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Lollapalooza 2014: Preview Guide


Welcome friends, to the start of Faronheit’s Lollapalooza 2014 coverage! This weekend, more than 100,000 music lovers will pack into Grant Park each day to see around 140 different artists perform. It’s a behemoth, and essentially one of the largest events to happen in Chicago every year. As somebody who hasn’t missed a day of the festival in the last 10 years, I can promise you it’s a very fun time. My main advice for surviving the full weekend intact are as follows: Take it easy. Trying to see a little bit of everything will wear you out quickly, especially with a festival this huge. Choose who you want to see very carefully, and maybe make some compromises on others so you don’t have to walk from one side of the park to the other over and over. Be sure to sit down at least a couple of times a day to rest a bit. You’ll need the break more than you think. Always be prepared for the weather. Most of the time it’s going to be sunny and hot. Wear sunscreen and drink plenty of water. Bring a poncho and/or umbrella, just in case it rains. And most importantly, have fun!

With so many artists on the lineup, there’s absolutely no way you can see them all, and even the biggest music fan won’t recognize every name performing. So what I’ve tried to do is compose a bit of a preview guide for the weekend. I’m not going to go over every single name on the lineup, so instead I’ve broken down the must see artists by hour and day. That way, no matter what time it is, you’ll have something good or great to check out. Join me past the jump to see the hourly breakdown and learn a little bit more about the best music to see this upcoming Lollapalooza weekend! Then be sure to check back over the weekend for daily recaps of all the things I’m able to see. I’ll also be providing updates when possible via Twitter, so follow me there for up-to-the-minute news (when reception allows). Thanks everyone, and if you’re headed to Lollapalooza with me this weekend, stay safe.

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Pitchfork Music Festival 2014: Saturday Recap


After a relatively calm and relaxing start to the weekend on Friday courtesy of artists like Sharon Van Etten and Sun Kil Moon, Saturday at the Pitchfork Music Festival found quite a bit more rhythm and energy and was all the better for it. Not only that, but with plenty of hip hop, R&B, electronica and loud rock bands to go around, it was also the most widely diverse day of the weekend. As with Friday, I attempted to scatter myself around Union Park as much as possible to get a little sample of just about everything. On the whole,the day was rather delightful. Here’s my recap of how it all went down.

I skipped out on the first couple of bands on Saturday so I could finish some writing and post my recap from Friday. That may not have been the best idea as it turns out, because I got word from a few different people that sets from Twin Peaks, Ka and Circulatory System were all incredible and some of the day’s highlights. Of course there were plenty of highlights later in the day too if you knew where to look for them. I arrived on the premises in time to catch most of Wild Beasts‘ performance, which made for a lovely start to Saturday. Their dark and at times intense melodies thankfully translated well to the sunny outdoor festival setting, and much of the crowd danced along accordingly. Singer Hayden Thorpe looked a little toasty wearing a denim suit, and given the highly sexual nature of many of the band’s songs, if he didn’t mind the warmth perhaps leather would have been more appropriate. While a majority of the set list focused on their most recent album Present Tense, they did incorporate a fair amount of older material as well, including a glorious version of “Bed of Nails.”

The last time Cloud Nothings performed at the Pitchfork Music Festival, their set got rained out about halfway through. They were in the final couple of minutes of an extended jam session when the power was cut to avoid a serious safety hazard. The band finished the song anyways, even though you could barely hear them. It was an incredible and memorable moment, one of the best in the history of the festival. Now two years later, the band still seems angry they weren’t allowed to finish their set back then. They come out like a blitzkrieg attack and throw everything they have into a rage-filled performance that doesn’t let up for more than 45 minutes. It drives the crowd into such a frenzy that security is forced to kick all of the press photographers out of the pit within two minutes due to an excess of crowd surfing and moshing. I didn’t visibly see anybody get injured during that set, but wouldn’t be surprised in the least if it happened. Still, it was an incredible display of aggression and release, which I think everyone desperately needed. Mark them down as one of Saturday’s best, no question about it.

Because he’s a member of my Class of 2014, and because his debut EP Worth is….worth your time, I stopped by the Blue Stage for a bit to see how Mas Ysa (Thomas Arsenault) was doing. For the most part, his set was going relatively smoothly. His setup was basically an army of varying different electronic machines on a table, and he spent the majority of time pushing buttons and twisting knobs to get the particular beats and sounds desired. Not the most exciting thing to watch, though Arsenault made things significantly more interesting simply by his behavior and facial expressions. When he’d be playing around with various sounds, more often than not this expression of extreme pain came across his face. Of course he wasn’t in any actual pain, it was just how the music was affecting him on an emotional level. You could hear it in his vocals too, which were also modulated with who knows what sorts of effects that emphasized his upper register while giving off the impression he was singing underwater. Those vocal moments were also when he broke away from his table of electronics to bring a greater physicality to the performance and the points he was trying to get across. My only real issue was that it didn’t always sound like Arsenault was singing on-key the whole time. Maybe it was the modulation effects or maybe it’s his own unique yelping style, but there were moments when I genuinely said to myself, “That doesn’t sound quite right.” All the instrumental stuff was fine and great, it was just the vocals every now and then that threw me off.

Speaking of throwing people off, Pusha T wasn’t exactly doing himself any favors by starting his set 35 minutes late. Apparently his DJ failed to show up on time, and that was the cause of the delay. As a result, he did his best to make the most of the 25 minutes left for his time slot. He raced through track after track, often cutting each one off after a verse or two, just to ensure he touched on the maximum amount of his catalogue. In spite of everything, it was a pretty decent set, almost as if Pusha was working extra hard to knock it out of the park to make up for the earlier issues. It makes me wonder though how much better it might have been had he used those first 35 minutes and actually performed full tracks instead of only giving us a little taste of each. Maybe next time.

tUnE-yArDs remains a formidable live act, as Merrill Garbus and her band continue to grow with each new record. When she performed at Pitchfork a couple of years ago, she was trapped on the smaller Blue Stage in the early afternoon, yet still managed to deliver one of the weekend’s finest and most remarkable performances. Now graduated to a big stage with a late afternoon slot and a gigantic crowd, she sought to make the most of it. Honestly, while I loved just about every second of the show, it also disappointed me a little. She’s touring in support of the new album Nikki Nack, and devoted much of the set list to songs from that record, which quite frankly isn’t her best. It’s not a bad record by any stretch, nor was her performance, but I feel almost like her ferocity has somewhat diminished. Like, before she was an underdog, but now she’s the alpha and is taking a victory lap. As little as a year or two ago, she would build almost every single song using loops, would go beyond what’s on record to have fun in extended jam sessions, and would invigorate the crowd by yelling things like, “Do you wanna live?” There wasn’t much of any of those things this time around, and now I kind of miss them. Her voice is as powerful as ever though, and the songs are still amazing, not to mention there’s all sorts of polyrhythms and crazy percussion. The point is, there’s still tons to love about tUnE-yArDs, just maybe not quite as much as there was before.

Saturday was a big day for my Class of 2014, and I was particularly excited to see how Kelela would fare in a festival environment. She makes some fascinating experimental R&B, which is nice because it breaks away from some of the more standard stuff that gets the bulk of the attention these days. Backed by only a DJ, she worked the stage with total confidence and control, sticking largely to tracks from her Cut 4 Me mixtape. That brought a different sort of energy to her set – one that was equal parts upbeat, sensual and intimate. The ability to conjure something like that up on a sunny, late afternoon outdoor stage is a rare quality, and it attracted more people over time like moths to a flame. That, and her smooth, syrupy vocals just made you feel good all over. I was quite impressed, mostly that she truly lived up to the hype that goes along with being a promising young artist. Whatever she does next, it should be pretty great.

There’s not a whole lot that I want to say about Danny Brown‘s set, mostly because I wasn’t paying close attention throughout most of it. When I did, all evidence suggested that the crowd was having a great time. When I say great, I mean GREAT. Like hands waving, jumping around, smiling and laughing sort of great. Perhaps that’s because Brown was powering through all of his most excessive and salacious material, while completely ignoring the more introspective and sincere tracks in his catalogue. That’s understandable given the summer festival setting, but also a bit shallow on the whole. You can celebrate with “Smokin’ and Drinkin'” and get into a “Kush Coma,” but those are the favorite topics of almost every other rapper out there. Brown could have separated himself from that world for at least part of the set, and it would have made a great difference. Instead, he told the crowd he wanted to hang out and party. Not much wrong with that. Not much right either.

What can be said about St. Vincent‘s performance at Pitchfork? Nothing really. Over the course of the last several years, Annie Clark has become a powerhouse of rock and roll. Put a guitar in her hands and watch her conquer even the most apathetic of music lovers. Following her highly choreographed live show and tour with David Byrne in 2012 and 2013, the 2014 version of St. Vincent has incorporated many of those same ideas into her sets. There are certain routines for most songs, followed very precisely by Clark and her bandmates. It lacks a certain spontaneity, but looks pretty cool. Besides there’s still plenty of room for freestyling, particularly on the guitar solos, which she absolutely ripped through on tracks like “Rattlesnake” and “Marrow.” Then there’s the slow descent into madness that is the show-stopping finale of “Your Lips Are Red,” leaving her thrashing around in the crowd and on the ground, making all sorts of sonic hell with her guitar. Not only is it thrilling to watch, but also thrilling to listen to. I’ve never ever seen a bad St. Vincent show, and sincerely hope that I never will.

