The last time I wrote about music on Flying Houses was on July 20, 2010. It was a review of the Pitchfork Festival and it is strangely enough one of the most popular posts on Flying Houses. I felt it was a missed opportunity when I did not review this year's festival--but I only went to Saturday's shows, and felt that something so incomplete should not be included (but to summarize: Cloud Nothings in the driving rain playing 10 minute version of "Wasted Days" = euphoria/horror, 9.3/10; Atlas Sound playing slower songs in heavy torrential rain, Bradford Cox wearing suntan lotion he forgot to rub in, seemingly auditioning for a second career in stand-up comedy = hilarity/boredom and discomfort, 6.7/10; Lotus Plaza in between those two sets, Lockett's dreamy voice floating across the atmosphere through the trees, about two or three songs performed as they should be live = pure abbreviated satisfaction; 8.0/10; Wild Flag opening up with "See No Evil," closing with "Romance," and tearing s*** apart in between = ecstasy, 9.6/10; Sleigh Bells sounding way too eager to please, shouting "F***!" and "S***!" a lot as if exhausted/exhilarated, being way back in the crowd due to later set time and burgeoning popularity of that band = i'd rather be listening at home alone, 5.3/10; leaving before Godspeed You! Black Emperor because I felt that nothing could top Wild Flag, was bored, was tired, was there alone (horrible way to go). In some fantasy world I'll get a job in Chicago and be there next year even though the Bar will be like, one week later, and actually have friends who like indie rock and will enjoy myself more--but in reality, the festival will probably continue to be populated by increasingly obscure bands, with the best moments saved for the rare new acts that happen to be magnificent, like Cloud Nothings.
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Animal Collective played Pitchfork in Summer 2011--the only other year I missed besides 2008, which appeared to be the best line-up of any year, but I digress....I did sort of see Panda Pear at the 2010 Festival while waiting for LCD Soundsystem, but as has been the rumor, live, their band(s) does not seem to inspire excitement, but confusion, delirium, boredom, and incredulity.
It's all hearsay I guess, since I've never made an effort to see them live because of such fears, and because I like listening to their albums over and over just fine. That said, I believe I stated that Merriweather Post Pavilion was the best album of the 2000s (better than Kid A), and that LCD's This is Happening would be remembered as one of the best of the 2010's (even though we are still in the early stages of the decade). Where then, does Centipede Hz. fit in?
I am not going to open myself up to ridicule and claim that this album is better than Merriweather. But I will say that the visual component of this album gives it another dimension that should be taken into account in any review. Now true, most people do not want to put on a 53 minute collection of psychedelic visuals to complement the same 53 minutes of music. You simply have to be on drugs in order to give yourself away to such a meditative exercise. However, it is worth doing at least once. I have done it at least five times, I think.
On the basis of the music alone, I might be inclined to agree with Pitchfork's 7.4/10 assessment of the album, but taking the visuals into account, this album deserves a score in the early 9's. While the visual accompaniment is nothing new, it is a throwback to more innocent times for me. It reminds me of going to see concerts at Irving Plaza ten years ago where, in between sets, the big projector screen would descend, and DJs would play either music videos or random songs with crazy visuals that only made sense on the most esoteric level. This was way better than standing awkwardly for thirty minutes, trying to think of something to say to your friend when you are amidst a spectacle and are curiously bereft of other interesting topics of conversation.
Centipede Hz. is basically made for this--but I have to be honest and admit my suspicion that it is also made especially for stoners. Animal Collective albums have always been "druggy," but this album goes further than any of those and into all-out psychedelia in its visuals. Sometimes they are exhilarating, hilarious, profound, spine-tingling, beautiful, or just awe-inspiring. None of the videos seem professionally shot by the Collective's contemporaries, but rather appear to be pieces of "found footage" with a few self-made lo-fi shots thrown into the mix. There is lots of repetition and sometimes the lyrics reflect the visuals, which is usually when it is most hilarious. Like when there is a lyric about a "See-saw" and you see two horses on a see-saw. Or when darker sounding songs include black-and-white videos that look like they came out of Cold War propaganda, or really sad/scary Disney-type animation. In particular the openings of "Mercury Man," "New Turn Burnout," and "Amanita" just make me very excited for what is about to come.
But every song is good --there are about three great songs, and about four or five really good songs, and a remaining three or four sounds that are only merely good.
This is not as high a percentage as Merriweather, but these two albums are quite different. Merriweather is unabashedly mainstream--or least as mainstream as you can get with Animal Collective. Centipede is the 2nd most mainstream album they have made, and it is the 2nd best album they have made period, in my opinion.
I am sure that other people will claim Feels and Strawberry Jam and even Sung Tongs are better (to say nothing of comparisons to Panda Bear's solo work) but it depends on the kind of person you are, and the kind of mood you are in. If you like your music fast, loud, weird, and thought-provoking--this is your album. However if you like it slower, more contemplative, quieter, potentially pleasant-nap-inducing--surely Feels or Sung Tongs is up your alley (or Panda Bear's albums). If you like an album that's a ridiculous mish-mash from beginning to end but builds to an undeniably mind-blowing mid-album 13 minute two-song suite, then Strawberry Jam is a good option. And obviously if you like hearing highly-polished Animal Collective at their least weird and most poppy, Merriweather is the place to start (as it should be for anyone new to the band).
This is not a perfect album - I fully admit that a few songs I can look away from the visuals and do some reading or something - but most of the time my attention is too closely drawn, and the songs are just too awesome. Particularly great is "Amanita" as a closing number, which, along with "Rosie Oh" and a couple other songs, has at least three distinct "parts" which you can't easily define as a verse or chorus, but that add something new each time so the song evolves, while still keeping its basic rhythm. "Rosie Oh" and "New Town Burnout" are the two Panda Bear songs here, and while I want to say they are the best, I cannot. While they are certainly among the best, you have to include several Avey Tare songs with them that are on just as high (if not a higher) level. "Amanita" is the culmination of everything they do on this album, and in a way, their career.
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The last album reviewed here was on July 8, 2010. It was Wolf Parade's Expo '86, which I praised. That is [probably going to be?] Wolf Parade's last album, as they are now on indefinite hiatus. I do not mind so much because if Handsome Furs and Sunset Rubdown ever toured together, it would become apparent that Wolf Parade is not greater than the sum of their parts.
Another review right before then was This is Happening which most people believe is the final LCD Soundsystem album. I'm not trying to jinx Animal Collective by writing this. I just write reviews of albums when I think they are special, or deserve comment. The visual aspect of this album is what makes it incredible--and song-wise it's not too bad either. But I hope that more bands in the future will take a similar approach to joining video and music--not necessarily in the expected music video format, but something like this. It's true that Sonic Youth did a similar thing with Goo, but those videos are all, distinctly, music videos, usually directed by then-obscure, now-famous directors (Sofia Coppola, Todd Haynes, et. al.) and the album does not hang together as a cohesive whole but just feels like a collection of songs (and even though they're really good songs--the vast majority at least--the effect on the listener-viewer is nothing compared to that of Centipede Hz which is so powerful as to almost totally remove the spectator from reality).
And it is in my humble opinion, that removing the spectator from reality is one of art's highest aims--even if for only an hour, and even if reality must be faced again--these new, dream-like sensations nurture the soul, and may contribute to a person's happiness (if not long term, at least in the short term) and help them find a way to overcome the obstacles that the 2012 daily existence throws in their paths.
Showing posts with label Sleigh Bells. Show all posts
Showing posts with label Sleigh Bells. Show all posts
Tuesday, September 4, 2012
Tuesday, July 20, 2010
Pitchfork Music Festival - July 16-18, 2010 (Redux)
Welcome to my review of the 2010 Pitchfork Festival. I posted this yesterday, but there were many technical difficulties, so I decided to redo it with pictures of every band reviewed.
