Before I officially begin this review, I would like to take a moment to note the difficulty inherent in critiquing a work of art that a friend has submitted to me for consideration. I have only previously done this once, in January 2010, here http://flyinghouses.blogspot.com/2010/01/justyn-with-y-swansong.html. This album received a positive review in spite of the fact that I generally do not like to listen to "folk" music. The genre of that album was arguably "folk +" but I found it interesting, and I enjoyed the production: being recorded in a natural setting, the mostly quiet acoustic strumming gave the album a warm feel.
Now I move onto BELT. BELT is the band of a friend of a friend--or I might say is the band of a friend. I went to the singer's birthday party at his house. That was fun. However I do not think we would hang out but for my friend that invited me to that party. Ironically, however, this singer was also part of another band previously referenced on Flying Houses here http://flyinghouses.blogspot.com/2010/07/wolf-parade-expo-86.html. That band was Mercury Landing. Wolf Parade has nothing to do with Mercury Landing but the song "Yulia" seemed to be related to that band for reasons (another side project of that band?) that I cannot recall.
Mercury Landing was a "funk" band. Much like "folk," I do not care much for "funk." However, I would go to shows (when convenient) in order to show my support and also because other friend's bands would generally be on the bill as well.
Thus when I first put BELT onto my iPod and played it, I was expecting "funk" but got something else entirely, which is very hard to pin down.
Some notes from BELT's press materials may illustrate this: they have been an "underground" band in Brooklyn for 10 years. This might give rise to the presumption that they play music like, oh, say, the Dirty Projectors, TV on the Radio, Liars, Yeah Yeah Yeahs, Black Dice, !!!, Fiery Furnaces, LCD Soundsystem, and Oneida--either all mish-mashed together into one sound, or like one band specifically.
However, they sound like neither. Associating themselves with Brooklyn is therefore misleading, but one cannot say that just because one happens to be a musician that lives in a city heavily associated with a particular "scene" that has a particular "sound" (but also, to be sure, is quite populous) one has to sound like one's peers (or heroes, as the case may be for "amateurs"). It is not fair to say to someone, "you should move to Omaha because you sound like you belong on Saddle Creek."
BELT doesn't sound like they belong on Saddle Creek, but it does inch more closely to their sound. Perhaps this is all beating around the bush and I should just get to the point--is the album worth hearing?
I do have to say that it makes me more comfortable, as a critic, to be able to pin down a band's sound. But the short answer is yes (if you like the bands I will be comparing them to shortly).
Unfortunately when I try to pin BELT down, the comparisons I draw will probably prove distasteful to everyone. There is one comparison I can make with which few would complain: Wavves. BELT sounds like Wavves to the extent that weed is amongst the primary lyrical subject matter. This is no more apparent than on "Priorities" (the second track) and "Maria Juana" (the third), and particularly the latter, which is arguably the most professional sounding song on the album - though also the most juvenile. Some bands (apart from Wavves) have built entire careers around writing songs about weed (the Grateful Dead and their progeny and Phish come to mind). However I do not think it is easy to make a really great album with this template. BELT does not attempt to do that, but at times flirts with the idea.
It is impossible to avoid mentioning the comparisons which will draw complaints, and it is easiest, unfortunately, to focus on the singer's voice to pin them down: Barenaked Ladies and Blues Traveler.
Now, it is important to put this in context. Few Generation Y'ers will find much to like about these two bands. They were popular when we were young. I distinctly remember "One Week" being popular on MTV (before reality shows became de rigeur) and thinking it was a quirky, fun, creative song at first but made me want to puke by about the fifth time I heard it on the radio. The video added more to the song I guess, though the song itself did demonstrate lyrical skill and melodic savvy.
Blues Traveler is harder for me to remember. I remember John Popper being fat, and apparently he is no longer fat (according to my older brother, who met him a few years ago), and I am sorry to say this but I think his band is only going to be popular if he gets fat again.
Now. My two oldest siblings are Generation X'ers (presently 42 and 39) and both liked Blues Traveler and Barenaked Ladies--and the latter way before anyone else did. This may be going far afield but my point is that Generation X can appreciate those bands, but Generation Y generally has a negative attitude towards them, from what I can tell.
So if I say BELT sounds like those bands it's going to piss everyone off, and they'll say, we don't sound like that, and if I say, "they're a band whose time has already passed," it's going to sound like they've missed their opportunity to explode. But it's the opposite. If there is anytime they are primed to explode it is now.