My final stop by the Blue Stage on Saturday was to catch part of the set from the third Class of 2014 artist performing that day, FKA twigs. The R&B artist has been strongly building up hype over the last couple of months with the announcement of her debut album due out in mid-August, and preceded the white hot new single “Two Weeks.” Her set presented a great way to preview the new material as well as get further absorbed into the unique world that she has carved out for herself. The end results were decidedly mixed. She was supported on stage by a total of three percussionists with electric drum pads, which were used for both rhythmic purposes as well as to trigger samples and beats. In some ways her songs were even thinner and more skeletal than Kelela’s earlier in the day, which would be fine if you couldn’t hear the sounds of St. Vincent’s roaring guitar out in the distance. twigs, aka Tahliah Barnett, didn’t do a whole lot to help herself early on either, particularly as the vocals for her first song were more whispered than they were sung. Of course there was steady improvement after that, and it seemed like she found her footing as she moved around the stage dancing to the beats and softly cooing as required. Try though she might, Barnett was unable to reach the same level of intimacy nor display the same level of confidence and poise that Kelela had already shown was possible. The two artists aren’t the same and certainly have their own unique styles, just at the moment its clear one is more practiced and better at performing for a large outdoor crowd than the other. twigs managed to pull in a pretty sizable crowd who were rabid fans eager to hear material from EP1, EP2 and the forthcoming LP1, and most I’m sure felt like they got exactly what they wanted. Personally, I’m intrigued to see if a dark, indoor venue would make for a better live delivery system of her gorgeously fragile songs.

Having seen Jeff Mangum perform solo back in 2012, I was pretty sure what to expect when it came to Neutral Milk Hotel‘s headlining set on Saturday night at Pitchfork. Sure, the songs and setlist were just about the same, but it turned out to be a far different beast than anticipated. First all of the songs sounded mightier and more energized with the full band behind them. In particular, “Holland, 1945” and “The King of Carrot Flowers, Pts. 2-3” hit with such a great impact that it drove the crowd into a frenzy that included a strong push forward to get closer to the stage, followed by some actual moshing, which is not really something you’d ever expect from a Neutral Milk Hotel show. There were sing-alongs galore, especially for anything on In the Aeroplane Over the Sea, and the middle part of the set that was decidedly short on that material allowed the earlier insanity to mellow out a bit. The night wrapped up with Mangum taking a largely solo turn on the epic “Oh Comely,” which is exactly as it should be. With a strict no photos/filming policy (even the video screens were shut off), there was a certain comfort in knowing that the crowd wouldn’t be preoccupied with capturing the show on their phones and instead just living in that moment for once, acknowledging others around you and realizing we’re all in this together. That was probably the band’s intention, and I exited Union Park that evening feeling tired but also more connected.

Pitchfork Music Festival 2014: Sunday Preview


Have you checked the weather forecast for Pitchfork this weekend? I have. Partly sunny skies, with temperatures in the upper 70’s and low 80’s for all three days. In other words, it’s looking to be a perfect weekend, weather-wise. Make sure you wear sunscreen! That’s a top priority. Also, you might want to be aware of what you are and are not allowed to bring with you onto the festival grounds. The last thing you want is to wait in line at the gate, only to be turned away because you brought a folding chair or something. Check out the rules concerning approved/prohibited items, along with policies related to photography/recording and other important bits of info. Also, are you aware that there’s a record fair, poster fair and craft fair all on the grounds of Union Park? Yes, this festival is about more than the performances and the food/drink necessary to keep you alive. Do some digging, especially if you’ve never attended before, so you can plan ahead. Speaking of planning ahead, here’s your preview guide for the music on Sunday. As I’ve mentioned previously, the artists are paired according to the hour of their time slot. I’ve included a little bit of information about each, and my official recommendations are denoted with a **. In case you missed them, here are links to the Artist Guide (aka playlist), Friday preview and Saturday preview. Stay informed, stay protected and stay hydrated!

Speedy Ortiz [Blue Stage, 1:00]**
Mutual Benefit [Green Stage, 1:00]
Sunday is the day with the most artist conflicts for me personally, and it starts immediately with Speedy Ortiz and Mutual Benefit. Stylistically speaking, the two bands are pretty different. Speedy Ortiz is throwback 90’s garage rock, in a style somewhat similar to Veruca Salt or The Breeders. Their album Major Arcana was one of last year’s finest, and they’ve already followed it up with the Real Hair EP. Speedy Ortiz are a pretty great live band as well. If you’re in the mood for some distorted rock and roll in the early afternoon hours of Sunday, check them out. Of course if you’re attending the festival all three days, by Sunday you might be pretty worn out already. Maybe you’d prefer to ease into the day with something you can just kind of sit down and enjoy. This is where Mutual Benefit comes in. Their album Love’s Crushing Diamond was one of my absolute favorites from last year, reviving the carefully orchestrated folk sound that was largely propagated by Sufjan Stevens several years back. The record is so warm and comforting. I’m not sure if it’s ideal festival material as you bake in the hot sun, but with a good breeze and some shade it could be quite lovely. I’m putting my vote towards Speedy Ortiz here only because of their energy, but honestly you can’t go wrong showing up early for either of these two bands.

DIIV [Red Stage, 1:45]
Perfect Pussy [Blue Stage, 1:55]**
The two bands performing in this time slot share a fascinating commonality that you might not realize. While the styles of music they play are very different, both of them craft songs based around sonic textures and the emotions that they can inspire. For DIIV, it’s about guitar-based dream pop melodies that drive forward with unflinching confidence. For Perfect Pussy, it’s about hardcore punk rock that’s so ear-piercingly loud that you believe the world might just be on fire. Both bands have lead vocalists, but you can barely make out what they’re saying on every song, either due to extreme reverb or simply being drowned out by everything else. The safe pick here is to go and see DIIV. Their 2012 debut album Oshin is pretty incredible and surprisingly accessible. They’re also working on new material, so expect them to try out a track or two on the crowd. Of course Pitchfork isn’t about safe. Having seen Perfect Pussy perform earlier this year, I can honestly tell you it was one of the loudest, most intense 18 minutes of my life. But there’s a brilliance and a sense of catharsis to it, largely in how the band legitimately gives you every last ounce of themselves on stage. If you get your hands on a lyric sheet, you would know that singer Meredith Graves is a true poet and she sings about some extremely heartwrenching stuff. Even if you can’t hear what she’s saying, you can FEEL it. Perfect Pussy’s set is likely to send a number of people running in the opposite direction. Those that stay will likely be rewarded with one of the best performances of the entire weekend. Bring earplugs specifically for this.

Deafheaven [Green Stage, 2:30]**
Isaiah Rashad [Blue Stage, 2:50]
Pitchfork likes to have a token metal band or two in the lineup every year, and for all practical purposes Deafheaven is that singular entity for 2014. But oh my what an entity they are. Last year’s Sunbather was probably the best metal album of the year, and certainly a top contender for best of the decade. It’s a 60-minute masterpiece that moves beyond what might be regarded as traditional metal and into the territory of post-rock and shoegaze without even blinking an eye. In other words, they reached across genre lines and managed to capture the attention and imaginations of a far larger group of music fans. With what looks to be an incredible set at Pitchfork, they’ll likely succeed in turning a whole lot more people onto their unique sound. If you’re not into loud guitars, you’re of course always welcome to check out Isaiah Rashad and his unique brand of hip hop. Much like a lot of the other hip hop artists on the lineup this year, Rashad stands out because he’s not afraid to get very emotional and confessional on his tracks. So instead of popping bottles of Cristal with some girls in a club to celebrate, you’re sitting alone in the middle of the night with a glass of whiskey, worried about personal crises or world issues. Outside of topical elements, the guy is a genuinely talented MC who can really string together a verse in a unique and impressive way. Both of these artists are great choices, so go with the one you might enjoy the most.

Earl Sweatshirt [Red Stage, 3:20]**
Dum Dum Girls [Blue Stage, 3:45]
It’s some kind of miracle that Earl Sweatshirt is performing at this festival. Just about a week ago, he announced that he was cancelling his remaining tour dates due to exhaustion. Initially that included his set at Pitchfork, but in the end he decided to honor the Chicago shows he had booked. There were probably some legal threats, and maybe even a bit of begging required to convince him, but he relented in the end. If you’re concerned that we may not be getting Earl Sweatshirt at his best, that’s sound logic. Ultimately though, even if he’s only operating at about 75% of his normal capacity he’ll still be worth checking out. His album Doris is proof of that. Plus, he’s still a teen barely old enough to drive, so I’m sure he can bounce back pretty quickly. When it comes to Dum Dum Girls, I’m a fan. They started out as this lo-fi garage rock band in a similar class with Vivian Girls, and have since evolved into a clean-cut pop-rock band with serious synth-pop leanings. They’ve had their songs featured in commercials, TV shows and movies, yet retreat from the spotlight just as quickly as they stepped into it. These days, the band is both pretty easy on the ears and pretty easy on the eyes. Interpret that however you’d like. I was all set to recommend them over an exhausted Earl Sweatshirt, but then I remembered about the complaints. It seems frontwoman Dee Dee Penny has had some vocal troubles for awhile now, and so their live shows can be a little hit-or-miss as a result. I’m holding out hope it’s going to be great, but can’t give them my full endorsement at this point. The risk factor is simply too high.

