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Album Review: Atoms for Peace – AMOK [XL]

The first time Thom Yorke tried to do anything away from Radiohead, the result was 2006’s The Eraser. That record arrived as something of a surprise to many, who thought that perhaps this was the beginning of the end for Radiohead, and that Yorke would go on to traverse his own unique path of further fame and fortune. Here’s the thing about that first solo effort though: interesting as it might have been, it lacked the depth and experimental nature of Radiohead’s best work. The instrumentals were culled largely from leftover scraps that Nigel Godrich had been piecing together with Yorke over a number of years, and many of the songs came to feel like lesser recreations of one of Radiohead’s great accomplishments, Kid A. In other words, it wasn’t the easy home run you might expect from a man who’s a hero to many and a god to many more. The lesson The Eraser really taught us was that those other guys in Radiohead – Jonny, Colin, Ed and Phil – are geniuses in their own rights as well, and there’s a reason what they do together works in a brilliant and legendary fashion. Whether it was a function of Yorke simply wanting to play those solo songs live or the idea of collaborating with other artists he respects and admires, in 2009 when Radiohead was on a break he got together with Godrich, Flea (Red Hot Chili Peppers), Joey Waronker (R.E.M., Ultraista) and Mauro Refosco (Forro in the Dark) for a short tour to play tracks from The Eraser. They called themselves Atoms for Peace after one of the songs on that record, and essentially decided that if they liked each other enough and had the motivation, they’d make some new music together. Welcome to 2013, where Atoms for Peace are now releasing their first official full length as a band that they’ve titled AMOK.

If you give AMOK a quick surface listen without paying very close attention, it’s easy to come away with the idea that perhaps the talents of this “supergroup” are being wasted. The album sounds a whole lot like The Eraser with perhaps a little bit of Radiohead’s last effort The King of Limbs thrown in. Considering Yorke put that solo effort together with only the help of Godrich, you may be left wondering what if any effect Flea, Waronker and Refosco have had on this project since joining the band. The short answer is kinetics. In their 2009 live dates, they brought unexpected and fresh life to Yorke and Godrich’s recorded compositions, turning an introverted record into an extroverted one you could practically dance to. That same vibe is reflected once again with AMOK, because while the tracks most often reflect Yorke’s traditional discontent with the world around him, there are denser layers and fuller arrangements this time to back him up. It’s not terribly noticeable, but enough that you can envision a bunch of “Lotus Flower“-style dance moves going on behind the microphone more often than not.

Because Waronker and Refosco are the main forces of percussion on this record, it’s fascinating to hear the many flourishes that they add and don’t add to these compositions. Apparently these songs came together by Yorke and Godrich handing practically finished tracks to the other three guys, who then took it upon themselves to squirm their way into the melodies. There’s plenty of skittering, electronic beats going on to form a nice base on most songs, and with something like opening cut “Before Your Very Eyes” it becomes so much more with an Afrobeat-style hodgepodge of brushed cymbals, bass drum and a whole lot of other unidentifiable clicks and clacks. The best moment for live percussion comes via “Reverse Running,” when you can actually hear the snares punching and cymbals crashing for the duration. But then you listen to a track like “Default” which immediately follows it, and the only organic-sounding elements in the entire thing include a grinding noise during the verses and a bell that clangs once during the chorus. Everything else is so heavily embedded in manufactured (yet complex) rhythms and synths that it can feel like the only bits of humanity to be found are in Yorke’s airy vocals, and even those can get buried on occasion.

Picking out Flea’s work on AMOK can be a challenge at times too, as he certainly doesn’t stand out as much in Atoms for Peace as he does with the Chili Peppers. On a track like “Ingenue” his bass has so many filters applied to it, distinguishing it from the synths is nearly impossible unless you know his unique playing style, which almost always has its own personality no matter what effects might try to obscure it. With “Judge Jury and Executioner” though he’s shoved so far into the background and given so precious little to do beyond staying the course the melody pulls him in that any unknown bassist with a halfway coherent knowledge of the instrument could pull the same thing off without a problem. It feels entirely accurate to say that Flea is underutilized for much of the record, though he is given a few moments to genuinely shine the best way he knows how. “Dropped” and “Stuck Together Pieces” wouldn’t be nearly as good, exciting or propulsive without his intricate and dynamic bass manipulations, to the point where you could say they steal focus away from everything else going on. It’s interesting too because whenever Flea is given songs to take control of, it can also feel like all the other guys in the band are purposely stepping up their performances to both compete and compensate with his great talents.

