I guess today is a dance party theme.
Anyways, this is Fantastic.

Release dates:
Europe - Oct 13th
North America - Nov 17th
That about sums it up. Here's the remix of the track by the always superb, DON RIMINI.
In Youngstown, fewer things get finer than this recording by the Death Crazed Teenage Superheroes. This is a lo-fi excursion into garage rock that many bands try to do, but with no great success. These failed attempts at bands are filled with musicians (or lesser) and all are under delusion of their own fame and self proclaimed tortured existence. This is not the case with Death Crazed... at all.
In Youngstown, there's little hope of living a life that doesn't get beyond the steel-gray clouds that hang low over the city. Music like this happens in Youngstown. Borne of of poverty and limited options of were to go and what to do with the time that feels more like a jail sentence than it does anything else.
This is the first EP from Death Crazed Teenage Superheroes. It's title, though a little long, 5 and a Half Tell Tale Signs You'll End Up Like Your Mother...OMNIPOTENT STRENGTH! EP, but is perfect as it emanates the ideas of the three men involved in this project; Chris Splain, Brendan Gaunter and Dennis Thomas.
I am not really in the mood to review this, at the moment. I just wanted to draw your attention to it and tell you where you can download it, as it is a download only release. And I wanted to tell you that after you download this to go to their show this Saturday at Cedars Cafe in Downtown Youngstown.
Oct 4 2008 10PM Cedars w/Rosehips and Church of the Red Museum Youngstown, Ohio
A while back I posted this same song (Lovely Allen) by Holy Fuck performing live. Here's a different one. Enjoy. Or watch this one. You know you want to.
From Danielson:
We are pleased to mark the beginning of a season in which we look back upon and celebrate some of our favorite Danielson titles from a rich back catalog that has spanned over a decade.
This epic journey of retrospection begins with the vinyl reissues of ...
Tell Another Joke At The Ol' Choppin' Block
and...
Fetch The Compass Kids
(both of these titles are being released on
Secretly Canadian)
AND...
Tri-Danielson!!! (Alpha/Omega)
(being released on Sounds Familyre)
In addition to being back in print for the first time since 2001, these reissues have some unique attributes.
Tell Another Joke At The Ol' Choppin' Block is now available as a 2x12" LP format (as opposed to the 2x10" format in which it debuted) and includes four bonus songs from a live WFMU session from 1996.
Tri-Danielson!!! (Alpha/Omega) has been partially remixed, fully remastered, and makes its vinyl return dressed up in a brilliant new gatefold jacket along with a very special bonus track.
These reissues, along with lots of other wonderful goodies to be rolled out out over the next month and a half (brand new videos, unreleased mp3s from live shows, radio sessions, and much much more), will culminate November 4th (December 1st in the UK) with the release of...
Trying Hartz (First Fruits '94-'04), a two-disc retrospective of the first ten years of Danielson's body of work.
Aside from fan favorite album tracks, it includes previously difficult-to-find songs, alternate takes, new intros & outros, and a few very choice live recordings!
BELIEVE IT OR NOT, THERE'S MORE!....
Danielson ALIVE! Secretly Canadian is now offering this BRAND NEW, TOTALLY FREE EP from Danielson.
Click the fruit of your choice in the tree below to download the entire thing!
To continue the celebration EVEN FURTHER, the first domestic Danielson tour in over two years will happen in November (starting Halloween night at the Knitting Factory in NYC). Sheesh...so much Danielson goodness.
I certainly wish this little tour was swinging through the Ohio. It's coming no where near this hellish land. So ladies and gentlemen, if you here that The Show is the Rainbow is playing and you are within a decent proximity, go. Here's a brief message from Darren (aka. The Show Is The Rainbow)
FAINT TOUR / EUROPEAN TOURHELLO EVERYONE.
I have so much shit going on in November, it's insane. I'll announce who is releasing my new record in the next two weeks, I promise...maybe sooner even. I just have to do ONE last thing before I make the announcement.
Okay! So, check my tourdates out! I just got added to two weeks of touring opening for THE FAINT! The Faint is one of my favorite bands making music today, and I'm so stoked and honored to tour with a band I love and look up to! Should be a blast!