BELT will play on Friday, October 19th, at 9 PM at Wicked Willy's as part of the CMJ Music Marathon.
Let me take a little tangent and say that I used to manage a band and I know what it is like to "produce" an "amateur" album. I "managed" two records, or 8 songs between two bands. Two EPs, or "demos" or whatever you want to call them. The first one cost a few hundred bucks and seemed like it had a professional sound, recorded at a studio on North 8th St. in Williamsburg. The second was recorded for free at NYU music studios by a friend who later joined the band after I left NYC and could not continue on as manager. The second arguably sounds better than the first.
The point is this: sometimes when you try to sound "professional" you end up sounding more amateur than if you actually recorded it in an amateur fashion (see also, Wavves).
Disquietude was released on April 22, 2011 and is almost 18 months old. It was apparently recorded during a turbulent time and some of the songs on the album are actually a bit dark. One imagines that their sound has changed, particularly since, in the press materials, they state that their new album (which is untitled as of yet so far as I can tell) is "grittier." Disquietude is considered to have a "pristine" sound. Now, my stereo speakers have deteriorated quite a bit, but when I played my bands (Plastic Faces and Phosphates) through my iPod on them, or BELT through my iPod on them, both sounded extremely distorted. This may be because the albums--all 3--are recorded loudly. The volume is just high on the album automatically (unlike, say, My Bloody Valentine's Loveless, which is considered one of the loudest records of all time, but which is actually recorded very quietly--you really need to turn the volume up to hear it).
Getting to play a CMJ Showcase is a big deal, and I hope that BELT finds a bigger audience through it.
The album goes through many different emotions, but what remains most memorable about the band is their sense of humor. However there is also a sense of sarcasm and darkness and pessimism about it. It's a disquieting effect (!) and leads me to the conclusion that BELT is a "singles band" and not an "album band." Some of the songs on the album are clearly more "worked-over" than others, and it can show.
Also, this may be a technical problem, but the song "God on the Couch" is silent, at least from the zip file I downloaded. I do not think this is intentional. But if it is I fail to see the point other than to make an "actual" secret song--which the last track clearly sounds like.
The last track is the best track on the album. The ending of the first track on the album is one of its best moments, but it is a pretty standard "noise jam breakdown." I do like the song "Are You Gonna Be OK" when it gets to the heavy part. And I do find the lyrics across the entire album generally interesting.
The last track is three minutes long and extremely strange. It is almost what the "Brooklyn sound" might be for this band. It is just weird noise and feedback. However I found it more interesting than anything else on the album because it comes out of left field: you are not expecting BELT to have an experimental side.
In conclusion, I come to no conclusion regarding BELT. I cannot say that I will play Disquietude every single day for the next two or three weeks (as I did with, oh, Centipede Hz. (Brooklyn again!) or This is Happening) but I would be interested in seeing them live. They would seem to be a fun live band, and though many may find the comparisons I've made to be odious ones, those bands also built their reputation on being "fun live bands." Sometimes it takes a while to put out the album (or the single) that catapults them into stardom. For BELT it has been 10 years. But as far as I know, the gestation period for a band like them to hit it big is very close to 10 years (see also, The Hold Steady).
There. You have a comparison that most people won't complain about. Terrence B. sounds nothing like Craig Finn, and their subject matter is only arguably related, but they are both Brooklyn bands that unabashedly do not sound like Brooklyn bands. It took a while for Craig Finn to get known, but once he did he ran with it, and while I personally may feel that The Hold Steady has declined since the departure of Franz Nicolay, they are still a band that I will pay attention to and try to see live--if they're not charging too much.
It's entirely possible that BELT's forthcoming album will be their Almost Killed Me and their album after that will be their Separation Sunday and come summer of 2014 they will be asked to play the Pitchfork Festival. Entirely possible.
But the music industry, like most industries, is a cold one. It is a long and harrowing climb to the top, and few can make it. I wouldn't exactly put my money on BELT to playing Pitchfork in a couple years, but while it would certainly surprise me, it would not shock me. They have the skill; it is only a matter of execution now.
Showing posts with label Wavves. Show all posts
Showing posts with label Wavves. Show all posts
Thursday, October 4, 2012
Friday, January 15, 2010
My Top 10 of 2009
I am not a great listmaker because my consumption of music or books or films is limited by my budget, and spare time, since no one has felt the need to contact me and ask that I become a member of their press team. Oh, I would love to go to SXSW, Coachella, Pitchfork, advance screenings, advance galley copies, et. al on any company's dime, but we find ourselves in an incredibly fucked up situation, and only Tao Lin and the system of public libraries is willing to support me in my pursuit of critical professionalism.
