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Lollapalooza 2014: Saturday Recap


After the first day of Lollapalooza, I was in pretty rough shape. Not following my own advice, I didn’t sit down for about 12 hours straight, and that’s definitely not a pleasant experience for the human body. So I made it a point on Saturday to be smarter and look out for my own well being a little bit more. After all, I needed to power through the full three days. And so the chronicle continues, with a recap of all the music that I saw on Saturday:

Following Friday’s lengthy fiasco that took about 45 minutes to get into the gates due to heavy security, Saturday was light by comparison. This time it only took 15 minutes, either because I went to a different gate or because security wasn’t being as thorough. Either way, it was a benefit, and one that allowed me to see the final 10 minutes of Benjamin Booker‘s set. And oh what a final 10 minutes they were. Having never seen Booker before and only being familiar with a couple of his songs (his debut album comes out in about two weeks), I was immediately struck by his passion. He positively attacked the final three songs of his set, singing his heart out with that sandpaper voice of his, and playing guitar riffs like his life depended on it. Rarely do I witness a live show where I repeat the word “Wow” over and over again just completely impressed by everything happening on stage, but this was one of those times. At the very end of his set, Booker removed his guitar and proceeded to smash it on stage, Pete Townshend style. I’m a total sucker for moves like that, which in turn immediately made me want to declare the set one of the festival’s very best. For all I know the first 20 minutes of his set could have been a total trainwreck, but somehow I sincerely doubt they were. At the very least, Booker has quickly become someone to watch very closely.

From one guitar virtuoso to three, following up Benjamin Booker’s set I walked to the nearby Palladia Stage for the start of Parquet Courts‘ set. I saw them live for the first time last summer, and went in with such low expectations that I wound up being completely shocked by their wild attack dog style of performing. They’re pretty unassuming guys who you might think are slackers with sloppy playing styles, but the delightful surprise is that they’re none of those things. When they get going on high energy numbers like “Borrowed Time,” not only are they pushing forward like there’s something to prove, but know all the right ways to add frills like excessive distortion to push things beyond what you might hear on record. The set list was ordered a bit like a rollercoaster or a wave, building in speed and vigor until a peak is reached, then plateauing out for some slower cuts before racing towards the finish again on the downslope. The band does it all very well, though the quicker numbers that turn the crowd into a frenzied mosh pit can feel particularly special.

Kate Nash has become an increasingly reliable live act over the last few years, thanks in no small part to her embrace of louder and more visceral rock sounds. Nobody is going to confuse her with a hardcore punk or heavier alt-rock artist, though she does seem to be taking notes from the riot grrrl movement and innovative bands like Bikini Kill or The Runaways. She may have had multi-colored balloons all over the stage and she and her band may have worn dresses, but they made it very clear that rock and roll was priority number one. Along the way, Nash screamed, wailed, shredded and ran around the edges of the stage barricades giving the fans a more up-close and personal thrill. She brought a bunch more fans up on stage to dance and have fun for a few songs as well. And towards the end, she encouraged all the females in the audience to pick an instrument and start playing, because the music industry needs more women. If those women turn out anything like Nash, I completely agree.

I wasn’t particularly psyched about seeing the John Butler Trio perform, but I do enjoy a handful of their songs and decided it might be enjoyable if I were to sit down somewhere and relax while listening to their set. That turned out to be a wise decision, as my legs needed rest and my body needed shade. While I did stand and watch a couple of songs, the band wasn’t really doing much on stage so sitting down and listening didn’t change much. Ultimately what I heard and partly saw was a halfway decent, if unremarkable set. They performed the songs almost exactly as they were on record, and sounded pretty good doing so. I only wound up sticking around for about half of their set, as I was soon being beckoned by friends to join them on the other side of the park.

On the other side of the park, Fitz & the Tantrums were performing on the big stage. They’ve become a much bigger, more popular band over the last couple of years thanks to their most recent record, which has spawned at least two hit singles so far. The band treated their set like a gigantic party, keeping the energy very high and encouraging the crowd to participate by clapping or singing along to various parts. It seemed like a show I’d seen before, done by better bands who didn’t seem like they were trying as hard. Shortly after their set, I tweeted that Fitz & the Tantrums are the Dave Matthews Band of funk and soul these days. It’s a statement I stand by, as they had a huge crowd of devoted fans, but very little of the band’s performance could be described as much more than hollow platitudes. A friend of mine would tell me later that day it was her favorite set, and I totally understand why some people might feel that way. In many respects they’ve had the proverbial wool pulled over their eyes (and ears).

Manchester Orchestra is a band that I was passionate about for a hot minute around seven years ago, and haven’t thought about much since. They’ve continued releasing a steady stream of music, and have even performed at Lollapalooza a few times, though I’ve only seen them live once before at a non-festival show back in 2007. As I recall, they put on a pretty decent show back then. The Manchester Orchestra of 2014 still puts on a pretty good, possibly even great show. In a world where the genre of alternative rock has shifted in meaning a bit, they remain one of the true holdouts by still unleashing pummeling guitar work and vocals that require a good scream every now and then. Sure, there are other bands doing the same thing, but very few of them get late afternoon slots at a massive music festival like this one. I suppose what helps separate this band from the pack is their passion and precision. They appear to love what they do, and it shows. Their crowd wasn’t very large – probably one of the smaller ones of the day – but those that stuck around hopefully walked away with a greater appreciation for Manchester Orchestra than they had going in. I know that I did.

