I can appreciate a band who chooses to traipse along the edge of the mainstream. The punk pop hooks, chanted choruses and shitstorm live shows make bands such as Les Savy Fav all the more of a hidden treasure for the cool kids to keep for themselves. With a pedigree dating back to 1995 at Rhode Island School of Design (where Talking Heads also originally met), Les Savy Fav have always brought the noisy, catchy, chaotic good times by grabbing all the serious power chords from their favorite punk bands and adding in their own sardonic twists. On their sixth album Root For Ruin out on Frenchkiss Records, their is an indisputable agenda here: create 10 tracks that will make a live audience lose their collective minds with bruised, aching, screaming joy. Mission accomplished.
Kicking off Root For Ruin is "Appetites", an off-kilter stop-and-starter that explodes into a punk rock cheer. By first requesting anyone to "Show us your tits" then referencing Silver Jews' tongue in cheek anthem "Punks In The Beerlight", "Appetites" becomes a cute inside joke, equal parts smart-ass crude and indie rock conceit. "Dirty Knails" features snatched Jesus Lizard fiery blues guitar and kick in the gut bass as lead singer Tim Harrington decides to chant like a preacher waiting on the Holy Ghost. They turn up the effects on "Poltergeist" giving it a road movie quality while it's theme will surely be utilized for Harrington's stage antics. Other tracks ripe for live performance are the silly come-ons for "Lips n' Stuff" where Harrington requests to "be friends with benefits" and the oppositely titled, yet similarly surface level rock-outs "Excess Energies" and "Calm Down".
Where the muscular riffs and good times are abundant, the depth for most of Root For Ruin is about waist high. That attribute would not be so apparent if it weren't for Les Savy Fav's catalog showing how capable they were of blending their smarts and rock savvy. On Ruin, "Appetites" and "High and Unhinged" both feature the clever phrasing over melodic snares that capture your thoughts and send your body on its destructive moshpit-bound path. Newly inspired to dive back into the Les Savy Fav catalog, hearing some of the old tracks reminded me that their previous efforts were more challenging both musically and in the lyrics. All of the tracks on Root For Ruin are fun and of quality, making a great introduction to a storied band. If you are inspired to discover more, look to 2007's Let's Stay Friends and their early singles collection Inches for the best Les Savy Fav has to offer. Meanwhile, enjoy the party that is found here on Root For Ruin.
There is a gaping hole left in the indie rock tapestry when Sleater-Kinney decided to take an indefinite break in 2006 after their amazing finale The Woods. Their former lead singer/guitarist Corin Tucker has brushed the dust off and come back with a new band and a fiery single from their debut 1,000 Years. It is back to the origins of Sleater-Kinney on the track "Doubt" that features Tucker's trademark wail and a cut and dry punk rock attitude that puts on the brakes halfway through to throw in some handclaps and swelling organ just for kicks. The quietloudquiet reminds me of what was good about the 90's. For me, that space that was left behind now feels much less empty.
This review has been a struggle. When Interpol self-leaked the track “Lights” for their fourth self-titled LP, I found it astonishing, making me reflect back to the grand moments that were found on their debut (and one of the decade’s best) Turn On The Bright Lights. Although they had never again reached that pinnacle in subsequent albums, I always felt Interpol was a strong band with a future of limitless possibilities. Their solid follow-up Antics containing powerful singles and no real clunkers, yet it missed the connectivity between tracks that makes an album great. Then came their major label debut, the uneven Our Love To Admire, where some songs stretched out for something great, while others lacked direction or lead singer Paul Banks’ lyrical attention. After their hushed hiatus, Interpol has teased the public with cryptic releases of information all year. Highpoints of their news feed include the tracks and tour dates where the public could finally get a taste of the new album, then jarringly stating the departure of bassist and fan favorite Carlos Dengler. Since the rollercoaster of information, the band member rotation and Interpol’s historical arc, we are left with the album itself. After listening multiple times and vacillating wildly on my opinions, I can say the following. It is a decent album, even great in moments. However, the lack of assurance and the feelings of incompleteness are worrisome and possibly telling. I now question the future of Interpol.
