Tyrone Warner, Microblog: no links, just updates -- join me on Twitter!



A BSS article not from the Times

While the locals are at odds over the latest "profile" of Toronto that's really just a thinly-veiled Broken Social Scene story, VH1.com has filed a pretty expansive interview with the band (aka Kevin Drew) that's probably the most informative BSS piece I've seen for a while.

Also, it looks like while on tour in Australia, Spiral Stairs from PAVEMENT joined the band on stage. Random.

Anyways, here's a few highlights:

BSS recently played at the Sundance Film Festival and have already scored two films: Canadian director Bruce McDonald's "The Love Crimes of Gillian Guess" (2004) and the upcoming "Snow Cake," starring Carrie-Anne Moss and Sigourney Weaver.
Here's the IMDB listing for "Love Crimes" and "Snow Cake" and a Snow Cake review.

Another film, the Brooklyn-based indie "Half Nelson" (starring Ryan Gosling), also features Social Scene songs, albeit not tailored compositions. The filmmakers asked to use a whopping 16 songs from the first two BSS records, Feel Good Lost and You Forgot It in People. Naturally, the band was a bit dubious at first.

"I thought it was absurd to take all this music," Drew said. "But it's a really honest film."

"Parts of [the film's story] were inspired by the music we did years ago, so in that regard it's an honor," said bassist/singer Brendan Canning.
Here's the IMDB for "Half Nelson."

The original strategy was for the Benchetrit-helmed record to come out in 2006, but that album has been put on hold for now (see "Broken Social Scene's Hard Road To Windsurfing Nation"). Instead the band is thinking about solo-driven Social Scene records — essentially scaled down, more manageable versions of the collective.

It's funny, isn't Broken Social Scene just a big group of solo projects anyways?

The cooperative hopes that Broken Social Scene will have a long shelf life, because a slew of videos is being planned. The band recently shot a clip with Micah Meisner (K-OS, Metric) for "7/4 (Shoreline)" that features vocalist Leslie Feist. Additional videos for "Fire-Eyed Boy," "Swimmers," "Hotel" and "Windsurfing Nation" are also in the works.
If you haven't seen it already, be sure to check out the video for Ibi, and the underrated video for "I'm still your fag." (both downloadable links via brokensocialscene.net)


The view from up here

Montreal pop band The Diskettes released their second collection of recordings called "Weeknights at Island View Beach" on the Blocks label, who have made a special exception for the Diskettes in order to swerve from their local-only mandate. If that alone isn't reason enough to check them out, do it for their sophisticated sense of melody and cutesy-smart lyrics.

The band's sound itself is very minimal, and at times almost childlike, which lends to the band's appeal. Singer Emily Beliveau harmonizes with David Barclay, who provides most of the accompanyment with his nylon-stringed acoustic guitar. Providing percussion is Maggie Livingston, who also keeps things simple with with clicks, taps, claps and once in a while actual drums.

My first impression of the band was that they were just a great big joke, and in a way, the songs weren't worth getting into. But once I got past their wink-wink aspect of their performance, the songs themselves were ready to adore. The Emily-David duets were heartbreaking, but not overwraught in a modern-day, overdramatic sense, but instead recalls the high-profile duets between big band superstars.

With repeated listens I am overwhelmed by their songwriting prowess. For The Diskettes, everything works. The sound may be lean and at first listen might even make you grimace, but the band's heart will win over any skeptic listener.

If that wasn't enough, you'll also get 15 minutes of sound recordings from beaches included if you decide to pick up the CD.

MP3: get! together! from "Weeknights at Island View Beach"

MP3: 1 2 3 4 5 from "Weeknights at Island View Beach"

MP3: Mr. Lee from the first self-titled album

MP3: art from the first self-titled album

Check out the band's official website

Listen to more tracks on their New Music Canada page

Said the Gramophone has David on as a special guest

Check out the band on myspace


You Say Party! We Say Die!

Born out of the bursting indie-rock scene amidst the mountains and trees in Vancouver, British Columbia, You Say Party! We Say Die! is not only Canada's most notable foray into extended band names, but is also a remarkable band breaking apart with fine dance-rock.

Their dense sound and cool-kids-house-party vibe is easily attained by the band's six members; singer Becky Ninkovic, bass player Stephen O'Shea, Krista Loewen on keyboards, Jason Nicolas on "guitar left," Bruce Dyck on drums and Derek Adam on "guitar right."