If I had to name the best books of 2009, I would be hard-pressed, but I would put Everything Ravaged, Everything Burned on that list.
For movies, I would include Inglorious Basterds and Up, but I haven't seen anything else that approaches greatness. I suppose The Hurt Locker, the last movie reviewed on this blog and also the only advance screening I attended, deserves an honorable mention.
But music, I had bought more than ten albums this year, I think, and so here are my top 10:
#10: Atlas Sound - Logos
I do not think this was as good as Let the Blind Lead Those Who Can See but Cannot Feel but there were at least three amazing songs--"An Orchid," "Walkabout," and "Quick Canal"--and that's good enough for me. And it's not like "Attic Lights" or the title track or "Washington School" are weak either. Overall, further proof that Bradford Cox is the most consistently great musical artist of the late aughts.
#9: Deerhunter - Rainwater Cassette Exchange EP
There were only five songs, but three of them--the title track, "Disappearing Ink," and "Circulation"--okay I don't want to repeat the previous entry. I put this above Atlas Sound because I prefer Deerhunter--they are louder, and they are tighter.
#8: Superchunk - Leaves in the Gutter EP
Criminally overlooked, as often happens to Superchunk. Though there are only five songs, and one of them is an acoustic version of another, further proof that Mac McCaughan is the most consistently great musical artist of the 1990's, and the aughts...that is, if you like their sound, which okay, not everyone wants energetic alternative pop-punk all the time, but I do. "Misfits & Mistakes" is as good as any other Superchunk song over the last twenty years. And this EP is so much better than Here's to Shutting Up that I had to include it. I really hope they do a full-length in 2010, and a proper full-scale tour. I like Portastatic, but it's not quite the same.
#7: The Pains of Being Pure at Heart - S/T
I really don't think this is all that great, but it delivers on the hype, I think (in a way that the xx does not, for me). "Young Adult Friction" is a cool song. There are a few other good tracks, and a couple that are a bit annoying. But the sound is pure MBV, and while K. Shields & Co. may continue to dangle the promise of a new record--"it's a poor substitute at best," but it's good enough for now.
#6: Sonic Youth - The Eternal
Every year that Sonic Youth puts out a new album I will always put it in the top 10. And I do not think I am being unfair. This is one of their most fucked up records in recent years. It's so weird, and funny, and heavy, and accessible. Better than Rather Ripped, better than Sonic Nurse--on the basis of the first two tracks alone. Not that the rest of the album is any less inspiring.
#5: Jemina Pearl - Break it Up
Truthfully, this belongs closer to #10, as it wore me down after a couple weeks, but for those couple of weeks, it was the only thing I listened to. An incredibly consistent album--and probably better than the Be Your Own Pet swan song Get Awkward. The second half of this album is amazing. The first half is not too bad either. I would list all the great songs but it would be pointless because I would just list every song on the album, except for maybe two or three that grate on me a bit. Jemina can be a little annoying at times, but that is also what makes her great.
#4: Morrissey - Years of Refusal/Wavves - S/T (tie)
Two albums I bought on the same day back a long time ago at the beginning of 2009. The Morrissey was more immediately satisfying, but I rank it alongside Wavves because Wavves has the potential to be pretty awesome down the line. Morrissey turned 50 this year and continues to satisfy me by not backing down from his position that it is okay to be miserable and alone and sing songs about how horrible a serious adult existence can be--a true original, and one of the very few who has not lost the power he once wielded, some twenty-seven years on. Wavves turned 23 this year and satisfied me by singing songs about smoking pot and feeling bored and various fun things to do in California--like, I wish I had this album on a boombox, could go to a beach in SoCal, could light up a J, and then go for a swim, while getting a good tan. It may be fantasy, but Wavves proves that the dream of turning from nobody into the next big thing is still possible, and having much publicized festival meltdowns tends to help this cause.
#3: Girls - Album
Probably just on the basis of "Lust for Life," "Big Bad Mean Motherfucker," and "Morning Light." Those three songs are so awesome. I just think Girls are the most interesting new band to make their debut in 2009. The fact that they seem really messed up emotionally, but are also strangely wholesome, and sincere, is a combination that worked out very well for them on this album.