The self titled album Interpol is a tale of two sides, if you could still physically handle and flip over your listening material. Side “A” is substantial and unflinching, showcasing an assured band attempting to string together a story in their songs and lyrics. Side “B” is meandering and even dull, feeling forced, directionless and unfinished. Starting with the good news, Interpol begins with the slow burn of “Success” that pumps with kick drum, playful bass and upfront lyrics that reflect the steely confidence of the song’s title. “Memory Serves” is a romance novel in dramatic scope and sound, aching and sweeping across the listening landscape in a way that would come off more self-serving if it didn’t seem a little tongue in cheek. “Summer Well” sounds like a robust Antics outtake with another pulsing drum and bass combo that encourage the spirited twin guitar interplay. Finishing off the first half with the promising early releases “Lights” and “Barricade”, the beginning of this album on it's own would have inspired a definitive “return to form” review. My initial thoughts on "Lights" can be found here.
The next five tracks tell an entirely opposing story. A track sporting the name “Always Malaise (The Man In Me)” sounds so egocentric that the fact that it is merely a dramatically mediocre song is basically null. “Safe Without” and “Try It On” both lack in a focal point and, especially in the latter, tries to cram disconnected parts of what could have made a better song into a listless mix. As the final tracks “All Of The Ways” and “The Undoing” overlap each other, the effect is tantamount to driving headfirst into a brick wall. Plodding, histrionic and tiresome dirges are more than just a band that may be attempting an ode to a departed band mate. Where the beginning of the album was steady and effective, at the finish Interpol now seems like a ship approaching a distant, oncoming storm. They see it from far away, but are not quite sure of the next move to make to avoid extensive damage or even a watery ending. This opinion stems from a established fan of this band. I am someone who wonders aloud why this band gets disparaged for hi-jacking the sound of Joy Division, yet countless other bands can ape great moments in rock music history and get away with the “loving homage” label, but so be it. To this fan, the final tracks of this album feel all too...final.
I hope I am wrong. Enjoy the new videos and music.
Baltimore's Beach House has had a prosperous 2010 with a wonderful new album and successful tour including a stop in Chicago for the Pitchfork Festival. Somehow, they found the time to record an EP that includes the new track "White Moon". It is a lovely sway through the breeze with a sunnier feel than the tone of this year's release Teen Dream. I guess that is what success can do to you.
To properly listen to the NYC band !!!, it may be helpful to perform a bit of research. Of course, there is the requisite knowledge needed to say the name: !!! is said as "chkchkchk", like the sound of a typewriter pounding out each punctuation with authority. To wholly listen to the !!!'s catalog, you need to trace the chronologic steps that made the band's singular sound. An obvious starting place is the era of early disco when the necessary components were a bouncing bass and R & B guitar riffs over a perfect 120 beats per minute. Also, one must concern themselves with post-punk influences of Wire and Gang Of Four that spills into the drawn out dub expressions of Public Image Limited. Of course, the Manchester scene impressions cannot be ignored from the angles on Joy Division to the house-tinged Brit-club of Happy Mondays. Today's nouveau live band dance crusade led by artists such as LCD Soundsystem and The Juan Maclean march arm in arm with !!!, giving us a history lesson in each recording tied up in a package of pulsing strobe lights.
And what a fun bundle of music Strange Weather, Isn't It? actually is. Released on Warp, !!!'s fourth LP is heavy with lighthearted indie dance anthems that draw readily from the band's disco prerogative. The employment of the soulful backup singer works as frontman Nic Offer runs along side with his husky, lounging croon. The old school feel is most apparent on the their ode to simpler times "AM/FM" flaunting Gap Band bassline, Blondie swirling keyboard, bongo fills and signature dub guitar bridges that weave together into a cheerful kickoff. The jubilant mood hits the loftiest of heights for the next track "The Most Certain Sure" where !!! possibly craft the best singalong chorus of the year. The constant genre exploring of !!! actually break into less utilized influence on "The Hammer" where Krautrock pushes its way into the dance party and, while being short on lyrical content, makes for a furious concoction ripe for a extended free-for-all jam session encore.
This leads into the glaring omission on Strange Weather, Isn't It?. Where their past albums sported incredible lengthy exercises in disco-dub extensions, there are no 7+ minute tracks that always made !!! albums such prodigious creations and worthy reminders of those great moments in history. Certain tracks such as "Even Judas Gave Jesus A Kiss" begin to head in that direction, then simply fade into the distance. Instead, there are intriguing beginnings like "Jump Back" that could do with some more time in the studio for exploration. Still, there is plenty here to get sweaty over as !!! make another well blended album of present day indie club constructed on the cherrypicked past.
Lower Dens is an outfit I knew nothing about until the release of their debut LP Twin-Hand Movement. After giving it a listen, then after not helping myself to even more listens, this is finally another interesting and textured debut for the new decade. After hearing many sidesteps and backward leaps by indie royalty this year, it is a welcome surprise to get something this intriguing from an unfamiliar source.