To be fair, reviews can never be authoritative. There were 54,000 other people there that all had different experiences than me. Due to my own idiosyncrasies, my experience may appear inaccurate, or incorrect, but I will attempt to maintain a subjective stance so when I diss Chicagoans or Pitchfork you will know that not everyone agrees with what I have to say.
Let us begin on Friday, with Liars, the first set I saw.
Liars played a satisfactory set, focusing heavily on material from Sisterworld. I have only seen Liars once before, during the They Were Wrong, So We Drowned tour at a free NYU show in 2004, which interestingly enough, is the only previous concert I have attempted to bootleg--and I have about thirty minutes on my camcorder from that which is so much better than the quality I was able to get out of my digital camera this weekend-- but I digress. Now, Liars are not as much of a "bait and switch" act as they used to be, but I have pretty much the same problem as before. They played material from every album except their debut--and the only songs I really wanted to hear were off their debut. This is basically the problem with every set at Pitchfork. These aren't headlining sets. They're supposed to pick their best or newest songs to play in forty-five minutes. Liars were satisfactory. I have no major complaints beyond not getting to hear "Grown Men Don't Fall in the River Just Like That" or "We Live NE of Compton."
Broken Social Scene was the next band I saw, after getting a couple beers and glancing briefly at the Comedy Stage, where someone was doing a bit about Medieval Times, as if no one had heard of it before. I read in the Tribune's review of the fest that Michael Showalter apparently abandoned his set early? I am sure it wasn't as dramatic as they made that seem---but I kind of get it. The denizens of the Pitchfork fest are notoriously snobby and sarcastic and unable to be impressed. I mean, indie rock fans in general are just moody and quiet, not given to loud, boisterous, stupid laughter. So I can understand why some comedians might have felt they were not "killing it" or getting huge audience reactions. I did hear some laughs, and it actually did look like a nice place to spend the evening, with everyone sitting down, looking relaxed. Two beers, ten bucks, a cigarette, a seat for a few minutes, a couple pages of my new book about the life of Ernest Hemingway, and then BSS.
To be fair, reviews can never be authoritative. There were 54,000 other people there that all had different experiences than me. Due to my own idiosyncrasies, my experience may appear inaccurate, or incorrect, but I will attempt to maintain a subjective stance so when I diss Chicagoans or Pitchfork you will know that not everyone agrees with what I have to say.
Let us begin on Friday, with Liars, the first set I saw.
Liars played a satisfactory set, focusing heavily on material from Sisterworld. I have only seen Liars once before, during the They Were Wrong, So We Drowned tour at a free NYU show in 2004, which interestingly enough, is the only previous concert I have attempted to bootleg--and I have about thirty minutes on my camcorder from that which is so much better than the quality I was able to get out of my digital camera this weekend-- but I digress. Now, Liars are not as much of a "bait and switch" act as they used to be, but I have pretty much the same problem as before. They played material from every album except their debut--and the only songs I really wanted to hear were off their debut. This is basically the problem with every set at Pitchfork. These aren't headlining sets. They're supposed to pick their best or newest songs to play in forty-five minutes. Liars were satisfactory. I have no major complaints beyond not getting to hear "Grown Men Don't Fall in the River Just Like That" or "We Live NE of Compton."
Broken Social Scene was the next band I saw, after getting a couple beers and glancing briefly at the Comedy Stage, where someone was doing a bit about Medieval Times, as if no one had heard of it before. I read in the Tribune's review of the fest that Michael Showalter apparently abandoned his set early? I am sure it wasn't as dramatic as they made that seem---but I kind of get it. The denizens of the Pitchfork fest are notoriously snobby and sarcastic and unable to be impressed. I mean, indie rock fans in general are just moody and quiet, not given to loud, boisterous, stupid laughter. So I can understand why some comedians might have felt they were not "killing it" or getting huge audience reactions. I did hear some laughs, and it actually did look like a nice place to spend the evening, with everyone sitting down, looking relaxed. Two beers, ten bucks, a cigarette, a seat for a few minutes, a couple pages of my new book about the life of Ernest Hemingway, and then BSS.They opened with "World Sick" and didn't play the last three minutes of that song, which was a good move. Their second song was "Stars and Sons," which had a few variations and reminded me of seeing BSS play Pitchfork in 2005, where they put in one of the best sets of the then 2-day Intonation Festival (only Les Savy Fav remains fonder in my memory). They played "Superconnected" and "Shoreline" and "Forced to Love" and "Ungrateful Little Father" and "Cause = Time" and "All to All" --but no "Chase Scene." That would have ruled. They did close with "Meet Me in the Basement" which Kevin Drew introduced by saying it was their "killer anthem." I thought they were going to play "It's All Gonna Break," but they proved my point about "Basement" being the best song on Forgiveness Rock Record--if only it had words. This definitely wasn't one of the greatest highlights of the weekend, but BSS continue to grow in popularity and people seemed very happy here.
For Modest Mouse, I went to the bathroom and then got a couple more beers. I could not get a good spot. They opened up with "Tiny Cities Made of Ashes" while I was in line for beer and I was all upset that I was missing it. They played a few new songs, which sounded okay, but I do miss Johnny Marr being in the band. They played what you would expect them to play--thankfully avoiding "Float On." A solid set, but I did not have the best spot. Much more engaging than Built to Spill, who played at the same position last year. "Dashboard" was a particular highlight, and everyone around me was dancing and getting crazy and having fun even though we weren't very close to the stage and that made it a bit more fun for me.
The next day I came around 1:3o in the afternoon and saw Free Energy from a distance and didn't really think it was worth it to try to get closer. Their set was almost over, and I decided to give Real Estate a try. Now, I love Sunny Day Real Estate, but I have never heard Real Estate before, and they are perfectly fine. They are no SDRE, that is for sure, but they don't aspire towards that. They're pretty mellow, but sometimes they get a little loud and fast. They're from New Jersey, unpretentious, and winsome. If there were any new album I would get from a band I saw, it would be theirs. Or the new Titus Andronicus.
I have never seen Titus before, but people were way into them. Like, they seemed to have more fans than a band of their years should rightfully have. It seems like they have a bright future. I have The Airing of Grievances on my iPod, and I like it fine. I've never heard The Monitor, but judging from the sound of the set, I would guess most of those songs sound similar to their previous album, whether concept or not. The set was fun for everyone. Patrick Stickles came on saying "Let's have the best afternoon of our lives!" And they tore through everything. There weren't any laid back songs. I put this in the second category of sets from this weekend. It wasn't an absolute can't miss highlight, but it was a damn good show, and I'd see them again on the basis of it.
Now we get to the depressing part of the story. Here is a picture of Raekwon.
I was waiting for Wolf Parade during Raekwon's set. I sat indian-style and dozed, leaning forward, bad posture. Raekwon started late, there was all of that endless "pumping up" prevalent at hip-hop shows, which led me to a realization: I don't like bands that force you to participate. Like, Kevin Drew, at Broken Social Scene, was like, "Everybody scream so you know you are alive!" Maybe I am being a sourpuss but I'll sing along if I like your lyrics enough. I don't know any Raekwon songs, but it was a relatively painless experience, though the weekend was about to get really depressing.
For Modest Mouse, I went to the bathroom and then got a couple more beers. I could not get a good spot. They opened up with "Tiny Cities Made of Ashes" while I was in line for beer and I was all upset that I was missing it. They played a few new songs, which sounded okay, but I do miss Johnny Marr being in the band. They played what you would expect them to play--thankfully avoiding "Float On." A solid set, but I did not have the best spot. Much more engaging than Built to Spill, who played at the same position last year. "Dashboard" was a particular highlight, and everyone around me was dancing and getting crazy and having fun even though we weren't very close to the stage and that made it a bit more fun for me.
The next day I came around 1:3o in the afternoon and saw Free Energy from a distance and didn't really think it was worth it to try to get closer. Their set was almost over, and I decided to give Real Estate a try. Now, I love Sunny Day Real Estate, but I have never heard Real Estate before, and they are perfectly fine. They are no SDRE, that is for sure, but they don't aspire towards that. They're pretty mellow, but sometimes they get a little loud and fast. They're from New Jersey, unpretentious, and winsome. If there were any new album I would get from a band I saw, it would be theirs. Or the new Titus Andronicus.