Which brings it all back to Yorke. Atoms for Peace started as his project, but arguably he’s brought in other people because he doesn’t want to carry the entire burden himself. Listening to the vocals and lyrics he turns in on AMOK, the idea of retreat seems even more obvious. On most of his recordings, be they with Radiohead, solo or in a guest spot on someone else’s record, he takes a very present and commanding approach with his vocals. It’s gone a long way towards turning a number of good tracks into great ones. The King of Limbs certainly wasn’t Radiohead’s finest hour, however it could have been much worse without Yorke’s gripping and emotionally courageous performance. So why does he sound so deflated and disinterested on this Atoms for Peace record? The mix likely has something to do with it, as the instrumentals nearly bury his voice on most tracks. He doesn’t help matters much either by singing in a quieter, sometimes whispered tone of voice. The intention may have been to show fragility and weakness in the face of difficulty and tragedy, but he’s never gone that direction before and almost every song he writes is based on those or similar themes. Lyrically speaking Yorke isn’t quite on his A-game either, practically telling the listener that on “Unless” when he chants, “Care less / I couldn’t care less” for the first 90 seconds of the song, and a whole lot more before it ends. Of course that’s not his real attitude towards writing lyrics, it just made for a convenient example. As does “Default,” which thanks to phrases like, “The will is strong, but the flesh is weak” and “I’ve made my bed, I’ll lie in it,” registers as riddled with cliches and implies shaky songwriting overall.

As easy as it is to criticize AMOK for all the things it seems to do wrong, it’s equally important to mention the things it gets right. If you’re in a certain mood, you can strap on some headphones and turn this record on and become completely enveloped inside its world. There’s something incredibly compelling about this collection of songs that makes them easy to love in spite of its perceived warts. You could say it has both everything and nothing to do with the parties involved. Yorke is hailed as a genius and is likable enough to make you want to root for him, and the talent he surrounds himself with all have their own amazing things going on too. So in one sense if you’ve liked anything Yorke has done before, why should you stop now, even if it is a lesser effort? On the other hand, think about the context in which you’re listening to AMOK. With the degree of talent involved, there’s also a certain amount of weight applied to this band and record that absolutely wouldn’t be there if Atoms for Peace was actually a bunch of unknown names. If this were some random band’s debut album, they’d be hailed as smart and a name to keep an eye on. The tragedy is they can never return to that clean slate and get away with it, because we know too much about the genius that can pour out of these people based upon their pasts. This album isn’t as good as anything Radiohead have done to date, The King of Limbs included. It doesn’t quite eclipse The Eraser either, because it’s so cerebral and dispassionate that you almost don’t want to dance to it despite the creative Afrobeat polyrhythms on many of the tracks. This is a difficult and challenging record trying so hard not to be. It’s successful on the surface, but the deeper you dive the shallower it becomes. At this point, let’s just hope that should this project continue, that Yorke & Co. will be unable to sink much lower.

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Show Review: Other Lives + Indians [Schubas; Chicago; 12/7/12]

On a dark, cold and somewhat rainy night in Chicago, the tour that is Other Lives and Indians rolled into town for one final gasp of air before disappearing for awhile. See, Other Lives have been on tour for what seems like forever. They released their second full length Tamer Animals in mid-2011, and have barely taken a break since then. They’ve been around the world and back multiple times, and were even offered a slot opening for Radiohead for the first leg of their King of Limbs tour in early 2012. By the time they showed up in Chicago for the first of two shows, this particular leg of 40+ American dates extended back to mid-October. But Chicago was the final stop, at which point they promised no more touring for awhile as they worked steadily to complete their next album. Fresh 4AD signee Indians has also been with them for this last set of dates, touring in advance of the debut album Somewhere Else, due out in January. So how did both bands fare after so much time on the road and the end in sight? Read on to find out.