After doing some research, I have uncovered the following: Lower Dens is fronted by Baltimore-via-Texas songstress Jana Hunter, who also has some solo releases on freak folkie Devendra Banhart's label Gnomonsong. This new band leaves behind the stripped away acoustic balladry in favor of this elegantly understated collection of basement tracks. These dank, echoing songs barely fill the listening space, but command your attention based on the insistent guitar twangs and plaintive vocals of Hunter pushing through the mix. Her voice invokes the style of varied female indie artists depending on the needs of the song. At times she is like PJ Harvey at her most restlessly tense, in others she is Cat Power's Chan Marshall far removed torch singer then she is like Victoria Legrand of Beach House's deeply woven inflections. It is apparent that Jana Hunter does what is necessary to make her point felt.
The album's eleven tracks are essentially restrained expressions that never goes for the big finish. Lower Dens' techniques prefer that the listener pays attention throughout the song's entirety, sliding in the interesting moments and turning a phrase without calling attention. Starting with the throbbing bass of "Blue & Silver", the track slinks along keeping pace with the dreamy vocals until the guitars crash in to break up the sleepiness. "Tea Lights" is EVOL-era Sonic Youth at the most barebones, propped up by guitar stabs to keep the whole song from imploding. First single "I Get Nervous" is an introverted drifter accented with gauzy shoegaze synth and lyrics delivered on a whisper. At the end with "Hospice Gates" and "Two Cocks", Lower Dens stretch their legs for their versions of pop music with the latter almost a delighted finale to a stirring first full length.
The Ting Tings have been toiling away on their followup to their 2008 debut We Started Nothing. Finally, we are blessed with their first single "Hands" released on their Facebook page. This is a definite nod to retro club pop reminding one of Kylie Minogue instead of the indie influence that made them so huge. No matter if you are dancing anyways. If you prefer a techno remix, the Low Sunday offering will fill the void. Keep an eye on Hype Machine as the remixes should be hitting the Internets in about 90 seconds.
Matthew Dear is electronica's ever-prolific chameleon. When he is not "himself", he works under his other pseudonyms Audion, False and Jabberjaw. The compartmentalizing of his multiple personalities allow him to keep an arms length from the music itself, working as more of a emotionless technician than a connected musician, considering his beats and blips in a more critical state. If there was a genre of music that self-imposed distance would be a strength, the wide umbrella of electronic music would find that quality a sheltered space. Yet Matthew Dear saves his most personal expressions for "Matthew Dear" where his tightly wound tracks are at their most organic and he allows his voice, albeit a deep and taciturn yet leeringly inviting one, opine on his hopes, loves, fears and inner demons.
The new album Black City on the label Ghostly International is Matthew Dear's fourth release of original music under his self-moniker. It picks up where his amazingly connected 2007 LP Asa Breed left off. Where Asa Breed was positive in feel, even joyous as times, Black City has a literal naming, feeling like a paranoid, shadowy crawl through a futuristic Urbania. As in the past, there is still sex appeal in this album. Rather than the comparatively relaxed, loving odes from past efforts, these are the encounters of leather and lather, straps and masks, aches and pain. Beginning with the track "Honey", a sweet breezy ballad slowly becomes creepy as night falls over. The darkness rolls into the next track " I Can't Feel" that insistently shuffles and hums featuring a funky slap bass as Dear flips between falsetto and that dirty and detached leer. It sets up the album's centerpiece "Little People (Black City)", a nine minute techno groove that reminds us of his Detroit roots. The silky synths slink around the dance floor as the vocals reflect the upbeat mood, then again take a turn from the brightly lit nightclub to a seedy underbelly where dancing is a remedy for a prevailing paranoia.
It is at this point when Black City stays on its dark path and becoming a challenge to the techno fan. The three track stretch of "You Put A Spell On Me", "Shortwave" and "Monkey" vacillates between expansive experimental and straight up industrial clank making the tone intriguing while forcing the astute listener to inquire on Dear's motives. The imprints are widely far flung as he recalls Wax Trax then nabs the slinky bass from The Beatles "Come Together" then envoking Talking Heads' Fear Of Music all in successive songs. It reveals that the influences for Black City's topics of isolation and fear can be found in the most varied of places. The listener is allowed to relax again when the machine pulse of "More Surgery" acts as a confessional on his unavoidable aging. Finally, the surprising piano ballad "Gem" brings the drawn out events of the evening to its final stop while Dear returns to his own humanity. Black City is a wild trip for Matthew Dear this time around and at times a temperamental mosaic, but not without it's strikingly intriguing benefits.
