music” by the UK’s Association of Independent Music.

The Guardian talks to James Allan of Glasvegas.

God Is In The TV has an interview with Chris Olley of Six By Seven.

The Wedding Present are streaming a new single which will be available for sale as a 7″ on their upcoming UK tour.

Stream: The Wedding Present – “Two Bridges”

NPR marks the 20th anniversary of Britpop with a playlist of the scene’s best.

Frank YangIt might seem like an act of massive hubris for a brand-new band from abroad to book a North American tour with no official release, not even a handful of released songs, and barely a month’s worth of experience performing live, but Sweden’s Kate Boy did just that in rolling into Wrongbar on Sunday night for the third of six dates on this continent. But when each of those three singles and videos have been met with immensely positive response and the right outlets are paying attention, maybe it’s less an act of starry-eyed optimism than a canny first move in a well-orchestrated, long-term marketing strategy.

Though I was intrigued by the aforementioned singles – particular with them on repeat whilst writing this – it took the announcement of Vancouver’s Gold & Youth as support to cement my attendance. Though they were hardly going to be strangers to Toronto stages over this week, opening up the Arts & Crafts Field Trip fest on Saturday and also playing NXNE, the odds of my catching any of those shows was going to slim. And I wanted to see them – their just-released debut Beyond Wilderness being a solid if not life-altering document of ’80s-ish synth-pop that I suspected would come across stronger live than on record. And indeed, it did. Utilizing a conventional band lineup augmented by synths and samples, rather than the other way around, their live show was more energetic and brought their musicianship to the fore, if also laying bare their Cure, New Order, and Depeche Mode influences. Danceable without being dance music, the affirmed themselves as a band with a great if familiar sound, and good to very good songs that should just get better.

Just as it wouldn’t have surprised me if Wrongbar had been empty for Kate Boy’s Canadian debut, it also didn’t surprise me that there was a very respectable-sized crowd by the time the foursome took the stage, uniform of black t-shirts and baseball caps intact. I was surprised, though, that much of the audience seemed not to be the curious out to be convinced, but genuine fans wanting to have their belief confirmed – looks like three songs can really go a long way. Thankfully, the band had more than that in their repertoire, and their 40-minute set was tightly choreographed and impressively crafted – what was that about having only played their first-ever gig in May? The three singles were spaced out so as to be able to keep the momentum up, and basically performed live as extended remixes to effectively balance familiarity and freshness. The rest of the material adhered to the same formula of big heavy beats and even bigger choruses, so if you liked one you were pretty much going to like them all.

While her bandmates kept their Scandinavian cool whilst manning their synths, drums, and bass with laser focus, frontwoman Kate Akhurst was all smiles and arm-waving dance moves, clearly less concerned with maintaining their icy aesthetic than having and giving a good time. And it’s a pretty safe bet that for everyone in attendance, a good time was had. There’s probably not ever going to be a narrative around Kate Boy that casts them as the scrappy, DIY upstarts. There’s something very calculated about their career trajectory so far, and even though they’re currently signed to Los Angeles indie IAMSOUND for their singles, five will get you six that like label alumnus Florence & The Machine, Charli XCX, and Little Boots, their debut will be on a major. Not that that matters, really – all that does is they’ve got the look, they’ve got the sound, and they’ve got the show. Everything is going according to plan.

Exclaim also has a review of the show while Idolator and Chicago Now have posted interviews with the band. MSN gets to know Louise Burns as both a member of Gold & Youth and solo artist, whose second album The Midnight Mass comes out July 9.

Photos: Kate Boy, Gold & Youth @ Wrongbar – June 9, 2013
MP3: Kate Boy – “Northern Lights”
Video: Kate Boy – “The Way We Are”
Video: Kate Boy – “In Your Eyes”
Video: Kate Boy – “Northern Lights”
Video: Gold & Youth – “Jewel”
Video: Gold & Youth – “Time To Kill”

Exclaim has an advance stream of Beady Eye album BE, though since the album is now out as of this week – in the UK, at least – it’s not so advance. The Independent has an interview with Liam Gallagher where he sounds off on this and that.

Stream: Beady Eye / BE

Drowned In Sound talks to CHVRCHES, in town tomorrow night – June 12 – for a show at The Hoxton.

