I don’t much about Seja: she’s from Brisbane, she’s been in other bands (Regurgitator; Sekiden), and her first solo record, We Have Secrets But Nobody Cares, was just released in Australia on Rice Is Nice. The only other thing I know is that I am really, really enjoying her first single, I’ll Get To You. Shimmery synthpop perfection.
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Seja – I’ll Get To You
After missing them a few times last year, in a couple weeks I finally get a chance to see The XX live as they hit the Commodore Ballroom on April 13. I’ve heard (mostly) great things about the band’s live show and I’m interested to see how they bring their songs to life on stage. The debut album is still getting a lot of regular plays around here. Check out their latest single VCR below.
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The XX – VCR
The XX – VCR (Matthew Dear remix)
Sweden’s jj are also on the bill…will the buzz sustain them for another few weeks?
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jj – Let Go
Broken Social Scene’s new album, Forgiveness Rock Record, is probably my most anticipated record of the year. It’s not out until May 4 but the first official release from the album is available now: the double A-side single of Forced To Love and All To All. I’m still not sure what I think about Forced To Love but All To All, which is sung by Lisa Lobsinger, is certainly growing on me (and it’s a bit of a new sound for Broken as well).
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Broken Social Scene – Forced To Love
Broken Social Scene – All To All
Neither one of them is as great as World Sick, however. Every time I hear that song I dig it more and more. The band recorded Forgiveness Rock Record in Chicago with Tortoise’s John McEntire, the first time Broken has used an outside producer. In addition to that, the core band has now been pared down to Kevin Drew, Brendan Canning, Andrew Whiteman, Justin Peroff, Sam Goldberg, Charles Spearin and Lisa Lobsinger. However, the record still features contributions from regular Broken Social Satellites: Feist, Emily Haines, Jimmy Shaw, Amy Millan, Evan Cranley, Ohad Benchetrit, Jason Collett, Julie Penner, John Crossingham and more.
Enough to be excited about?
I’m still navigating my way through Joanna Newsom’s epic Have One On Me and enjoying every listen. While it may be big, the record certainly highlights the genius of this ridiculously talented songwriter. I’ve also been patiently waiting for some West Coast dates on Joanna’s current tour and a couple gigs have finally been added in the Pacific Northwest.
August 4 – Moore Theatre, Seattle
August 5 – Vogue Theatre, Vancouver
No word on tickets for the Vancouver show yet. You can find all the details of Joanna Newsom’s current tour over at Drag City.
NPR recently recorded and aired a Joanna Newsom concert from Washington DC. You can stream the entire show here or check out a live version of (perhaps) my favourite song from Have One On Me recorded at the gig.
Not much to say here except:
1. Finally, our first official taste from The National’s forthcoming record High Violet (due May 11 on 4AD).
2. Bloodbuzz Ohio is a lot less nocturnal than most of Boxer and a hell of a lot more euphoric (at least sonically).
3. AWESOME
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The National – Bloodbuzz Ohio
One of things I’m looking forward to now that I’ve relocated back to B.C. is seeing some of the Australian bands I got to know back in Sydney play here in Vancouver. I’m not sure how often it’s going to happen but my first opportunity is coming up quickly as Sydney’s Dead Letter Chorus are currently in Canada showcasing their new (to North American shores) record, The August Magnificent. The band played shows around the East Coast Music Awards and Canadian Music Week and are currently playing shows in Ontario and Quebec with Two Hours Traffic.
While nearly all the shows have been back east, Dead Letter Chorus do have a show lined up here in Vancouver on April 6 at the Railway Club. I know early April is a busy time in Vancouver concert-wise but it’d be great to send them off from Canada with a memorable show on the west coast. It’s been quite some time since I last saw the band live so I hope I can make this gig.
The August Magnificent is now out in Canada on Bumstead Records.
Last week the 2009 Australian Music Prize was awarded to former Australian Idol contestant Lisa Mitchell. Granted, this year’s field of albums did seem a bit weaker than years previous but the winner was still quite a surprise. According to Mess and Noise, the announcement was met with “muted applause and a collective gasp.”
Earlier today, Pedestrian.TV posted a considered response to the award claiming that Lisa Mitchell essentially won the AMP by default. Their reasoning involves previous winners, Sarah Blasko’s recent awards, and the AMP’s own troubled identity. It is well worth the read.