ScHoolboy Q [Green Stage, 4:15]
Jon Hopkins [Blue Stage, 4:45]**
ScHoolboy Q is a key part of what’s commonly referred to as Kendrick Lamar’s “Black Hippy” crew, which is basically a collection of talented rappers who are working to reinvent West Coast hip hop. Over the last few years, they’ve been doing just that, and Q is one of the most talented of the bunch. What I find most fascinating about him are the levels of contradiction in his work. His 2012 album Habits & Contradictions seemed to actively point them out, and then this year’s follow-up Oxymoron only pushed that idea further. Unlike many of the rappers on the Pitchfork lineup this year, Q is equally at home talking about the dangers and the dark side of gang life as he is celebrating it with wanton abandon. One minute he’s depressed about the street violence killing his friends, and the next he’s out on the corner selling drugs and essentially being part of the problem. These are largely characters and fictional stories that Q puts together, and in all honesty it’s made for a fascinating dichotomy. It will be intriguing to see which side of him he chooses to favor for the Pitchfork crowd. As far as Jon Hopkins goes, he’s also the sort of artist that shows off two very different sides of his personality. The man is a classical composer, producer and well-known keyboardist, working with everyone from Imogen Heap to Brian Eno to Coldplay, and that largely informs the sort of music he makes on his own. Think of it as electronica with a twist, because instead of simply chopping together samples of audio on a laptop or touch pad, Hopkins throws in splashes of keyboards here, or an orchestral section there. The results can be light, airy and fun, but there’s also a much darker and aggressive side he’s able to show off, in particular on his last album Immunity, which was one of last year’s best releases. In a festival setting, expect that sonic diversity to play particularly well, as one minute you’ll be relaxing in the shade while a glistening and summery track breezes by, and the next you’ll be up and dancing furiously, suddenly inspired by a hard-hitting beat. Sounds like a lot of fun to me. How about you?

Real Estate [Red Stage, 5:15]**
Majical Cloudz [Blue Stage, 5:45]
I’ve seen Real Estate perform in festival settings a couple of times before (including once at Pitchfork), and their particular brand of relaxed indie rock provides a very natural soundtrack to the day. If you can find a shady spot in the grass somewhere to just chill out and stare up at the sky, you’ll never want to get up again because all feels right with the world. Over the course of three albums now, Real Estate have been perfecting this sound, and it’s now reached a peak thanks to the nearly perfect Atlas record from earlier this year. It’s going to be a genuine pleasure hearing them perform the new stuff. Of course it could all go horribly wrong too, because if you’re stuck standing around in the hot sun somewhere, their lackadaisical style might not be enough to distract you from the pools of sweat building up across your body. It can’t be worse than going to see Majical Cloudz though. Don’t get me wrong, I love Majical Cloudz and their debut record Impersonator. The thing is, their music is completely allergic to sunlight, heat, and large crowds. Seriously, all of their songs are very slow, and so intensely personal in nature that an outdoor festival is the antithesis of where you should witness their performance. Devon Welsh is such an intense guy on stage too, and his ability to pull you into his dark and disturbed world is what makes every single Majical Cloudz performance so special. To witness that at 5:45 in the afternoon with the hot sun overhead? The power and intensity has to get stripped away, right?

Slowdive [Green Stage, 6:15]**
DJ Spinn [Blue Stage, 6:45]
The remainder of Sunday from this point onward is pretty much into the no brainer sort of territory. If you’ve never heard of Slowdive before, they were a shoegaze band that released three pretty great albums in the early 90’s, and then broke up. Now nearly 20 years later, they’ve decided to reunite, and Pitchfork will be their first show in the U.S. since 1995. That’s kind of a big deal, right? In a lot of ways, they fit in right alongside today’s modern bands like Deafheaven and Deerhunter, so you could almost say they’re more relevant than ever. Meanwhile on the Blue Stage, DJ Spinn will be playing some great electronica, if that’s your thing. He’s spent a lot of time working and collaborating with DJ Rashad, and the two of them were supposed to perform together at the festival until Rashad’s death turned it into a solo set. Expect Spinn to pay tribute to his close friend in grand fashion, meaning it should hopefully be an out of control, super fun dance party. Compelling as that sounds, Slowdive is just too important to pass up.

Grimes [Red Stage, 7:25]**
Hudson Mohawke [Blue Stage, 7:45]
Hudson Mohawke performed at last year’s Pitchfork Music Festival as part of TNGHT, his collaborative project with Lunice. That earned him quite a bit more attention, especially since it helped him catch the ear of Kanye West. But at the end of 2013 the duo decided to go their separate ways once more, though the door remains open for them to get back together at any time. As a solo artist, HudMo is best known for his unique take on hip hop and R&B, often infusing those styles with other genres to form something truly original and unexpected. Where he ran into trouble was sometimes trying too hard or bringing in too many different elements so tracks ventured into overkill territory. Has he managed to scale back those tendencies in the last couple of years? Somewhat, yes. There is every chance he’ll put together a pretty great mix for his set at Pitchfork, but I still don’t think it will come close to matching what Grimes will be up to on the other side of the park. One of my absolute favorite things about Grimes is that she’s firmly committed to doing everything herself, and that means holding court on stage as she plays instruments, builds loops and modifies her vocals. 2012’s Visions put her onto everyone’s radar as an experimental pop star to watch, and since then she’s raised her stock considerably. She’s in the midst of recording a new album, and has already started to play some of the new songs in concert, to even more incredible response than before. Her new single “Go,” which was originally written for Rihanna, feels like a brilliant step forward in her sound as she inches more and more towards the mainstream. If there was ever a time to jump on the Grimes bandwagon, now would be it. She’ll be all over pop radio and playing massive venues before you know it.

Kendrick Lamar [Green Stage, 8:30]**
When Kendrick Lamar performed at the 2012 Pitchfork Music Festival, he was on the small Blue Stage sometime during the afternoon. His debut album wasn’t out yet, but he was already getting praised by people like Dr. Dre, claiming he was the next great talent in hip hop. Hell, even Lady Gaga showed up to Pitchfork to see his set. Now two years and one album later, Kendrick Lamar truly is the next great talent in hip hop. good kid, m.A.A.d. city turned out to be an incredible achievement, and he’s managed to follow it up with some stellar guest verses on a number of tracks, as well as some high profile touring with the likes of Kanye West. I’ve now seen him perform a total of 3 times, most recently last fall, and each set was better than the last. The man’s come a long way and has earned the success he’s achieved so far. Now he returns to Pitchfork on a victory lap, this time with full headliner status. Realistically speaking it should be a great show, he’s likely to bring out more than a few guests (see: ScHoolboy Q, Isaiah Rashad), and might even preview a couple of tracks from his forthcoming sophomore album that’s currently being recorded. It will make for a fine end to a fine weekend.

FRIDAY: Day One Recap!

Pitchfork Music Festival 2014: Saturday Preview


Of the three days that comprise this year’s Pitchfork Music Festival, I think that Saturday might be the most eclectic and strange. If you love hip hop, R&B or electronica, there’s a whole lot of wild choices to make. There’s also plenty of other genre-baiting stuff too, in accordance with the different strokes for different folks balance. I will say this much though: the quality of artists here is completely off the charts. Some of the choices you’ll need to make might be a little harder than you think. Which is why I’ve put together this handy preview guide to try and provide some sort of guidance. As a reminder, the artists are listed by the hour block in which they’ll be performing, and my official recommended picks are denoted with a **. In case you missed any of my previous posts, you can click here for the Artist Guide, which features music from every single artist on this year’s lineup. You can also have a look at the Friday Preview Guide as well, should you be attending multiple days. Enjoy, and share who you’re most excited about seeing this year in the comments!

Twin Peaks [Green Stage, 1:00]**
Similar to Hundred Waters’ standalone time slot on Friday, Twin Peaks get 45 minutes of unopposed performance time to kick off Saturday. That’s likely due to The Julie Ruin dropping out some months back due to Kathleen Hanna’s health issues. But that loss is Twin Peaks’ gain, as the local Chicago garage rockers are sure to put on a high energy and fun set that will be a fantastic way to pump you up for the day of music ahead. Their debut album Sunken was more of an EP than anything else, packing in a bunch of songs across only 20 or so minutes, complete with a whole bunch of sloppy, Replacements-style guitar jangle. That’s meant as a compliment. They’ll have another new album called Wild Onion out in less than a month, and they’ll likely be playing a bunch of unheard songs from that as well. If the new stuff is on par or better than what we’ve already gotten from them, look for this band to start breaking big sooner rather than later.