Sigur Rós have turned to their live show projections for the video to the title track and to CBC Music to host an advance stream of their new album Kveikur, coming June 18. The stream is probably geoblocked to Canada, but rest of the world can be sure that their territories will be attended to shortly. Update: Try Amazon.

Video: Sigur Rós – “Kveikur”
Stream: Sigur Rós / Kveikur

Rolling Stone and Refinery 29 have feature pieces on Empire Of The Sun and their new album Ice On The Dune, out June 18 and available to stream now at Rolling Stone. Yahoo, meanwhile, gets a look behind the scenes at the band’s visual presentation.

Stream: Empire Of The Sun / Ice On The Dune

Also out next week – at least domestically in North America – and doing the advance stream thing now is More Light, the new record from Primal Scream. That’s up at NPR.

Stream: Primal Scream / More Light

Editors are streaming a new b-side from the first single for their forthcoming The Weight Of Your Love. The new album is out July 1.

Stream: Editors – “The Sting”

TOY and Bat For Lashes’ Natasha Khan have teamed up for a cover of Iranian artist Amir Rassaei. It’s out on July 1 as a 7″ single. More details at Pitchfork.

Stream: TOY with Natasha Khan – “The Bride”

The Line Of Best Fit gets to know Camera Obscura. They play the Toronto Urban Roots Fest at Garrison Common on July 4.

Icona Pop discuss the inspiration behind their hit, “I Don’t Care”, with MTV. They play Garrison Common on August 3 as part of The Grove Fest.

Beatroute, Scout Magazine, and Vita.mn have interviews with José González of Junip.

The National Post and Canada.com have interviews with The xx, who premiered a new video from Coexist last week via Noisey.

Video: The xx – “Fiction”

Metro interviews Bloc Party, who tell Canada.com that following this Summer’s touring commitments, they’re going back on indefinite hiatus.

NME talks to the director of the new video from Billy Bragg’s Tooth & Nail; NPR also has a Mountain Stage video session with the singer-songwriter.

Video: Billy Bragg – “Handyman’s Blues”

DIY has a feature interview with Laura Marling.

The Guardian welcomes Suede to their studios for a video session.

The Joy Formidable have released a live video of them performing an acoustic cover of Echo & The Bunnymen’s “The Killing Moon”.

Video: The Joy Formidable – “The Killing Moon” (live)

Clash invites Frightened Rabbit frontman Scott Hutchison to take a swing at some of the songs currently on the UK charts.

FacebookLike the act they’re frequently compared to – The Knife circa Silent Shout – Aussie-fronted Swedes Kate Boy put a lot of stock in image and mystery, and the intersection of the two. And so while assumptions might be that the band’s name is a pseudonym for frontwoman Kate Akhurst, they in fact insist it represents an entirely fictional fifth member because why not. Their visual aesthetic also speaks to the strength of the concept behind it, their greyscaled, silhouetted, and baseball-capped guises being well-maintained through their press photos and three videos.

But it’s their sound that has elicited the Knife comparisons, and yeah – there’s definitely something of the Dreijer siblings’ influence in their spooky, yet hooky, electro-pop built on synth tones whose square waves have the edges left on. Whether there’s more to them than that remains to be seen – three singles do not an identity make, but it is enough to create a solid amount of buzz. A full-length is expected out before year’s end and the band just played their first show ever a month ago, but they’ve already got a short North American tour booked and will be in Toronto at Wrongbar on Sunday night, June 9.

Tickets for the show are $12.50 in advance but courtesy of LiveNation, I’ve got two pairs of passes to give away for the show. To enter, email me at contests AT chromewaves.net with “I want to see Kate Boy” in the subject line and your full name in the body, and have that to me by midnight, June 6. And if you’re curious how their look translates live, Pitchfork has some photos from a show in Berlin last week.

MP3: Kate Boy – “Northern Lights”
Video: Kate Boy – “The Way We Are”
Video: Kate Boy – “In Your Eyes”
Video: Kate Boy – “Northern Lights”

Consequence Of Sound and Interview talk to Tracyanne Campbell of Camera Obscura, whose new album Desire Lines is out today. They play the Toronto Urban Roots Fest at Garrison Common on July 4.

