Live Review: Pitchfork Music Festival 2011

For the second occasion in about a month's time, I got to do something that doesn't happen very often these days. Just as was the case at Solid Sound in June, I got to attend the Pitchfork Music Festival with no other agenda than to enjoy myself. And despite some high temperatures, beating sun and generally sweaty conditions, I did just that. It was actually my favorite Pitchfork Festival since the 2009 edition, thanks to some wonderful booking choices and crowds that seemed slightly more manageable than last year's wall-to-wall swarm. Force of habit meant I couldn't see live music without taking a few notes here and there, so I present you with with my abridged highlights of the weekend in Union Park.

Live Review: Saturday @ Lollapalooza

Talk about a summer of firsts! I couldn't quite bring myself to spring for the full three day Lollapalooza experience, so I decided to attend the second day of the annual fest. Marilu (my wonderful photographer) and I lucked out and missed the downpour on Friday, and were instead scorched by a day of sun and heat. This was my first time at a BIG music festival, so I was a little taken aback by the sheer number of people crammed into Grant Park. However, braving the crowds was a small price to pay for some of the great performances we got to witness.

The day started out with a set from The Low Anthem, a group that I've really been getting into as of late. Unfortunately, one of the nearby stages did its best to drown out the band's comparatively subdued songs, but by a few songs in the mix was perfectly enjoyable. I wasn't familiar with alot of the songs that were played, but what really struck was the beauty of the sparse but effective instrumentation. The members of the group are all multi-instrumentalists, incorporating instruments such as clarinets, horns, and pump organs into their arrangement. The highlight of the set for me was the Oh My God, Charlie Darwin track "Home I'll Never Be" which was every bit as raw and raucous as its studio counterpart. These guys may have gotten stuck with a pretty crappy spot on the schedule, but they delivered a set worthy of bigger stage and a larger crowd.

No Age's set was an entirely different animal than the one I experienced just a few days earlier at their show at the Memorial Union Terrace. The biggest difference was that No Age's guitarist had dislocated his shoulder the night prior, but managed to power through a nearly hour long set despite the fact that he has in a brace and hopped up on Vicodin. As a result, the most action the stage saw was a when a speedy fan hopped the barrier and jumped up on stage to deliver a note to No Age's drummer before quickly evading security and jumping back into the crowd. While I'm not really that familiar with No Age's recorded works, they sounded good and the oddly small crowd seemed to eat it up.

For me, the whole day kind of led up to TV on the Radio taking the stage. I was anxious to see how tracks from their superb Dear Science would hold up in a live setting. Turns out, they could have sounded better, if not for an extremely sub-par sound mix. I tolerated the muddy mix of opener "Love Dog", but by the time the band started "Golden Age" and things still didn't sound quite right, it didn't bode well for the rest of the performance. It's a shame too, because TVotR brought a killer horn section that really filled out their songs. It was just a little irritating when you couldn't hear Kyp Malone belting out the lyrics on "Crying" or that cool keyboard riff on "Red Dress". Not the band's fault, they looked as if they were giving it their all, and the set closer of "Staring at the Sun" sounded great. I just wish it hadn't taken the whole set to troubleshoot the mix...The Yeah Yeah Yeahs aren't the kind of band I would peg to headline a night of a festival, but after seeing the show they put on Saturday night, I can totally understand why they got the spot. The group proved themselves a totally competent replacement for the currently incapacitated Beastie Boys, thanks in no small part to the amazing vocal prowess and awesome stage presence of one Karen O. The band transitioned seamlessly between newer dance-tinged tunes such as "Heads Will Roll" and "Zero" and the older more rock-infused numbers such as "Pin" and "Date with the Night". Did I mention how good they sounded? I wouldn't be surprised if frequent producer David Sitek was behind the boards, making sure that the same fate that befell his band just an hour earlier didn't also affect the YYY's. An acoustic version of "Maps", during which Karen temporarily forgot the words, and a rousing rendition of "Y Control" made the night complete for me. The Yeah Yeah Yeah's encore-less set was a worthy end to a special day at a festival I'll certainly return to someday soon.