The powerful Scottish quartet Frightened Rabbit have had my attention for the past few years. Their 2008 album The Midnight Organ Fight is bursting with anxious anthems on the travails of love that carry the bitter bite of someone who is on the wrong end of relationships. I happened to be in London when they were on that supporting tour and caught their show in a small pub in Brixton. Their energy and emotion playing for around 200 people has made me a committed fan. This year's release The Winter Of Mixed Drinks and their performance at Lollapalooza is more cannon fodder for the lovelorn and the passion-filled. If you missed them, they are on an extended tour with a November 4th stop at the House of Blues in Chicago.
Getting a new song from Frightened Rabbit so soon after an album release is definitely a big bonus. This raw track starts as an aching dirge in a empty hall, then builds with a distant guitar riff an a hurdy-gurdy that pines for someone to listen. Check it out below.
Since I did not arrive until later on Friday, the lion's share of music I witnessed was on the last two days. It was definitely for the better or I would have been crippled by the end of Sunday's offerings. Little did I know that the best was yet to come.
Saturday
Best Show Of The Day - Grizzly Bear
I have always found Grizzly Bear as a solid band, but that I may have too quickly written off because their more subtle cerebral nature and the drooling smooch fest they always receive from certain indie websites. However, I am now a fully converted fan finding that power and emotion that may get buried by a band possessing such a assured foundation of technical acumen. Although frontmen and guitarists often get the most obvious attention and instant adoration, the percussion of Christopher Bear was beyond the driving force, but the ardent inspiration for a surprisingly intense live band. The crowd gushed for the newest songs "Southern Point", "Two Weeks" and "While You Wait For Others" where the latter extended the CSNY-inspired harmony and made it the swollen crowd collectively unhinge their jaws. The delicate beauty consistently found in Grizzly Bear's tracks was there as well. An example was "Knife", aching with all of the reverberation from the studio recording. Their dynamics were on full display as "On A Neck, On A Spit" distracted you with homespun simplicity, then ran through the unsuspecting audience like a freight train with no warning. It was the show of the weekend, saying more in one hour and a dozen songs than fireworks and fancy stage sets ever could.
Honorable Mention - The Morning Benders
Again, there is a lot of hype surrounding The Morning Benders and their first LP Big Echo. I am happy that I got down to Grant Park early for the half hour set. Touching on all of the tracks that made this album one of this year's best such as "Promises", "Pleasure Sighs" and "Stitches", The Morning Benders had the perfect blend of sunny melodies and Brit-influenced ethereal dream-pop. Closing with "Excuses" allowed the young men to charm the crowd with an accapella hum-a-long. Consider me one of the converted.
In other news, co-headliners Phoenix had the opportunity to steal the day with energy and undeniable indie pop nuggets. They stretched their finale "1901" out to well over 10 minutes including multiple false endings. With all of that effort, they still fell 15 minutes short of their set time. Could they possibly take a signal from their French-born benefits that allow for only a 35 hour week? Wild Beasts were what I thought; a eerie blend of inviting, melodic soundscapes woven with a buoyant, attention-stealing falsetto. The xx were unsurprisingly introverted in volume and on a huge stage. They would have been much better served on one of Lolla's smaller stage or even performing cross-legged in your basement rec room. To counter was the high energy of Emily Haines and the cast of Metric who never lacked in joy or power chords. Between her and Stars' Amy Millan, I am surprised starry-eyed indie rock boys don't begin a mass exodus to Canada. Over at Perry's DJ stage was another exercise in obvious paint-by-numbers progressive techno and flagrant marijuana use by entitled teens. Joachim Garraud, Kaskade and even Perry Farrell as accompanied by Chris Cox never needed to challenge this oblivious crowd, making this the easiest money these disc jockeys ever made. Never mind as the much more interesting purveyors of dance beats were on their way tomorrow.