Ka [Red Stage, 1:45]
Circulatory System [Blue Stage, 1:55]**
At last year’s Pitchfork Music Festival, Killer Mike made an incredibly strong impression with a set that was a lesson in emotionally invested storytelling. He proclaimed that hip hop wasn’t something that needed to advocate for guns and violence, and could in fact be used for good, positive messages. Ka’s version of hip hop doesn’t really have positive messages, but instead seeks to inspire change in our culture by chronicling the issues on our streets in a very informative way. He’s an excellent lyricist, but it’s the highly emotional way that he says those words that really force you to take them to heart. For all practical purposes, his set could be pretty dramatic and remarkable. Meanwhile, Circulatory System is basically an Elephant 6 band featuring a majority of the members from Olivia Tremor Control. If you only understood about half the words in that last sentence, let me try to clarify a little better. They’re basically a lo-fi indie pop band with particularly creative, often odd or twee leanings. Consider them a companion and warm up to Neutral Milk Hotel, headlining later in the day. It’s entirely possible that even Jeff Mangum himself might pop on stage to contribute to a song or two. The collective’s leader Will Cullen Hart composed their latest album Mosaics Within Mosaics by dusting off some old unreleased recordings and repurposing/re-recording them for the present. It’s a good record, and the band’s first in 5 years. They’re not particularly active, nor do they tour often due to Hart’s health issues, so the rare chance to see them at Pitchfork might be worth your time.

Wild Beasts [Green Stage, 2:30]**
Empress Of [Blue Stage, 2:50]
The last time I saw Wild Beasts perform, it was about three years ago in an outdoor festival setting on a particularly warm and sunny day. Considering that their highly sexualized and highly stylized R&B sound is best experienced in a dark and intimate setting, it felt a little bit out of place. But the band did their best to make the most of the situation, and it turned out to be rather enjoyable overall. I’m expecting them to fare even better this time around, considering their new record Present Tense is their liveliest and most gorgeous to date. They’ve dramatically increased their use of synths and complex percussion, which should be fascinating to see recreated in the live setting. That, and frontman Hayden Thorpe’s vocals remain utterly arresting. If you’re looking to keep your energy high in the early afternoon hours however, your better bet will be going to check out Empress Of (Lorely Rodriguez). She’s only got an EP and a couple of singles to her name so far, but has already made quite the impression with material that ranges from damaged art pop to bubblegum synth pop. Yes, most of her songs are catchy and danceable, and she might be best described as a slightly more mainstream-oriented version of Grimes. The thing is however, since this is still a relatively new project (less than 2 years old) and we haven’t heard a ton of material from it yet, there’s a bit of an uncertainty about how well her performance might go. I’m sure she won’t be bad by any means, but will she likely be a much better performer about a year from now? Probably. Empress Of’s set will be what you make of it, so don’t be afraid to let loose and have some fun!

Cloud Nothings [Red Stage, 3:20]**
Mas Ysa [Blue Stage, 3:45]
When Cloud Nothings performed at the 2012 Pitchfork Music Festival, it was in the middle of a tremendous rainstorm. Their set didn’t start that way, but it absolutely finished that way. The most fascinating thing was that as the rain got heavier, the band played harder. You could say they wanted to match the intensity of the weather. They were forced to stop when conditions became too dangerous and electricity was cut to their stage. They still finished the song they were playing though, screaming into the crowd because the speakers weren’t working. That’s passion and dedication, and it made for one of the best musical memories of that year. Hopefully the weather stays dry this year, and they’re able to get a full set in. It’s going to be some high energy, incredibly raw punk rock. Dylan Baldi’s voice still absolutely shreds too. Meanwhile on the small stage, composer Mas Ysa (Thomas Arsenault) will be whipping up his unique blend of emotional, experimental pop. His only released recordings to date were compiled on the Worth EP, which came out this past winter to strong reviews. What that EP primarily showed was that Arsenault was capable of a wide range of styles and tempos, but that his intensely heartfelt vocals took center stage no matter if he was belting out a ballad or soaring on a wave of pure energy. The guy is clearly talented and has great things ahead of him. It’s probably why I also named him as part of my “Class of 2014” project. With a debut full length on the way, it might be interesting to see what he decides to do during his Pitchfork set.

Pusha T [Green Stage, 4:15]**
The Range [Blue Stage, 4:45]
It’s critically acclaimed hip hop vs. critically acclaimed electronica for your four o’clock music choices. The choice is easy if you prefer one over the other, but what if you prefer both or neither? If you’re stuck, here’s my advice: go with the more interesting stage show. In this case, that’s clearly Pusha T. Hip hop can be really exciting to watch, especially when the crowd is into it and chants choruses or key lines from tracks. There’s likely a “hype man” trying to keep up the energy, and guest stars are always a plus too. I’ve heard good things about Pusha T’s live show, and some of the clips on YouTube make it look like an absolute blast. Then you have The Range’s instrumental electronica. James Hinton is the man behind the name, and he does a remarkable job blending a variety of different styles and influences into this very clean-sounding dance music. If you love drum & bass or Disclosure-style R&B, this should be right up your alley. Of course it’s also likely just going to be a guy sitting behind some turntables or a laptop the whole time. If you can ignore what’s happening on stage and simply commit to dancing mindlessly, perhaps The Range will be where you want to be.

tUnE-yArDs [Red Stage, 5:15]**
Kelela [Blue Stage, 5:45]
If you’ve never seen tUnE-yArDs perform live before, you’re missing out. Seriously, I’ve seen Merrill Garbus a handful of times now, and have been blown away during all of them. Her powerful vocals are her biggest selling point, but acclaimed records like w h o k i l l and this year’s Nikki Nack also showcase amazing songwriting and highly experimental song structures that make you want to dance and cheer at the same time. It only gets better witnessing it in person, particularly when Garbus is able to construct many of her songs using looping pedals. Per some reports I’ve read surrounding her touring for this new album, she appears to be doing a little less looping than before, but some is still more exciting to watch than none. It makes me feel a little sorry for Kelela, who has a lot going for her but simply can’t compete in this time slot. If you’re not familiar with Kelela, she’s a fantastic R&B singer who’s been on the rise for the last year or so thanks to her debut mixtape Cut 4 Me. What separates her from similar artists are her experimental leanings. She’s able to add some significant twists to traditional R&B thanks to creatively stimulating compositions that have also caught the attention of some of the dance crowd. She’s already released a new single and a collaboration with Tink this year, but if we’re lucky we might also get a full length album this fall. Perhaps she’ll offer up a little preview at the festival?

Danny Brown [Green Stage, 6:15]**
The Field [Blue Stage, 6:45]
For the second time in a three hour period, you’ve got hip hop vs. electronica. I’ve discussed the pros and cons of each already above (see Pusha T vs. The Range), so really whichever you choose to go see may be dependent on previous material. The dynamic between Danny Brown and The Field feels a lot more intense to me, in no small part because both artists are quite prolific at what they do. On last year’s Old, Danny Brown reached a new peak by making a record that’s equal parts mature and immature, focused and unfocused. He might not be as goofy as he once was, but he’s more confident and weirder than ever before, which is a delight. Of course many people also find Danny Brown to be annoying and his voice to be a bit grating, which is completely understandable. Maybe then you can find comfort in the arms of The Field. Axel Willner has been making highly danceable electronica at a steady pace for the last few years, and his latest effort Cupid’s Head he may have just eclipsed himself. It’s a darker, more intense affair, which represents a great progression from his earlier material. The real question is what version of The Field will be showing up at Union Park on Saturday. In the past, he’s performed with a band, which brings a lot of extra gusto and crowd-pleasing moments to the show. More recently, he’s taken to performing solo, which makes it a more subdued and drone-intensive show. If Willner does have the full band, that almost tips the scales in his favor against Danny Brown. Notice I said almost. Of course if you’re just looking to dance and could care less, The Field will satisfy.

St. Vincent [Red Stage, 7:25]**
FKA twigs [Blue Stage, 7:45]
I love FKA twigs, I really do, but this one is kind of a no brainer. As St. Vincent, we’ve seen Annie Clark grow significantly as an artist these last few years. Her output only seems to be getting better and better as her songs and style become increasingly complex. By now she’s well established as one of the finest guitarists making music today. It’s a genuine pleasure to watch her tear into a solo with incredible intensity. Her latest album is self-titled, and is technically speaking a major label debut. She added some new digital and electronic wrinkles to many of the songs on that record, which somehow managed to feel like a natural progression. I keep thinking the bottom is going to fall out with the next new record, but it hasn’t happened yet, to my surprise and pleasure. So without a doubt, you should watch and enjoy a St. Vincent show if you have the opportunity, even though the crowd will surely be massive. I’m not sure how many people will be excited to see FKA twigs as the sun begins to set on Saturday, but there’s probably no better time for her to be performing. Her slow burn R&B draws you in like a moth to a flame, which is probably why her first two EPs earned her quite a bit of attention. She’ll be putting out a debut album called LP1 this fall, and the first single “Two Weeks” is pretty incredible. Expect her set to feature more new music, just don’t expect it to be high on energy. If you’re feeling a little tired and might like a nice patch of shade to hang out in as the day draws to a close, head over to the Blue Stage and soak in the FKA twigs.

Neutral Milk Hotel [Green Stage, 8:30]**
In 2012, Jeff Mangum emerged from whatever hole he was hiding in and decided to start performing again. He had been absent from the music scene for over a decade, though occasionally popped up here or there at shows for Elephant 6 bands and the like. I saw Mangum perform solo twice in 2012, and both times it was incredibly riveting as he ran through Neutral Milk Hotel’s two album catalogue with only an acoustic guitar in hand. Part of me questioned why he even needed to get the full band back together, but I guess the songs aren’t quite the same unless you’ve got all the musicians behind it playing along with you. So it shall go to close out Saturday at Pitchfork. Expect it to be fun, and expect a sing-along on an absolutely massive scale. I’ve seen Mangum do the intimate acoustic solo thing, now I’m intrigued to hear those same songs blown out and plugged in for the outdoor festival crowd.