Søren Løkke Juul is the name of the Copenhagen multi-instrumentalist behind the name Indians, and though press materials often reference a band along with the word “they,” the genuine reality is it’s just the one guy. Well, he has a friend that helps with stage set-up and take down and runs the soundboard during the show, but Juul is the only person on stage, at least for the time being. Like many great singer-songwriters, there’s a good chance a couple people might eventually join up with him to help make performing live easier and better. That’s not to say he was bad though, because there was something thrilling and impressive about the way he twisted knobs, pushed buttons, and played keyboards and guitars, sometimes all in the course of a single song. He’s clearly very talented, even if he looks a little lonely on stage. But this was the way he originally constructed the songs that will appear on the first Indians album, before being given a budget and a studio and a couple extra hands to help flesh out some very raw demos. All things considered, 2012 has worked out quite well for Juul, as he’s gone from playing his first live shows ever this past February in his hometown, to getting a record deal, studio time and a world tour. In essence, the shrink wrap has barely been removed on this project that is likely to lead to big things for 2013. For now though, you could say that Indians are still a bit green when it comes to performances. With more than 40 shows under his belt on this fall tour alone, surely Juul has grown in confidence and stage presence, but he’s not quite there yet. Maybe it’s a product of trying to do too much on his own, or maybe as he continues to tour things will only get better.

At bigger issue are the songs themselves. When he’s got a guitar in hand, Indians can sound a little like The Tallest Man on Earth crossed with M. Ward. When working on keyboards or other electronic elements, he can be a Toro y Moi or Baths. Almost everything sounds like something you’ve heard before in one context or another, and none of it particularly stands out or is strikingly catchy. Perhaps that’s more to do with the way these songs were performed rather than how they actually sound on record. The album version of “Cakelakers” (MP3) for example sounds positively radiant compared to the shrug-worthiness of how it was done live. Still, it seems unlikely that Indians are a future success story among intense music lovers, at least not until he starts to push and strain against his current limitations. Keep one eye on this guy though – the crowd at Schubas really seemed to like him, and he was warm and friendly to every fan that approached him after the show. Kindness might not win you awards and critical acclaim, but connecting with people no matter how good or bad your music is can in many ways be an even greater currency throughout your career.

Preorder Indians’ Somewhere Else from 4AD

When it comes to Other Lives, awards and critical acclaim also aren’t on the list (yet), but that doesn’t seem to bother them any. With good reason too, because it’s strikingly easy to enjoy one of their records while appreciating the sheer talent that went into making it. Their sound is largely based in folk with Fleet Foxes-like harmonies, but their ability to incorporate everything from horns to xylophones to cello and piano adds a sense of effortless beauty to the proceedings. Watching them pull it off live is that much more impressive of a feat, as pretty much everyone in the band plays multiple instruments on every song. The energy they bring to their performances is both literally and figuratively electric too, as frontman Jesse Tabish will pound on his piano, smash a few cymbals and generally jump around his part of the stage while various lightbulbs flicker on and off in time with the music. It’s a relatively unique stage setup, one that embraces the showmanship of bigger bands playing in bigger venues, but on a more modest budget. Other Lives would have put on equally interesting show had they not used the oversized on-stage lightbulbs, but there was something indiscreetly charming about them anyways. There was an energy and a passion to their set that just grabbed hold of you and wouldn’t let go. They extend songs where they can get away with it, and make a sharp left turn into a cover of Nirvana’s “Something in the Way” during the bridge of one of their own tracks, simply because there’s a similar chord progression. Transformations in tracks like “For 12” and “Dust Bowl III” somehow reach new heights compared to their studio versions, and on occasion the thought hits you that this is a band trying to push themselves. They’ve been on tour for so long and played these songs so many times, instead of getting bored with them, they’re finding new and creative ways to take what works in them and place greater emphasis on those elements. It’s one of the big reasons why seeing them live is essential to truly appreciating their songs and records.

They played a new song towards the end of their set, and it fit in well with everything else that they’ve done to this point, which can be viewed as good or bad depending on how you feel about that earlier work. The encore was entertaining too, because Tabish came out to play a song solo on just a keyboard, but apparently broke his on the final song of the main set. So he used one of the other keyboards on stage and it worked out okay. That broken keyboard wasn’t so much an accident as it was the result of a show where the band truly gave their all, and a few smashed keys was part of it. Schubas is apparently a very special venue for the band, and undoubtedly they treated their performance as such. The following night Other Lives had their final show of the tour at Schubas sister venue Lincoln Hall. It’s nearly double the size and boasts a powerful, modern sound system that makes Schubas sound almost meek by comparison. It’s the venue that this band has grown into, on the road to even bigger and better things. Yet in so many regards you can’t beat the intimacy and charm that Schubas has in spades. The point being, while it’s kind of Other Lives to essentially underplay a show in Chicago because they like the venue, it may also be the last time they do it as their popularity continues to rise. It might be six months or a year or longer before Other Lives have a new record and are ready to tour again, and when they finally do, it’s going to be an event not to be missed no matter how good or bad the new songs sound. I walked into Schubas on a rainy Friday night in December with the expectation of hearing some pleasant songs from a pleasant band. What I got was an intense, impressive show that turned me into an instant convert. Other Lives are the real deal.