Sunday
Best Show Of The Day - The Arcade Fire
Since this was my first Arcade Fire show, my perception was based on the countless documentation speaking to the band's tireless work ethic. This is now a witnessed fact as the members spent the songs dancing, singing, posing and screaming along to each song, sharing their passion for their art the only way they know how. Even between songs, the members and roadies criss-crossed the stage to prepare, if only to squeeze a couple of extra moments communicating with the audience. This was also the most connected crowd I had witnessed all weekend, dedicated to celebrating the on-stage efforts, urging the band on through their well chosen set list. What was most noticeable was slightly more reserved nature of the band when performing the newer, less familiar tracks. Still, I found the moving "We Used To Wait" one of the set's highest points. Comparatively, the unbridled kinetics that were on display for tracks such as "Neighborhood #2 (Laika)", "Neighborhood #1 (Tunnels)" and Rebellion (Lies) were born from a well worn familiarity that translated from each performer's deep connection to these songs. It is this kind of undying showmanship that make The Arcade Fire beyond the pretentious label given by their dissenters. They are a proud collective of musicians dedicated to the explosive expression only live music can deliver.
Honorable Mention - Frightened Rabbit
Another fine example of the power of the live performance and the importance of being earnest. Scotland's Frightened Rabbit could easily play a main stage based on their fiery presence when bringing their anthemic odes to all kinds of heartache. A stroke of good fortune places them on a small stage where the immediacy is tangible as each furious guitar strum can be witnessed close up. Highlights include their newer tracks "The Loneliness And The Scream" and "Living In Colour" and unforgettable numbers "Modern Leper" and "Good Arms vs. Bad Arms". Hopefully they will get even more deserved adulation from this mid-day scheduling.
The National were decidedly broader in scope today, incorporating horns and a member of the Arcade Fire for their set. Despite drawing from a more subdued catalog, they brought a charged dissonance while the singer strode around the stage like a grinning father full of pride in his familial accomplishments. The Antlers' stark sound suited the early rainclouds well, commenting that the weather was appropriate since they were not a "surf pop band". Wolfmother was, with no surprise, channeling the early 70's metal in a double time formation. Surprisingly, the crowd was not shit house insane and the volume was not deafening. The DJ stage finally rolled out some quality music early on in the day. Homegrown talents Dani Deahl and Team Bayside High along with Felix Cartal and Didi Gutman had electro-disco beats rolling in the early hours. However, by the time Chiddy Bang bought their mashed hip-hop to the stage, the crowd was bursting on all sides highlighting a glaring empty space in the Lollapalooza main stage lineup. I am aware that rap artists turned pothead punchlines Cypress Hill were performing that day as well, but I think my comment speaks for itself.
Things to improve
Kidapalooza: Now I am all for people facepainting and punk rocking their toddlers while they catch a few shows and enjoy the sunshine. Plus, my personal friend at Chicago's own Character Skateboards is in his second year of doing demos and teaching kids how to ride properly and safely. However, the choice in bands for the stage was pathetic. The music was barely worthy of a low brow street festival (although Chrissie Hynde of Pretenders fame was there). Additionally, omnipresent Perry Ferrell was on stage reportedly dropping f-bombs to the only crowd that would not appreciate it. As a stated in Part One of my synopsis, sometimes the past should just stay there.
Water areas: The prevalent and free aspect of the water stations is a brilliant and an indispensable necessity for Lollapalooza. The filtering is also a wonderful bonus. However, the incredibly slow drizzle of the water coming from the spigots caused 30 minutes or longer queues. I think everyone would agree at that stronger water pressure would take precedent over filtering at that particular time.
Better public transportation: Obviously this is not Lolla's fault, but the missteps of a supposed "green city" that turned it's back on the greater good because of horrendous fiscal management. I am not sure why there could not be better coordination between the CTA and the concert promoters, but the massive crowds ended up being a safety issue on train platforms.
More variety in small businesses: Although independent sellers of clothes, food and music paraphernalia and are represented here, the variety was lacking. I think that we can all agree that the "hippie" aesthetic only appeals to a small section of the Lollapalooza public. There should be more offered here than hemp wear.
Overall, an achingly great weekend. Back to the record reviews. Thanks for reading and we will see you next year.