Check out the Sunday Preview Guide!

Pitchfork Music Festival 2014: Friday Preview


And so it begins. Following yesterday’s artist guide, which exposed you to all the sounds of the artists performing at this year’s Pitchfork Music Festival, I’m now proud to present the first of three previews guides leading up to the start of the weekend this Friday. Speaking of Friday, that’s what we’ll talk about right now. The way that this works is pretty simple: I’ve arranged all of the artists in order of their set times, and separated them according to the hour in which they’ll be performing. From there, I’ll talk a little bit about each one, and ultimately make a recommendation (as indicated by **) as to which you should see at that time, provided you’re able. Even though it’s a shorter day than the rest, Friday still has plenty of quality to offer. Learn all about it with the guide below!

Hundred Waters [Red Stage, 3:30]**
With Death Grips calling it quits, the singular obstacle that could have drawn people away from Hundred Waters has now been removed. The band has also gotten a promotion from the comparatively small Blue Stage up to the large Red Stage, as they’ll have a full 45 minutes to perform with no competition anywhere else at the festival. Now you may think this is a good excuse to show up later and skip this band, whose material you might not be very familiar with. But let me assure you, Hundred Waters are great, and very much worth showing up early for. In the weeks following the release of their second album The Moon Rang Like A Bell a couple months ago, I developed an addiction to this band that holds pretty steadfast today. They make very chill but very gorgeous electro-pop, and singer Nicole Miglis has the voice of an angel, often twisted in fascinating ways reminiscent of early Bjork. It should make for a delightful start to the weekend, so show up when the gates open!

Factory Floor [Blue Stage, 4:15]
Neneh Cherry with RocketNumberNine [Green Stage, 4:35]**
Factory Floor’s sound has been described as “industrial post-punk,” which doesn’t seem particularly accurate to my ears. They’re so much more than that, as they avoid easy characterization by pulling from a wide variety of sources that include disco and more traditional EDM. Primarily they’re able to craft interesting, beat-heavy dance music that keeps you guessing. Their self-titled debut album from last year proved to be quite worthwhile, and it’s going to be a whole lot of fun watching them grow in both profile and songcraft. If you’re in the mood for a groove, Factory Floor are a safe bet. It’s somewhat tragic then that they’re paired up against Neneh Cherry, who is a legend. Cherry herself probably wouldn’t like that “l” word being tossed around so flagrantly, but she’s been making music for a few decades now, and when your career gets that long you earn that status whether you want it or not. Equally fascinating is how Cherry remains something of an unknown entity in the United States, where her only breakthrough “hit” was the song “Buffalo Stance” from her 1988 debut album. Perhaps that’s why she’s only ever played one U.S. show. Her set at Pitchfork will be her second, essentially turning it into a must-see situation. As an artist who is also always innovating and never sticking with one particular style or genre of music for too long, if she does a career-spanning set it will be all sorts of fun and maybe just a little weird. More likely she’ll play a lot of stuff from her latest album Blank Project, which is an understated but powerful record that features collaborations with Robyn, electronic duo RocketNumberNine (who will be performing at the fest with her) and Kieran Hebden (aka Four Tet). So yeah, unless you really want to get your dance on at Factory Floor, Neneh Cherry is the one to see.

The Haxan Cloak [Blue Stage, 5:15]
Sharon Van Etten [Red Stage, 5:30]**
To be perfectly honest, I’m not entirely sure why Pitchfork booked The Haxan Cloak to play this festival. London-based producer Bobby Krlic is the man behind the name, and while what he does is brilliant, it’s also incredibly minimalist and dark. The last Haxan Cloak album Excavation was one of my favorites from last year, however it’s so subdued and death obsessed that it’s never something you want to put on during the daytime. You listen to it in the pitch black of night, in your bedroom, by yourself, with headphones on. It could well function as the soundtrack to your favorite horror film. How this is going to translate via a late afternoon time slot on an outdoor stage is a mystery to me. Part of me thinks there’s no way it can work. It’d be great if Krlic proved me wrong. A far better bet is Sharon Van Etten, the dynamic singer-songwriter who continues to grow by leaps and bounds with each new record. When she performed at this festival for the first time in 2010, she performed solo with a single guitar, and at one point couldn’t continue because she broke a string. The guys in Modest Mouse lent her a new guitar so she could continue. Four years and two new albums later, she’s got a full band behind her, regular radio airplay, and a lot more guitars. Her confidence as a live performher has grown exponentially as well, making her shows lively, beautiful and altogether worthwhile.

SZA [Blue Stage, 6:15]
Sun Kil Moon [Green Stage, 6:25]**
This one’s a case of hip hop/R&B vs. folk. Without a doubt, even though SZA will be on the smaller Blue Stage, you will probably be able to hear her set by the Green Stage when Mark Kozelek aka Sun Kil Moon is performing. It’s the simple disparity in styles and volume. As to why I’m recommending Sun Kil Moon over SZA, that’s purely a selection based on quality of music, not quality of live performance. I’m betting that SZA will put on a thoroughly enjoyable, relatively high energy set, dominated with tracks from her debut album Z. The problem is, that record isn’t exactly great, or even pretty good for that matter. Meanwhile, Sun Kil Moon’s latest effort Benji is regarded by many critics to be one of 2014’s absolute best. It is truly a remarkable record, filled with engaging melodies and lyrical stories that come across like pure poetry. Yet like most solo folk records, it’s extremely laid back and bare. If you can find a spot in the grass near the Green Stage to lay down as the sun begins to dip in the sky, there’s some real potential that Sun Kil Moon could hit your sweet spot. Or you’ll just spend the whole time during his set talking loudly with your friends.

Avey Tare’s Slasher Flicks [Blue Stage, 7:15]
Giorgio Moroder [Red Stage, 7:20]**
If there’s a conflict to be had on Friday, it’s with this time slot. For those who love psychedelia, specifically Animal Collective-style psychedelia, Avey Tare’s Slasher Flicks delivers in spades. This is a more straightforward and catchy Animal Collective side project, and their debut album Enter the Slasher House is one of my personal favorites from the first half of 2014. Of course I’m happy to advise you to go and see them if their music is something you might enjoy. But your better bet would be to split your time somewhat unevenly and spending a fair portion at Giorgio Moroder. The man has been part of the music world since the 70s when he helped to turn disco into something huge. He’s continued his pioneering ways ever since, to the point of winning a Grammy last year for collaborating with Daft Punk on their Random Access Memories album. All indications are that his set will be very fun, very dance friendly and very familiar. By that, I mean he’ll be spinning mixes and remixes of classic dance and disco songs from the last few decades, so you can sing along while showing off your best (or worst) moves. What’s not to love?

Beck [Green Stage, 8:30]**
Beck’s headlining set should be a delight. You may be worried that his quiet, acoustic album Morning Phase will dominate the set list, but rest assured he’ll probably only play 3-4 songs from it. The rest will be tons of classics, from “Where It’s At” to “Sexx Laws” to “The New Pollution” and beyond. In other words, there will be no shortage of silly, off-the-wall energy. This is a music festival, and the man knows what the people want to hear. So yes, stick around and enjoy it. Sing or rap along to all the hits. I’ll be right there with you.

Check out the Saturday Preview Guide!

Pitchfork Music Festival 2014: Artist Guide


Welcome to the start of Faronheit’s annual coverage of the Pitchfork Music Festival! I’m thrilled to be providing you, dear reader, with an intensive look at this incredible boutique music festival for what’s now the fourth year in a row. Over the course of the next week, this site will provide you with a full play-by-play of Pitchfork 2014, right down to daily previews, recaps and photos. It’s set to be super fun and exciting, so please join me on this journey, whether you’ll be able to make it out to Chicago’s Union Park or not!

On this first introductory day, I wanted to just showcase all of the different artists on this year’s lineup, to give you a better idea of who they are and what kinds of music they make. So what you’ll find below is a list of every artist on this year’s lineup, in alphabetical order, along with links to their official websites, plus a track or two you can stream to help get a good baseline (or BASSline, as the situation warrants). In addition to all of that, if you have Spotify, I’ve composed a playlist featuring two songs from each artist (three for the headliners) ordered by when they’ll be performing over the course of the weekend. It’s also embedded at the very bottom of this post, FYI. This should give you no excuse as to why you haven’t heard or checked out all of this year’s stacked lineup. Even if you’re not attending, this is a good exercise in music education. So check it out after the jump, and enjoy making some new discoveries!

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Show Review: A Sunny Day in Glasgow + Lightfoils [Empty Bottle; Chicago; 7/8/14]

Outside of all the festivals, the live music scene can be a little dead during the hottest months of the year. Things get rough in Chicago especially, thanks to things like Lollapalooza, Pitchfork Music Festival and Riot Fest, all of which have radius clauses that prevent artists from playing other shows in town within a certain time period. Yet there’s so much music out there that not every band is on a festival lineup and not every venue is forced to starve for 3-4 months in between spring and fall. You can still find great shows if you look for them, and if some of the venues have air conditioning to keep you out of the heat, so much the better. Thankfully the Empty Bottle had both on Tuesday night, when A Sunny Day in Glasgow came through town.