When their latest album "Hit the Floor" kicks off with the one-two punch of "Cold hands! Hot bodies!" then "Stockholm Syndrome Part Two," you come to realize what you'll get for the rest of the album: a hearty party atmosphere about death and dancing. This is not just another Gang-of-Bloc-Ferdinand, but a high-energy and unique combination of sound and beat that easily wins over skeptics.

It's punk music in attitude and speed, but don't expect thrashy chords. Becky Ninkovic has the passion to make the music work, forceful and strong, yet melodic and smooth. Krista Loewen's steady keyboard hand pulls the band into a realm which calls to mind the psycho-freak outs of the Zombies.

The punk spirit emerges on tracks like "The Gap" which bash away at social problems that are too easily hidden, in this case the poverty gap.

The band is currently on tour across Canada with controller.controller, and will be making a big splash at SXSW when they perform at the VICE party.

MP3: Cold Hands! Hot Bodies! from Hit the Floor

MP3: Love in the new millenium from Hit the Floor

MP3: The Gap (Between the Rich and the Poor) from Hit the Floor

Pitchfork gave Hit the Floor a 7.3

Optimus Crime gave a good review when the band hit K-town

You Ain't No Picasso has more YSPWSD Mp3s


A story about cocks and bulls...

About halfway through the film "Tristram Shandy" an English Professor stands up and essentially lays out the entire theme of the film. Of course, the professor is really talking about the chaotic nature of the novel, and how Tristram's attempt to compress his life into a work just spirals out of hand with complex narrative and context. But it's just another meta moment that speaks to the audience directly if they're playing close attention.

I haven't read the novel personally, so I can't judge the film as an adaptation. However a similar comparison can be made about the novel "Tom Jones" and the many film recreations that have been made. "Tom Jones" would only be a successful film is the length is about 10 hours long. But even then the narrator's sly wit would have been lost, and the meaningless essays about nothing would be absent, along with their own charms.

So like "Tom Jones," "Tristram Shandy" is a novel that has been long touted as unfilmable. The early English novels that founded what we study today as "English Literature" were so packed with versimilitude that the story itself was only a small part of a novel's well, novelty.

In this week's Eye Weekly, the cover story is with filmmaker Michael Winterbottom, the director behind the film, who confesses that they only decided to do the "making of" part of the film about halfway through the shoot.

I feel that his confession is a little bit unfortunate, because to me it takes away from the ultimate statement by the film. If the message was well-thought out and calculated, then I have no problem trumpeting it. However, if it's just a happy accident, should it still be lauded?

Also, I think that whatever film version they were going to end up with seemed rather promising, as a weird and hyper take on the classic novel. I actually was dying to see Steve Coogan get birthed out that massive womb.

However the natural comedic interplay between the rival stars Coogan and Rob Brydon saves the "making of" side of the film, with Brydon's impersonations stealing every single thing. And don't get me started on the Al Pacino impersonations!

Despite my criticism of the film, I still think it's a wonderful film full of heart and wit. Fans of the book will love it, and those who have never heard of the book will love it even more.

Also, you must visit the film's official website. I haven't seen anything like it before!


Ride the Liger has a good explanation about the usage of Meta in the film

Read the entire novel "Tristram Shandy" right here

Check out the metacritic rating of the film


Morrissey's "You Have Killed Me" video

Well I have to say, I love the lead single and video for "You Have Killed Me," from Morrissey's newest album, Ringleader of the Tormentors.

Unfortunately for Morrissey-solo, the lawyers were giving them a hard time for sharing the info on this one, but you bet your ass it's worth it!

I feel like I am missing out on the UK cultural references on this one, and from what I have gleaned is that this a "Eurovision" television show (where audience shots are suspected to have been spliced from), kind of like an Ed Sullivan thing I suppose.

As for "You Have Killed Me," I can't believe how outright poppy this song is. In a perfect world, it would get radio play, and in a way, makes me nostaligic for the kind of mid-ninties radio pop which produced similar overdramatic gems (Duncan Sheik anyone?). Also got to love all the Italian references here too.

Listen to a high-quality version of "You Have Killed Me" at Morrissey's MySpace.

UPDATE: Well, it's gone now. I'll try to find another link in the meantime.


And the nominees are...

It's no surprise in a year where Alberta-based politician Stephen Harper becomes Prime Minister that west coast music dominates the Canadian Juno awards, including Alberta-born Nickelback and Vancouver based Diana Krall. Check out CTV's online Juno coverage here.

