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Tag: ariel pink’s haunted graffiti

Pitchfork Music Festival 2015: Saturday Preview Guide

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Saturday was the first day of this year’s Pitchfork Music Festival to sell out. When you take a close look at the daily lineups, it makes perfect sense as to why. While the entire thing is pretty stacked, Saturday in particular looks extra heavy on quality. This is both a good and a bad thing. On the one hand, you get to see all this great music in one day, meaning if you don’t have a ticket for the entire weekend it seems like the best deal for your time and money. On the other hand, you can’t see everything, leading to a nasty pile-up of conflicts that can be problematic. If you’re concerned about that, and you should be, allow me to offer some help and guidance to make the most of your Saturday at Pitchfork. Join me after the jump for the hour-by-hour breakdown of who’s playing when, complete with recommendations on what you can’t/shouldn’t miss.

If you missed my previous Pitchfork Music Festival 2015 posts, go here to hear/see/download songs from every artist on this year’s lineup. If you’ll be at Union Park on Friday, you may want to look over my preview guide for that day by going here.

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Listmas 2014: The Top 50 Albums of the Year [#10-1]


This is it! The final post of 2014 also marks the conclusion of Listmas and specifically this Top 50 Albums of 2014 countdown. It’s been a long road with plenty of bumps and delays along the way, but we’ve finally reached the peak of this imaginary mountain. At this point I’d like to give a special thank you to everyone who read something, clicked on something or downloaded something here at Faronheit over 2014. All of the content that’s posted here is for you to discover and enjoy, and I’m grateful for anyone who visits with that intention. It hasn’t been the best year for the site content-wise, but the hope is to generate more and return to form in 2015. Typically I’d tease a bunch of new features and exciting things in development for next year, but honestly most of that stuff either gains no traction or simply falls off never to be heard from again, so let’s just stick to the mantra of more everything and go from there.

So what can I say about these Top 10 Albums of 2014? Well, like the other entries in this list, there’s plenty of variety in terms of genre and style. It goes from weird to fun to noisy to sexy to relaxing to adventurous and back again. If you’ve been following me on Instagram these last few weeks, you’ve been given access to an early preview of the eclectic Top 5, though I can assure you that #6-10 are as equally exciting and wonderful. And hey, while I wasn’t able to write a lot of album and show reviews this year, some of the ones I did write about make an appearance here. Also worth mentioning: a particular pair of artists who are members of my Class of 2014 had an exceptionally great year, helping to continue to support that program. So I’m not going to spend any extra time talking this up. Please join me past the jump for the big reveal of my absolute favorite albums of the year.

Previously: [#50-41] [#40-31] [#30-21] [#20-11]

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Listmas 2014: The Top 50 Songs of the Year [#30-21]


In the formidable challenge that is counting down the Top 50 Songs of 2014, today is the day we reach the halfway point and then keep going. The songs are getting progressively better, more epic, catchier, and more emotional. That’s how lists like this work. I hope you’ve enjoyed what’s already been covered in the previous two installments. Click here to see #50-41 in the countdown. Click here to see #40-31. Is there a theme to the set of 10 songs featured in this particular post? Not that I’ve been able to discern. You’ll find a couple of hip hop tracks, a couple of R&B cuts, a couple of synth pop numbers, and some other things that can sometimes feel like they’re straight out of left field. It’s nice to get a little unpredictable from time to time. So here we go: The Top 50 Songs of 2014 #30-21!

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Song of the Week: Avey Tare’s Slasher Flicks – Little Fang


Dave Portner, aka Avey Tare, has made plenty of fascinating music as a member of Animal Collective, not to mention outside of that band as a solo artist. Avey Tare’s Slasher Flicks is his third project, but if you’ve heard anything he’s done previously then what he’s bringing to the table here isn’t a whole lot different. The good news though is that it is diverse and different enough to justify creating a whole new band to put it together. At the same time, whitewashed, fun house psychedelia seems to be a specialty of Portner’s, and it’s almost always a great idea to play to your strengths. So with this track “Little Fang,” the first audio we’ve heard from this new band and from the forthcoming record Enter the Slasher House, we get that tricky blend of strange and trippy composition complete with modulated vocals and stray sound effects. Yet unlike anything else, there’s an extreme clarity and straightforward approach to the song that makes it remarkably easy to digest. For my money, it’s one of the most commercially accessible and catchy things that Portner has ever done, and he’s managed to pull it off without diminishing expectations or sacrificing key elements of his work. If you didn’t know any better, it’d be remarkably easy to confuse it with something by Of Montreal or Ariel Pink. There’s no guarantee the entire record will sound this way, but at the very least it’s a strong introduction to this brand new band.