After that tour, I have to drive to chicago to leave IMMEDIATELY for my european tour. I will be playing a few shows with THESE ARMS ARE SNAKES / RUSSIAN CIRCLES, and touring Germany with BAD DUDES!!!!
I also will be heading back to NORWAY, which I'm so excited about. One of the best experiences of my LIFE was playing that festival there earlier this year, and I seriously can NOT BELIEVE i am already going back.
Okay! That's all the news I want to share right now. It's a lot. SEE YOU AT THE FAINT SHOWS SUCKERS!!!!
LOVE,
Darren
Over-hyping is fun.
This video is point and case for over-hype, but over-hyping is like food to GMPD. Both Ultimate Donny and Gil Mantera would not be the same if you watched this video and it didn't make you feel somewhat awkward and guilty.
Here's a little crumb from the GMPD camp bulletined this morning. With out further adieu Youngstown's own Gil Mantera.
You may remember awhile back hearing that GMPD was going to be on the morning show The Daily Buzz. It never aired. In the end, we were too much for the Buzz to handle.We got our asses up way too early still hungover from too much dancing and drinking with our bus brethren, drove to the studio in Orlando and Han Solo'd a performance. Pretend you, your parents or grandparents are watching this at 7 AM on the tele.
Living in Youngstown feels like living life after breaking up with the person you loved the most. You never want to leave and you don't want to be there at the same time. David Bazan plays music that feels like Youngstown; a debate between progress and standing still; kissing and crying; loving and fucking; hurt, but still walking; Jesus and apathy. It feels like he's lived here too.
You may not agree with this feeling or that his music echoes what it feels to have gray clouds hang over your head in life, but listen still.
Video from the DVD "Bazan: Alone At The Mic" Pre-order now at
» davidbazan.com/dvd
» Watch the other video from David Bazan's Alone At The Mic here

Cold War Kids - Something Is Not Right With Me

Cold War Kids (Onasis remix) - Something Is Not Right With Me
Cold War Kids (IS&T remix) - Something Is Not Right With Me
If you’re a Cold War Kids and Richard Swift fan, then start licking your lips. Swift has remixed the Kids’ single Something Is Not Right With Me — two times. You get the luxury of enjoying the song as remixed by his alternate personalities, Onasis and Instruments of Science & Technology.
Loyalty to Loyalty, the latest effort from Cold War Kids, will be out Sept. 23. And in case you didn’t already know, Swift released Ground Trouble Jaw a few weeks back.
Starflyer 59 Dial M and Denison Witmer Carry the Weight test-pressing LPs are now on-sale. These are both in ultra-limited editions of 25 and will ship as soon as they arrive from the factory (approximately 4-6 weeks before the official release date). They will ship without artwork and the artwork will be sent later. Both LPs will have an additional track exclusive to the LP release. Soporus 24,110 cd is also available for pre-order and will ship just before the retail release date of 28 October.
Unwed Sailor is gearing up to finish History in early October. Unwed Sailor is also planning extensive touring in the fall, hitting the road in the US in November and then off to Europe for late November/early December. We'll have confirmed dates soon.
I reviewed this album already earlier last week with my infantile ill-formulated take on Lovedrug's latest release, 'The Sucker Punch Show'. I asked Matt DeBenedictis to share his opinions on this album as I respect his opinions often more than my own. Here are his thoughts on the same album. - Steven Andrew
I can’t remember exactly where it was said- possibly an interview, maybe a speech by his son, but I do know it was said and that’s what really matters. So it has been remarked that Kurt Vonnegut wrote out of his feeling of disgust for the world around him. Slaughterhouse was from his disgust with war and dealing with having been in one. Breakfast of Champions was rooted in disgust of too many things to even count. Michael Shepard of Lovedrug is very much the same as Kurt V. in this sense of disgust being the birthplace of the art.
Lovedrug’s first album Pretend Your Alive had a formula to it. Guitars- loud and gritty, but if the song’s music was full of hooks and almost brit-rock piano parts that tender coupled hearts can hold hands to, make the lyrics dark and sharp like a perfect horror film. The second full play album (Everything Starts Where It Ends) followed the formula, but this time the grit was wiped out by knobs and buttons during production. The result was a record that should sound angrier and fuller than the first, but that is only achieved at points leaving Lovedrug as suspects of being a pop rock band. That formula has been laid to rest on the new album.