Let it be known that my perspective on music attempts to work from a historical slant. And yes, I am pretty old. My musical pursuits span over 25 years and my tastes and knowledge goes somewhat beyond. Part of taking that position is to not only put this constant stream of new music and the ever evolving era of the present in its properly authenticated vessel, but to understand that the past it best left an unsullied fond memory. When I first think of Lollapalooza, the three day well organized and corporate stamped steamroller that trundles through Chicago each summer is not my first thought. I remember the first four festivals I attended when in one day all different genres of music were presented on one huge stage and everyone was exposed to something they did not quite expect. That big tent of inclusiveness is what made those first years so eminent, an unparalleled station on the time line of music that will never be seen again. The new millennium Lolla is twenty years and billions of miles away from that instance; these contemporary performances were all about personalized exclusivity. The booking is still surely varied, although big name hip hop and rap artists were oddly omitted. The top headliners were there to draw the mainstream ticket buyer while their opposing big name talent kept the hardcore fans who arrived at noon happily on the grounds. There were the small label breakthroughs pitted next to the major label pet projects. There was your obligatory head nodding hard rock, your neo-hippie safety nets, your fist pumping club DJs and a small handful of bulls-eye accurate niche acts to rope any sub-genre that may have $100 begging to be spent. Lollapalooza is now a slowly chugging journey of specifically planned and targeted moments tailored for today's NOW generation. Instead of a grand symphony of we-are-all-in-this-together fellowship, it is snack-size samplings of arias and hosannas placed on idiosyncratic playlists to make everyone feel like this weekend was planned just for them. The old Lollapalooza could never happen these days and I refuse to be the furrowed contrarian who wants it like it was back in his better years. Not unlike today's hand held devices, The Lollapalooza Experience is now a wonder of technical consideration, beautiful packaging and sly corporate cajoling that is now a irrefutable necessity in need of yearly updating wrapped with a horribly expensive price tag.
Friday
Best Show Of The Day - Devo
Since I was on the south end to see The Big Pink, I figured I would give Devo a chance before scooting off for my New Pornographers set. I never left the area as the sixty-somethings reminded the crowd that they were more than a one-hit wonder in funny tiered hats. Of course "Whip It" was offered with relish, but they also made contact with "Uncontrollable Urge", "Mongoloid" and "Jocko Homo" in a back-to-back-to-back reminder of their innovation and their indelible signpost in music. Their stage presence didn't lack as well with costumes changes, assuring banter and the enthusiasm of a thirty year career being celebrated.
Honorable Mention - The Strokes
I was happy that I opted to miss the more popular option (read below) as The Strokes ripped through their set covering their three albums like it was an overtly excited album launching tour. Without scraping off one the new album whose release date was pushed to next year, they roared like 2001 by opening with b-side New York City Cops as a quick reminder that they are a raging force with a cheeky blend of cynicism. Next came the stomper "The Modern Age" and shuffle of "Hard To Explain" as testaments to their instant classic LP Is This It. In fact nine of their songs (including said b-side) were from the first album, while the others were a cherry picking of crowd pleasers from the later efforts. Their second half kept me rooted with a pre-encore flailing of "I Can't Win", "Reptilia" and "Last Nite" while coming back with hits "Juicebox", "Heart In A Cage" and final stamp "Take It Or Leave It". With this enthusiastic set, The Strokes have placed the bar back up at a lofty height that the new album can wishfully clear.
Standouts included the slick synth-pop stylings of The Big Pink and Hot Chip. While the catchy throb of Big Pink tracks such as "Dominoes" shows promise, they could do for more seasoning and material like grizzled veterans Hot Chip. Their confident bounce and crowd wielding could act as a traveled road for younger acts to follow.
My initial consideration of catching the Gaga spectacle was quickly dashed aside by witnessing the early crowd swell. Reports were that I did not miss much. My favorite comment was that she should change her name to Lady Blah Blah as she as much choreographed scripting as her stilted singing and dancing. She is the physical artist representation of the Lollapalooza festival, a never-ending message of corporate planned sloganeering about today's need for conventional individuality by way of pure spectacle that comfortably speaks to the first generation of Americans who have marketed to since birth.
With a festival as sprawling and diverse as Lollapalooza, one can easily feel conflicted about where to spend your precious time. Should you plot an early spot waiting for the popular band or roll up fashionably late splitting time with lesser known acts? Would you be better served seeing an artist you know little about or go for the group you just satisfyingly caught in a much more intimate setting? Fret not, noble 'Palozzian, your choices are not so weighty. With Sunday being the most diverse lineup, let's see if we can make it through without too many regrets.
HEALTH/The Antlers/The Dodos: 11:30-2pm
If your energy reserves have not yet been depleted, roll in early Sunday for the up-in-your-grill noise of HEALTH. Next, traverse quickly across Grant Park to catch The Antlers. Their 2009 emotionally swollen ode to dying Hospice is a heartbreaking listen. Finally, the stripped down, primitive approach of The Dodos will remind you that often times less is actually much more. However, for the more is best crowd, head over to the DJ stage for the electro-tweaks of Felix Cartal or the bursting African soul of Nneka.