Mr. Porter solicits some musical suggestions from Jamie Smith of The xx. They play Echo Beach on Thursday night, June 6. Denver Westword also grabs an interview.

Pet Shop Boys are streaming a second single from their new album Electric, lined up for a July 15 release date. They’re here at The Sony Centre on September 25.

Stream: Pet Shop Boys – “Vocal”

Exclaim has a pair of features gleaned from an interview with Jehnny Beth of Savages. She leads her band into The Mod Club on July 16.

A new, non-album single from Hot Chip has been made available to stream; Pitchfork has details on the 12″ or 10″ EP, depending on where you live, which will be released July 22. Hot Chip are in Toronto to play The Grove Fest at Garrison Common on August 3.

Stream: Hot Chip – “Dark & Stormy”

English gloom merchants White Lies have announced an August 21 release date for their third album, Big TV. The Line Of Best Fit has details and the first track is available to download below.

MP3: White Lies – “Getting Even”

There’s Something Hard In There has an interview with Carol and Peter of Bettie Serveert.

NPR welcomes Nick Cave & The Bad Seeds for a World Cafe session.

Dan MartensenThe new Yeah Yeah Yeahs record Mosquito has proven to be somewhat divisive. Some are finding it a terrific fourth long-player in their discography, summing together all that’s come before for a record quintessentially them, others finding it a disappointing water-treading exercise that captures neither the fiery anarchy of their early work or the gleaming excellence of their last effort, 2009’s It’s Blitz!. Personally, I fall more towards the latter camp, finding it just alright but decidedly forgettable, which may well be worse than being especially bad.

In any case, one thing most everyone with an interest in the topic can agree on – besides that the album art is atrocious – is that the Yeah Yeah Yeahs remain an incredible live act and that the four years since they last visited – two nights at The Kool Haus in August 2009m if you’ll recall – is far too long. So I’m happy to announce that the band’s somewhat erratic touring schedule – a consequence of being almost-headliner status during festival season, I guess – now has a Toronto date, with them coming to celebrate Canada Day – July 1 – at Echo Beach. And I’m even happier to announce that courtesy of LiveNation, I’ve got a pair of passes to give away before the $39.50 tickets go on sale this Friday morning at 10AM. To enter, email me at contests@chromewaves.net with “I I I want want want Yeah Yeah Yeahs” in the subject line and your full name in the body and have that to me by midnight, May 30. The winner will be notified before the on-sale goes live.

MP3: Yeah Yeah Yeahs – “Date With The Night”
Video: Yeah Yeah Yeahs – “Sacrilege”

If you’d have otherwise been keen on seeing next week’s The xx and Grizzly Bear double-bill but didn’t much fancy the trek out to Downsview Park to do it, congratulations – your laziness has been rewarded. The June 6 show has been moved from the former airbase to the much more urban Echo Beach; all previously sold tickets are still valid and all remaining – of which there are now considerably fewer – are still $59.50 general admission and $99 VIP. The Vancouver Sun, Vue Weekly, and Georgia Straight have profiles of The xx.

MP3: The xx – “Reconsider”
MP3: Grizzly Bear – “Yet Again”

Scottish folkster Alasdair Roberts will be at The Drake Underground on July 17 as part of a tour in support of his latest album A Wonder Working Stone, released earlier this year. For Folk’s Sake has an interview with Mr. Roberts.

MP3: Alasdair Roberts – “The Merry Wake”

If you’re looking for something to do Labour Day long weekend, you could do far worse than heading out Hamilton way for the Greenbelt Harvest Picnic, taking place at Christie Lake in Dundas, Ontario on August 31. It was conceived by Daniel Lanois, who will be performing, and features a couple huge names drawn from his producing CV – specifically, Neil Young & Crazy Horse and Emmylou Harris. Not bad, eh? Tickets are $139.50 in advance and go on sale June 1.

Video: Neil Young – “Love And War”
Video: Emmylou Harris – “Wrecking Ball” (live)

Not quite ready to return to being Bon Iver, Justin Vernon and his Wisconsin brethren have announced the September 3 release of a second Volcano Choir album – Repave – and a supporting Fall tour that brings them to The Phoenix on September 8, tickets $22.50 in advance. A trailer for the new record has been released, but rather than annoyingly tease, it actually almost acts as a complete video for one of the new songs.