Unlike Fitz & the Tantrums’ set from an hour earlier, Foster the People appear to know the secret formula to an exciting live show. What is that secret exactly? I’m not entirely sure – earnestness, maybe? Whatever it was, it worked. The reason I’m comparing Fitz & Foster is partly because they were on the same stage, but also partly because I like both bands almost equally and view them as more hit single oriented than brilliant full album oriented. Whereas Fitz & the Tantrums may have been trying a little too hard to engage with the crowd during their Lolla set, Foster the People found the right vibe, played it cool and stuck with it. Singles were spread generously through the half of the set that I saw, and Mark Foster danced around the stage like he was just there to have a good time and play music for some fans who just happened to number in the thousands. Though I was having a good time, about 30 minutes in I decided it was time to venture back to the other side of the park.

Having seen Spoon headline an aftershow on Friday night, I wasn’t too concerned about seeing their full festival set on Saturday. They’re such a great live band though I wanted to see at least a little bit of it. To my partial surprise and actual excitement, the portion of Spoon’s set that I did wind up seeing was largely different than what I’d seen the night before. Songs like “Jonathon Fisk” and “My Mathematical Mind” are favorites I was hoping to hear, and suddenly my wish was granted. Beyond that, it was a pretty strong show overall. Maybe not quite as amazing as their full set in a smaller venue, but still great. My singular gripe with Spoon at the moment concerns their hit single “The Underdog,” which they’re obliged to play at every show from here throughout eternity. They’ve done away with any actual horns (which is an essential part of the track) and replaced them with artificial keyboard horns. It makes the track sound dinky compared to the muscular recorded version. If they could get just one band member to play trumpet for that song it’d make a world of difference. While I loved Spoon’s set, it’s worth noting a friend told me he was disappointed, claiming they “sound much rawer on record.”

If there was one set on Saturday I was most excited for, Jenny Lewis‘ would probably be it. I’ve been a fan of hers for many years, but had never seen her perform solo until now. It was a long time coming, and ultimately a delight. She didn’t attract a huge crowd thanks to her time slot facing off against The Head and The Heart along with the beginning of Outkast, but it made those of us who were there feel that we were witnessing something a little more special and intimate. About half of her set focused on the new album The Voyager, and the rest pulled from her previous two solo efforts along with a couple of tracks from the Rilo Kiley catalog. Dressed in a lovely and colorful airbrushed suit and with her now signature airbrushed acoustic guitar, people danced and sang along for the full 45 minute duration. What more could you ask for?

Part of me had serious gripes about going to see Outkast. I love most of their records, but this whole reunion thing is essentially a huge cash-in, and they perform the exact same set list at every single show. The sheer lack of spontaneity and the clear dislike that Andre 3000 and Big Boi share towards one another have left me apathetic about Outkast. Yet with a 30 minute window between the end of Jenny Lewis’ set and the start of Cut Copy’s, I decided it might be nice to see the hip hop duo do at least a couple of songs. That side of the park had an absolutely massive crowd that was probably the biggest all weekend. People were shouting and rapping/singing along with their favorite tracks the whole time, which I’m sure was great for them but served as a distraction. In the 20 minutes I spent watching the set from very far away, I got to hear “Ms. Jackson” set to Soldier Field fireworks, plus “The Way You Move,” among other things. It was okay, and then I left.

Officially closing out my night would be Cut Copy, who were performing on the small Grove stage sandwiched in between Calvin Harris and Outkast. There was so much noise coming from those two big stages, you couldn’t really hear Cut Copy until you got pretty close by. But wow, what a great set. Over the course of an hour, they plowed through almost all the highlights in their catalog, including old favorites like “Hearts on Fire,” and new favorites like “We Are Explorers.” A decent sized crowd danced like crazy for the duration, and the band peppered their performance with some really eye popping visuals that only enhanced the overall experience. They closed things out with “Lights and Music,” and everyone went absolutely nuts. My body may have been extremely tired from spending all day on my feet at a music festival, but suddenly I forgot about all of it and just wanted to move my body. When it was all over, the crowd chanted for one more song, and for a brief minute it seemed like the band might come back out and oblige. Sadly, it was 10 p.m. and the noise curfew was officially in effect so nothing happened. I exited Grant Park on a serious high, and primed to do it all again on Sunday.

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.