Preorder Enter the Slasher House (out April 7th)

Snapshot Review: Ariel Pink’s Haunted Graffiti – Mature Themes [4AD]



If you took Jello Biafra from his Dead Kennedys heyday and put him into a band that plays distorted and weird renditions of AM Gold sounds of the ’60s, you’d come reasonably close to what Ariel Pink’s Haunted Graffiti are all about. While Ariel Pink never goes for the throaty yelp and ferocity that Biafra often had during those times, his strange perception of the world around him often pushes his vocals to take on different personalities and affectations. Simultaneously you’re also stuck with the challenge of trying to determine if Pink is actually being sincere or not. He cracks a lot of jokes and sings a lot of nonsense, many times in voices that sound dismissive or idiotic, yet there are also love songs that often have tenderness and genuine emotion attached to them. The many flights of fancy that suit his variety of whims at any given moment can make listening to Ariel Pink’s Haunted Graffiti records a very difficult task, if not a chore. It’s almost always fascinating if you can stand it, and on occasion he’ll hit on something truly brilliant, such as the song “Round and Round” off of 2010’s Before Today. There was little funny about that song, but its hooks cut so deep they could leave scars on your ears if you weren’t careful. Such is the dichotomy of the man and the band behind him. Nothing on their new album Mature Themes ever hits the way you might want or expect it to, but if it did then it wouldn’t be a proper APHG record. If you’re looking for the most oddly engaging record of 2012, congratulations you’ve found it.

One of the smartest things you can do when listening to Mature Themes is to surrender your will and control and simply let it take you where it wants to go. Questioning a shift in direction or a lyric will leave you frustrated time and time again, because so much of it fails to make sense. Pink is operating on his own level here, and whether you think that’s above or below your own is irrelevant. Lines like, “The bad breath of a cross-eyed goat/ Eating children for a Monday morning,” on “Driftwood” aren’t supposed to make sense (to us at least), just like how “Schnitzel Boogie” stops mid-song so Pink can place an order at a drive-thru. “Is This the Best Spot?” is like some mad science experiment gone awry, bouncing between G-spots, H-bombs and a Rocky Horror-esque reference to time warps in under two minutes. And as you sit there scratching your head about what planet the guy is living on, songs like first single “Only in My Dreams” and the title track come in with some earnest folk-pop you might have gotten from Simon & Garfunkel or The Beach Boys. Of course the bipolar and challenging nature of this album isn’t anything really new for Ariel Pink’s Haunted Graffiti. They’ve been releasing records steadily over the last 10 or so years that carry a whole lot of similarities to what they’re putting out now, only the quality, fidelity and exposure has improved over time. Before Today was the band’s first album on 4AD and their first to feature clear studio recording. They also simplified and blended their various eccentricities more than ever before to create something more easily digestible than ever before. Mature Themes is by contrast both a step forward and a step backward. The band sounds more polished than ever, but the strangeness is back in its fullest effect. In some respects it’s serving to weed out the new set of fans that have discovered the band in recent years, trying to scare them away from a good thing. But if you find Pink’s oddball sensibilities gripping, there’s more than a fair share of reasons to keep paying attention. On the song “Early Birds of Babylon,” Pink keeps asking, “Hey, how does he do that?” Listening through this record, you’ll likely find yourself asking that same question of Pink over and over again.