#2: Yeah Yeah Yeahs - It's Blitz
Now we get to the heavy hitters. Initially, I didn't see what was so great about this album. I loved "Zero," but I was like, "Why is the rest of this so somber? Why will you not kick the shit out of everyone, Karen O? This will not be fun to see live! Who cares?!" As time passed, and more listens gradually occurred, I realized this album is a masterpiece. Think "Maps" over and over, in various permutations.
#1: Animal Collective - Merriweather Post Pavilion
Once again, when I rated Sound of Silver the #1 album of 2007, I sided with the bandwagon jumpers, and now here, I will do the same with AC. I've been listening to them since Feels, and didn't really see what was so great about them. Strawberry Jam has proven to be an album that has really grown on me. But this album, which is now over a year old, is their first undisputed masterpiece. I never understood the appeal of AC until I gave this album a chance. This led me to recently purchase the Fall Be Kind EP, which does have one song that approaches the heights this album reaches, but overall, almost nothing can top this album. Okay so a couple places said Kid A was the album of the decade (after OK Computer was the album of the previous decade, or else Nevermind or Loveless)--and don't get me wrong, I love Radiohead as much as the next guy, but this album is so good it should have been hailed as the album of the decade. Kid A may have been gloomy, and portentous of things to come in American and global society (9/11, Bush, Iraq, Economic Hell)--but on the other end of the spectrum we have an album about leaving one's body for a night, forgetting everything awful about life and society at large, and just finding a little space where happiness can exist, if only for forty or forty-five minutes. Plus I didn't like Kid A as much as everyone else. So, all hail Animal Collective as the next Radiohead, even though it seems doubtful they will ever reach that degree of commercial popularity.
If I had to name the best books of 2009, I would be hard-pressed, but I would put Everything Ravaged, Everything Burned on that list.
For movies, I would include Inglorious Basterds and Up, but I haven't seen anything else that approaches greatness. I suppose The Hurt Locker, the last movie reviewed on this blog and also the only advance screening I attended, deserves an honorable mention.
But music, I had bought more than ten albums this year, I think, and so here are my top 10:
#10: Atlas Sound - Logos
I do not think this was as good as Let the Blind Lead Those Who Can See but Cannot Feel but there were at least three amazing songs--"An Orchid," "Walkabout," and "Quick Canal"--and that's good enough for me. And it's not like "Attic Lights" or the title track or "Washington School" are weak either. Overall, further proof that Bradford Cox is the most consistently great musical artist of the late aughts.
#9: Deerhunter - Rainwater Cassette Exchange EP
There were only five songs, but three of them--the title track, "Disappearing Ink," and "Circulation"--okay I don't want to repeat the previous entry. I put this above Atlas Sound because I prefer Deerhunter--they are louder, and they are tighter.
#8: Superchunk - Leaves in the Gutter EP
Criminally overlooked, as often happens to Superchunk. Though there are only five songs, and one of them is an acoustic version of another, further proof that Mac McCaughan is the most consistently great musical artist of the 1990's, and the aughts...that is, if you like their sound, which okay, not everyone wants energetic alternative pop-punk all the time, but I do. "Misfits & Mistakes" is as good as any other Superchunk song over the last twenty years. And this EP is so much better than Here's to Shutting Up that I had to include it. I really hope they do a full-length in 2010, and a proper full-scale tour. I like Portastatic, but it's not quite the same.
#7: The Pains of Being Pure at Heart - S/T
I really don't think this is all that great, but it delivers on the hype, I think (in a way that the xx does not, for me). "Young Adult Friction" is a cool song. There are a few other good tracks, and a couple that are a bit annoying. But the sound is pure MBV, and while K. Shields & Co. may continue to dangle the promise of a new record--"it's a poor substitute at best," but it's good enough for now.
#6: Sonic Youth - The Eternal
Every year that Sonic Youth puts out a new album I will always put it in the top 10. And I do not think I am being unfair. This is one of their most fucked up records in recent years. It's so weird, and funny, and heavy, and accessible. Better than Rather Ripped, better than Sonic Nurse--on the basis of the first two tracks alone. Not that the rest of the album is any less inspiring.