Opening up the show was Chicago’s own Lightfoils, who were also celebrating the release of their debut album Hierarchy that same day. Prior to their set I had only heard one song of theirs, a gorgeous slice of shoegaze/dream pop called “Diastolic.” That provided a good baseline for their live show, which turned out to be pretty impressive overall. I had failed to realize that three guys from the five piece were part of the great Chicago shoegaze band Airiel, so it makes perfect sense as to why they would be so formidable both live and on record. They sound quite a bit like their old band as well, though singer Jane Zabeth’s strong presence adds a little something extra. She does a fantastic job on vocals, belting out melodies with force, but also toning it down to let the guitars envelop her as needed. When watching any local band perform whose material I’m not familiar with, I always consider two main factors:
1) Are they good enough to tour (inter)nationally, aka would non-Chicagoans love and appreciate them?
2) How passionate is the local fan base?
When applied to Lightfoils, the answers I came up with were 1) Yes, absolutely and 2) The locals like them quite a bit. So it would seem that they’ve got a lot going for them, and with any luck, their new album will only solidify that further.

Buy Hierarchy from Saint Marie Records or on Bandcamp.


The day before attending this show, I read a lengthy comment on another site where the author complained about A Sunny Day in Glasgow performance (s)he had attended recently. For whatever reason, the comment didn’t really relate to the post topic and came from out of nowhere. But this person basically said that the band sounded nowhere near as good as they did on record, and complained about the vocals specifically as sounding “very off-key.” Now I’m not one to take an anonymous internet commenter at his or her word, but it did make me slightly wary about what I might be walking into at the Empty Bottle. To start off their set, A Sunny Day in Glasgow immediately launched into “In Love With Useless (The Timeless Geometry in the Tradition of Passing),” which is my favorite song of theirs from the new album Sea When Absent. And you know what? They sounded great. Not only on that song, but for the entire show. A fair amount of their recorded output so far has hinged on some very complex shoegaze and dream pop arrangements, which you would think might be difficult to perform live. Thanks to vocal modulators, triggered sound effects and other equipment, it all sounded quite accurate, even if some of the band members had to pull double duty at times to make it happen. Lead vocalist Jen Gorma was particularly energetic and on-key the whole time, and her harmonies with Annie Fredrickson were gorgeous. Most of the set list was generously spread across their entire catalogue dating all the way back to 2006, though understandably the greatest focus was on material from the new album and the couple immediately preceeding it. Highlights included “Nitetime Rainbows,” “Crushin'” and “Golden Waves,” though really the whole thing was a delight.

One of the most fascinating things to me about A Sunny Day in Glasgow in general is how they take a genre of music that specializes in darker and more depressing themes, and flip it completely on its head by infusing it with brightness and positivity. They have the word “sunny” in their name for a reason. The band played with that same sort of attitude, and the crowd soaked it in and directed it right back at them. At times it almost seemed like they were surprised by how much applause and cheering there was after each song. Perhaps some of the other shows so far this tour haven’t gone so well (see above), or maybe they’re starting to reach new heights of popularity and simply aren’t used to it yet. Whatever it is, their reaction was charming and endearing. When they wrapped up their set and said goodnight, the crowd went nuts and spent a couple of strong minutes cheering for an encore. Sadly, the house lights went up and music began playing on the overhead speakers, aka the signal that the band was done. As many entertainers will tell you, it’s always best to go out on a high note, leaving the crowd wanting more. On this particular Tuesday night in Chicago, A Sunny Day in Glasgow did just that.

Buy Sea When Absent from Lefse Records

Show Review: The War on Drugs + Mark McGuire [Metro; Chicago; 3/23/14]


More so than any other day of the week, concerts on Sunday nights have a tendency to be absolutely terrible. It’s not so much the artist that’s performing, rather the crowd itself as the start of a new work week and Monday looms over us like the Sword of Damocles. Nobody wants to drag themselves out to a show at 9 p.m. on a Sunday, knowing full well they’ll wind up back home well after midnight and likely sleep deprived the next day. Mondays are already bad enough. Yet like any other night of the week, shows still happen and people still go to them, however begrudgingly. And so it was that more than a thousand people packed into the legendary Metro on Sunday night for a sold out show with The War on Drugs and Mark McGuire. They may not have been the most excited or enthusiastic bunch walking in (it’s just an observation and not a criticism), but walking out was a completely different story. The entire evening was a revelation, in the greatest and most unexpected ways.

I’ve spent the better part of the last month and a half immersed in Mark McGuire’s latest album Along the Way, which is just one release of many that he’s been involved with these last few years. It is his first solo effort since officially splitting with his experimental rock band Emeralds last year, and displays an impressive leap in style and composition that he’s never attempted previously. His older stuff played around with various guitars and effects pedals without much else thrown in. Between the electronic samples, drum machines, synths, piano and mandolins, among others, McGuire suddenly sounds like he’s got an army backing him up. If you thought recreating all that in a live setting would require a few additional band members, you’d be wrong. He came out on stage by himself, and thanks to intricate looping techniques, pedals and other triggers, the whole thing wound up being a pretty impressive display of one man’s talents. It yielded a surprise or two along the way as well, in particular a fair number of songs I thought made use of synths and keyboards were actually done by piling effects onto his guitar. I can’t recall the last time my ears were fooled in such a way. And to some degree it makes his material even better than before, because there’s a greater complexity in how it all comes together. Watching it happen before your very eyes is a real selling point too. I’ve been to so many shows where a truly solo artist does simple recreations of songs that are part of his or her catalog and it’s so normal you could call it boring. With a little bit of flair and a high wire risk level though, it’s the exact opposite. You watch intently as new passages get added to old songs, and subconsciously wonder what might happen if something went wrong. Thankfully McGuire is that sort of risk-taking artist, and it made for a remarkably compelling set.

Buy Along the Way from Amazon


The War on Drugs set up and soundchecked all their own equipment. That says something about a band, particularly when they’ve reached a certain level of popularity where they can hire somebody to do that job for them. Perhaps it’s a DIY attitude or a high degree of perfectionism, but whatever the reason, they should keep it up because they really have never sounded better. All the levels were perfect and it was one of the best mixed shows I’ve heard in a long time. Beyond sonic perfection, the band is also filled with extremely talented musicians who know that performing live is about more than just faithfully recreating what you hear on record. The War on Drugs don’t have the most energetic catalog in the world, and translating that into a show that doesn’t put you to sleep could be considered quite the challenge. In fact, at one point a handful of songs into the set, someone in the crowd yelled at the band to “pick up the pace a little bit,” and they responded by launching into their biggest hit and highest energy songs to date, “Red Eyes.” Sure, things could feel a little slow and lackadaisical at times, but they were never boring or bland for a single second.

One of the ways I judge any live show is by an unofficial measuring index known as the “goose bump factor.” If I get goose bumps, or a little bit of tingling down my spine at any point during a set, that’s a very positive sign that a band is doing something right. If it happens multiple times, there’s something truly special and maybe even unforgettable about the performance. There were several goose bump moments during The War on Drugs’ set, particularly during most of the songs off their excellent new record Lost in the Dream. In some cases, as with “Under the Pressure” and “Eyes to the Wind,” the live versions actually somehow sounded even better than they do on the album. The band only skipped one track from that record, and mixed in a handful of tracks from 2011’s Slave Ambient, plus covers of songs from Bill Fay and John Lennon. The covers might have been the weakest moments in the set, partly because the original versions are considered classics on their own right, and partly because they didn’t fit in quite so seamlessly with everything else. Yet none of it was bad or even mediocre. This band is far too talented to let that happen.

As the show started to reach the 90 minute mark, frontman Adam Granduciel asked the crowd for permission to skip the traditional encore so they could just keep playing. “We could say good night, leave the stage for two minutes while everybody cheered, and then return to say we have a few more songs to play for you,” he said, “or we could just not do that and play those songs anyways.” So they played onward, finally wrapping things up after close to two hours. A small portion of the crowd left before then, likely because the show had stretched past midnight and work or school was coming early the next morning. Those who stayed for the full experience walked out in very good spirits (far better than going in, from what I could tell), and I heard nothing but praise about the show. Indeed, it was pretty incredible. Dare I say one of the best concert experiences I’ve had in quite awhile. And just like that, I can’t wait for The War on Drugs to come back so we can do it all over again.

Set List
In Reverse
Under the Pressure
I Was There
Eyes to the Wind
Suffering
Red Eyes
I Hear You Calling (Bill Fay cover)
Burning
Baby Missiles
Lost In The Dream
Mind Games (John Lennon cover)
An Ocean In Between The Waves
Disappearing
Come to the City
Brothers
Black Water Falls

Buy Lost in the Dream from Amazon

Show Review: Perfect Pussy [Schubas; Chicago; 1/22/14]


Seeing Perfect Pussy perform is akin to an incredible workout. You’re running faster and longer than you ever have before, lifting heavier weights and doing more reps, all while your adrenaline pumps furiously to keep you going. You hit the showers feeling drained but invigorated. Then you wake up the next morning and can’t move because your body is so sore. You snap back to reality and think, “What did I do to myself last night?” But before that pain there was pleasure, and once the soreness goes away you’re stronger and healthier as a result.