HEALTH - Die Slow
The Antlers - Two
The Dodos - Fables
Felix Cartal - Montreal Dreams
The Cribs/Chiddy Bang/Yeasayer: 2-5pm
For this conflict-ridden block of time, I am opting for the good times to keep me pushing through. With The Cribs being the festival's most raucous option for British born rock, they will remind you what country puts the "P" in power-pop. My next stop will definitely be at the DJ stage for the party put on by Philly's Chiddy Bang. (Lots of P's there too!) If you can make it, run over and catch the last bit of Yeasayer's music that draws influence from all over the world. There are so many options here, you can make your own choices based on your listening palate. Try Chicago's favorite bar band The Ike Reilly Assassination, the intense British folk of Mumford and Sons or the infinitely interesting blend of Latin and hip-hop from Mexican Institute of Sound.
The Cribs - Mirror Kissers
Chiddy Bang - Kids
Yeasayer - Ambling Alp
Mumford and Sons - The Cave
Mexican Institute Of Sound - Cha Cha Cha
Frightened Rabbit/MGMT: 5-7:15pm
This slot might contain the toughest call of the night. Although I enjoy Erkyah Badu's incredible voice, Scotland's Frightened Rabbit is an all-time favorite of mine. Their 2008 effort Midnight Organ Fight is a never-ending cycle of acoustic strength and lyrical might. After that, MGMT's synth-dance set will be a bouncing, flashing disco mess. However, my inner crowd surfer may be swayed to check the 60's stoner rock of Wolfmother. Might have to catch one of those golf cart shuttles for this one.
Frightened Rabbit - Nothing Like You
MGMT - Electric Feel
Wolfmother - Dimension
The National/The Arcade Fire: 7:15-10pm
Although Cypress Hill might be fun, I am just not that into weed. No worries, because The National are the very definition of an American success story. Touring and recording for many years until their 2005 breakthrough album Alligator, the New York based band has been riding the well deserved waves of critical adulation for their distinct yet familiar brand of heart strung indie. With their brand new release The Suburbs less than one week old, The Arcade Fire will definitely close the show with one of their trademark emotional live performance. However, a special shoutout to Soundgarden for going viral and running around Chicago and giving away free tickets to their indoor show at The Vic. That will be a great venue for their career-spanning retrospective.
The National - Bloodbuzz, Ohio
The Arcade Fire - Ready To Start
Soundgarden - Pretty Noose
Again, stay cool and look for my post-concert analysis next week. Do it to it.
With a festival as sprawling and diverse as Lollapalooza, one can easily feel conflicted about where to spend your precious time. Should you plot an early spot waiting for the popular band or roll up fashionably late splitting time with lesser known acts? Would you be better served seeing an artist you know little about or go for the group you just satisfyingly caught in a much more intimate setting? Fret not, noble 'Palozzian, your choices are not so weighty. The edition for Saturday's lineup will try to lean toward the lesser known acts and perhaps completely avoid the Parkways stage. Seriously Perry, Blues Traveler?
Mimicking Birds/The Morning Benders/Harlem/Wild Beasts: 11:30-2:15pm
For those early risers who can't get enough sweaty summer festival fun, Saturday has a great starter lineup. Begin the day with the delicate beauty of Mimicking Birds. After that, don't be tardy for the highlights of The Morning Benders. The lush production and laid back instrumentation on their debut LP Big Echo turned a lot of heads this year. Catch some quick lunch, then head back for the fun-loving garage rock of Harlem. Finally, the beguiling vocals of Hayden Thorpe in Wild Beasts is worth the attention and wonder. Conveniently playing nearby as suitable replacements at 1pm is The Soft Pack's set of straight forward rock and roll. Also a solid possibility but a further hike are sensitive indie rockers Rogue Wave.
Mimicking Birds - Burning Stars
The Morning Benders - Promises
Harlem - Friendly Ghost
The Soft Pack - C'mon
Wild Beasts - All The Kings Men
Stars/The xx/Grizzly Bear: 2:15-5:15
For the stalwart indie follower, this triple bill would make the surliest of hipsters to crack a giddy smirk. Stars' brand of 80's influenced, boy/girl fronted synth-pop will surely bring the joy. The xx is as quietly understated as their band name, but no less intense. Grizzly Bear's chamber pop sums up the equation of indie rock: accessible yet dissonant, emotional yet over-considered, big and brash with measured amounts of buried subtlety. As a lesser-known, yet worthy alternative to the main stage, I offer the haunting melodies from the all-girl quartet of Warpaint. Of course, there are those who want a little more punch, both in your music and from your fellow concert-goer. The no nonsense punk of Against Me! and the gypsy-thrash-as-fronted-by-Borat Gogol Bordello should be just the sock in the jaw you were expecting.