While Canada's indie scene has gained international acclaim, it hasn't translated into Juno nominations this year. I'm not a Juno apologist, but realistically the Junos are mostly based on Canadian sales numbers and are voted on by CARAS members, people who work in the mainstream Canadian music industry. So as much I as I want Wolf Parade to be nominated for Group of the year, its an unrealistic expectation for a mainstream awards program like the Junos.


A Soundtrack for Everyone's Dream Juno nominees.

Single of the Year:

Ibi dreams of pavement (a better day) – Broken Social Scene
Man I used to be – K-Os
Sing me Spanish techno – New Pornographers
It's All Right to Fight – Ninja High School
I'll Believe in Anything – Wolf Parade

International album of the year:

Breakaway – Kelly Clarkson
Plans – Death Cab for Cutie
Alligator – The National
Illinoise – Sufjan Stevens
Late Registration – Kanye West

Album of the year:

Has a good home – Final Fantasy
Prairie Wind – Neil Young
Apologies to the Queen Mary - Wolf Parade
Broken Social Scene – Broken Social Scene
The City – Fembots

Artist of the year:

Buck 65
Final Fantasy
Sarah Harmer
Joel Plaskett
Neil Young

Group of the year:

Broken Social Scene
Wolf Parade
New Pornographers
Black Mountain

New Artist of the year:

The Airfields
The Diableros
Ninja High School
The Guest Bedroom
Shout Out Out Out Out


Now that feels much better.

National Post has a pretty good rationale for why my dream list will never really happen.

There hasn't been much on the web in terms of commentary yet, but I encourage fellow Canadian bloggers to create their own dream Juno list, or just leave your own ideas in the comment section!


Montreal's Plajia don't steal anything

The amazing thing about the Montreal music scene, is that the bands emerging from the city have been varied and distinctive for decades. Four-piece rockers Plaijia are no exception, and instead of going down the road of Talking Heads tributes or Stooges-style freak outs, they combine a love for Radiohead and Pink Floyd to create a sad, soaring sound that's right at home in the middle of the night.

Lead by singer and multi-instrumentalist Patrick Pleau, his voice floats above the music with tear-filled doe eyes and mournful defeatism. Guitar player Denis Charbonneau, Bass player Bryan Ortiz and drummer Jean-Francois Lefoll round out the band's full sound that wouldn't be out of place scoring the "Wizard of Oz" or a sullen night starting at black-light posters.

If you are interesting in giving this band a try, listen to Sleeping off their 2005 release Sitis. For more MP3s check out the band's official website, which actually has some pretty cool flash stuff on it. While no plans are set, the band should be returning to Hogtown in the summer and are worth an eyeball or two.


I'm up for listening to just about anything these days, so if you have a band that I should check out, feel free to drop me a line and I can give you an address to which you can send CDs, vinyl, posters, stickers, whatever.


Evan Dando @ the Horseshoe, February 11, 2006

Evan Dando is one of the last great surviving slackers still throwing down in the rock and roll game. On Saturday night at the Horseshoe Tavern, he proved again why his doe-eyed songs of optimism and heartbreak are so powerful, and why he is still one of indie-rock's biggest prima-donnas.

The crowd gathered at the shoe was one I haven't seen for a while. It was a mix of drunken frat boys, complete with backwards ball-caps and shell necklaces, old english men sweating in heavy leather jackets and weekend warriors wearing tattered "It's a Shame About Ray" teeshirts.

When he took the stage around midnight, the excitement in the air was electric. He was a real rockstar, hidden away in the small Toronto bar, and the promise was huge. Opening act John Kastner of the Doughboys was pretty good, but everyone was there for the ex (current?) Lemonheads frontman, who built some of the best songs in the last 20 years.

The first song Dando played was "Being Around" from Come on Feel the Lemonheads, and he just chugged like a locomotive from one song to the next, not even stopping to acknowledge the crowd, making one song's intro sound like a bridge from the previous song.

Playing a few songs from every album, fans sang along with Dando during all the big choruses. Without abandon, Dando was changing speeds and volumes from line to line throughout every song. While some listeners may have found it distracting, I found he made every song come alive by being almost completely spontaneous, turning the concert into a real performance.

Unfortunately during the last song of the night, "Big Gay Heart," Evan quieted down and stared menacingly into the crowd. He finally stopped playing and told the crowd that due to a bunch of people talking, he wasn't having fun any more and just walked off stage.

Everyone was more or less stunned. He had played a full set and wasn't obligated to keep going, but it's a shame that the end of the show was so anticlimactic.