I have never seen Titus before, but people were way into them. Like, they seemed to have more fans than a band of their years should rightfully have. It seems like they have a bright future. I have The Airing of Grievances on my iPod, and I like it fine. I've never heard The Monitor, but judging from the sound of the set, I would guess most of those songs sound similar to their previous album, whether concept or not. The set was fun for everyone. Patrick Stickles came on saying "Let's have the best afternoon of our lives!" And they tore through everything. There weren't any laid back songs. I put this in the second category of sets from this weekend. It wasn't an absolute can't miss highlight, but it was a damn good show, and I'd see them again on the basis of it.Now we get to the depressing part of the story. Here is a picture of Raekwon.
I was waiting for Wolf Parade during Raekwon's set. I sat indian-style and dozed, leaning forward, bad posture. Raekwon started late, there was all of that endless "pumping up" prevalent at hip-hop shows, which led me to a realization: I don't like bands that force you to participate. Like, Kevin Drew, at Broken Social Scene, was like, "Everybody scream so you know you are alive!" Maybe I am being a sourpuss but I'll sing along if I like your lyrics enough. I don't know any Raekwon songs, but it was a relatively painless experience, though the weekend was about to get really depressing.But not before getting really awesome with the Wolf Parade set!
It was difficult to wait 50 minutes in between Raekwon and Wolf Parade, and to listen to Jon Spencer Blues Explosion play at the other stage. They seemed to be going totally crazy. But the wait was worth it, the spot was worth it, and the band played a fantastic set. It was my second time seeing them and this time it was much better. I just had chills running up and down my spine the whole time--the opener "Cloud Shadow on the Mountain," the crowd-pleasing "Dear Sons and Daughters of Hungry Ghosts" and "I'll Believe in Anything" and "This Heart's on Fire." A particular note about this set: my previous post about Expo '86 asserts that Spencer Krug (and to a lesser extent Dan Boeckner) have mind-reading abilities, and Spencer set up directly in front of me with his keyboard and seemed to make eye contact with me a couple times which made me swoon. My point is this: after a few songs, I started thinking that they had read my review on this blog, and tailored their setlist to make some kind of point. I know that's not what happened---but witness the first two songs they played--"Cloud Shadow.." and "Soldier's Grin"--which I mention the opening parts of in comparison to a Sunset Rubdown album opener--and witness the argument about which is the better closing track, "This Heart's on Fire" or "Cave-O-Sapien," which they played back-to-back--and witness Boeckner choosing to play "Ghost Pressure" instead of "Pobody's Nerfect" which I would have preferred reversed, but proved to me "Ghost..." is a good song too. The only thing I would have liked to hear would have been "California Dreamer" or "Grounds for Divorce" or "You are a Runner..."--but those are all Spencer songs, and he seemed to sing more as it was.
Here is Dan Boeckner, playing "Little Golden Age," I think, which was also prescient.
Spencer has long hair now and is less shy than in the past, it seems.
Now we get to the sad part.
You can see Panda Bear in the back right of that picture. He was playing his set, and we were waiting for LCD Soundsystem. It wasn't that long of a wait, really, just over an hour, but it was a very long hour. I have decided that I am going to leave my previous post up because this is taking way too long to write two reviews. You will be able to read there about the crowd-surfing annoying me, the six square inch space to stand within, the inability to move, or sit, but I did not mention the pot smoking this weekend. More than in the past, EVERYONE around me was smoking pot, smoking cigarettes, and drinking gallon water jugs. It made me jealous, and it made me realize why people have negative opinions of music festivals.
It was difficult to wait 50 minutes in between Raekwon and Wolf Parade, and to listen to Jon Spencer Blues Explosion play at the other stage. They seemed to be going totally crazy. But the wait was worth it, the spot was worth it, and the band played a fantastic set. It was my second time seeing them and this time it was much better. I just had chills running up and down my spine the whole time--the opener "Cloud Shadow on the Mountain," the crowd-pleasing "Dear Sons and Daughters of Hungry Ghosts" and "I'll Believe in Anything" and "This Heart's on Fire." A particular note about this set: my previous post about Expo '86 asserts that Spencer Krug (and to a lesser extent Dan Boeckner) have mind-reading abilities, and Spencer set up directly in front of me with his keyboard and seemed to make eye contact with me a couple times which made me swoon. My point is this: after a few songs, I started thinking that they had read my review on this blog, and tailored their setlist to make some kind of point. I know that's not what happened---but witness the first two songs they played--"Cloud Shadow.." and "Soldier's Grin"--which I mention the opening parts of in comparison to a Sunset Rubdown album opener--and witness the argument about which is the better closing track, "This Heart's on Fire" or "Cave-O-Sapien," which they played back-to-back--and witness Boeckner choosing to play "Ghost Pressure" instead of "Pobody's Nerfect" which I would have preferred reversed, but proved to me "Ghost..." is a good song too. The only thing I would have liked to hear would have been "California Dreamer" or "Grounds for Divorce" or "You are a Runner..."--but those are all Spencer songs, and he seemed to sing more as it was.Here is Dan Boeckner, playing "Little Golden Age," I think, which was also prescient.
Spencer has long hair now and is less shy than in the past, it seems.
Now we get to the sad part.
You can see Panda Bear in the back right of that picture. He was playing his set, and we were waiting for LCD Soundsystem. It wasn't that long of a wait, really, just over an hour, but it was a very long hour. I have decided that I am going to leave my previous post up because this is taking way too long to write two reviews. You will be able to read there about the crowd-surfing annoying me, the six square inch space to stand within, the inability to move, or sit, but I did not mention the pot smoking this weekend. More than in the past, EVERYONE around me was smoking pot, smoking cigarettes, and drinking gallon water jugs. It made me jealous, and it made me realize why people have negative opinions of music festivals. I didn't mention the girl who LOVED Panda Bear, and was standing nearby me, waiting for LCD. She screamed about how beautiful he was and how she wanted to have his babies, and she started freaking out during the second song he played. Now, I have not heard that song before, which made me think it will be something off Tomboy, and that song sounded really awesome. But that was it. If you read the other post, you will hear about the kid who said "Animal Collective was the worst experience of my life." And you will hear about how LCD was the worst experience of my life.
See! I was actually pretty close! But I was in significant trouble. Their setlist was almost perfect. "Us V Them," "Drunk Girls," "Pow Pow," "Daft Punk is Playing at My House," "All My Friends," "Trials and Tribulations," and "Movement." I lasted through all of those, and during "Yeah" I couldn't take it anymore. I left, and then heard "Someone Great" and "Losing My Edge" (which was the most crestfallen moment of the weekend for me) as I exited the grounds. They also played "New York, I Love You...." apparently, but who knows if they did the whole "Empire State of Mind" medley. James Murphy turned in an excellent performance, but he did not pay attention to the welfare of the "happy" people in front. Granted, everyone was happy, and only about three or four people in front of me left before I did. But I hated that crowd-surfing, and I hated not being able to move one way or another, and the sweat started to become too much for me tolerate. But like I said, it wasn't even the atmosphere of the set that bothered me so much, but WALKING OUT OF IT, which was like some horror-show obstacle course.
See! I was actually pretty close! But I was in significant trouble. Their setlist was almost perfect. "Us V Them," "Drunk Girls," "Pow Pow," "Daft Punk is Playing at My House," "All My Friends," "Trials and Tribulations," and "Movement." I lasted through all of those, and during "Yeah" I couldn't take it anymore. I left, and then heard "Someone Great" and "Losing My Edge" (which was the most crestfallen moment of the weekend for me) as I exited the grounds. They also played "New York, I Love You...." apparently, but who knows if they did the whole "Empire State of Mind" medley. James Murphy turned in an excellent performance, but he did not pay attention to the welfare of the "happy" people in front. Granted, everyone was happy, and only about three or four people in front of me left before I did. But I hated that crowd-surfing, and I hated not being able to move one way or another, and the sweat started to become too much for me tolerate. But like I said, it wasn't even the atmosphere of the set that bothered me so much, but WALKING OUT OF IT, which was like some horror-show obstacle course.