Pedestrian’s article has been picked around Australia but it’s also spread to the UK and Everett True (at least I think he’s back in the UK at the moment?) who has long had a vested interest in the Australian music scene. Given the legs the Pedestrian article seems to have, I’ll be curious to see whether anyone connected with the AMP or any of the judges who were called out in the article publicly respond.
Last night was kind of a perfect double bill for Amanda and I; she was there to see The Big Pink while I was excited that I was finally going to experience A Place To Bury Strangers live. We only just barely made the gig as I was up in Whistler for the day riding some of the deepest powder of the season. But this isn’t a snowboarding blog so I’ll stop there.
When we walked in the door at about 7:40 (damn early shows!) A Place To Bury Strangers were already on stage and had just started Exploding Head. It sounded loud from the street and when we walked into the room it was positively devastating to the ears. Thankfully the earplugs made things bearable/safe. Shrouded in near darkness and only back lit by two lights from the stage floor behind the band members, APTBS were certainly a confronting force. I could understand anyone who thought their set was awful as the band didn’t say anything to the audience and really didn’t try to connect in any way. In fact their set was more of a sonic assault than a concert.
But what a sonic assault. The trio managed to push their songs to the absolute edge live and then kept them forever teetering on the that point between chaos and genius. Drummer Jay Space was the closest I’ve ever seen/heard a human imitate the precision of a drum machine while Oliver Ackermann’s guitar tones were suitably violent. I must say I was enthralled with their entire set. And by the looks of the rush to the merch table after their set was complete I wasn’t the only one.
The Big Pink were this tour’s headliners and certainly had a tough act to follow. I never really got into A Brief History Of Love last year; I liked a couple of the singles but I found the album itself a bit weak. Needless to say I had low expectations for their set and I was somewhat surprised when I actually managed to enjoy it. On stage the band bring a lot more edge and power to their songs compared with their recorded versions. They seemed more (ergh) shoegazey live and were certainly wearing their influences on their sleeves.
Unfortunately, The Big Pink have a difficult hurdle to overcome with their live show: their songs are not good enough. While Velvet and Dominos (which closed the show) were great, too many of the album tracks, while performed well enough, are a bit pedestrian. I believe the band also tossed in an ill-advised cover of Otis Redding’s These Arms Of Mine which was appalling. Was it an amazing show? No. But I was expecting a lot less from one of last year’s most talked-about new bands.
However, A Place To Bury Strangers definitely won the night.
A few pointless iPhone photos here.
It seems like ages since Die! Die! Die! released their last record, Promises Promises but I guess it really hasn’t been that long. The illusion of years and years might just reflect my excitement for their new album which is coming soon. The first taste of the forthcoming record is called We Built Our Own Oppressors and it, not surprisingly, slays. While those sharp guitars and shouty vocals might be Die! Die! Die! trademarks, the use of some other instrumentation shows these guys are expanding their sound. Really love this track (and I really love those “woos” too).
Watch
I keep hoping they’ll announce some North American dates on their Twitter account. These guys really have to be experienced live.
I had been waiting patiently and losing hope that Massive Attack would announce a Vancouver date. I love the Sasquatch Festival and this year’s lineup is pretty stellar but I was hoping to be able to catch Massive Attack at their own headlining gig. They are one of my very favourite bands but I’ve never seen them live so a distracted festival audience was not appealing to me.
Just when I thought it wasn’t going to happen today I find out that Massive Attack will be playing Malkin Bowl in Stanley Park on May 29. Martina Topley-Bird will open the show in addition to providing vocals for Massive Attack’s set. Cannot wait! Tickets on sale next week. But if you want to win your way in check out Vancouver Is Awesome who are giving a pair of tickets away.
Now how about a Broken Social Scene/Pavement gig in Vancouver around that weekend as well?
I’d also like to send major congratulations out to some friends of mine who are getting married this weekend in Sydney. Marc and Anna, we wish you all the best. Everyone else, go buy some of their shirts and go see Anna spin records. They are Sydney’s, nay, AUSTRALIA’s up and coming It Couple. Manna? Anmarc? Anyway, they rock. Congrats guys.