Ariel Pink’s Haunted Graffiti – Only in My Dreams

Buy Mature Themes from Amazon

Pitchfork Music Festival 2011: Day 3 Recap

It seems we have come to the end of the road for this year’s Pitchfork Music Festival. It was a supremely fun 3 days filled with dozens of interesting artists that ranged from incredible to incredibly disappointing. My overall ruminations on the weekend will be handled in a different post. In the meantime I want to continue in the same tradition of the last two days, in which I keep up with the day-by-day recaps. Here’s what I bore witness to on Sunday (Day 3):

The goal was to make it to Union Park by 1:45pm to see Yuck‘s set. That was at the latest. I got stuck writing my recap of Saturday night on Sunday morning, so that caused a bit of a delay. Then traffic on the highways continued to pile additional delays on top of that. I was a mere couple blocks away from the festival and the time read 1:40pm. A band I thought may have been The Fresh & Onlys was playing off in the distance. Turns out Yuck started their set just a tiny bit earlier than scheduled. So I missed about a song. They put on a very good and energetic set, or at least crafted accurate representations of studio tracks. Smiling isn’t exactly Yuck’s thing, but they also appeared to be having a good time despite the blistering heat. The crowd pretty much did the same.

Seeing Kurt Vile & the Violators was by no means my genuine intention. It was more a matter of convenience and the safety of knowing that How to Dress Well was likely not doing so…well on the smaller Blue stage. Really it turned into a way to pass the time while waiting on Twin Sister about 20 minutes later. Quieter acoustic folk music hasn’t done so well this weekend, particularly with the sun feverishly beating down on everyone, which is why I felt like Vile was going to nosedive. To my pleasant surprise, he did not nosedive, but rather pretty much the exact opposite. Whether it was the fans blowing his amazing mane of hair around or just a very well put together backing band, there was energy and plenty of other compelling reasons to watch that set. Even a slower, more difficult song like “On Tour” was smartly played with the larger crowd in mind. I was so entranced, I forgot about Twin Sister and finally jogged my memory about it 10 minutes into their set.

In terms of Twin Sister, it was at that point, around 90 minutes into my day, that I felt like the heat was just starting to get to me. Loading up on water and shade became essential, and Twin Sister on the Blue stage was a good location to do both. I found a spot in the back corner of that area and downed a couple bottles of water with friends while trying to cool off. Twin Sister absolutely helped with that, providing a fun and energetic set of songs that made you want to get up and keep going with your day. Calling their set prolific or revolutionary is definitely too excessive, but remarkably pleasant bordering on excellent might be how I best describe it. Part of me wishes I was motivated enough to get up off the ground and actually watch what was happening on stage, but there was a certain sense of contentment just turning off that mode for a small period of time.

The set clearly most people wanted to see on Sunday was Odd Future Wolf Gang Kill Them All aka OFWGKTA. Women’s rights groups and anti-abuse organizations were up in arms about the hip hop collective’s booking, and were threatening to do an all-out protest of it as a result. The festival organizers instead cut a deal with them, providing them with their own tent to raise awareness. They also were handing out plenty of paper fans that mentioned domestic violence and provided contact information for those in need of help. This was all to provide counter-programming to the inane ramblings of OFWGKTA, given that so many of their tracks appear to advocate rape and abuse and other unseemly things. Just prior to their set, the Odd Future boys went out to the abuse awareness tent and brought the women there cupcakes. This was all in an effort to show there were “no hard feelings”. Then they did their thing, often complete with catchy choruses that included lyrics like “smack that bitch” and “suck my dick”. The crowd appeared to be eating it up, throwing hands (or middle fingers) in the air as instructed, while the boys on stage took turns interacting with the crowd/crowd surfing. One of the more amusing things about their set was how they’d finish a horribly abusive or angry song against women, and would follow it up by telling everyone to go by and visit with the women’s advocacy group. “We hope they’re listening to our set right now,” one of them said seconds before launching into an extremely vulgar track about rape. In other words, the whole thing was counter-intuitive and just a bit confusing. But it was still fun, and those guys are talented even if they’re not the cleanest or friendliest hip hop group around. Mostly I’m just glad there wasn’t a riot.

After getting about 45 minutes into Odd Future’s set, I thought I’d go for a change of pace and see how Shabazz Palaces were doing. It was definitely a quieter vibe on that side of the park, and the lighter crowd made it nicer as well. They had some sound issues that delayed their start time, but once things got going it was definitely strong hip hop that was very much the anti-OFWGKTA. More minimalistic and subdued in nature, the duo made the most of what they had brought with them, including a number of live instruments (as opposed to the DJ sample-fest that was Odd Future). There was something about that set that had all the class and dignity you could ever want. The 20 or so minutes I heard were a good palate cleanser before I allowed my curiosity to pull me in the direction of another stage.