The Lemonheads (or just Evan Dando) are working on a new album for release this summer. Details are still sparse, but the best place to get info would be over at the fansite Evandando.co.uk. Hopefully he'll be coming back with a full band, and I would endorse going to check it out.

Download the full Lemonhead's album "Come On Feel the Lemonheads" here.

Neiles was nostaligic about the Lemonheads a while ago, and offered up some mp3s..

MP3: If I could talk I'd tell you from Car Button Cloth

Heather Armstrong talks about her obsession with Evan Dando

And I'll finish this off with a YouTube video, Evan Dando performing and getting interviewed on Regis and Kathy Lee.


Thank you for letting me be myself

If you don't recognize the superfreak pictured here, it's probably because you missed last night's Grammy awards, or didn't pay enough attention to the tribute to Sly and the Family Stone. And yes, that is Sly himself in that picture above. Time has not been kind to him I'm afraid. It's like he's a walking anti-drug after-school program. Unlike others I thought the tribute was at least half decent. Joss Stone? Pass on her, but when Fantasia off all people and that random white guy (who indeed has soul) busted out "If You Want Me To Stay," it was pretty amazing. Of course, Maroon 5 killed the tribute with a boring version of "Everyday People." But when Aerosmith played "Higher" with Robert Randolph playing a wailing electric slide, it was again, just too much fun. The shocking moment of course, was when Sly himself came onstage with Aerosmith, and shuffled his way behind a massive looking keyboard behind his tiny frame. I can't tell if he wasn't used to the spotlights, but he was all hunched over like an unwell senior citizen. He then didn't sing, with all the other "tributers" looking really confused, walked to the front of the stage to sing a line, then promptly walked off.

The other big shocker of the night was during Jay-Z and Linkin Park performing their "mash-up" of "Encore." It's probably not the best mashup they recorded, but it was good for the mood. However, when Mike Shinoda sat down at the keyboard and played "Yesterday" and Jay-Z rapped over it, that was pretty cool in a bringing-the-grey-album-to-life kind of way. But when Paul McCartney came out, it just kind of turned hilarious. Between Macca looking confused and Hova tossing in his "yeahs" and "whats" it was simply surreal. Check out the video.

Suprisingly, I thought Kelly Clarkson's performance was extremely touching. She seemed to actually have some genuine emotion and it totally came across in song. She has talent, and was bound to be huge, American Idol or not (I mean, there is that whole thing about her having a manager/career before Idol, and was more or less on her way anyways and made some deal with the show supposedly, but I digress). And this isn't ironic hipster appreciation either. Check out her performance.

And just to wrap it up, how can I not mention an awards show and not mention Kanye West. He indeed had the album of the year that showed off his genius as a pop music master. As much as Jaime Foxx is annoying playing around with Kanye (yes, you have an Oscar, make another decent movie), I cannot deny that Foxx has onstage charisma, just only as a sideman. The best part of the "Gold Digger" performance? Probably when the Broke Phi Broke fraternity came on stage and did the chants from "Late Registration." Check it here.

If you watched the show, leave your thoughts in the comments! Let me know if you thought the Mary J. Blidge and U2 performance was rather tired. Or if you think the overall "Mash-up" theme of the night (two cultures colliding) was about 2 years too late.


Still Ill

Like many others, I've seen the writing on the wall: disco-post-angular-rock whatever you want to call it has passed. And what's next? Seems like it's going to be deep-fried psychedelica.

It seems like a natural second step from the latest trend of "big bands" with usual lineups of 10 to 20 people per group. All those people have got to do something, and if you keep piling sounds on top of each other, you're going to get a big swirling potion that's going to perform some black magic with just one sip.

With the already rabid popularity of the Gris Gris (read my review of "For the Season"), the blueprint for more psychedelica has been laid. Even historically it makes sense... the early sixties gave us the origins of bare-bones thrash rock, which in turn lead to the more expressionistic and free forms of stoner-rock and mind-trip space rock.

If any band is going to be doing the right thing at the right time, it's going to be the Psychic Ills and their first full-length CD Dins. Originally releasing vinyl-only tracks that mutated from duelling drum machines and gritty guitars, Dins finds the band expanding their sonic landscape to encompass far more sounds, manufactured through organic instrument bashing and sound shaping through studio trickery.

Fans of Black Dice and Gang Gang Dance will have no problem grasping this sound, as the overlapping tones easily seduce a willing listener. It will also bring to mind the clasic space rock sound of My Bloody Valentine and Spacemen 3. Or even a less dissonant Sonic Youth.