Simply listening to Perfect Pussy’s debut EP I have lost all desire for feeling forces your ears to do some heavy lifting, but seeing the band live is an even louder experience for which there is no volume control. I’m not entirely sure what decibel level they’re operating at, but it’s one humans were not fully intended to handle. You know how My Bloody Valentine are one of, if not the loudest live band currently in existence? No joke, Perfect Pussy give them a serious run for their money. They may even be louder. Whereas MBV largely operate on a deep, heavy and rocketship-like rumble frequency, PP go for the screeching, high-pitched feedback-laden white noise sort of frequency. It made my earplug-less eardrums freak out and vibrate in ways that I have never experienced before. When I develop tinnitus or eventually go deaf, their show at Schubas on Wednesday night will likely be the moment I point to that started the decline. And you know what? I wouldn’t trade it for the world.

The band’s entire headlining set lasted for just under 20 minutes. Granted, they only have an EP out with their debut full length Say Yes to Love set for release on March 18th. But they’re also a punk band, meaning a majority of their songs are under 3 minutes in length and each one feels like a blitz attack of noise. They performed their entire four track EP and a few cuts from the upcoming record, all of which bled into one another like some kind of amorphous monster. In talking with singer Meredith Graves after the show, she offhandedly mentioned that if they had continued playing much longer, she probably would have started violently puking everywhere. She wasn’t sick, but rather her unwavering commitment to the music takes so much physical and mental stamina that her body just wouldn’t be able to take it anymore. The entire band actually performs the same way, giving and leaving everything out on the stage, and I suppose that’s one of the big reasons why Perfect Pussy is so immensely compelling and quickly building in popularity.

The other main reason why is their lyrics. If you listen to any of PP’s songs, you can tell that there are words being sung/spoken/screamed, but can in no way make heads or tails of exactly WHAT is being said. That’s by design, and I can assure you it’s no clearer in a live setting. Yet on their Bandcamp they give you all the lyrics from their EP, which turn out to be intensely personal and beautifully worded. While most of the songs focus on tragic experiences, they also offer great insight and introspection about them, with lessons learned as a result. A teenage fan told Graves after the show that he goes around chanting the lyrics, “I am full of light / I am filled with joy / I am full of peace,” which close out the song “I.” It was obvious those words meant so much to him, as they do to Graves herself, who sings with so much emotion on stage that you completely understand even if you can’t make heads or tails of what words are being said.

The real tragedy is that there will be people who listen to Perfect Pussy, either on record or at a show, and immediately dismiss them as loud noise and nothing more. That’s an impulse inside of us all. But those who reject or simply don’t try to understand this band will be missing out on something incredible. Believe it or not, as abrasive as they sound PP are all about inclusion and not exclusion. They want to connect with you, embrace you and uplift you. They want to show you that good can come from even the worst situations, like that time you had your eardrums assaulted for nearly 20 minutes. And the best part is that they mean it. It wouldn’t be worth putting yourself through the sonic ringer if they didn’t.

Perfect Pussy – Driver

Preorder their album Say Yes to Love (out March 18)
Buy their demo EP I have lost all desire for feeling

Show Review: Washed Out + HAERTS [Metro; Chicago; 9/13/13]


There was a chill in the air all throughout Chicago this past Friday night. It was odd only because not a day or two earlier, temperatures were in the mid-to-upper 90s. You could say that fall showed up from out of nowhere. Or maybe it had something to do with the “eerie” Friday the 13th, where bad things happen because of a random day on a calendar. But if you’re looking for a more honest, completely non-scientific explanation for the seasonably cool weather, it’s because Washed Out (aka Ernest Greene) came to town. Greene was one of the original artists to get wrapped up in the “chillwave” genre descriptor when it first came to prominence around 2008. Chillwave grooves might be quite lovely overall, but they project a rather frigid demeanor as well. You’re invited to sit back and relax, but don’t get too comfortable. The chillwave tag might be all but dead these days, and Washed Out may have transitioned to greener pastures via the latest album Paracosm, but that doesn’t mean the city of Chicago has to accept it. We are the Windy City after all, and just like our weather our opinions about things can change dramatically thanks to even the slightest passing breeze. For the sold out crowd at Metro on Friday however, the physical and mental temperature rose big time thanks to cerebral but immensely fun sets from two bands that ignited a dance party of sweaty bodies.


Starting the night off right was New York band HAERTS. They’ve spent the last few months gathering more and more attention for their singles “Wings” and “All the Days,” both of which are bouncy and dynamic pieces of synth pop. You could call them part of a trend in 2013, boasting a similar sound and style to that of Chvrches, another band poised to hit it big despite not having an album out yet. At least Chvrches have got an EP right now. HAERTS are readying their debut EP, titled Hemiplegia, which has been in the works for awhile but will finally be out on September 24th. This tour with Washed Out provides a nice preview of what to expect from this young band in the immediate future. The good news is that the outlook continues to appear bright, and the new songs tend to be as strong as the pair we’ve already been exposed to. They played all four tracks from their EP, including the aforementioned singles, then dove into material that will presumably be on their full length, which is still tentatively due later this year. This is material they’ve been performing and essentially sitting on for at least a year now, if producer Jean Philip Grobler (aka St. Lucia) is telling the truth. One of the best and catchiest of the new tunes is “Heart,” and you can watch the band perform a live rendition of that as part of a recent Yours Truly session. Outside of all that, I’m not sure about the titles of anything else they performed, except to say that there was another fun one and also a slow ballad. On stage, HAERTS sound good and look good too, but those two elements alone don’t win you awards for being a great live band. Their faithful renditions of their recorded output left little room for sonic detours, and the overall stoicism stripped back any genuine emotional impact the songs might otherwise have had. In other words, they might do even better than they currently are if they adopted a looser and more playful attitude on stage. Maybe that’s a quality you attain with time. For now though, HAERTS packed a lot of punch into their opening set, and the crowd got a little bit into it. Hopefully the next time they come through town it will be on a headlining tour in support of their record, and they’ll be better than ever.

The first thing that amused me about Washed Out’s set happened before any notes were even played. It was that the entire stage was decorated in flowers and vines and even patches of fake grass, all in service of fulfilling Ernest Greene’s grand, nature-laden vision. After an album and an EP of intimate but emotionally cold music, the new Washed Out record Paracosm seeks to change things by adding warmth and more organic elements overall. It very much sounds like a summer album to help connect you with the world around you, and all the album art and music videos push this theme even further with flowers, plants and jungle animals. That’s why the look of the Metro stage was so appropriate and equally fascinating. But as far as organic elements go, the biggest positive the new record has to offer is a lot of live instrumentation. In the past, Greene has used samples played off a laptop both in recorded versions of songs as well as in concert. When I last saw the band in fall of 2012, there were more people playing live instruments than I expected, but a laptop was still used from time to time. Now in fall of 2013, all of that computer technology has been eliminated. A handful of people joined Greene on stage to help bring everything to life, and the results were positively lovely.

Starting with Paracosm‘s opening track(s) “Entrance/It All Feels Right,” the crowd got into it right away and bounced along with its upbeat rhythm. Greene strummed an acoustic guitar and sang in tandem with one of his bandmates to create a dual, echo-laden vocal. That vocal style would be adopted for much of the set, and it begs the question of whether or not this choice had anything to do with a lack of confidence/vocal weakness or is intended to be an aesthetic that’s there solely to provoke certain vibes. Whatever’s behind it, everything sounded (and felt) right/well constructed. There was a surprise early on in the set when the band played “Belong,” off the 2009 High Times EP which is the first and probably least recognized Washed Out recording. The live version on Friday night was a bit different from the studio version, which is understandable given how much the show and on stage personnel has evolved since then. The same went for “New Theory” and “Get Up” from the Life of Leisure EP, though there was a certain faithfulness to the recorded original, just recreated by people instead of a computer. Overall the dozen songs performed were pretty evenly split between the varying Washed Out albums and EPs, and actually it could be said the new album was slightly underrepresented by only squeezing three (technically four if you count the 90 second instrumental “Entrance”) of its songs in. Of course they were the poppiest and most enjoyable tracks on the record, and that was perhaps the underlying strategy when performing live – to never let the energy drop. The crowd was dancing and having a great time, so why slide one of the slower and less engaging cuts into the set? The second half in particular was heavy on the hits, with new single “Don’t Give Up” leading into “Feel It All Around” (aka the Portlandia theme song), and “Amor Fati” to close things out in a fun way.

Greene wasn’t a man of many words during the Washed Out set at Metro, but he did introduce the first song of the encore as “one for the old school Washed Out fans in the house.” The band then launched into “Despicable Dogs,” which is actually a cover/remix of a Small Black song that was put together for a split EP back in 2009. Of all the unexpected surprises during the set, that one probably qualified as the biggest. Technically speaking, the band took that song and made it their own, but it wasn’t that far removed from the chillwave original anyways. The novelty was the main selling point. Reflecting on the show afterwards, there were a lot of those unique touches that popped up throughout the 65 minute set, all the way down to the decor. Chillwave may be a subgenre of music on its last legs, but not only did Greene prove himself to be at the top of that pile, he managed to prove there’s still plenty of life left in that particular sound. His continued evolution remains our gain.