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Show Review: Radiohead [First Midwest Bank Amphitheatre; Chicago; 6/10/12]

“I have no idea who I am anymore,” Thom Yorke joked near the end of Radiohead’s set at First Midwest Bank Amphitheatre on Sunday night. Plenty of people could say the same thing sincerely about Yorke and his bandmates once the show was over. For incessant Radiohead devotees and casual fans alike, the band’s trajectory since releasing The King of Limbs last year has been anything but normal. They’ve forsaken guitars and more traditional song arrangements for music that’s heavily influenced by the electronica subgenre IDM and kinetic polyrhythms. The response hasn’t exactly been enthusiastic so far, in large part because it’s quite a bit different from some of their most popular work on albums like In Rainbows and OK Computer. The closest cousin to The King of Limbs is Kid A, and even that was more of a subtle art statement than a fidgety dance record. Still, it was the new album with its twists and turns that transformed Radiohead’s live show from a display of superb rock craftsmanship into a morbid dance party. Consummate professionals that they are, the band is in no worse shape because of it.

Things didn’t exactly get off to a mindblowing start though. Opening with “Bloom,” the live rendering of it felt just a little sluggish and mixed with a little too much bass. With most of the crowd utterly distracted because the band was on stage and they needed documented pictures of it immediately, the so-so launch either went unnoticed or was shrugged off as soon as “There There” kicked in. It’s also worth noting that as with any new album, sometimes it takes a band a bit to figure out the right way to perform certain songs. Perhaps “Bloom” is one of those. But from that point onwards, things only got better. “There There” benefited from the dual drummer attack Radiohead is using to supplement their newest material. Portishead’s Clive Deamer does a wonderful job working in tandem with Phil Selway, and in certain situations even Jonny Greenwood or Ed O’Brien would pick up some sticks and add extra fuel to the percussion fire. That was perhaps most noticeable on “Morning Mr. Magpie,” one of a couple tracks from The King of Limbs that managed to exceed the recorded version.

The middle of the main set attempted to calm things down a bit starting with piano ballad “Codex,” but when you’ve got a crowd numbering in the tens of thousands that can get a little tricky. As Yorke’s falsetto moaned into the night and the keys were tapped with measured grace, some overzealous fans felt it necessary to cover the quiet with quite a few “Wooo”‘s and “Yeah”‘s. It stripped away some of the power that moment could (and was intended to) have had, which was unfortunate. Also just a touch unfortunate was the live treatment given to “The Amazing Sounds of Orgy.” Fantastic as it is that Radiohead chose to perform one of their best b-sides because it was a good sonic match with everything else that night, it was the only other song besides “Bloom” that didn’t hit the way it was supposed to. There’s an underlying dread about a political menace woven through the song, as Yorke himself explained when introducing it, but the band dragged while playing it and sucked some of the raw emotional power out as a result. The recorded version on the “Pyramid Song” single gets it all the way right.

The second half of the main set was about as perfect as anybody could ever ask for. The song selection was a fantastic mix of old and new, a pair of huge hits, and a massive dose of energy that sent the crowd into a frenzy. There was the sing-along to “Karma Police,” Yorke sending his voice soaring on “Reckoner,” the dance party on stage and off for “Lotus Flower,” the fuzz and buzz combo of “Myxomatosis” and “Feral,” with a closing capper of “Idioteque.” No doubt those last several tracks fulfilled the vision Radiohead had to shift their direction towards a much more physical live show. If they can find a way to harness that magic for the entire night and not just a majority of it, who knows what that would do to a crowd. Bodies might explode from sheer ecstasy.