Album Review: Cut Copy – Zonoscope [Modular]


First and foremost, Australian band Cut Copy are all about the dance floor. The numerous labels affixed to their sound, be it dance rock, dance pop, synth pop, electronica, etc., don’t matter so much as knowing that if you put on a Cut Copy record, there’s little chance you’ll be able to avoid moving at least one part of your body to the beat. But in addition to those intense grooves, they’re also extremely adept at crafting hooks that stick with you long after the music has stopped. Their last album, 2008’s “In Ghost Colours”, was plentiful in all those ways, and tracks like “Lights and Music” and “Hearts On Fire” were more than just great cuts to play in the club – they were anthems worth playing in some huge spaces. That record also had a very “night out” feel to it, perfect to play when the neon lights were aglow and you’re cruising the city in a flashy suit or sparkly dress. The band is back at it again this week with their third full length “Zonoscope”, and it’s a lighter, brighter affair that scales back the massive choruses just a little in an effort to produce something a little more intelligent and cohesive than what they’ve done before.

“Zonoscope” opens with the uplifting “Need You Now”, a 6+ minute track that starts with a relatively basic beat and builds to an explosion of light and energy that’s just plain thrilling. There’s a distinct 80s pop vibe to “Take Me Over”, and it’s no wonder considering that much of the melody is just a dressed up dance version of Fleetwood Mac’s “Everywhere” with new lyrics. Cut Copy make it their own, though it does have what feels like a Blondie vibe too (think “Heart of Glass”). And in what becomes a running theme through the course of the record, “Take Me Over” transitions flawlessly into first single “Where I’m Going” without looking back. Thanks largely to the backing vocals and a little bit of a psychedelic edge, “Where I’m Going” comes across like a beat-heavy Beach Boys classic. The track has such a sunny disposition to it, with the energetic shouts of “Yeah!” during the insanely catchy chorus, that you’ll fall in love with it almost immediately. Altogether it makes for one of the best songs of a young 2011, and at this point in time it’s difficult to think of how much else could surpass its brilliance.

The way the keyboards and splashes of cowbell are used on “Pharaohs and Pyramids”, along with the eventual wind-up and breakdown in the final 1:45 of the song, there’s something about the track that transports you to a classic club setting. It feels like something a band like Delorean would put out, though three things actually push this song to an entirely higher level. First is the beginning of the track, which holds a Talking Heads-ish stature before the chorus strikes the first time. Second is the end of the track, which courtesy of some carefully placed bass guitar brings to mind New Order in the best possible ways. And thirdly, Dan Whitford’s vocals convey just the right emotions compared to the tempo and overall arrangement. If a record like this could actually get away with going a bit sentimental, this is the closest Cut Copy get and it works beautifully. Not just because of the title, “Blink and You’ll Miss A Revolution” owes some contemporary debts to LCD Soundsystem and !!!, as both bands have similar markers that are on display in the track. The bits of xylophone and violin are nice Cut Copy touches though, bringing just a little extra wink and a smile to the party.

Guitars begin to factor in much more heavily on the second half of the album. “This Is All We’ve Got” brings in some almost shoegaze-inspired hazy electrics amidst the twinkling electronics for what ultimately becomes a very lovely ballad. That leads to a silky smooth transition into “Alisa”, which is by far the most guitar-centric song on the entire record. At its core the song is reminiscent of Echo and the Bunnymen mixed with David Bowie and My Bloody Valentine. It’s still very pop-driven and danceable, but darker and again with the shoegaze edge. Acoustic guitars show up for a bit on the ballad “Hanging Onto Every Heartbeat”, blending pretty effortlessly with the spacier electro bits and synths. For some reason the band Yes comes to mind whenever I hear that song, and the comparison may very well be justified in this case. “Zonoscope” ends on a pretty wild note, with the 15+ minute “Sun God”. The track is essentially a showcase for everything they’ve done on the album up until that point, moving from a slightly uptempo pop song into a blissed out instrumental. The good news is that there’s very few dead spots across that 15 minute runtime. The bad news is that there’s very little justification for why the song exists in the first place as it primarily feels like an extended club remix of a normal Cut Copy song. Given what you’ve been listening to for the previous 45 minutes, such a thing can’t be considered bad, just a little underwhelming considering what came before it.

This is not the best time of year to be releasing a dance album, but that’s probably only relevant if you live in a place where the weather gets cold and snowy in February. Of course it’s always hot inside dance clubs no matter where you are, with crowds of sweaty bodies rubbing up against one another. “Zonoscope” is less of a club record than Cut Copy’s last one, but that doesn’t make it any less good. The more tempered approach taken by the band this time puts better overall composition on display, which in turn also does well in elevating moods. If you’re suffering from seasonal affective disorder and a daily dose of sunshine just isn’t doing the job, this album is like the audio version of that. Even once the weather improves and you’re outside in some blistering heat, you’ll still feel motivated to dance if you turn this record on. What Cut Copy lacks in the emotional connection that LCD Soundsystem does so well, they more than make up for with dynamic pop hooks and flawless transitions that work so well portions of the album feel like one long slice of beat-infused bliss. If you can appreciate such things, “Zonoscope” will likely be one of your favorite albums of 2011. So far, it’s most definitely one of mine.

Cut Copy – Need You Now

REMIXES
Cut Copy – Take Me Over (Thee Loving Hand Remix by Tim Goldsworthy)
Cut Copy – Take Me Over (Midnight Magic Remix)

Buy “Zonoscope” from Amazon

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