The thing that I love the most is when the band stretches out into long, rocking periods of jamming that combines driving bass and drums with an interesting hanging guitar part dancing above it all. It's like a fast drive at night, with the windows rolled down and sweet summer air whipping through the car.

The Psychic Ills will be opening for Ariel Pink on February 20 @ the Boat. Go see Psychic Ills, they are guaranteed to put on a better show than Ariel Pink, that's for sure.

Mp3: "Another Day Another Night" from Dins

Mp3: "4am" from Mental Violence II: Diamond City 12"

Mp3: "Killers" from Mental Violence 7"

Village Voice reviews one of their concerts. I think.

Bostonist has a decent Psychic Ills show review.


Prince brings the 'Fury' to SNL

The last time Prince performed on Saturday Night Live was February 1981. And I wasn't born until ten months after that. Now he returns, and is amazing.

Check out his performance of Fury... it's a welcome return to the guitar-shredding that made him famous. There was nothing wrong with his recent jazz/retrospective period, but if this performance means anything, it's that he still nows how to rock a concert, is still an incredible musician, and is an all out showman. Don't believe the rumours that he lip-synched this one.

If you want to watch both performances check it out here.

Saturday Night Live is probably a good example of why I don't bother to have cable in my apartment, except hooked up to my computer, natch. The show is generally lame with unfunny or over-the-hill hosts and just has way too many commercial breaks to be tolerable.

Head over to Stereogum to download an MP3 of the performance.

If you want to check out more from Prince, here's his video for "Backsweat," a single from his new album.

And if you're not familiar with the Chappelle show, click here to see their sketch about Prince playing basketball.


Queen Street Man! Queen Street Man!

Sadly, this video is more or less an accurate depiction of my life these days. Save for the bit about the Drake hotel, which is a little too far west from my favoured 2 or 3 blocks.

But really, you have to love just how spot on the whole thing is... from the subway pins on his sport coat, the iPod, the ironic mustache, and inane cell phone texts (which are the best parts!).

In the course of the day for "Queen Street Man" he wakes up, checks out some graffitti, picks up some "Drake Juice" at the Drake Hotel, picks up both Eye and Now magazines, visits 69 Vintage, and stops in at Rotate This to buy the new Wolf Parade album.

The short was written by Paul Cotton, filmed by Nick M. Lokos, and edited by D. Mullins. I would have originally just thought the whole thing was a student film if it wasn't for the song's soundtrack, which is credited to Toronto's own (and probably Queen Street dwellers) The Tangiers.

In all fairness to Queen Street dwellers like me, this parody could more or less apply to most mid-20s people living west of University. For College Street Man just replace Rotate with Soundscapes. However, College St. West people consider themselves in the "Annex" which people down here on Queen West don't. So maybe there is some truth to this specific Toronto stereotype. I say bring on more of these clips! I want to see Yorkville Man! I want to see Kensington Hippie! I want to see the sequel to this clip, Parkdale Man!

I found the video posted in a stillepost thread, by Greg, who has an excellent blog of his own at Are You Familiar?, which is worth checking out.

And if you know anything about this video, drop me a line, or leave a comment. I'd be curious to check out more about this clip.


New Morrissey track leaked!

Good news for Morrissey fans -- the lead track off Ringleader for the Tormentors, "I will see you in far off places" has been leaked!

Update: The file can now be found here.

This song is pretty amazing. It has a pretty hard and middle-eastern style beat and sound. Morrissey hasn't done a rocking song like this since "Irish Blood, English Heart," and could be a signal that Moz is about to drop one of his most intense albums since Viva Hate.

All heavy rocking and middle-eastern aside, the lyrics themselves are classic Moz. It's full of vitriol and spite, it's smart yet compassionate. Can't wait to hear the rest of this one. Looks like it's set to leak in whole a week from now, according to word on the street.

Lyrics: (my own transcription)

Nobody knows what human life is,
Why we come why we go so why then do I know?
I will see you, I will see you in far off places.

The heart knows why I grieve
And yes one day I will close my eyes forever but
I will see you, I will see you in far off places.

It's so easy for us to sit together
But it's so hard for our hearts to combine, and why?
And why? why? why? why why why why why?

Destiny for some is to save lives
But destiny for some is to end lives but there is no end
And I will see you in far off places.

And if your God bestows protection upon you
And if the USA doesn't bomb you
I believe then I will see you somewhere safe
look into the camera
messing around and pulling faces.