That other stage was the Green stage, where Ariel Pink’s Haunted Graffiti were playing. The past show reviews I’ve read from people who’ve seen Ariel Pink before appeared to describe him as moderately pensive, often with an attitude that suggested he’d much rather be someplace else doing something else. That was NOT the Ariel Pink we met at the Pitchfork Music Festival. This version was completely nuts. Like, serious screw loose in the head sort of nuts. Depending on how that dynamic works on stage, it can lead to rousing success or total meltdown. It actually turned out to be a mixture of both. The great parts came in the early going, with Pink singing/manipulating his vocals through a headset connected to a small soundboard. The headset was needed because of all the jumping around, head banging, and wacky gestures he tended to make. The guy had more energy than he knew what to do with, and channeled as much of it as he could into his performance. The crowd ate it up. But as time went on, he kept leaving the band and retreating back stage for one reason or another, always to re-emerge and crank out another song. Yet simultaneously you could watch his mood go from crazy happy to crazy pissed, and it eventually erupted into a meltdown that had him walking off the stage for good, once again leaving the rest of the band there to politely end the set about 20 minutes early. Sound issues were to blame, apparently, as Ariel was reportedly not happy with what was going on with his vocals. For the 40 or so minutes that the set lasted, almost all of it was of an exceptionally high quality, vocal problems be damned.

Compare Ariel Pink to Baths, the 1 man DJ band. The words “DJ band” are probably used incorrectly here, but Will Wiesenfield uses a laptop and a sampler on stage. No actual instruments there, but he does do a fair amount of singing via the tracks he composes. That was one of those legitimately fun dance sets where despite the temperatures you can just let your hair down and have a blast. What makes Baths so engaging outside of the music is how Wiesenfield runs his show. He legitimately seems excited about playing these songs, and rather than just carefully mix together that might appear to be a lot more beat than melody, he dances, head bangs (sorta), makes wild flailing motions with his arms, sticks his tongue out Michael Jordan style, and overall turns boring and normal on its head. It was a lot more entertaining than I thought it would be.

Then there’s Superchunk. Here’s a veteran band that’s been around for ages, but there have been significant breaks due to a number of different factors. Somehow though, Mac McCaughan and the rest of the band don’t seem to have aged much. I think I spotted a grey hair or two, but otherwise they’re still on the right side of youth. They played like it too, seamlessly blending a lot of their classic catalogue with a bunch of material off their latest record “Majesty Shredding”. The crowd totally ate it up, and there was much singing and jumping around. Superchunk has always been one of those bands that delivers each and every show they play, and this one was no different. They put themselves out there and got enduring love and respect in return, as they should.

Deerhunter is an interesting sort of fish. The sun was beginning to set when Bradford Cox, Lockett Pundt and Co. took the stage, and immediately something felt a little weird. That is to say, the guys in the band appeared to be a little stand-offish and difficult. It didn’t help that the first thing they did was dive into a huge squall of white noise. They looked like they were sweltering in the still overly hot temperatures, but the great news is that once they’d finally gotten some legs underneath them, they were solid as ever. Deerhunter hit all the hallmarks they’re pretty much required to at this point in their careers, making an epic spectacle out of “Nothing Ever Happened” or settling into the grooves of a “Revival”. And hey, they even threw in a little bit of amusing banter to continue to charm us. For a band that, in my opinion, got off to a rocky start, they really kicked into high gear and things turned out as good, if not better than hoped.

My most anticipated set of Sunday was Cut Copy, and that’s almost entirely because of how much I love their music yet have never seen them perform it live. Apparently a lot of people were also looking forward to Cut Copy, as it wound up being one of the most heavily attended non-headliner sets I saw all weekend. They had an interesting lighting set up behind them which is likely more effective in a pitch black venue but worked well enough as the sun was beginning to drift below the horizon, casting a large shade over much of the park. With the cooler temperatures too, things became ideal for a dance party. A dance party is exactly what Cut Copy gave us, cranking out one hot cut after another. Leading early on with “Where I’m Going”, the highlights were spread smartly across the duration of the set. There was a point about halfway through the set in which they “announced” that the show was over and that they were saying goodnight, something that would have been a lot more effective had they legitimately left the stage instead of immediately confessing it was a joke. But from “Hearts on Fire” to “Lights and Music” through “Need You Now” and “Take Me Over”, there wasn’t a single key moment they missed, and I had a blast. It was a cathartic release, a celebration of everything the festival had been and done up until that point, and a very nice warm-up for TV on the Radio.