Brian Harnetty's Beautiful Video, TV on the Radio on SNL

I don't believe I've ever mentioned Brian Harnetty on here before, but that's been a huge oversight on my part. A few years ago, I got turned on to some of his independently released work and ever since I've been a fan. This video for his new song "Sleeping in the Driveway", which features vocals care of Bonnie 'Prince', Billy, perfectly sums up what makes Harnetty's music so great. It's at once personal, beautiful and fragile, hitting all the right chords both emotionally and musically. The album from which this song was culled is entitled Silent City, and will be available via Atavistic Records in June.

















Tonight, Brooklyn's own TV on the Radio will be traveling a short distance to appear as the musical guest on Saturday Night Live. This continues what has already been a stellar few seasons of musical bookings on the show. Should be interesting to see what songs they end up playing; hopefully they just focus on material from 2008's fantastic Dear Science. I'll be staying up late to find out...

Tapes on the Floor's Favorite Albums of 2008

Every visit to just about every music related blog or website over the past week has reminded me that I need to cash in on the end of the year list craze once again. Most of the lists I've seen thus far are pretty samey; lots of buzz bands and albums, the safe picks, and not much in the way of anything else. So, if you're looking for a list with Bon Iver, Fleet Foxes or Vampire Weekend on it try one of these. If I've still got your attention, here's my take (in no specific order) on what's worth your time and money from the past year in music:

Wolves & Wishes - Dosh
I had to double check and make sure this record actually came out this year because I haven't seen it on a single 'Best of' list I've read thus far. That would make this album my number one most criminally under-appreciated record of the year. With Wolves & Wishes, Dosh expands his musical palette beyond that of his previous record The Lost Take. The same basic ingredients are still present; namely the Rhodes keyboard, a drum set and a looping pedal. But just as The Lost Take took Dosh into the realm of rock, Wolves & Wishes finds Dosh exploring more experimental territory. The song "First Impossible" is essentially nine minutes of droning guitar, made interesting by the way Dosh takes this sound and manipulates it, segueing into various different beats. "Bury the Ghost" features a vocal appearance from Bonnie Prince Billy, backed by a tribal drum beat and solo clarinet. However, the real meat of the record are songs like "If You Want To, You Have To", "Wolves" and "Capture the Flag" which show just how versatile of an instrument a looping pedal can become, creating catchy, unique songs that showcase all of Dosh's musical talents. If you're a fan of The Lost Take, or of the keyboard arrangements on Andrew Bird's last record (which were provided by Dosh) you owe it to yourself to check out one of this year's best albums.

Real Emotional Trash - Stephen Malkmus & The Jicks
None of Malkmus' post-Pavement output has ever really interested me much; I'd come to the conclusion that the guy reached his musical peak with the group and was now content to fade into obscurity with sub-par solo albums. However, something really clicked for me after listening through Real Emotional Trash in its entirety. This is an album that Malkmus never could have made with Pavement. It's full of drawn out, jam-heavy rock songs that were never Pavement's strong suit. But with the Jicks as is backing band. Malkmus makes this seem like what he was born to do. One of the greatest things about this record is that it sounds like a band just playing through its songs; there aren't a bunch of overdubs or overly complex arrangements. Nowhere is this more apparent than on the albums title track which is ten minutes of uninterrupted jamming backed by an extremely competent rhythm section. Malkmus' vocals and unique intonation take center stage on tracks like "Cold Sun" and "Out of Reaches", reminding you that this guy can still write and sing. Real Emotional Trash is a group at its best, and the perfect antidote to the glut of over-produced rock albums on the market today.

Dreaming of Revenge - Kaki King
Kaki King is way better at playing the guitar than you will ever be. She excels at a hybrid picking/finger-tapping technique that makes her sounds like she's playing multiple guitars at once. Dreaming of Revenge fleshes out this sound even further by backing her with drums and bass as well as overdubbing some immaculate solo work. The record is divided into instrumental and vocal-infused tracks, with the instrumental work solidly outnumbering the vocal efforts. At times, she's a pensive singer-song writer, as evidenced in songs like "Life Being What It Is" and "2 O'Clock". At other times, Kaki King is the unabashed rocker, providing both the vocal and guitar prowess that pushes a track such as "Pull Me Out Alive" to the next level. However, my favorite aspect of Kaki King's work are her post-rock tendencies which are brilliantly displayed in "Montreal" and "Air and Kilometers". This is a musician who's last record was produced by post-rock legend John McEntire, so she obviously knows what she's doing. Dreaming of Revenge was a great find for me in 2008, and I certainly look forward to hearing more from Kaki King in the future.