Still, by most accounts, this was highlight of the weekend.
After painful memories of Saturday, I resolved to change my approach on Sunday. I had a couple Stella Artois before leaving Old Town and hitting the El, and that may have made the earlier part of the day better.
Girls were the first band I saw Sunday, overall it was a very good time. I wasn't very close to the stage, but the sound was decent, and I got to see the cool noise jam between "Hellhole Ratrace" and "Morning Light," which was definitely an homage to MBV's "You Made Me Realise." They ended their set with "Big Bad Mean Motherfucker" which sounded good too, though I had already left for the beer line. 
I waited until 4:45 to see Surfer Blood. I don't think there was any other band that I was looking forward to seeing as much as them. Just because I got more into their album than any other new album this year.
They opened up with "Fast Jabroni," which ruled, but no one crowd-surfed or went crazy or anything. My thoughts of their entire set may be read in the previous post, but let me just add that they seemed, restrained in some way. Still, a great setlist, with "Floating Vibes," "Take it Easy," "Swim," "Anchorage," "Twin Peak," "Harmonix," their new song "I'm not Ready," and the one thing I forgot to mention: "Catholic Pagans." Now, this is a good song. But on the album I don't go too crazy for it. This was the only song that sounded way better live than on the album. They made it heavier and it was cooler.
Neon Indian followed Here We Go Magic, who followed Surfer Blood. I sat and dozed during Here We Go Magic. They sounded okay. But I have a negative opionion of a girl I used to know who was into Here We Go Magic like back in February, so I don't need to see them. They did sound okay, to be fair. But I was tired. Neon Indian changed that.
They played almost everything off Psychic Chasms and "Sleep Paralysis," which was my first time hearing it, but I knew what it was ("No sleep! No sleep!") and it made me dance. Overall, I have to say "Terminally Chill" and "Ephemeral Artery," the two songs they played on Late Night with Jimmy Fallon months ago, the first time I became aware of their live presence, were the highlights. But they opened up with "Local Joke" and that was cool. They suggested some audience participation for "Deadbeat Summer" and it was the only time I didn't find that sort of thing corny. This was definitely one of the can't miss highlights of the weekend, one of the best atmospheres.
Before Pavement there was Sleigh Bells.
There was this Asian kid standing with his girlfriend next to me and he just kind of annoyed me with all of his talk about how hot the singer in Sleigh Bells is and how she is a school teacher and how he wondered if maybe she was the sort of teacher to hit on her boy students--now granted, there is a lot of random eavesdropping at music festivals, but this kid, and some other kids around me, actually, were just talking about how Sleigh Bells were going to be the best set of the day, and how no one even came close, and how they had no qualms about missing a good spot for Pavement, and it just annoyed me. I like Sleigh Bells, don't get me wrong! But there's more than a little hype to them. At first I couldn't figure out who to compare them to. Then I realized they sound like a rockier version of Crystal Castles. Their singer is pretty cute, and she does have a certain presence onstage, but without all of the vocal modulation on the album, she sounds a bit pedestrian. But she does know how to stir up the crowd.
I left after two songs. Because Pavement rules.
Malkmus said something about how he lost his voice for a moment, but overall, their execution was good. There was a radio shock-jock DJ who is also on the Slow Century DVD introducing the band. It was funny to see him in person. He talked for like 15 minutes about Q101 and the "original alternative nation" and trying to "break" Pavement and all this weird crap, like you couldn't tell if he was being really sarcastic or not, but obviously he is way into the band. They opened with "Cut Your Hair" and then played, oh what can I remember, "Kennel District" second? "Silence Kit," which was nice. "Stop Breathing" and "Stereo," which were a bit altered. "Shady Lane," obviously. "Range Life" and "Unfair." I guess that's a lot of stuff off Crooked Rain. "Range Life" was a great moment, when Malkmus said, "Out on tour with Chicago's Pumpkins" and the crowd screamed. Playing "The Hexx" as the last song of the festival was also a pretty badass thing to do. But as previously mentioned, I thought an encore was coming, and it was not.
If you have never been the Pitchfork festival, I'm sorry, but now too many people go and it's kind of a claustrophobic experience. That said I still recommend it over Lollapalooza any year.
After painful memories of Saturday, I resolved to change my approach on Sunday. I had a couple Stella Artois before leaving Old Town and hitting the El, and that may have made the earlier part of the day better.
Girls were the first band I saw Sunday, overall it was a very good time. I wasn't very close to the stage, but the sound was decent, and I got to see the cool noise jam between "Hellhole Ratrace" and "Morning Light," which was definitely an homage to MBV's "You Made Me Realise." They ended their set with "Big Bad Mean Motherfucker" which sounded good too, though I had already left for the beer line.
Note that I only spent $40 on beer this weekend. 20 tickets, twice. 8 beers. Heinekens mainly.
I also got to hear "Lust for Life," so even though I missed almost half of their set, I saw everything I wanted.
Here is a slightly-zoomed in photo of Girls.
Here is a slightly-zoomed in photo of Girls.
I waited until 4:45 to see Surfer Blood. I don't think there was any other band that I was looking forward to seeing as much as them. Just because I got more into their album than any other new album this year.
They opened up with "Fast Jabroni," which ruled, but no one crowd-surfed or went crazy or anything. My thoughts of their entire set may be read in the previous post, but let me just add that they seemed, restrained in some way. Still, a great setlist, with "Floating Vibes," "Take it Easy," "Swim," "Anchorage," "Twin Peak," "Harmonix," their new song "I'm not Ready," and the one thing I forgot to mention: "Catholic Pagans." Now, this is a good song. But on the album I don't go too crazy for it. This was the only song that sounded way better live than on the album. They made it heavier and it was cooler.
Neon Indian followed Here We Go Magic, who followed Surfer Blood. I sat and dozed during Here We Go Magic. They sounded okay. But I have a negative opionion of a girl I used to know who was into Here We Go Magic like back in February, so I don't need to see them. They did sound okay, to be fair. But I was tired. Neon Indian changed that.
They played almost everything off Psychic Chasms and "Sleep Paralysis," which was my first time hearing it, but I knew what it was ("No sleep! No sleep!") and it made me dance. Overall, I have to say "Terminally Chill" and "Ephemeral Artery," the two songs they played on Late Night with Jimmy Fallon months ago, the first time I became aware of their live presence, were the highlights. But they opened up with "Local Joke" and that was cool. They suggested some audience participation for "Deadbeat Summer" and it was the only time I didn't find that sort of thing corny. This was definitely one of the can't miss highlights of the weekend, one of the best atmospheres.Before Pavement there was Sleigh Bells.
There was this Asian kid standing with his girlfriend next to me and he just kind of annoyed me with all of his talk about how hot the singer in Sleigh Bells is and how she is a school teacher and how he wondered if maybe she was the sort of teacher to hit on her boy students--now granted, there is a lot of random eavesdropping at music festivals, but this kid, and some other kids around me, actually, were just talking about how Sleigh Bells were going to be the best set of the day, and how no one even came close, and how they had no qualms about missing a good spot for Pavement, and it just annoyed me. I like Sleigh Bells, don't get me wrong! But there's more than a little hype to them. At first I couldn't figure out who to compare them to. Then I realized they sound like a rockier version of Crystal Castles. Their singer is pretty cute, and she does have a certain presence onstage, but without all of the vocal modulation on the album, she sounds a bit pedestrian. But she does know how to stir up the crowd.I left after two songs. Because Pavement rules.