Soon The Sucker Punch Show will be on shelves and search engines on downloading sites, and though it’s easy to say this is a new version of Lovedrug as every album has an almost entire cast of new musicians playing behind Michael, this is a new Lovedrug, but not simply because the names on the album credits and on the myspace page are new-Michael’s level of disgust has pushed him to choose a new path.
Rumors have scooted and shot all over the internet that after a year of touring and not getting the success Lovedrug deserves and is entitled to he fired the entire band to only use hired hands from here on. I have no idea if that is true. I do know to take notice when the opening line of a record is “Got sick of the marching band and lost my head.” From that point on it’s clear this is a new kind of Lovedrug album.
Previously the protagonists in Michael’s songs have not always been clear. They have been demons of the personal side, of the actions we do, and just characters caught up in life, but a question can be posed- is this album more autobiographical and personally focused? Easily my favorite song on The Sucker Punch Show is “Broken Home”, which is by far the catchiest song that will take days to get out of your head. If you want to know the actual mixture of drinks and pills to get the chorus out of your skull please contact me because the concoction to get my brain back took four days to invent. Broken Home is a song of being left behind by those you love and feeling lost in all you are. Broken Home is a letter that is never sent. It’s a letter about trying to figure out what has happened and trying not to lose yourself.
Songs like Blood Like and The Dirtiest Queen hold the closest resemblance to the sounds of Lovedrug before this record, but still these two songs hold possible road maps for where the band is going. The best way to describe much of the record is to imagine what would happen if The Foo Fighters did a session with Jeremy Enigk fronting it all. It would be rock, but not too much, and there would be hooks and pop-like melodies but there would still be tales of life in darkness. All of that is The Sucker Punch Show.
The most stand out song on the record is Everybody Needs A Halo. The song is everything it screams about. It is sex juices, divinity, questions stacked up like buildings that will never fall, death, slumber, anger that turns to laughter. It’s all here and when together this is a mess. It’s sloppy. It is an anti-pop song. Songs like this are known as “Take me for what I am.”
It’s been a good many years since Michael Shepard met with Adam Ladd to form a new band that would be more straightforward than their last one together. Members have run to Michael, and ran back as well, but Lovedrug is not stopping. This is about to get real interesting and I know I’m not going to hang on to anything during this ride, well maybe my own disgust.
Clikatat Ikatowi, along with Gravity Records labelmates Heroin, Mohinder, Angel Hair, and Antioch Arrow help define the Sand Diego sound of the mid-'90s. This was what some call the second wave of emo, a decade before guyliner pop punk bands getting dubbed with the label. Influenced in part by the more melodic DC sound a few years before it, but adding in more elements of hardcore, noise and jazz, bands like Clikatat Ikatowi could go from slow building indie rock to complete chaos and back again within a song, sometimes multiple times. This photo is by Amy Halligan from a 1992 show at Seattle's Velvet Elvis.
Drummer Mario Rubalcaba has played in a string of bands, including Rocket from the Crypt, Thingy, The Black Heart Procession, Hot Snakes, the Sultans and Pinback.
»SOURCE: http://10thingszine.blogspot.com
Way back in 2004 (God it feels like that was 20 years ago now) this band put together a handful of songs that would become very inspiring to me. That disc was Pretend Your Alive and it was something that did indeed make me feel alive somewhere inside. I was a believer in most things Michael Shepard had put together from the late 90's to that point. He's had a healthy relationship with some of the best music made. I remember that year I was tagging along with a friends band on tour which concluded at the Cornerstone Music Festival in Illinois. Lovedrug gave a remarkable performance that year. It was nothing short of glorious. In attendance to that festival show future Lovedrug drummer Matthew Putman. A man who's talents I respect endlessly as he was and is involved with some of my other favorite projects (Snailhuntr, Bear Colony and Unwed Sailor). When later that year it was confirmed he'd make the move from Little Rock, AK to Canton, Ohio to join up with the newer more trans-American line up that was forming under the leadership of Michael Shepard.