MP3: Volcano Choir – “Island, Is”
Trailer: Volcano Choir / Repave

Portland electro-pop outfit STRFKR – whose name stands for what you think it does – have made a September 14 date at The Opera House in support of their third album Miracle Mile, released back in February. Tickets for the show are $15.

MP3: STRFKR – “Bury Us Alive”

Scout Niblett, who’s just released a new record in It’s Up To Emma, will be at The Silver Dollar on September 17.

MP3: Scout Niblett – “Dance Of Sulphur”
Video: Scout Niblett – “Gun”

English-born, Germany-based electronic act Gold Panda has a new album in Half Of Where You Live coming out on June 11 and has just announced a Fall tour behind it that brings him to Lee’s Palace on October 8, tickets $15. A new song from the new record has also been made available to stream and Noisey has an interview.

Stream: Gold Panda – “We Work Nights”

There’s still no follow-up to 2010’s Passive Me, Aggressive You, but Australia’s The Naked & Famous are coming back to North America for a Fall tour anyways; look for them at the Sound Academy on October 14, tickets $28.50 general admission and $38.50 VIP.

Video: The Naked & Famous – “Girls Like You”

Two Door Cinema Club are keeping last year’s Beacon an active concern with another North American tour that brings them to the Danforth Music Hall on October 15.

Video: Two Door Cinema Club – “Next Year”

Stereogum talks to Matt Berninger of The National. They’re headlining Yonge-Dundas Square for NXNE on June 14.

With their new record Nightingale Floors due out next week on June 4 and streaming now at Pitchfork, Rogue Wave frontman Zach Rogue chats about the new record with Billboard. They’ll be at The Mod Club on June 25.

Stream: Rogue Wave / Nightingale Floors

Partygoing, the new album from Future Bible Heroes and one-quarter of the Memories of Love, Eternal Youth, and Partygoing. box set – both out next Tuesday, June 4 – is now streaming courtesy of Pitchfork. Chickfactor talks to Stephin Merritt, Christopher Ewen, and Claudia Gonson of the band about the new record; they’ll be at Lee’s Palace – well, Ewen and Gonson, anyways – on July 22.

Stream: Future Bible Heroes / Partygoing

Guitar World sits down with Redd Kross guitarist Jeff McDonald to talk about guitars.

The Line Of Best Fit, TNT, and The Herald Scotland have interviews with Bob Mould.

The Guardian and USA Today profile punk rock legend Patti Smith.

Frank YangThings move quickly these days; this I know and understand, and yet it still manages to astound me sometimes. The ascent of London’s Daughter, for example. It wasn’t much over a year ago that the trio was still largely unknown, only getting on my radar by old-fashioned word of mouth and becoming one of my favourite discoveries of SXSW 2012. When they came around to make their Toronto debut last October – still a ways off from releasing their debut album or making any real promotional push – they still managed to sell out The Drake, albeit with the help of a fairly buzzy supporting bill. Still, that was a pretty good tip off that by the time the band returned on Tuesday evening, just a week after the domestic release of If You Leave, the only surprise would be not that they had sold out the much larger Great Hall, but that they hadn’t moved the show to even bigger environs.

Benefitting from the packed house were Wilsen, a band of Americans fronted by Englishwoman Tamsin Wilson who were really as good of a RIYL pairing for Daughter as you could hope to find. Their dark, atmospheric folk music came from a similar place as the headliners, but distinguished themselves with a tonally lighter touch, not to mention Wilson’s whistling skills and guitarist Johnny Simon Jr’s penchant for playing his guitar with coffee cans, tobacco tins, whatever. Unexpected and quite effective was a stately cover of Grimes’ “Oblivion”, and by the close of their 40-minute set, many new fans were made and a more than a few copies of last year’s mini-album Sirens were sold.

I don’t think I’m the only one who, to some degree, conflates a band’s sound with their appearance. In Daughter’s case, it’s hard not to compare their sound to frontwoman Elena Tonra’s appearance: beautiful, elegant, and demure, yet with an unquestionable strength and steeliness just under the surface. They’re traits evident throughout If You Leave, which bolsters Tonra’s gorgeous vocals and emotionally raw songwriting with Igor Haefeli’s billowing guitarwork and Remi Aguilella’s subtly powerful percussion to become something expansive, yet intimate. It’s an aesthetic that fits very well with that of their European label 4AD, and that’s the context in which I tend to think of them. In North America, however, they’re on Glassnote and if you’ve no idea what difference that makes, well I didn’t give it a second thought either, until Tuesday night.