In the last week or two, word quickly spread around the internet that Radiohead had a brand new song called “Full Stop” that they were playing around with during soundchecks on tour. A couple people managed to get some shoddy recordings of the band messing around with it, but it had never been performed during a show before. That is, until this show. With bright tye-dyed rainbows of color splashed across every video screen surrounding the band, the excitement in the air was palpable and every hair on my body was standing straight up. Holding true to the more electronica-based material from The King of Limbs, the song starts fast with a hazy keyboard base. Tension and speed quickly build atop one another until the dam fully breaks about three minutes in. Yorke’s voice yo-yos between normal and falsetto near the end so many times he sounds like a skipping record. Call it euphoria from hearing it live for the first time, but I think “Full Stop” is destined to be a hit. “It’ll get better with age,” Yorke said after they’d finished playing it. If it’s this good now, who knows what it’ll sound like five years from now. It’s tough to even fathom.

The first encore wrapped up with a ripped up rendition of “Bodysnatchers,” which was the most rock and roll the band got all night. Then Yorke stepped back behind the piano and teased a little of R.E.M.’s “The One I Love” before blending it seamlessly into “Everything In It’s Right Place.” That’s sort of typical Radiohead fare, and they’ve been doing those sorts of things for years now. Relatively new to their encore plot is the stark and stripped down version of “Give Up the Ghost,” which Yorke and Jonny Greenwood played to start the second encore while everyone else remained backstage. Thankfully this time the crowd was much more sedate and respectful relative to the emotion and quiet of the song, and it represented one of the more powerful moments of the evening. “Identikit” is another new song they played that hasn’t yet appeared in studio recorded form, and like “Full Stop” it’s a percussive dance juggernaut worthy of getting excited about. After ignoring almost their entire pre-Kid A catalogue all night, Radiohead finally said goodnight with the show-ending classic “Street Spirit (Fade Out).” “Immerse your soul in love,” Yorke sang as the last lines of the song. With their stellar execution, jaw-dropping stage set-up, quite a bit of dancing and upbeat demeanor, the band gave out plenty of soul-immersing love to the Chicago crowd on Sunday night. I’d like to think we returned that love in full.

Watch Radiohead perform “Full Stop” for the first time

Set List
There There
15 Step
Kid A
Morning Mr. Magpie
The Gloaming
The Amazing Sounds of Orgy
Karma Police
Lotus Flower
Little By Little
The One I Love–>Everything In It’s Right Place
Give Up the Ghost
Weird Fishes/Arpeggi
Street Spirit (Fade Out)

Show Review: Atoms for Peace [Aragon Ballroom; Chicago; 4/10/10]

While the members of Radiohead are out and about doing various other things to keep busy in between studio time, band frontman Thom Yorke has decided to play some shows around the U.S. in support of his 2006 solo record “The Eraser”. Yes, it’s been 4 years since that album was released, but given that Yorke never toured around it back then doesn’t mean he can’t tour around it now. He’s also recruited a motley band of musicians to help translate the largely electronic record into something a full band can perform on stage. Red Hot Chili Peppers bassist Flea is the second most prominent member of this newly formed band, which is filled out by longtime Radiohead producer and friend Nigel Godrich, drummer Joey Waronker and multi-instrumentalist Mauro Refosco. They settled on the name Atoms for Peace and have been making their way across the country playing a handful of dates before wrapping up at the Coachella Music and Arts Festival in Indio, California. The tour reached Chicago for a pair of sold-out shows this past weekend at the Aragon Ballroom.

Opening both shows was electronica artist Flying Lotus, who has a new album “Cosmogramma” coming out in a couple weeks with a track that features Yorke on vocals. Unfortunately Yorke didn’t make an early appearance Saturday night to perform the track, but the set was still excellent anyways. The challenge was mostly trying to get a massive crowd moving while you’re hanging out behind a laptop on a table with a lone spotlight overhead. Girl Talk remains one of the most exciting electronica artists out there today for the wild lengths he goes to get an audience energized and having a good time. Flying Lotus is no Girl Talk. He did keep the tempo largely upbeat for his set though, and for a room full of people all there with the express purpose of seeing Atoms for Peace, that anyone danced at all was an accomplishment. While much of the set sounded like standard club DJ fodder, there were a few elements thrown in here and there such as horns and harps that deviated from expectations and provided some added excitement. Still, it wasn’t nearly as thrilling as your average band playing instruments on stage.