#5: Jemina Pearl - Break it Up
Truthfully, this belongs closer to #10, as it wore me down after a couple weeks, but for those couple of weeks, it was the only thing I listened to. An incredibly consistent album--and probably better than the Be Your Own Pet swan song Get Awkward. The second half of this album is amazing. The first half is not too bad either. I would list all the great songs but it would be pointless because I would just list every song on the album, except for maybe two or three that grate on me a bit. Jemina can be a little annoying at times, but that is also what makes her great.
#4: Morrissey - Years of Refusal/Wavves - S/T (tie)
Two albums I bought on the same day back a long time ago at the beginning of 2009. The Morrissey was more immediately satisfying, but I rank it alongside Wavves because Wavves has the potential to be pretty awesome down the line. Morrissey turned 50 this year and continues to satisfy me by not backing down from his position that it is okay to be miserable and alone and sing songs about how horrible a serious adult existence can be--a true original, and one of the very few who has not lost the power he once wielded, some twenty-seven years on. Wavves turned 23 this year and satisfied me by singing songs about smoking pot and feeling bored and various fun things to do in California--like, I wish I had this album on a boombox, could go to a beach in SoCal, could light up a J, and then go for a swim, while getting a good tan. It may be fantasy, but Wavves proves that the dream of turning from nobody into the next big thing is still possible, and having much publicized festival meltdowns tends to help this cause.
#3: Girls - Album
Probably just on the basis of "Lust for Life," "Big Bad Mean Motherfucker," and "Morning Light." Those three songs are so awesome. I just think Girls are the most interesting new band to make their debut in 2009. The fact that they seem really messed up emotionally, but are also strangely wholesome, and sincere, is a combination that worked out very well for them on this album.
#2: Yeah Yeah Yeahs - It's Blitz
Now we get to the heavy hitters. Initially, I didn't see what was so great about this album. I loved "Zero," but I was like, "Why is the rest of this so somber? Why will you not kick the shit out of everyone, Karen O? This will not be fun to see live! Who cares?!" As time passed, and more listens gradually occurred, I realized this album is a masterpiece. Think "Maps" over and over, in various permutations.
#1: Animal Collective - Merriweather Post Pavilion
Once again, when I rated Sound of Silver the #1 album of 2007, I sided with the bandwagon jumpers, and now here, I will do the same with AC. I've been listening to them since Feels, and didn't really see what was so great about them. Strawberry Jam has proven to be an album that has really grown on me. But this album, which is now over a year old, is their first undisputed masterpiece. I never understood the appeal of AC until I gave this album a chance. This led me to recently purchase the Fall Be Kind EP, which does have one song that approaches the heights this album reaches, but overall, almost nothing can top this album. Okay so a couple places said Kid A was the album of the decade (after OK Computer was the album of the previous decade, or else Nevermind or Loveless)--and don't get me wrong, I love Radiohead as much as the next guy, but this album is so good it should have been hailed as the album of the decade. Kid A may have been gloomy, and portentous of things to come in American and global society (9/11, Bush, Iraq, Economic Hell)--but on the other end of the spectrum we have an album about leaving one's body for a night, forgetting everything awful about life and society at large, and just finding a little space where happiness can exist, if only for forty or forty-five minutes. Plus I didn't like Kid A as much as everyone else. So, all hail Animal Collective as the next Radiohead, even though it seems doubtful they will ever reach that degree of commercial popularity.
Monday, July 20, 2009
Pitchfork Music Festival - 7/17/09, 7/18/09
I forgot to bring my camera with me this year, so I won't be able to include any pictures. This is the 4th Pitchfork Music Festival that I have attended ('05, '06, '07, and now '09)--I would have gone last year, which I think had the best line-up yet, but I was in L.A. I read in the Chicago Tribune this year that they had to scale back their ambitions for big name performers and go for more up-and-coming talent. But that has always been the case with this event. Lollapalooza has been occurring two weeks afterwards for the same period of the last 5 summers and while sometimes great bands play that other festival (last year had a similarly great best line-up ever) it is SO not worth it.
While Grant Park is THE outdoor space of Chicago and a badass place for a music festival, it is ultimately TOO BIG and so Union Park, where Pitchfork occurs, is a much more welcome respite. You do not have the whole of the skyline as your backdrop, but you do have the Willis Tower (!) in close view. Beer is cheaper by a dollar or two, I think. The food options are similar, but I still think Lolla is more expensive on that front too. The ticket price difference is frankly absurd. And the line-up this year is way lame. The only bands I would see would be Lou Reed and Deerhunter--and they play at the exact same time, so sorry, but I would see Lou Reed, but I feel like I would be crestfallen at the end of the set for missing that other band in their prime.