Anagram comes alive "After Dark"

On "After Dark," Anagram sounds like the combination of mixing Red Bull and Vodka: there's the energy boost and the buzz, but then you can't feel your legs.

Well toured and well respected, Anagram doesn't disappoint fans hungry for their hypnotic hyper-rock with their first full length album.

There isn't too much clutter to be found on this disc: just your typical drums, bass, guitar and some keyboard. And their secret weapon, Jeff Schwartz and his saxophone. The tense whine of the sax adds intensity and bleary-eyed disbelief to the band's manic brew.

Singer Matt Mason, known for his wild on-stage presence translates onto this disc as less like a dead-pan Ian Curtis, but more like a young Johnny Cash, paranoid and tripping on acid.

Check out the album if you're a fan of Spacemen 3 or The Stooges, or if you need a soundtrack for your lonely trip to hell.

MP3: Favorite Place from "After Dark"

MP3: You'll Have to Think faster from "After Dark"

MP3: Right Over There from "After Dark"

MP3: The Right Set (Keep It To Yourself) from "Anagram"

MP3: After Dark from "Anagram"

Go to their official website

Check out Dead Astronaut records

Check out the band on Myspace

NOW magazine talks to Matt Mason

Eye magazine reviews After Dark


It's in the drugs

I first got into Low about six years ago when the band first released "Things We Lost in the Fire," an album that gave me solice during my first year of university, away from home for the first time.

Friends of mine and I actually made a road trip to Toronto that year to go see our favorite band, Pedro the Lion, who were on tour opening for Low. We didn't even plan to stay to hear the headliners, because seeing Pedro was enough for us. But once Low started to play, we all stood in a trance, and we couldn't look away from their performance. It was almost like a religious experience.

After that, I picked up TWLITF on vinyl, which itself is pretty amazing. It's a double album, but if you check out the 4th side, instead of music, someone carved the album lyrics right onto the acetate. I remember taking that album to the special collections/music library at Queen's and listening to the album by myself on quiet Saturday afternoons.

During my time performing on campus I've performed my fair share of Low covers by myself or with friends, and have remained devoted to the band through "Trust" and "The Great Destroyer."

I wouldn't consider myself one of those Low fans that only appreciate their first couple of "snore-core" records, "I Could Live in Hope" and "Long Division," even though I consider "The Curtain Hits The Cast" the group at their best.

But it was at the Lee's Palace concert that I remembered how much I really loved Low. And despite the bombast added to "The Great Destroyer," the band seemed to persue sparse versions of the new songs, which suited the band alot better. Except for when they performed "When I Go Deaf," which the explosive second half seemed absolutely perfect. But other new songs, like "Monkey" and "California" were stripped down and really focused on the singing between Alan Sparhawk and Mimi Parker. New bass player Matt Livingston was good, but he didn't pack the dramatic punch that Zak Sally carried with him.

Overall, I was definately satisfied by their show. Of course, they have way too many great songs to be able to play them all in one night. While I did get to hear my favorite Low songs, "Murderer" (from the special Murderer 10 inch) and "In the Drugs" from "Trust," I still would have loved to have heard "Lust" and "Dinosaur Act."

As I have always maintained, Toronto is a Low kind of city. The enthusiasm was high for the band, and seconds after the band came onstage, the entire venue hushed, and all you could hear was the whispering on stage and glasses rattling in the bar at the back. The band even came back to perform a second encore after their concert was finished, peforming not only "Over the Ocean" but also "Lazy," from their first album, and it was simply haunting. From the sounds of it, Low can still do the quiet thing like the pros they have always been.

If you are thinking about checking out Low for yourself, I would suggest checking out "Things We Lost in the Fire" first, and if you like it enough, go for "Trust." At that point, you'd then want to go all the way back to the begininng to "I Could Live in Hope" and just work your way forwards. Because the weather is going to get cold pretty fast, and this is the perfect soundtrack for a lonely winter's night.


Check out my pictures of the Low concert here

MP3: "California" from The Great Destroyer

MP3: "Monkey" from The Great Destroyer

VIDEO: "California" from The Great Destroyer

VIDEO: "Death of a Salesman" from The Great Destroyer

VIDEO: Watch Low rehearse over Christmas

Chromewaves was at the show, and it was cool to chat with the infamous blogger a little bit.

Read Pitchfork's interview with Alan Sparhawk about the cancelled tour and his mental breakdown

If you go to their official website, you can stream a pile of songs.

Find out more about the Low tribute album