Malkmus said something about how he lost his voice for a moment, but overall, their execution was good. There was a radio shock-jock DJ who is also on the Slow Century DVD introducing the band. It was funny to see him in person. He talked for like 15 minutes about Q101 and the "original alternative nation" and trying to "break" Pavement and all this weird crap, like you couldn't tell if he was being really sarcastic or not, but obviously he is way into the band. They opened with "Cut Your Hair" and then played, oh what can I remember, "Kennel District" second? "Silence Kit," which was nice. "Stop Breathing" and "Stereo," which were a bit altered. "Shady Lane," obviously. "Range Life" and "Unfair." I guess that's a lot of stuff off Crooked Rain. "Range Life" was a great moment, when Malkmus said, "Out on tour with Chicago's Pumpkins" and the crowd screamed. Playing "The Hexx" as the last song of the festival was also a pretty badass thing to do. But as previously mentioned, I thought an encore was coming, and it was not.
If you have never been the Pitchfork festival, I'm sorry, but now too many people go and it's kind of a claustrophobic experience. That said I still recommend it over Lollapalooza any year. Monday, July 19, 2010
Pitchfork Music Festival 2010 - July 16-18, 2010
Welcome to what will surely be one of the longest posts ever on Flying Houses--and certainly the most technological: my review of the Pitchfork festival. To be fair, reviews themselves can never be authoritative. There were 54,000 other people there that all had different experiences than me. Due to my own idiosyncrasies, my experience may appear inaccurate, or incorrect, but I will attempt to maintain a subjective stance so when I diss Pitchfork or Chicagoans you will know that not everyone agrees with everything I have to say.
Liars played a satisfactory set, focusing heavily on material from Sisterworld. I have only seen Liars once before, during the They Were Wrong, So We Drowned tour at a free NYU show, which, interestingly enough, is the only previous concert that I have attempted to bootleg--and I have about 30 minutes on my camcorder from that which is so much better than the quality I was able to get out of my digital camera this weekend--but I digress. Now, Liars are not as much of a "bait and switch" act as they were in 2004, but I have pretty much the same problem with them. They played material from every album except their debut--and the only songs I really wanted to hear were off their debut. This is basically the problem with every set at Pitchfork. These aren't headlining sets. They're supposed to pick their best songs to play in 45 minutes, or newest songs, whatever. Liars were satisfactory. I have no major complaints beyond not getting to hear "Grown Men Don't Fall in the River Just Like That" or "We Live NE of Compton."
They opened with "World Sick," didn't play the last three minutes of that song, and then went into "Stars and Sons." Now, when they played this, it reminded me of seeing Broken Social Scene at the Pitchfork fest in 2005. I had a serious deja vu moment, and realized Broken Social Scene were way better back then. No offense--if you read my review of Forgiveness Rock Record, you'll know I still thought they'd be a good live band, and for the most part, they were. They played a bunch of their hits ("Cause = Time," "Superconnected," "Shoreline") which made me think they consider S/T their best work. Then they ended with "Meet Me in the Basement" which re-affirmed my belief that it would be the best song on the new album if it had words. In general, a weaker performance than I've seen in the past from them, but I'm sure no one else was disappointed.
I seem to be having a difficult time adding pictures to this post. So I will stop with them. Only videos from here on in. Here are the two last pictures that were such a pain in the ass to move.
One is of Real Estate and the other is of Titus Andronicus. Both are from New Jersey
I would add a video of Titus Andronicus, but the Broken Social Scene one is taking forever. I guess I am learning lessons about utilizing technology, massive file sizes for upload. Real Estate was the first band I saw on Saturday. I did not know any of their songs. And I still do not know any of their songs, but they won me over. They were unpretentious, vaguely interesting, and skilled. Titus Andronicus, however, definitely won me over. I have not heard The Monitor (only The Airing of Grievances) but from the sound of their set, most of their songs sound the same. They always get bombastic, and Patrick Stickles always loses it. I was surprised by how dedicated their fan base is. They are a relatively new band, and for so many people to be so into them, well I think they have a bright future.
Then I had my horrible idea about camping out for a good spot for Wolf Parade. The camp out in this moment was not that bad, when I was sitting down indian-style during the Raekwon set, dozing. It was brutal when Raekwon ended, and it was time to get up, and it was time to stake out a position close to the stage for Wolf Parade, and it was time to wait the entire 50 minutes of the Jon Spencer Blues Explosion set, which sounded awesome and which I regret missing in retrospect. Then, Wolf Parade started.
I had a cool video of "Cloud Shadow on the Mountain" which was their opening song, but this video upload is not cool. Of all the sets I saw all weekend, I have to say Wolf Parade was my single favorite. It was probably because the spot in the crowd was pretty good, and because they just brought it. I only saw Wolf Parade once before, but this was a much better show. Their setlist was impeccable. The only thing that hampered my enjoyment was the crowd-surfing, which made "Cave-O-Sapien" more nerve-wracking than blissful.
Then we get to the reason why Saturday was so bad for me, which was LCD Soundsystem. Now, I love LCD Soundsystem. But so do a whole lot of other people. I planned to stand in place to wait for them, while Panda Bear played at the other stage. I heard some kid say, "Don't go see Panda Bear. I saw Animal Collective last year and it was the worst experience of my life." Well kid, what happened to me at LCD Soundsystem was probably not the worst experience of my life, but one of them.
It was the crowd dispersal after Wolf Parade, which did not happen. Everybody who was close for Wolf Parade had the same idea as me. Wait for LCD, and have a good spot. What a mistake! I should have known when Panda Bear started, and everyone around me sat down, except for the people that didn't have room to sit down, one of which was me. I stood on my tiptoes to try to see some of Panda Bear, and I felt wobbly and felt like I might fall on someone. It was terrible. There were six square inches within which I could stand, and I could not change my position, and I panicked and eventually, someone behind me stood up, which allowed me to sit down briefly. Panda Bear's set did not sound that exciting, but I still expect Tomboy to be really awesome.
LCD came on, after much anticipation from everyone around me, since we were all so miserably packed together. Something else happened that annoyed me: during Wolf Parade, someone had moved the garbage can close to the stage, and people were jumping off it to crowd-surf, which made me have to keep glancing back to make sure I wasn't about to be kicked in the head. Someone sat on the garbage can to wait for LCD, and it seemed like a very nice spot to have. Later, people would get up on it and dance during the set, also causing nervousness from me. At one point my calves were brushing up against the plastic bag attached to the front of it, and there was no way to get away from it, and I thought, wow, this is really a terrible spot to have. Later there was a bit of pushing and I did get away. I did not have fun at LCD. I wanted to have fun, but I did not. "US v Them," "Drunk Girls," "Pow Pow," "All My Friends..." --the performance was fantastic. I have no complaints about the performance. Only my experience. "All My Friends" was particularly ironic, as everyone seemed to think this was the apex of the weekend, and it was the point at which I broke and decided I couldn't stay. "Daft Punk is Playing at My House" caused crowd-surfing again, and the only time I got kicked in the head, it was incredibly gentle. But I was sweating horribly. I had to leave.
And leaving, was one of the worst experiences of my life. Because everyone was there. And packed deep. Once I thought I was out of the woods, there were more people to get around. And it would absolutely amaze me how stupid people were, they they wouldn't move aside to let me leave--and that even some of them would look at me like I was getting in their way and make a face at me like I was so disgusting for sweating that much. They played "Someone Great" and I was like, "Wow, I'm glad that I left!" and then they played "Losing My Edge" later, which I could hear from the El platform, and I was very upset because it's one of my favorite songs ever.
The next day I resolved to not be so crazy about getting the best possible spot. I saw Girls first, and they were excellent. I had a cool video that showed the noise jam as a segue between "Hellhole Ratrace" and "Morning Light," but now I think I'm even going to cancel the BSS video because it's still uploading! Girls were excellent and I should have bought their t-shirt, but I only saw the last twenty or thirty minutes of their set.