Things change though. Even Michael Shepard seems to have changed or perhaps it was everyone he surrounded himself with that made him shine the way he did in records past. This new records see a new line up. Even guitarist David Owen has slipped away to toil in the dark with his own music (which I suggest you listen to here).
This new record sees the song writing of an entirely different. I don't recognize one name in the liner notes, with exceptions of Michael Shepard as he remains the central core to the project. This new effort from Lovedrug is sad. It's not the inspiring force it was. The songs aren't crafted fully to be the emotional explosion that the first disc was . The album tees off with a guitar riff that serves as the primary melodic loop through the song. I thought I was listening, to You Stupid Girl by Garbage. Unfortunately, I wasn't. The chorus swells to what sounds like a tantrum of poorly chosen lyrics that appeal strictly to the 14-18 year old high school crowd and their in ability to select clever music to fashion their tastes after. Instead it's a steady diet of Fall Out Boy and Panic At The Disco and walls covered with the latest fresh faces from Alternative Press lining every inch of their rooms.
I'd have to say that this is a huge let down in Michael Shepard's ability to craft a well written record. He's using the formulas, which is fine if you can dress them well like he did on the first, but this one feels like I am just listening to the frameworks for songs. I am equally disappointed in the lyric department. The song and presumably the title track Everyone Needs A Halo is an example of poor lyrics. The music is terrible too. It's probably the worst track on the whole disc. It feels like it's trying to had sometimes. Not always. There are jut these moments that make me cringe a little.
Despite the lackluster quality of the song writing, the songs sound good. Lovedrug still utilizes a guitar sound long abandoned in the mid-90s. It's a sound near and dear to me, so when coupled with impassioned, well-placed lyrics and music it makes a for an experience you won't forget.
There aren't many tracks doing anything special on this album, but I think the tracks Panicked Witness and Dying Days are the only call out to the Lovedrug I knew. Maybe touring with all those shitty Tiger Beat emo bands had a reciprocal effect on them? This album is something I will forget about, but I can't forget how disappointing Lovedrug has become or how bad that cover art is.
From Drowned in Sound
Nirvana’s former manager has pinpointed Courntey Love’s arrival in Kurt Cobain’s life as the moment the band changed forever.In new book Bumping Into Geniuses: My Life Inside the Rock and Roll Business Danny Goldberg says that “Courtney's very presence was a metaphor for the end of one era in the band's life and the beginning of another,” going on to describe her as Cobain’s “mouthpiece”.
After initially being “charmed by Courtney's self-effacing affect” he talks about how she had “numerous personae she could call up at will, and this would be the last time I would ever see Courtney as an underdog.
“The weekend in January 1992 that Nirvana did 'Saturday Night Live' for the first time was a turning point that put into focus the heroin problem that was to haunt Kurt for the rest of his life.
“Courtney called me at home the morning the show aired,” Goldberg continues in the excerpt, reproduced at Spinner.com, “and asked me to get Kurt $5,000 in cash so they could do some ‘shopping’.
“I felt pretty uncomfortable as I delivered the package of $100 bills to her at the hotel. Abruptly, the dark cloud of drug excess had entered the band's life. I was confronted by the baroque facade of lies and the awful glassy-eyed deadness that regular heroin use provides.”
Cobain and Love went on to marry in Wakiki the next month, the former dying just over two years later.
Goldberg, pictured above in place of the usual 'look at Courtney with her minge out' photograph, will release his book later this month.
Get ready. After Pelican returns from their European dates with Torche they just may visit your neck of the woods.
PELICAN, KAYO DOT, STEVE BRODSKY - 2008 TOUR DATES
October 28 - Mt. Clemens, MI Hayloft
October 29 - Columbus, OH Ravari Room
October 30 - Buffalo, NY Tralf Music Hall
November 1 - Allston, MA Harper's Ferry *
November 2 - New York, NY Bowery Ballroom *
November 3 - Milford, CT Daniel Street *
November 4 - Philadelphia, PA North Star Bar *
November 5 - Washington, DC Black Cat
November 7 - Charlotteville, VA Outback Lodge
November 8 - Raleigh, NC The Brewery
November 9 - Atlanta, GA The Drunken Unicorn
November 10 - Jacksonville, FL Jack Rabbits
November 11 - Gainesville, FL The Common Grounds
November 13 - Tampa, FL Orpheum
November 14 - Orlando, FL The Social
November 16 - Memphis, TN Hi Tone Café
November 18 - Louisville, KY Uncle Pleasant's
November 19 - Chicago, IL Subterranean
* w/ Zozobra


I am not sure I will ever understand this band, but they sure are fantastic.