The between-set talk amongst the crowd was all about how Yorke and his bandmates were going to translate the minimalist electro-based sounds of “The Eraser” into something a five guys could play with traditional instruments. As soon as Atoms for Peace took the stage, it was clear that would be a non-issue. Amid intense roars from the crowd, the band gave a quick wave as Yorke quickly sprang across the stage to the piano and began hammering out the first few notes of the album’s opening title track. Flea quickly joined in on bass, bouncing, bobbing and weaving around like there were insects all over his body and he was trying to shake them off. Waronker and Refosco doubled up on percussion duty while Godrich manned keyboards and all sorts of other electronic gizmos. All said and done, the guys took the quiet and mournful tone of the song and cranked it up a couple extra gears. It was a conceptual arrangement that worked out like gangbusters, giving the track a life that you’d never expect it to have.

The rest of the set went similarly, with Yorke bouncing between piano and guitar or just entirely freaking out and dancing across the stage with a microphone in hand. Flea continued to match his energy at every turn, putting on his wild man show less for the attention and more out of his own necessity to play his bass with as much punctuation and personality as possible. For “Skip Divided”, Flea set down his bass and picked up a melodica. That gave the song some Middle Eastern flavor, though the instrument did wreak havoc with the Aragon’s speakers, which squelched painfully every now and then. Refoso’s everyman role had him playing some particularly odd instruments, one of which was the surreal and odd Brazilian bow. Meanwhile Godrich and Waronker both equally held their own in compositional and rhythmic strength, continuing to add propulsion and intensity to songs that had only hinted at it on record. They took these small and personal melodies and turned them into something stadium-sized and crowd-pleasing. The energy in the music also translated to energy on stage, and that in turn resulted in particularly inspired performances towards the end of the set with “Harrowdown Hill” and “Cymbal Rush”. Both songs operated as slow burners on stage, starting out quiet and then building tension until they finally burst into cathartic explosions of energy and sound that thrilled and satisfied. They took the main part of the set out on a particularly high note, and gave the crowd something to really cheer about.

At the start of the encore, Yorke returned alone to play some quieter songs on both the piano and guitar. He started with a brand new song he’s been working on with “his other band” Radiohead, which is currently being called a number of different things, including “Chris Hodge” and “Let Me Take Control”. Either way, with just Yorke and an electric guitar, it was a surprisingly small and intimate moment following a set that was nothing short of huge and bombastic. Yorke also performed an unreleased song from the “Kid A” era known as “The Daily Mail” on the piano before launching into a crowd-pleasing “Everything In Its Right Place”. The full band finally returned for a performance of Radiohead b-side “Paperbag Writer”. The energy and arrangements kicked back into high gear for “Judge. Jury. Executioner”, and the percussion was out of control for “The Hollow Earth” while Yorke flailed around like a man possessed. “Feeling Pulled Apart By Horses” brought an official and highly satisfactory end to the fun and occasionally strange evening. Each member of Atoms for Peace set down their instruments one by one and wandered off the stage with a quick wave and the screams of a clearly impressed audience.

Looking at the entire show from a sound perspective, given that the Aragon is notorious for their shoddy acoustics, Atoms for Peace fared relatively well on Saturday night. Whoever was handling the soundboard clearly knew how to get the most out of the band, though there were some small issues early on as Yorke’s vocals were a little low in the mix and being drowned out by the guitars and percussion. There was also the aforementioned squelching that was coming through the speakers during “Skip Divided” while Flea was playing the melodica. Outside of those small sound issues, I had a minor problem with the manner in which the band performed the songs. “The Eraser” album is one of quiet and dark mystery and intimacy, and Atoms for Peace chose to reconstruct the melodies to suit the large venue and keep the crowd satisfied. It’s an understandable decision to make, and it was definitely interesting to hear how each song was changed, but that loss of reflective, personal moments bothered me just enough so that I felt it worth mentioning. Of course with sweaty bodies piled upon sweaty bodies across the floor of the Aragon, one could say that everyone got more than their fair share of intimacy during the show anyways.

Set List:
The Eraser
The Clock
Black Swan
Skip Divided
Atoms for Peace
And It Rained All Night
Harrowdown Hill
Cymbal Rush
New Song (aka Chris Hodge or Let Me Take Control)
The Daily Mail
Everything In Its Right Place
Paperbag Writer
Judge Jury & Executioner
The Hollow Earth
Feeling Pulled Apart By Horses

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