I was very excited for Surfer Blood. I had to wait through some of Local Natives, which marked my first stop at the Connector Stage, which was probably the place to be all weekend. I had a good time Sunday hanging out there most of the day. Surfer Blood played an excellent set, including a new song called "I'm Not Ready," which was similar to stuff off Astro Coast. I did feel vaguely disappointed, as if it could have been louder, or angrier, or something. Basically, let me say this: I still love Surfer Blood, but on record, their execution is so flawless that in person, they inevitably could not live up to themselves. They did change the line "You and me/could it be meant to be?" to "You and me/it's fucking anarchy," but I still felt they were too nice and seemed a bit more like Vampire Weekend Jr. than the Dinosaur one.
Neon Indian is probably the opposite of Surfer Blood. Psychic Chasms may be a very good album, but I prefer Astro Coast for air-guitar purposes. But, while Surfer Blood could not quite match the sound of their album (it is perhaps worth noting that Liars could not do that with Sisterworld either), Neon Indian exceeded all expectations. Their live show is better than their album. They have so many gadgets. And Alan Palomo is a magnetic performer. They had a great spot on the schedule, warming up the crowd for the big finale, and they did an almost perfect job.
Sleigh Bells came after, and they were okay. I like them. But I only stayed for two songs and then went to Pavement.
Pavement was everything I hoped it would be, but no more. If you look at the tracklist of Quarantine the Past you can pretty much guess their setlist. There were maybe three surprises ("Debris Slide" and "Kennel District" and "The Hexx"). "Stereo" and "Stop Breathing" featured some variations that made it more interesting. I had a spot very far back, and I wished I could have been at the front for "Conduit for Sale!" (definitely the best moment of the set), and I feel I belonged at the front where everyone knows every lyric and sings every lyric and you don't feel like a loser if you're singing along, but I learned this weekend that sometimes the dedication required to have that sort of concert experience isn't always worth it. Pavement was good, but I would have liked to hear "Carrot Rope" or "Speak, See, Remember" or "AT&T" or "Flux = Rad" or "Fight this Generation." But we can't have sets tailored to our specifications.
I did want to say this, before the final rankings: I saw Superchunk on June 20, 2010 at the Taste of Randolph. I had ten times more fun during Superchunk than I did during any single set at Pitchfork, with Wolf Parade the only one even coming close. Pitchfork is too crowded now. It's been happening slowly, but they finally reach their critical mass this year. They did do a good job with the water. They handed it out for free, thinking of the people that camped, and they cut the price drastically as the weekend went on. They need to work on crowd control though. If everyone at LCD had taken two or three steps back, I probably could have stayed. But James Murphy is not Ian Mackaye. The people there were still cool in general, but it just seemed more unbearable for me this time.
How about we end the story with the way it ended, when I left Pavement, after waiting for an encore that looked like it would happen and then didn't (no "Summer Babe?"), and when I tried to get home. The El had a line down the stairs, out the exit, and the platforms were jam-packed. I was not going to wait 15 minutes to move inside the staircase. I kept walking north, at 300 N needing to get to 1600 N, with a huge group of concert-goers. The bus came, but I could not get on it because it did not stop because it was too full. I finally got a cab coming off one of the sidestreets, and I felt like he took an indirect route. When it was over, I was glad. However, I was looking forward to my totally awesome blog post with all those videos in it, and now it won't happen.
I still recommend anyone go to Pitchfork over Lollapalooza. But I don't recommend camping out for a good spot, and I don't recommend going alone.
Liars: 7/10
Broken Social Scene: 7/10
Modest Mouse: 7/10 (not written, but not worth describing said experience)
Real Estate: 7/10
Titus Andronicus: 8/10
Wolf Parade: 9/10
LCD Soundsystem: (Performance: 9/10; Experience: 1/10)
Girls: 8/10
Surfer Blood: 7.5/10
Neon Indian: 9/10
Sleigh Bells: 8/10
Pavement: 8.8/10
Let us begin on Friday, with the Liars, the first set I saw.
(clip review: I had a clip of "Scissor" that was longer, but I felt this was one of the most crisp video images I was able to capture, short and sweet as it is)
Liars played a satisfactory set, focusing heavily on material from Sisterworld. I have only seen Liars once before, during the They Were Wrong, So We Drowned tour at a free NYU show, which, interestingly enough, is the only previous concert that I have attempted to bootleg--and I have about 30 minutes on my camcorder from that which is so much better than the quality I was able to get out of my digital camera this weekend--but I digress. Now, Liars are not as much of a "bait and switch" act as they were in 2004, but I have pretty much the same problem with them. They played material from every album except their debut--and the only songs I really wanted to hear were off their debut. This is basically the problem with every set at Pitchfork. These aren't headlining sets. They're supposed to pick their best songs to play in 45 minutes, or newest songs, whatever. Liars were satisfactory. I have no major complaints beyond not getting to hear "Grown Men Don't Fall in the River Just Like That" or "We Live NE of Compton."They opened with "World Sick," didn't play the last three minutes of that song, and then went into "Stars and Sons." Now, when they played this, it reminded me of seeing Broken Social Scene at the Pitchfork fest in 2005. I had a serious deja vu moment, and realized Broken Social Scene were way better back then. No offense--if you read my review of Forgiveness Rock Record, you'll know I still thought they'd be a good live band, and for the most part, they were. They played a bunch of their hits ("Cause = Time," "Superconnected," "Shoreline") which made me think they consider S/T their best work. Then they ended with "Meet Me in the Basement" which re-affirmed my belief that it would be the best song on the new album if it had words. In general, a weaker performance than I've seen in the past from them, but I'm sure no one else was disappointed.
I seem to be having a difficult time adding pictures to this post. So I will stop with them. Only videos from here on in. Here are the two last pictures that were such a pain in the ass to move.
One is of Real Estate and the other is of Titus Andronicus. Both are from New Jersey
I would add a video of Titus Andronicus, but the Broken Social Scene one is taking forever. I guess I am learning lessons about utilizing technology, massive file sizes for upload. Real Estate was the first band I saw on Saturday. I did not know any of their songs. And I still do not know any of their songs, but they won me over. They were unpretentious, vaguely interesting, and skilled. Titus Andronicus, however, definitely won me over. I have not heard The Monitor (only The Airing of Grievances) but from the sound of their set, most of their songs sound the same. They always get bombastic, and Patrick Stickles always loses it. I was surprised by how dedicated their fan base is. They are a relatively new band, and for so many people to be so into them, well I think they have a bright future.
Then I had my horrible idea about camping out for a good spot for Wolf Parade. The camp out in this moment was not that bad, when I was sitting down indian-style during the Raekwon set, dozing. It was brutal when Raekwon ended, and it was time to get up, and it was time to stake out a position close to the stage for Wolf Parade, and it was time to wait the entire 50 minutes of the Jon Spencer Blues Explosion set, which sounded awesome and which I regret missing in retrospect. Then, Wolf Parade started.
I had a cool video of "Cloud Shadow on the Mountain" which was their opening song, but this video upload is not cool. Of all the sets I saw all weekend, I have to say Wolf Parade was my single favorite. It was probably because the spot in the crowd was pretty good, and because they just brought it. I only saw Wolf Parade once before, but this was a much better show. Their setlist was impeccable. The only thing that hampered my enjoyment was the crowd-surfing, which made "Cave-O-Sapien" more nerve-wracking than blissful.
Then we get to the reason why Saturday was so bad for me, which was LCD Soundsystem. Now, I love LCD Soundsystem. But so do a whole lot of other people. I planned to stand in place to wait for them, while Panda Bear played at the other stage. I heard some kid say, "Don't go see Panda Bear. I saw Animal Collective last year and it was the worst experience of my life." Well kid, what happened to me at LCD Soundsystem was probably not the worst experience of my life, but one of them.