Reset you calendar back to 1980.



I am not trying to be Pitchfork and talk about cooler than you music that skirts the lines of mysterious and inaccessible. The last thing that I want to become is them. But this is a band that I believe you would do you good by knowing of them and listening to their music.
Amid the sludge, metal, punk and noise bands that I chatter about normally, is something sort of like a diamond shining in the dark; Brown Feather Sparrow.
The year 2002 was a transitional year. A certain love was over. I stopped playing hardcore as the band that I had been in for the five previous years bid farewell to the road and the fans. I found myself learning new landscapes and exploring old ideas. While was in this mode I heard the voice of Lydia van Maurik-Wever singing whilst I was doing my blog rounds back then. I didn't know what this music was that I was hearing play back on someones page. I downloaded the track and only had a song title to go by. So for years I never new who that enchanting voice it was that I was hearing in the music belong to.
The song was Beautiful & More. I search endlessly for the author of this track never having any success. Mp3.com at the time was a dying musical source and a void was left for the burgeoning online music world to tuck away their information and sonic wares for people like me to find and muse over. I searched to no avail, until maybe a year ago well after their information had time to soak into the DNA of the cyber world. A simple search on a quiet day led me to their Myspace page. Brown Feather Sparrow! At long last I had a name to put the that voice that sobered me and talked me off of ledges.
Needless to say this band contains something of an elixir to the weary and the rainy day travelers. They've recently pulled together another album entitled Brave. They are masters at distilling the beauty that exists in the simple and monochromatic Netherlands landscapes that I am convinced they live in, maybe only because my Ohio landscapes are 90% of the year are exactly that.
This is indie pop. If you don't like it, I warned you. And it's fair if you don't like, but these children of the Netherlands do something for me that the rest of my record collection cannot.
Years ago, in the late 90's somewhere in Eastern PA the a band with the name Pterodactyl was thrown about within a group of musicians I knew then. I can't remember if the band was real or not, but I am leaning towards real, though my brain cannot confirm my suspicions. Regardless, hailing from Brooklyn, Pterodactyl, the confirm-able real manifestation of a band by that name, exists and they will be playing in Cleveland tonight. I am late, as per usual, in informing you of these great things as the information presents itself in bold fashion the day of.
I find Pterodactyl interesting and so should you.
They are playing tonight at the Beachland. Here are the other details:
Aug 20 08 | 8PM Beachland w/ National Suicide Day
My apologies if this isn't my best work. I'm still suffering from what we Radiohead fans refer to as post-Radiohead anxiety disorder. That's PRAD, for the uninitiated, and I'm proud to be a suffering member, although I cannot truly show it this moment. A week or two may lessen my currently heightened condition; at least until another triggering event (Radiohead concert) subverts me back into displaying a surplus of the symptoms. Yes, I will list them:
Nausea
Paranoia
Agoraphobia
Fear of trap doors that open
Alienation and discovering miraculous, subterranean homesick alien nations
But, seriously, it is happening to me at some degree.
First, let me say that I saw Bon Iver and Bowerbirds on Saturday at the Rex Theatre in Pittsburgh, and it was quite the fine show. Apart from backing into a street sign not far from the busy southside Carson Street, it was a good night. I never do those sort of things, so cut me a break, will you? Unless you consider when I wrecked my dad's Blazer a month after I received my licence, numerous speeding tickets and close-calls, and totalling my Focus at the end of '06. But, really, who's considering?