I didn't go last night to see Flaming Lips, and Sunday probably had the best line-up of any single day. And I don't have pictures but I will relay a short narrative to deliver my central thesis: the best moment of the summer has passed, unfortunately! (at least in this city).
Friday night I went in hoping to see Yo La Tengo, Jesus Lizard, and Built to Spill. I arrived, having purchased my tickets through will-call, and proceeded to wait for ONE HOUR outside the gates while Tortoise finished up and Yo La Tengo started. Their organization at the will call window was a total disaster and made me feel that I was in for a horrible weekend and that all the money I blew was going to be a total waste. Well, I got in, and was very grateful that it worked out, and I stood pretty close to the stage waiting for Jesus Lizard for about 45-50 minutes. I saw Yo La Tengo playing in the distance and they looked like they were tearing it up (though they didn't play "Too Late" which would have been on my request list).
One difference from this year was that there were no announcers or Thax Douglas reading poems before the sets would start, which I have to say was sort of fun in a way. But Jesus Lizard started, and they played "Puss" as their opening song, and David Yow immediately jumped into the crowd and sang the first words of the song while being held aloft, and I was in serious pain. I almost lost my glasses. It was without question the most violent show I have ever experienced. Their sound was excellent and David Yow proved that he is one of the best frontmen in all of rock, even during a reunion tour. Some of the other highlights were "Then Comes Dudley," "Boilermaker," "Gladiator," "Blue Shot," "Monkey Trick," and "Bloody Mary." I was surprised that there were about three or four songs I didn't recognize. I had to leave during their last song because I was so beaten up. Then they played a two-song encore, which I missed too. I needed to get a water, I was dehydrated. (Jesus Lizard will play the Metro around Thanksgiving and I hope to be there. I also hope not to die there, but something tells me the crowd-surfing will be more contained at the Metro.) It was a cool weekend (probably the coldest in the history of the event) but there was plenty of sweating anyways. Built to Spill played, and I watched them play "Liar" and "Stab" and decided that the place was way too crowded and it wasn't worth it for me to stay. Don't get me wrong--I love BtS but I have to admit that they can be a boring live band.
The next day was much more fun for me because I decided to drink. The first set I saw was Fucked Up, and this was almost as violent as the Jesus Lizard, but the crowd was not quite as crazy, probably because Fucked Up are a regular working band, though I am sure many would argue that each set was just as wild. This was the second best set of the weekend for me. They played about half songs from The Chemistry of Common Life and the other half from Hidden World, at least as it seemed to me. Pink Eyes was the Tim Harrington of this year. Ideally both of them could play back-to-back next year.
The Pains of Being Pure at Heart were next, and I have not heard their record, and I only saw them from a distance, but I have to say, they were pretty cool! However, they sound EXACTLY like My Bloody Valentine. This is not a bad thing. However, it led me to theorize that, okay, they like MBV, I like MBV, we all love MBV--why not start a band that sounds just like MBV and then everyone will love us, and we can be the new MBV? That was what I feel went on in those band members' heads two years ago or whatever. Their male singer sounds just like Kevin Shields and their female singer sounds just like Blinda Butcher and their guitar sound recalls the Isn't Anything-era. Maybe Loveless is next? Regardless, I liked them. I'd get their album on the basis of the live show.
Ponytail were next, and I liked them alright, but not as much as Pains of Being Pure at Heart (as these were the only two I had never previously heard). They were like a combination of Yoko Ono, The Go! Team, and Deerhoof. They were interesting. I don't know if I'd go out and get their record. I think I would have liked them more if I was closer to the stage.
I waited around for Wavves next, and they were about twenty minutes late starting their set, which started to draw ire from the crowd, thinking that another meltdown might be in store for us. Half the people wanted there to be a meltdown actually. When he finally started, he played "Nervous Breakdown," which was wonderfully unexpected and awesome. Then he turned in what I have to say was a very solid performance. I really enjoyed their set. It wasn't a disappointment and hopefully he has redeemed himself and will prove the haters wrong.
I saw parts of MF Doom, but I had gotten more beer and a snack before. I saw about three songs by them. It was okay I guess. I just feel like hip-hop is a lot more predictable when it comes to the actual performance aspect than rock because you are not worrying about the band playing. You just have to remember your lyrics. Regardless, the Tribune said Doom had lip-synched his lines, and I couldn't tell if that was true, or if that was just hyperbole (one of the vocab words he tossed off near the end).