Washed Out – Amor Fati

Paracosm full album stream:

Buy Paracosm from Sub Pop

Set List
Entrance/It All Feels Right
Belong
New Theory
Get Up
Soft
You and I
All I Know
Don’t Give Up
Feel It All Around
Amor Fati
Encore
Despicable Dogs
Eyes Be Closed

Lollapalooza 2013: Preview Guide


Welcome to the official Lollapalooza 2013 Preview Guide! In this post, you’ll find an hour-by-hour breakdown of all the bands you won’t want to miss during each of the three days at Lollapalooza this year. Whether you’re an experienced Lolla attendee or a newbie showing up in Grant Park for the first time this year, there’s probably no chance you’re familiar with every single artist that’s part of the lineup. This guide is intended to help. Maybe you’d just like to familiarize yourself with the artists by listening to them. I understand that logic as well. Find something that suits your tastes, and then go see that artist, even if you’re not necessarily very familiar with their catalogue. Allow me to provide some assistance in that aspect. Here are Spotify playlists for Friday, Saturday and Sunday so you can let your ears make some decisions. All of those three playlists are organized by musical genre, to help everything flow just a little smoother in case you want to give the whole thing a listen. Moving past the sonics and into the nuts and bolts of the lineup, after the jump are my thoughts on what you should see each hour during each day of Lollapalooza 2013. Please note that I’ve restricted myself to one and only one artist during each hour of each day. There are some tough conflicts I’ve been forced to make decisions on, and in some cases you might want to do split sets and see half of one and half of another. Have a look at the full schedule here for all of those details, and keep in mind that things are so spread out it takes at least 10-15 minutes to walk from one side of Grant Park to the other. Plan accordingly. I do think that if you follow the game plan that I’ve set out for you below, you’re guaranteed to have a great time at Lollapalooza this year. Without further ado, here’s my preview guide to Lollapalooza 2013!

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Pitchfork Music Festival 2013: Final Thoughts


I’m pleased to be wrapping up this week-long adventure into coverage of the 2013 Pitchfork Music Festival with a quick look back at the weekend that was. Having attended the festival for the last few years, you really get used to how things are run and where you need to go for everything from water to food to restrooms. So as you return in a sense it’s like coming home, and that’s comforting. I never once felt out of my element or like I had no idea what I was doing over the three days. Of course I didn’t quite see everything I wanted to see and hear everything I wanted to hear thanks to traffic delays and one too many hits of the snooze button, but what I missed was miniscule compared to what I saw. Hopefully you’ve read all about those adventures in my daily recaps (Friday, Saturday, Sunday). That should give you a pretty good idea of the best and worst of the music side of things this year. But just for fun, I put together a little list of superlatives, helping to highlight some of my favorite and least favorite musical treats from the weekend. Check that out:

Most surprising set: Killer Mike
Most disappointing set: Yo La Tengo
Set that best lived Up to the hype: Savages
Band that sounded better live than on record: Parquet Courts
Most openly fun set: Solange
Most likely controlled the weather during their set: Bjork
Set that proved punk rock is alive and well: Metz
Veteran act that still has “it”: Wire
Veteran act that has lost “it”: The Breeders
Band whose set would have been far more popular in a different decade: Chairlift
Band that felt so right in the middle of a sunny afternoon: Phosphorescent
Quietest set (artist + crowd): Joanna Newsom
Funniest set: Mac DeMarco
Most gratuitous use of the word “SWAG”: Lil B
Flashiest performance with the least amount of genuine substance: M.I.A.
Most pathetic attempt to attract attention: Foxygen

Outside of those superlatives, I want to talk for a brief minute about how things went overall. Since we’re on the topic of music, let me say a few words about this year’s lineup. To me, it felt just a little bit weaker than in the last few years, though all of the headliners were certainly nothing to sneeze at. Perhaps that’s where most of the budget went this year. I suspect it was telling that unlike the last couple years, the festival wasn’t a total sell out this year. Sunday was sold out, most likely due to obsessive R. Kelly fans who camped out at the Green stage for much of the day just waiting for him. But Friday and Saturday didn’t sell out, as far as I’m aware. I did keep hearing that there were a “very limited number” of tickets left for Friday, so maybe that eventually sold out too. When I look at it, I like most of the artists on the lineup for this year, but I’m not overly passionate about a lot of them. It made for another fine festival overall and I’m glad I saw what I did, but for whatever reason it sometimes felt like something was missing. Not a whole lot of artists really jumped out and grabbed me by the ears, so maybe that’s what it was. If I were put in charge of naming one act each day that was my favorite, the list would be the following: Friday – Bjork, Saturday – Savages, Sunday – Killer Mike. Of all the days, I’d classify Friday as my least favorite, primarily because many of the artists that performed that day were either relatively bland (Woods, Mikal Cronin) or didn’t quite feel like they belonged at an outdoor festival (Angel Olsen, Joanna Newsom). Perhaps I should have made it to Union Park in time for Trash Talk, I heard their set was crazy.

Music aside, let me comment on the amenities this year. Considering the capacity of Union Park every year, festival organizers have gotten everything at just about the right levels to make things comfortable. The restrooms are plentiful and you’ll never wait too long for one. The food booths offer a wide variety of cuisine for even the most sensitive of palates or dietary restrictions. I had some amazing tacos on Sunday. The return of Goose Island as the provider of alcoholic beverages was an inspired move. The availability of key beers like 312 and Green Line was nice, but even nicer was the special Goose Island booth that had a rotating cast of different beers from the brewer’s catalogue, not to mention two beers crafted exclusively for the festival. I tried both of the fest-exclusive beers, and they were delicious. The singular gripe I have, and it’s basically always been a problem, is with water fountains. Union Park has a distinct lack of water fountains, and therefore the few it does have resulted in long lines. There’s nothing that can really be done about that, but I’ve got to hand it to the volunteer crew at the festival for often walking around with cases of bottled water, handing them out to anybody that wanted one. A lot of people were likely spared a trip to the medical tent as a result of such gestures, though I did see at least a few people go down due to heat exhaustion and dehydration. On the whole, this year’s festival went rather swimmingly, where the sets all started on schedule and the lines were never astronomically or annoyingly huge. It’s a sharp reminder that no matter what the lineup might be, this is one of the best-run music festivals in the country. As I stated in my earlier coverage, Pitchfork Music Festival weekend is my favorite weekend every single year I attend. I wouldn’t be surprised if that were true again by the time we reach the end of 2013.

Pitchfork Music Festival 2013: Sunday Recap


Phew, what a weekend! As usual, I’m feeling quite a bit drained from three long days of experiencing the dizzying highs and physical tolls of attending a music festival. It doesn’t get any easier as you get older, I can tell you that. Judging by the average age of the attendees this year, I’m beginning to fall on the older half of the spectrum. In spite of this, I’m never less than excited to attend the Pitchfork Music Festival each year, as I consistently claim it is my favorite weekend of the 52 that take place annually. So I may be tired and writing about the festival in a timely manner has brought its own set of unique challenges, but I’m not anything less than satisfied with how everything turned out. I’ll have my final set of thoughts on how I think the festival went this year, along with a massive photo set from the entire weekend, coming up in the next few days. In the meantime, please enjoy this summary of all the acts I saw perform on Day 3 of the festival, aka Sunday.

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Pitchfork Music Festival 2013: Saturday Recap


It always bothers me when things don’t work out according to plan, and the start/end to my Saturday at the 2013 Pitchfork Music Festival was one of those times. In what was supposed to be an early arrival to catch sets from White Lung, Pissed Jeans and Julia Holter, bad traffic turned a short drive into an extraordinarily long one. Thank goodness I finally made it in time for Phosphorescent. Then of course there was the weather. On checking the weekend forecast on Friday afternoon shortly before heading out on Day 1, it said a chance of severe storms on Friday night, then partly cloudy for the rest of the weekend. All was going according to plan until about 9 p.m. on Saturday when it started to pour. Of course it would. Let’s hope the park stays dry enough for Sunday that there’s not mud/sand pits everywhere like last year. As for the music itself, most everything on Saturday was an improvement over the somewhat shaky or mediocre sets on Friday. Let me break things down for you, band by band.

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Pitchfork Music Festival 2013: Friday Recap

Most things about Day 1 at the 2013 Pitchfork Music Festival could be considered challenging. Or, perhaps described a little differently, most things except the performances. The main factor on Friday was the weather. A glance at the temperature would tell you the heat index was in the upper 90s, and therefore it bordered on oppressive. Then again, it’s nothing particularly new for this festival or mid-July in Chicago. Still, the volunteer staff could be credited as doing a fair to good job of distributing bottled water to the sweaty masses, even walking around with cases of it through the crowd during sets. Yet if you went to one of Union Park’s few water fountains, the lines were long. The same could be said for all the beverage tents. Everyone was in need of some fluids. And while outside of the heat it was a nice and sunny day, it became less so when severe storms rolled in during the evening hours and effectively shut down Bjork’s set 30 minutes early. It hadn’t rained a drop when organizers pulled the plug on the evening, but there was a pretty great lightning show that could hypothetically have put people in danger. The actual rain, as it was reported to me, started about 30-45 minutes after the park was cleared. Hopefully it won’t be a soggy mess for the rest of the weekend. Beyond weather and lines though, let’s talk about the music itself. Here’s a recap of the artists I saw:

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