Glassnote may not have the history and personality of 4AD, but they do know how to reach the Mumford & Sons demographic. And when, midway through the set during “Landfill”, much of the room loudly sang along with “I want you so much/but I hate your guts”, did I realize that this was a Mumford audience – surprisingly young, definitely excitable, and preferring to experience the music as a boisterous community. Tonra’s songs might be delivered like a private and intensely personal conversation, but they were being shouted and cheered back. It wasn’t necessarily off-putting – okay a little – but it certainly recontextualized my experience of the songs; rather than enveloping me completely, they now needed to act as a sort of barrier to shut out the background noise.

Tonra herself may have seemed taken aback by the intensity of their reception – her “thank you”s were almost inaudible squeaks – but seemingly happily so. Opening with Leave closer “Shallows”, Daughter sounded as brilliant as ever, mixing material from the album with selections from the Wild Youth and His Young Heart EPs. The band was bolstered by a utility player on bass, guitar, and keys, but even with those extra hands, the show had no shortage of instrument swapping; their sound might be skeletal, but it’s arranged precisely and impeccably so.

Only during “Winter” were the band really knocked off their game, as The Great Hall’s lighting rig seemed to pick up a poltergeist, going from black to blinding and causing Tonra to crack up several times (Haefeli was visibly less amused), though to their credit they finished the song, even though ditching would have been totally understandable, and both stage lights and band pulled it back together to wrap up the set with a crashing, cathartic “Home”. A satisfying show, but one that left me wondering if I’d choose to see them again next time in an inevitably bigger room, or if staying home, alone, with the curtains drawn and the record turned up might not be more the Daughter experience I’d prefer.

Photos: Daughter, Wilsen @ The Great Hall – May 7, 2013
MP3: Daughter – “Love”
Video: Daughter – “Still”
Stream: Wilsen – “Dusk”
Stream: Wilsen – “Anahita”

Soundcheck WNYC is streaming a radio session with Little Boots, while Consequence Of Sound has an interview.

Sweden’s Club 8 are streaming another new song from their forthcoming album Above The City, out May 21.

Stream: Club 8 – “I’m Not Gonna Grow Old”

Cheers to Frightened Rabbit for keeping alive the tradition of releasing their singles as proper EPs with b-sides and bonus tracks and the like. Case in point – the next single from Pedestrian Verse will be Late March, Death March, and DIY has details on the EP for it that’ll be out on June 4.

The Guardian asks Romy from The xx about her experiences playing festivals; they play a sorta-fest at Downsview Park on June 6 with Grizzly Bear.

Stereogum has premiered a new track from Swedish electro act Kate Boy, who are making their Toronto debut at Wrongbar on June 9.

Stream: Kate Boy – “The Way We Are”

Interview has a feature on Palma Violets, who were just here last week but are back August 3 as part of the Grove Fest at Garrison Commons.

The Alternate Side has an interview and session with Phoenix, who are headlining the aforementioned Grove Fest on August 3.

NPR has a World Cafe session with Nick Cave & The Bad Seeds, who’ve premiered their new video from Push The Sky Away – recorded at their Los Angeles concert this past March – at Rolling Stone.

Video: Nick Cave & The Bad Seeds – “Mermaids”

David Bowie has released the video for the title track of his latest The Next Day, and proves not only that he can still cause plenty of controversy, but that he’s got much cooler friends than pretty much everyone else.

Video: David Bowie – “The Next Day”

Ólafur Arnalds has a new video from For Now I Am Winter, and NPR is streaming a live concert by Arnalds wherein he and an orchestra performed the whole of the new album live in New York earlier this Spring.

Video: Ólafur Arnalds – “Only The Winds”

Stereogum has premiered the new video from The Mary Onettes’ latest Hit The Waves.

Video: The Mary Onettes – “Don’t Forget (To Forget About Me)”

A Music Blog, Yea has an interview with Mystery Jets.