I saw part of Matt & Kim, by this point really drunk and getting free beer because a friend knew someone at one of the tents. (Another girl at the tent played drums for TV on the Radio and Spoon during live shows and I was like, oh my God that's the coolest thing in the world!) I compared them to Fiery Furnaces but they are nothing like them. My friend told me he threw "Widow City" out of his car window during his recent road trip and I was shocked and offended. Fiery Furnaces should play Pitchfork festival because a) they never played before, b) they are from Chicago, c) they rule. Matt & Kim have nothing on them, but they are interesting for being super happy people--I wish I could be like them!
Black Lips closed out what I saw (I missed the National, sorry)--and while I haven't heard their recent record, their last record, I just couldn't get into, sorry. "Cold Hands" and "O Katrina!" are O.K. as far as the best songs on the album, but happily, Black Lips are a good live band. I kept saying I didn't like them and they would only be redeemed if Bradford Cox came up as a special guest which I said had a 1% chance of happening--but overall, they sounded pretty good live. If I were closer, I'm sure I would have gotten really into it. But by that point the alcohol had turned me into a disinterested half-zombie, spewing bile about whatever crazed topic entered my mind.
Yo La Tengo: 8/10
Jesus Lizard : 9/10
Built to Spill: 6/10
Fucked Up: 9/10
Pains of Being Pure at Heart: 7/10
Ponytail: 6.5/10
Wavves: 8/10
MF Doom: 5/10
Matt & Kim: 5/10
Black Lips: 7/10
Regardless of my personal situation, which has deteriorated greatly from the excellent times of 2005 and 2007, this is still the best event in the city of Chicago. Period. Let the summer wind down, bring on the pain of winter, and start counting the days until they announce next year's line-up. Boycott Lollapalooza until they bring ticket prices down to, oh, $50 a day ($60 with service fees...).
While Grant Park is THE outdoor space of Chicago and a badass place for a music festival, it is ultimately TOO BIG and so Union Park, where Pitchfork occurs, is a much more welcome respite. You do not have the whole of the skyline as your backdrop, but you do have the Willis Tower (!) in close view. Beer is cheaper by a dollar or two, I think. The food options are similar, but I still think Lolla is more expensive on that front too. The ticket price difference is frankly absurd. And the line-up this year is way lame. The only bands I would see would be Lou Reed and Deerhunter--and they play at the exact same time, so sorry, but I would see Lou Reed, but I feel like I would be crestfallen at the end of the set for missing that other band in their prime.
I didn't go last night to see Flaming Lips, and Sunday probably had the best line-up of any single day. And I don't have pictures but I will relay a short narrative to deliver my central thesis: the best moment of the summer has passed, unfortunately! (at least in this city).
Friday night I went in hoping to see Yo La Tengo, Jesus Lizard, and Built to Spill. I arrived, having purchased my tickets through will-call, and proceeded to wait for ONE HOUR outside the gates while Tortoise finished up and Yo La Tengo started. Their organization at the will call window was a total disaster and made me feel that I was in for a horrible weekend and that all the money I blew was going to be a total waste. Well, I got in, and was very grateful that it worked out, and I stood pretty close to the stage waiting for Jesus Lizard for about 45-50 minutes. I saw Yo La Tengo playing in the distance and they looked like they were tearing it up (though they didn't play "Too Late" which would have been on my request list).
One difference from this year was that there were no announcers or Thax Douglas reading poems before the sets would start, which I have to say was sort of fun in a way. But Jesus Lizard started, and they played "Puss" as their opening song, and David Yow immediately jumped into the crowd and sang the first words of the song while being held aloft, and I was in serious pain. I almost lost my glasses. It was without question the most violent show I have ever experienced. Their sound was excellent and David Yow proved that he is one of the best frontmen in all of rock, even during a reunion tour. Some of the other highlights were "Then Comes Dudley," "Boilermaker," "Gladiator," "Blue Shot," "Monkey Trick," and "Bloody Mary." I was surprised that there were about three or four songs I didn't recognize. I had to leave during their last song because I was so beaten up. Then they played a two-song encore, which I missed too. I needed to get a water, I was dehydrated. (Jesus Lizard will play the Metro around Thanksgiving and I hope to be there. I also hope not to die there, but something tells me the crowd-surfing will be more contained at the Metro.) It was a cool weekend (probably the coldest in the history of the event) but there was plenty of sweating anyways. Built to Spill played, and I watched them play "Liar" and "Stab" and decided that the place was way too crowded and it wasn't worth it for me to stay. Don't get me wrong--I love BtS but I have to admit that they can be a boring live band.