Let’s do a brief recap of the headliners at this year’s festival. Animal Collective on Friday night was good, if not great, but their extremely experimental psychedelic bent makes them a bit difficult to truly get into and enjoy (from a very mainstream perspective). Fleet Foxes are far more pleasant and easy to love, but they’re also much quieter and still new enough to where they might not yet be ready to headline a festival. But when you talk about TV on the Radio, that is a band with enough time in existence and an impeccable/energetic/appealing catalogue of music. In other words, they’re the real deal. They also wound up being the purveyors of the best headlining set of the festival. Naturally, there was a bit of an emphasis on their newer material, so “Nine Types of Light” got a fair amount of play across their 75 minute set, but there was plenty of time for highlights galore. Starting with “Dear Science”‘s opening energy burst “Halfway Home”, things jumped off right from the start. There was the 1-2 punch of “Young Liars” moving into “Staring at the Sun” that was simply excellent if you love the band’s older stuff. The way that songs like “Will Do” and “Caffeinated Consciousness” fit in amongst “Wolf Like Me” and “A Method” was pretty seamless too. The one song I personally missed hearing was “Golden Age”, but I’d like to think in place of that they chose to cover Fugazi’s “Waiting Room”. When they hit the first notes of the song, I thought it would just be a tease before launching into something else. They were not kidding around, and it turned out to be a remarkably great cover. I love that song, and while it may not have the same ferocity from which Fugazi would have performed it, the sheer force and technical accuracy was all it needed and was given. That provided the perfect cap on a weekend-long journey that was more fun than I’ve had in quite awhile. Thanks, TV on the Radio.

This wraps up my day-by-day recap of the 2011 Pitchfork Music Festival. My coverage is not yet complete though. I’ve got several hundred photos to weed through and edit for your consumption, along with a look back at the full weekend that was, complete with a bunch of “superlatives” directed at many bands that I bore witness to. So keep your eyes peeled, I’m hoping to have everything taken care of within the next day or two.

Live Friday: 10-1-10

Welcome to October, or as some like to call it, Rocktober. It’s a fun month for music, what with a wide array of great shows as part of the fall concert season, along with the last real month of great album releases as the year winds down. Looking back with fondness on some of the excellent records already released in 2010, Ariel Pink’s Haunted Graffiti finally struck it (indie) big with their new record “Before Today”. The whole thing is a fascinating pastiche of lo-fi aesthetics and David Bowie-esque mania, and it’s relatively easy to understand why many have latched onto it. That same impression is just a little bit lost in translation when it comes to this week’s Live Friday session. There’s no auto-lo-fi filter attached to these in-studio recordings, so they’re a bit clearer here than on record. And while Ariel is there with a couple of his bandmates, they’re not able to bring everyone in with every instrument, meaning this is just a little “stripped down” from the norm for them. Perhaps that’s only why they performed two songs, both of which can be classified as good but not quite as amazing as they should be. My impression might just be a little bit skewed though upon having listened to these songs surrounded by an interview with Ariel. Most of the indie community comes off as relatively good and humble people, but Ariel Rosenberg in this situation does not seem like one of them. Pompous and pretentious asshole is one way of describing his behavior when talking about his “process” and how his main goal is to make as much money as possible with his music. Apparently he more than believes his own hype, though the prospect that he’s going to make much if any money with the band almost seems silly given the state of the music industry today. Ah well, he certainly does stand out from the crowd with both his music and his personality, so you can’t really fault him for that even if it is very off-putting. This session is at the very least interesting to hear both on the good and bad sides of things, so if you’re at all intrigued, you may want to download these couple tracks.

Ariel Pink’s Haunted Graffiti, Live on WXPN 9-22-10:
Ariel Pink’s Haunted Graffiti – Every Night I Die At Miyagi’s (Live on WXPN)
Ariel Pink’s Haunted Graffiti – Bright Lit Blue Skies (Live on WXPN)

Stream the entire interview/session

Buy “Before Today” from Amazon

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