Bon Iver took that lonely, folky isolation sound to the bank during what Justin Vernor dubbed as the 'Friendship Tour Two-Thousand and Great'! Vernon's band, Bon Iver, joined Bowerbirds for a calm night compliments of a rather timid crowd. Vernon and Bowerbirds flattered everyone in attendance with compliments of the beautiful city and the audience's courteous, excitement. Talking and disturbances were at a low as Vernon proclaimed he was 'calling audibles up here; Brett Favre style'. Moments earlier, he divulged his recent dream of Favre in a Pittsburgh jersey.
Several of the Bon Iver tracks benefited from added percussion or guitar flourishes. "Wolves (Act I and II)" included a proposed sing-along during Part II's repeated 'what might've been lost' line. To illustrate why acts in smaller venues should avoid encores, Vernon described how he's been in bands where they planned encores into the set, only to have unresponsive crowds fail to applaud. To avoid this, Vernon announced his intent to play a couple more, then have Bowerbirds join them on stage to cover Sarah Siskind's "Lovin's for Fools". I recorded it, but sadly, my camera shut off for the last two lines. You know what's coming though, so I want you to sing it to yourselves a'capella.
The cost of everything is rising, even considering the über cheap Pitchfork Music Festival. Last year, I detailed my love and criticisms of the proverbial windy city festival: the alternative to your high-priced musical and drug-filled highs of Lollapalooza and Bonnaroo (Lolla also shares the same city as Pitchfork). Now, I'll recap the festivities and provide an update on where Pitchfork picked up on their previous entertainment woes, and where they continue to excel. Although most of the costs increased in the form of slightly higher ticket prices, tolls on the trip from northeastern Ohio to Chicago (it cost about two dollars more this year- over $20 versus under $18), and, worst of all: water bottles/Fuze doubled in price! The comfortably cheap dollar drinks of yesteryear gave way to two dollar drinks of this year. In an uncreative fashion, may I now present the breakdown in the same format I utilized for last year's review.
Why the Pitchfork Music Festive-ILL pwns you:
1) Good beer. Average priced food vendors. Two dollar water or Fuze. Plus, it's in Chicago, and who doesn't like Chicago? Right. New York.
2) Friendly fellows everywhere you go. Well, except for those who smoke cigarettes in crowds and don't blow their smoke upwards. Seriously. To support my notion of gentle/kind beings, during one of the only louder sets, Spiritualized, a woman offered me earplugs as I held a finger to each ear. I removed them later to hear the aural intricacies of Spoon's not-quite-as-ear-piercing set. Also, it should be noted that some of my friends and I engaged in many obscure conversations that seemed suited for a cheap festival. For instance, there was a mildly heated debate over the free parking rule some adopt in Monopoly. Should taxes and other miscellaneous money be placed in the board middle to await the next person that lands on the free parking space, or not? Some videogames have embraced this fan-rule, but die-hard trumpeters of the infallibility of game instructions would argue against the amendment of game rules.
3) Small park that was slightly expanded from the previous year's size to allot more space for the Balance Stage. Last year's Girl Talk set at the Balance Stage was riddled with requests to back up due to a concern of the fence being knocked down resulting in helpless hipsters falling out onto the busy street. This year, they closed off the street and moved the Balance Stage further away. Other improvements from last year included an increased number of ATMs compared to last year's one, seemingly more food vendors, and most importantly, more port-o-potties.
4) A gripe and an improvement in one: the sound quality did improve upon last year's, but most of the sets needed to be turned the fuck up. Plus, according to some of the folks in charge, the city had a curfew to enforce which, most notably, prevented Animal Collective from playing all night as Avey Tare remarked they would've liked to do, but couldn't. Chicago's oldest Baptist church also delayed Sunday's Balance Stage sets. Churchgoers don't want to hear no indie rock, unless, of course, it's Sufjan Stevens or that band that wrote Neon Bible.
5) Once again, I missed the "Don't Look Back" performances Friday night. Last year, it was Slint, GZA and Sonic Youth. This year, it was Mission of Burma, Sebadoh and Public Enemy. I heard the latter was fantastic, of course. The early acts on Saturday were good ones, though, such as Titus Andronicus. One of the highlights of the festival were the opening moments of their set as they played the first verse and chorus of Pulp's "Common People". They knew Jarvis Cocker wouldn't perform Pulp songs at the festival, so they took it upon themselves to do what someone had to. This was also one of the few covers of the festival. The rest of their set was their usual romp through Shakespearean-sized tragedy rock as portrayed on their full-length debut.