The next day was much more fun for me because I decided to drink. The first set I saw was Fucked Up, and this was almost as violent as the Jesus Lizard, but the crowd was not quite as crazy, probably because Fucked Up are a regular working band, though I am sure many would argue that each set was just as wild. This was the second best set of the weekend for me. They played about half songs from The Chemistry of Common Life and the other half from Hidden World, at least as it seemed to me. Pink Eyes was the Tim Harrington of this year. Ideally both of them could play back-to-back next year.
The Pains of Being Pure at Heart were next, and I have not heard their record, and I only saw them from a distance, but I have to say, they were pretty cool! However, they sound EXACTLY like My Bloody Valentine. This is not a bad thing. However, it led me to theorize that, okay, they like MBV, I like MBV, we all love MBV--why not start a band that sounds just like MBV and then everyone will love us, and we can be the new MBV? That was what I feel went on in those band members' heads two years ago or whatever. Their male singer sounds just like Kevin Shields and their female singer sounds just like Blinda Butcher and their guitar sound recalls the Isn't Anything-era. Maybe Loveless is next? Regardless, I liked them. I'd get their album on the basis of the live show.
Ponytail were next, and I liked them alright, but not as much as Pains of Being Pure at Heart (as these were the only two I had never previously heard). They were like a combination of Yoko Ono, The Go! Team, and Deerhoof. They were interesting. I don't know if I'd go out and get their record. I think I would have liked them more if I was closer to the stage.
I waited around for Wavves next, and they were about twenty minutes late starting their set, which started to draw ire from the crowd, thinking that another meltdown might be in store for us. Half the people wanted there to be a meltdown actually. When he finally started, he played "Nervous Breakdown," which was wonderfully unexpected and awesome. Then he turned in what I have to say was a very solid performance. I really enjoyed their set. It wasn't a disappointment and hopefully he has redeemed himself and will prove the haters wrong.
I saw parts of MF Doom, but I had gotten more beer and a snack before. I saw about three songs by them. It was okay I guess. I just feel like hip-hop is a lot more predictable when it comes to the actual performance aspect than rock because you are not worrying about the band playing. You just have to remember your lyrics. Regardless, the Tribune said Doom had lip-synched his lines, and I couldn't tell if that was true, or if that was just hyperbole (one of the vocab words he tossed off near the end).
I saw part of Matt & Kim, by this point really drunk and getting free beer because a friend knew someone at one of the tents. (Another girl at the tent played drums for TV on the Radio and Spoon during live shows and I was like, oh my God that's the coolest thing in the world!) I compared them to Fiery Furnaces but they are nothing like them. My friend told me he threw "Widow City" out of his car window during his recent road trip and I was shocked and offended. Fiery Furnaces should play Pitchfork festival because a) they never played before, b) they are from Chicago, c) they rule. Matt & Kim have nothing on them, but they are interesting for being super happy people--I wish I could be like them!
Black Lips closed out what I saw (I missed the National, sorry)--and while I haven't heard their recent record, their last record, I just couldn't get into, sorry. "Cold Hands" and "O Katrina!" are O.K. as far as the best songs on the album, but happily, Black Lips are a good live band. I kept saying I didn't like them and they would only be redeemed if Bradford Cox came up as a special guest which I said had a 1% chance of happening--but overall, they sounded pretty good live. If I were closer, I'm sure I would have gotten really into it. But by that point the alcohol had turned me into a disinterested half-zombie, spewing bile about whatever crazed topic entered my mind.
Yo La Tengo: 8/10
Jesus Lizard : 9/10
Built to Spill: 6/10
Fucked Up: 9/10
Pains of Being Pure at Heart: 7/10
Ponytail: 6.5/10
Wavves: 8/10
MF Doom: 5/10
Matt & Kim: 5/10
Black Lips: 7/10
Regardless of my personal situation, which has deteriorated greatly from the excellent times of 2005 and 2007, this is still the best event in the city of Chicago. Period. Let the summer wind down, bring on the pain of winter, and start counting the days until they announce next year's line-up. Boycott Lollapalooza until they bring ticket prices down to, oh, $50 a day ($60 with service fees...).
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