Dear Science - TV on the Radio
TV on the Radio have outdone themselves on their latest release, crafting a record that is every bit as fresh and different as 2006's acclaimed Return to Cookie Mountain. Dear Science is an unabashed pop record; it's got dance beats and catchy hooks. But what really makes it so exciting to listen to is that it takes the pop formula and turns it on its head. There is no other band out there that sounds anything like TV on the Radio, and this album seems like the realization of that fact. "Golden Age" takes a stilted rhythm, layers on some falsetto, Casio-handclaps and a horn section, and somehow manages to sound incredibly natural. All of this is underlined by smart lyrics that decry war, embrace love and suggest music as the solution to the world's problems. Just as Return to Cookie Mountain was an ode to a nation in ruins, Dear Science is a tribute to hope and reconciliation. Dear Science cements TV on the Radio as the Talking Heads of our generation; a group that is totally unafraid to make unconventional pop music with a strong message.

The Odd Couple - Gnarles Barkley
Gnarles Barkley's St. Elsewhere always struck me as the perfect one-off for both Danger Mouse and Cee-Lo. Then "Crazy" happened and everyone took notice. Expectations for their sophomore release The Odd Couple were understandably high and, while it didn't have a hit on the magnitude of "Crazy", it's a much better album than its predecessor. Danger Mouse's production is on the mark, capturing exactly the mood that each song requires. He casts Cee-Lo as the tortured soul man in "Who's Gonna Save My Soul" and "A Little Better" just as easily as he takes him into the realm of gospel in "Going On" and "Suprise". It's an album that deserves to be listened through in its entirety, if only to fully appriciate the bountiful and abrupt changes in scenery. Danger Mouse treats each Gnarles Barkley record like a movie, as evidenced by the film projector heard at the beginning and end of each album. He has a story to tell, and Cee-Lo is always the versatile leading man. This effort may not have been a blockbuster success, but it's sure to find its place as a cult classic for years to come.

Chemical Chords - Stereolab
Most people's main complaint with Stereolab is that everything they do sounds pretty much the same. Chemical Chords probably won't convert anyone with this opinion, but it does manage to stand shoulder to shoulder with some of my favorite Stereolab albums of the past. This one compares nicely to Dots and Loops, sharing its emphasis on electronic backing and processed drum beats. Chemical Chords finds Stereolab sounding just as aimless as ever, but in that great kind of way that makes it the perfect background music. High points of the record include the brass infused "Three Women" and "Self Portrait with 'Electric Brain'" as well as the xylophone driven melody of "Silver Sands". My only regret is that this record finds Tim Gane and company playing things fairly safe. In my mind, the Stereolab classics are from the Jim O'Rourke/John McEntire produced era where the band was trying new things to mixed, but often enjoyable results. We may never hear that side of the group again, but Chemical Chords is a reminder that Stereolab is still great at what they do best.

Attack & Release - The Black Keys
The Black Keys have gotten a bad wrap as of late. I found Magic Potion just as boring and predictable as everyone else, but their newest effort didn't deserve some of the harsher criticism it received. Attack & Release breathes new life into the Black Keys formula, thanks to the production work and guidance of Danger Mouse. Really, the only logical next step for the Black Keys was to expand their palette beyond the staid drum and guitar combo. Danger Mouse was able to do this in a tasteful manner that I doubt any other producer could have accomplished. The record still sounds distinctly like the Black Keys, but hearing the organ kick in throughout the last few second of opening track "All You Ever Wanted", it's clear that this is the band at a new level. My favorite moment on the record is the song "So He Won't Break" which finds the band channeling a sort of neo-soul groove, backed by a steady pounding beat and intricate, layered guitar work. In essence, Danger Mouse takes what the Black Keys are good at and casts it in new lights, resulting in their freshest record since Rubber Factory.