6) Caribou was one of the festival's strong points. The tunes weren't drenched in as much reverb as the album incarnations, but the audience was drenched from the rain. In fact, we had a slight umbrella debacle. Sure, umbrellas were great for those under them, but not so great for people standing behind those with umbrellas. What a dilemma! This led to countless requests/demands to lower umbrellas. Once people did, we could clearly see and hear Caribou much better. The weather made us all feel like soggy clam chowder. Caribou were also one of the acts to sport duel drumming.
7) Fleet Foxes were fantastic as usual. Harmonies in place, and the band's charm was similarly appealing. Unlike The Ruby Suns at the Balance Stage a little later, they nailed the highlights of their EP and debut LP, not to mention a brief solo performance by Fleet Foxes lead Robin Pecknold. He covered Judee Sill's "Crayon Angels" before shifting back to original material with the rest of the band rejoining him on-stage. While tuning instruments inbetween songs, a member remarked, "This is the deconstructionist part of the set. Hope you like our new direction!" They also thanked Pitchfork for facilitating their very existence, wondered at themselves on the big screen they could see and complimented the crowd for not being as bad as they thought. They weren't 'thrown to the wolves', 'although it would be really cute if the audience were all wolves with their large sunglasses'. I may have been one of the wolves, but I'd say their set was my third favorite of the weekend that I saw in its entirety. Also, their album is my favorite of the year thus far, and although they aren't quite on par with their reverb-laden contemporary My Morning Jacket's epic live sets, they definitely bested Evil Urges, and effortlessly put out a consistent album MMJ should've made this year and all along.
8) I saw !!! from afar as I maneuvered my way into an ideal spot prior to The Hold Steady to await Animal Collective's set later at the same stage. !!! was a riot per usual, as were The Hold Steady. The Hold Steady played their album 'singles' among many other fan favorites, and the one thing that placed this set below that of the last time I saw them was the abundance of new tunes which I cannot fully embrace as enthusiastically. Otherwise, it was a Hold Steady show, and it was fantastic.
9) The pinnacle of Pitchfork came compliments of Animal Collective. Performing a newer than new tune, along with plenty of other unreleased material, they majestically bounded from track to track without a single pause. Long segues between songs maintained the trance-like Grateful Dead-inspired psychedelic set. A minimalist version of Coldplay's light show added to the wonderment of Animal Collective. They performed Panda Bear's "Comfy in Nautica" as well as a terrific fifteen-minute "Fireworks" medley. The helicopter drumming in "Fireworks" grooved and shifted as the overarching melody, providing a segue between revised older works and "Fireworks" itself. Avey Tare, Panda Bear and Geologist let the songs swoon to the extent that their performances are more of an experience. As a seeming focal point for the festival, they also fronted a small theme of other festival acts: new primitivism by means of implementing electronics with African, tribal and Native American influences. Similar festival acts include The Ruby Suns, High Places and El Guincho. The latter didn't make it to the festival as previously planned, however.
10) Dirty Projectors were another fine act whose set reinvigorated my interest in them, as well as heightening my anticipating for a new album. Prior to their set, I caught some of Times New Viking, too. After their set, I heard the beginning of Boris which sounded devastating. I wanted to stay, badly, but opted instead to head towards the Balance Stage.
11) At the Balance Stage, High Places came across as more promising than Gorilla Vs. Bear could even hype. With a similar setup as The Ruby Suns, they way outperformed them. The vocals were tender and they combined a pleasant amount of electronics with various other instruments. Afterwards, HEALTH set up and thrashed through a few songs before I left for a food break and to position myself for the next shows. It's not just about music, it's the strategy of positioning one-self at the desired stages, and unfortunately there are sacrifices and casualties.
12) I watched some of The Apples in Stereo from afar before the wildly entertaining Les Savy Fav took the stage. I'll let the photos tell the story here...
First, on Saturday, there were $2 hair cuts compliments of Les Savy Fav's Tim Ha