It was the crowd dispersal after Wolf Parade, which did not happen. Everybody who was close for Wolf Parade had the same idea as me. Wait for LCD, and have a good spot. What a mistake! I should have known when Panda Bear started, and everyone around me sat down, except for the people that didn't have room to sit down, one of which was me. I stood on my tiptoes to try to see some of Panda Bear, and I felt wobbly and felt like I might fall on someone. It was terrible. There were six square inches within which I could stand, and I could not change my position, and I panicked and eventually, someone behind me stood up, which allowed me to sit down briefly. Panda Bear's set did not sound that exciting, but I still expect Tomboy to be really awesome.
LCD came on, after much anticipation from everyone around me, since we were all so miserably packed together. Something else happened that annoyed me: during Wolf Parade, someone had moved the garbage can close to the stage, and people were jumping off it to crowd-surf, which made me have to keep glancing back to make sure I wasn't about to be kicked in the head. Someone sat on the garbage can to wait for LCD, and it seemed like a very nice spot to have. Later, people would get up on it and dance during the set, also causing nervousness from me. At one point my calves were brushing up against the plastic bag attached to the front of it, and there was no way to get away from it, and I thought, wow, this is really a terrible spot to have. Later there was a bit of pushing and I did get away. I did not have fun at LCD. I wanted to have fun, but I did not. "US v Them," "Drunk Girls," "Pow Pow," "All My Friends..." --the performance was fantastic. I have no complaints about the performance. Only my experience. "All My Friends" was particularly ironic, as everyone seemed to think this was the apex of the weekend, and it was the point at which I broke and decided I couldn't stay. "Daft Punk is Playing at My House" caused crowd-surfing again, and the only time I got kicked in the head, it was incredibly gentle. But I was sweating horribly. I had to leave.
And leaving, was one of the worst experiences of my life. Because everyone was there. And packed deep. Once I thought I was out of the woods, there were more people to get around. And it would absolutely amaze me how stupid people were, they they wouldn't move aside to let me leave--and that even some of them would look at me like I was getting in their way and make a face at me like I was so disgusting for sweating that much. They played "Someone Great" and I was like, "Wow, I'm glad that I left!" and then they played "Losing My Edge" later, which I could hear from the El platform, and I was very upset because it's one of my favorite songs ever.
The next day I resolved to not be so crazy about getting the best possible spot. I saw Girls first, and they were excellent. I had a cool video that showed the noise jam as a segue between "Hellhole Ratrace" and "Morning Light," but now I think I'm even going to cancel the BSS video because it's still uploading! Girls were excellent and I should have bought their t-shirt, but I only saw the last twenty or thirty minutes of their set.
I was very excited for Surfer Blood. I had to wait through some of Local Natives, which marked my first stop at the Connector Stage, which was probably the place to be all weekend. I had a good time Sunday hanging out there most of the day. Surfer Blood played an excellent set, including a new song called "I'm Not Ready," which was similar to stuff off Astro Coast. I did feel vaguely disappointed, as if it could have been louder, or angrier, or something. Basically, let me say this: I still love Surfer Blood, but on record, their execution is so flawless that in person, they inevitably could not live up to themselves. They did change the line "You and me/could it be meant to be?" to "You and me/it's fucking anarchy," but I still felt they were too nice and seemed a bit more like Vampire Weekend Jr. than the Dinosaur one.
Neon Indian is probably the opposite of Surfer Blood. Psychic Chasms may be a very good album, but I prefer Astro Coast for air-guitar purposes. But, while Surfer Blood could not quite match the sound of their album (it is perhaps worth noting that Liars could not do that with Sisterworld either), Neon Indian exceeded all expectations. Their live show is better than their album. They have so many gadgets. And Alan Palomo is a magnetic performer. They had a great spot on the schedule, warming up the crowd for the big finale, and they did an almost perfect job.
Sleigh Bells came after, and they were okay. I like them. But I only stayed for two songs and then went to Pavement.
Pavement was everything I hoped it would be, but no more. If you look at the tracklist of Quarantine the Past you can pretty much guess their setlist. There were maybe three surprises ("Debris Slide" and "Kennel District" and "The Hexx"). "Stereo" and "Stop Breathing" featured some variations that made it more interesting. I had a spot very far back, and I wished I could have been at the front for "Conduit for Sale!" (definitely the best moment of the set), and I feel I belonged at the front where everyone knows every lyric and sings every lyric and you don't feel like a loser if you're singing along, but I learned this weekend that sometimes the dedication required to have that sort of concert experience isn't always worth it. Pavement was good, but I would have liked to hear "Carrot Rope" or "Speak, See, Remember" or "AT&T" or "Flux = Rad" or "Fight this Generation." But we can't have sets tailored to our specifications.
I did want to say this, before the final rankings: I saw Superchunk on June 20, 2010 at the Taste of Randolph. I had ten times more fun during Superchunk than I did during any single set at Pitchfork, with Wolf Parade the only one even coming close. Pitchfork is too crowded now. It's been happening slowly, but they finally reach their critical mass this year. They did do a good job with the water. They handed it out for free, thinking of the people that camped, and they cut the price drastically as the weekend went on. They need to work on crowd control though. If everyone at LCD had taken two or three steps back, I probably could have stayed. But James Murphy is not Ian Mackaye. The people there were still cool in general, but it just seemed more unbearable for me this time.
How about we end the story with the way it ended, when I left Pavement, after waiting for an encore that looked like it would happen and then didn't (no "Summer Babe?"), and when I tried to get home. The El had a line down the stairs, out the exit, and the platforms were jam-packed. I was not going to wait 15 minutes to move inside the staircase. I kept walking north, at 300 N needing to get to 1600 N, with a huge group of concert-goers. The bus came, but I could not get on it because it did not stop because it was too full. I finally got a cab coming off one of the sidestreets, and I felt like he took an indirect route. When it was over, I was glad. However, I was looking forward to my totally awesome blog post with all those videos in it, and now it won't happen.
I still recommend anyone go to Pitchfork over Lollapalooza. But I don't recommend camping out for a good spot, and I don't recommend going alone.
Liars: 7/10
Broken Social Scene: 7/10
Modest Mouse: 7/10 (not written, but not worth describing said experience)
Real Estate: 7/10
Titus Andronicus: 8/10
Wolf Parade: 9/10
LCD Soundsystem: (Performance: 9/10; Experience: 1/10)
Girls: 8/10
Surfer Blood: 7.5/10
Neon Indian: 9/10
Sleigh Bells: 8/10
Pavement: 8.8/10
Sunday, May 30, 2010
LCD Soundsystem - This is Happening
The 3rd album from LCD Soundsystem, This is Happening, is an instant classic which will be noted in any retrospective on music from the early 2010's. I realized this during my first listen, around the fourth track. It is the Merriweather Post Pavilion of this year and surely will be named #1 album of 2010 by this website. My problem is that I have listened to it so often already, and have already memorized almost all of the lyrics, that most of its magic is now gone. I haven't quite had the album for two weeks, but I have listened to it every single day, at least once.
There is talk that this will be the last LCD Soundsystem album, and the last tour. If so, you might as well kill me when the summer ends because there is not much else worth listening to in my opinion. There are a lot of interesting bands coming out like Dum Dum Girls and Sleigh Bells, and while I like them, and Surfer Blood, they don't come close to matching LCD's capabilities. This album isn't perfect, but it's close enough to perfect to make the case for being an all-time classic.
"Dance Yrself Clean" opens up the album with a 9 minute dance track that starts out very quietly for its first two, erupts for the next four, quiets down again for another, and returns one last time before ending for good. The song is about how people are jerks--present company excluded--and how losing yourself in music or dance can make it all seem insignificant. It is a great song, but I am always hoping for it to end so the next one can start.