Stars - Fixed
The xx- Islands
Grizzly Bear - Two Weeks
Warpaint - Elephants
Metric/Spoon: 5:15-7:30pm
For live music, there is not much of a decision here. Metric's key and guitar intensity and frontwoman Emily Haines' sexy vocals are perfect to pick you up as your energy wears down in the summer heat. Spoon are as dependable as your favorite pair of blue jeans. Every couple of years they put out another album that simply reasserts their consistency for catchy indie rock. If you need to get your club music tasting, this may be the best time to do so. French disco DJ/visual innovator Joachim Gerraud and Chicago house torch carrier Kaskade will keep Perry's stage thumping.
Cut Copy/Phoenix 7:30-10pm
It is hard to think of Green Day as the elder statesmen remembering their small label snot nose Buzzcocks rehash. The hard truth is that their output while sliding to the mainstream and picking up more listeners and Grammy wins has become a shadow of their humble, fun-loving beginnings. For the music of right now, check out Cut Copy where disco beats and shimmering pop fall in love and make little dancing glow stick babies. Phoenix can also be light as a souffle, but their indelible hooks have been winning over fans since their 2009 breakthrough release Wolfgang Amadeus Phoenix. Don't forget to hydrate and see you Sunday.
With a festival as sprawling and diverse as Lollapalooza, one can easily feel conflicted about where to spend your precious time. Should you plot an early spot waiting for the popular band or roll up fashionably late splitting time with lesser known acts? Would you be better served seeing an artist you know little about or go for the group you just satisfyingly caught in a much more intimate setting? Fret not, noble 'Palozzian, your choices are not so weighty. Try the Friday recommendations and thank me later.
Javelin/Wavves: 11:30-1pm.
Opting for the decidedly indie beginning to the day as opposed to the noveau hip-hop stylings of B.o.B and Balkan Beat Box was a bit of a no-brainer for me. Javelin quirky beats will blow over you like a breeze and then Wavves fuzzbox Beach Boy punk will carry you out to sea. If you caught Javelin in Millennium park for free earlier this month, B.o.B is definitely a solid fill-in.
Javelin - C Town
Wavves - King Of The Beach
The Walkmen/Ana Sia/The Big Pink: 1-4pm
Grab a sammich and head to The Walkmen for today's dose of drama-laden rock. Without a big standout in the 2pm slot, opt to expand your mind at the DJ stage on Ana Sia's self-described "grimy glitch". The pulsing throb of The Big Pink makes them a can't miss show as they are still touring in support of their excellent 2009 debut A Brief History Of Love. An able-bodied alternate in this slot is the the Chicago's own grande dame of R & B and gospel, Mavis Staples. Her voice always gives me chills.
The New Pornographers/Dirty Projectors/BlackKeys: 4-7pm
This block is rife with conflicts. Devo vs. The New Pornographers? Rather than opting for the superior artist in terms of history, I personally tend to avoid live music by senior citizens. The New Pornographers are only junior by comparison as their five albums ranging from good to excellent contain some of the best indie pop of the past ten years. Your 5pm dinner music depends on your personal taste. Rather than opting for the industrial squelch of Fuck Buttons or the sunny sing-a-longs of Matt & Kim, I will give the mixed bag of Dirty Projectors a listen, if only to watch a well-oiled collective at work. Yet again, we have another conflict with the down and dirty blues of The Black Keys or the smooth keyboard sheen of Hot Chip. Honestly, this choice could be based on personal taste or a coin flip: you won't go wrong either way. Reminder: if you are truly conflicted, try to catch the aftershows that most of these bands are playing at various venues around Chicago.
The New Pornographers - Moves
Dirty Projectors - Stillness Is The Move
Hot Chip - I Feel Better
Black Keys -Everlasting Light
Chromeo/Lady Gaga: 7-10pm
I am infinitely more interested in the second and third-billed acts than in the headliners this year. Since The Strokes pushed back the release date of their new album and I could not care less about reggae music, the only alternative is the better alternative. The silly synth-funk of Chromeo is an appropriate opener for Lady Gaga. It's fun, frivolous and danceable plus it might expand the listening palates of the ticket buyers who just came for the headliner. I have never been to a live performance of mainstream pop on this scale, so I am choosing this purely for anthropological reasons. Although seeing the live versions from The Strokes Is This It? might be worth a peek.