"Drunk Girls" may not be the best song on the album, but it's the shortest, the most tightly-packed with ideas, and probably the catchiest. Definitely the funniest. There is a peculiar type of genre that this album (and to a certain extent, other LCD albums) has spawned, and it is the "cover-like homage." Now, there are 2 songs on this album that are "cover-like homages" par excellence, but "Drunk Girls" is a "cover-like homage" that is like a mash-up between VU's "White Light/White Heat" and "Girls Just Wanna Have Fun." That is the best way I can describe the song, but its lyrical performance is what truly sets it apart. Every stereotype or generalization ever made about girls or boys in relation to partying or hanging out at bars is practically contained, with a very ambiguous attitude. The song doesn't stand in judgment of its subjects necessarily, but it does poke fun.
"One Touch" sounds like something off of 45:33 or the LCD S/T. It's a pretty straightforward dance track with one difference: it seems to be able to induce me into a trance. The lyrics are about how someone "doesn't see how we could be pleased with this" because "we've been waiting such a long time." Obviously you could say that about this album, but I can't believe anyone wouldn't be pleased by this album. The song is good, but not one of the very best off the album. Still, trance-inducing, which is cool.
"All I Want" comes fourth and is the first obvious "cover-like homage" of the album. There are a few things to say about it: #1-James Murphy plays every single instrument on this song, and it is a masterpiece, which shows he is a genius, #2-It is the "All My Friends" of this album--and while it doesn't quite reach the heights of that song, it comes damn close, and #3-If David Bowie hears it, he would not sue, but laugh in appreciation. Just the opening of the song, the first minute, is enough to send chills. Lyrically, it may be one of the LCD's saddest songs along with "Someone Great"--it seems to make the point that relationships primarily exist to satisfy one's narcissism. Maybe that doesn't make any sense, but it's a song about complex feelings.
"I Can Change" seems like the lightest song on the album and first has Murphy advising, "Never change/never change/never change/this is why I fell in love" and then has him assuring, "I can change/I can change/I can change/if it helps you fall in love." The song is most notable for his use of falsetto when he sings "hoping and hoping and hoping the feeling goes away!" It's the greatest moment of the song, but overall, it sounds almost intentionally cheesy, as if Murphy knows the chief sentiment of the song is a cliche of adult relationships.
"You Wanted a Hit" is the sixth track, and arguably the best song on the album. It's a return to the 9 minute dance track, except its decidedly downbeat. There is a weird type of Asian music that opens the song, then fades out for the lone guitar line which persists through the entire song--guitar that might be heard on a Young Marble Giants or Gang of Four album--very simple, almost quiet, but evil in a way, and sort of badass. It's a fantastic song about music criticism.
"Pow Pow" is another 9 minute dance track that immediately follows, and another contender for best song on the album. There is definitely a lot more going on here on the previous track--it almost like sounds like a New Order opening, and then some of the best opening lines of any song, "From this position/I will relax..." "Drunk Girls" may be the funniest song, but "Pow Pow" has the most ridiculous lyrics, they are just usually mumbled or otherwise less audible.
"Somebody's Calling Me" is the other obvious "cover-like homage" and the only song on the album that I don't really like. I'm sorry but it sounds kind of depressing and dreadful, like the song that inspired it. I skip it often.
"Home" is a great closing track that reminds me strangely of the Dismemberment Plan song "Back and Forth," which closed out one of their semi-masterpiece albums. It's less remarkable than many of the other songs, but totally pleasing.
At 9 tracks and 65 minutes, it's not easy to make it straight from the beginning to the end, but it's a loaded album that somehow, incredibly, is actually better than Sound of Silver. It's like Ada being better than Lolita. You never thought it was possible, except from the same person. I may have over-indulged during these last two weeks of May, but there could not be many better ways to start the summer than the release of this album.
There is talk that this will be the last LCD Soundsystem album, and the last tour. If so, you might as well kill me when the summer ends because there is not much else worth listening to in my opinion. There are a lot of interesting bands coming out like Dum Dum Girls and Sleigh Bells, and while I like them, and Surfer Blood, they don't come close to matching LCD's capabilities. This album isn't perfect, but it's close enough to perfect to make the case for being an all-time classic.
"Dance Yrself Clean" opens up the album with a 9 minute dance track that starts out very quietly for its first two, erupts for the next four, quiets down again for another, and returns one last time before ending for good. The song is about how people are jerks--present company excluded--and how losing yourself in music or dance can make it all seem insignificant. It is a great song, but I am always hoping for it to end so the next one can start.
"Drunk Girls" may not be the best song on the album, but it's the shortest, the most tightly-packed with ideas, and probably the catchiest. Definitely the funniest. There is a peculiar type of genre that this album (and to a certain extent, other LCD albums) has spawned, and it is the "cover-like homage." Now, there are 2 songs on this album that are "cover-like homages" par excellence, but "Drunk Girls" is a "cover-like homage" that is like a mash-up between VU's "White Light/White Heat" and "Girls Just Wanna Have Fun." That is the best way I can describe the song, but its lyrical performance is what truly sets it apart. Every stereotype or generalization ever made about girls or boys in relation to partying or hanging out at bars is practically contained, with a very ambiguous attitude. The song doesn't stand in judgment of its subjects necessarily, but it does poke fun.
"One Touch" sounds like something off of 45:33 or the LCD S/T. It's a pretty straightforward dance track with one difference: it seems to be able to induce me into a trance. The lyrics are about how someone "doesn't see how we could be pleased with this" because "we've been waiting such a long time." Obviously you could say that about this album, but I can't believe anyone wouldn't be pleased by this album. The song is good, but not one of the very best off the album. Still, trance-inducing, which is cool.
"All I Want" comes fourth and is the first obvious "cover-like homage" of the album. There are a few things to say about it: #1-James Murphy plays every single instrument on this song, and it is a masterpiece, which shows he is a genius, #2-It is the "All My Friends" of this album--and while it doesn't quite reach the heights of that song, it comes damn close, and #3-If David Bowie hears it, he would not sue, but laugh in appreciation. Just the opening of the song, the first minute, is enough to send chills. Lyrically, it may be one of the LCD's saddest songs along with "Someone Great"--it seems to make the point that relationships primarily exist to satisfy one's narcissism. Maybe that doesn't make any sense, but it's a song about complex feelings.
"I Can Change" seems like the lightest song on the album and first has Murphy advising, "Never change/never change/never change/this is why I fell in love" and then has him assuring, "I can change/I can change/I can change/if it helps you fall in love." The song is most notable for his use of falsetto when he sings "hoping and hoping and hoping the feeling goes away!" It's the greatest moment of the song, but overall, it sounds almost intentionally cheesy, as if Murphy knows the chief sentiment of the song is a cliche of adult relationships.
"You Wanted a Hit" is the sixth track, and arguably the best song on the album. It's a return to the 9 minute dance track, except its decidedly downbeat. There is a weird type of Asian music that opens the song, then fades out for the lone guitar line which persists through the entire song--guitar that might be heard on a Young Marble Giants or Gang of Four album--very simple, almost quiet, but evil in a way, and sort of badass. It's a fantastic song about music criticism.
"Pow Pow" is another 9 minute dance track that immediately follows, and another contender for best song on the album. There is definitely a lot more going on here on the previous track--it almost like sounds like a New Order opening, and then some of the best opening lines of any song, "From this position/I will relax..." "Drunk Girls" may be the funniest song, but "Pow Pow" has the most ridiculous lyrics, they are just usually mumbled or otherwise less audible.
"Somebody's Calling Me" is the other obvious "cover-like homage" and the only song on the album that I don't really like. I'm sorry but it sounds kind of depressing and dreadful, like the song that inspired it. I skip it often.
"Home" is a great closing track that reminds me strangely of the Dismemberment Plan song "Back and Forth," which closed out one of their semi-masterpiece albums. It's less remarkable than many of the other songs, but totally pleasing.
At 9 tracks and 65 minutes, it's not easy to make it straight from the beginning to the end, but it's a loaded album that somehow, incredibly, is actually better than Sound of Silver. It's like Ada being better than Lolita. You never thought it was possible, except from the same person. I may have over-indulged during these last two weeks of May, but there could not be many better ways to start the summer than the release of this album.
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