Með suð í eyrum við spilum endalaust - Sigur Rós
Listening through this one for the first time, I was found myself feeling unimpressed. This was far from the ingenious, lush, interlocking arrangements that had populated Takk. However this one grew on me fairly quickly. It's Sigur Rós doing something they haven't done very often as of late; trying something different. From the opening strains of "Gobbledigook" it's clear that this record is an entirely different animal. Most of the songs on this record are just the core members of the band playing songs, without much accompaniment. Another big difference is the abundant use of a brass section; a departure for the band, whom have relied on a string section for their past two albums. It results in a more regal and bold sound for the group, and is a stark contrast to their previously orchestral tendencies. Perhaps the weakest points on this album are when Sigur Rós attempts to go back to the well with the songs "Festival" and "Ára bátur". Both tracks push the nine minute mark, and are plodding affairs that build up to a grand climax within the last few minutes. In "Ára bátur" that climax includes a full orchestra and a choir backing the band which, even for Sigur Rós, seems like overkill. Perhaps inspired by the acoustic sessions they recorded for last year's double EP Heim/Hvarf, Sigur Rós has gone, for the most part, back to the basics on this record, and the results speak for themselves.

Podcast No. 1

A few weeks ago I hinted at the possibility of a future podcast and, lo and behold, here is my first attempt. It's very bare bones, just 4 tracks of music and some commentary. Nevertheless, enjoy, and if the link goes down for some reason, just comment and I'll re-post. Tracklisting is as follows:
Tapes on the Floor Podcast No. 1
1:51 Scott Amendola Band - Oladipo
10:06 Andrew Bird - Heretics
14:07 TV on the Radio - Dirtywhirl
19:01 Wilco - You Are My Face

Live Review: TV on the Radio

Sometimes you have to take what you can get, and Wednesday night's TV on the Radio show was a prime example of that. Post-rap group Subtle warmed up the crowd, but were more annoying than entertaining due to the antics of their lead singer/rapper who had a penchant for distracting theatrics and extremely forced stand-up comedy. There's a fine line between clever and stupid, but pantomimed throat slitting with a switchblade, throwing plastic forks into the crowd, and attempted self-mutilation with said plastic utensils strays exclusively to the 'stupid' end of that spectrum. The sad part of it is, the instrumentation was far superior to the contrived stage antics and probably would have been invariably more entertaining if not for all the shtick surrounding it.

TV on the Radio fared far better, hitting the stage and immediately breaking into a rendition of the anthemic "I Was a Lover" in front of a sold out house. The night was split pretty evenly between songs from their most recent record, Return to Cookie Mountain, and their 2004 release Desperate Youth, Blood Thirsty Babes. Lead singer Tunde Adebimpe and guitarist/producer David Andrew Sitek positively exuded energy for the first 20 minutes or so, but right after the high energy romp of "Wolf Like Me" things seemed to die down. It might just have been my unfamiliarity with their earlier material, but I doubt I was the only one who found much of the middle of their set to drag. The end of the main set was redeemed by "Dirtywhirl" and a human-beatboxed version of "Province". The set seemed short, clocking in at a little under an hour, so an encore was almost a given.

The band came back to the stage with all the members of Subtle, launching into an impromptu percussion jam that eventually bled into "A Method". The band quickly ended the night with "Staring at the Sun", arguably the song that sparked much of the interest in TVOTR three years ago. While much of their performance was very enjoyable, the experience as a whole wasn't quite as fulfilling as it should have been. The band was obviously suffering from a little mid-tour fatigue, playing a short set and not keeping the energy constant throughout the show. While this is understandable, it's a bit of a disappointment to a person expecting to see what has been hailed as an incredible live show. It wasn't all a bust though, there were some enjoyable moments and it was great fun to see some of the more experimental elements being put to the test onstage. Hopefully Columbus doesn't get stuck with another mid-tour date the next time TVOTR comes through town...

Addendum

The first post of 2007; sure to be remembered as a year that was... just about as great as any other year. The spring tour announcements have been trickling in, and it looks like the coming months will be well stocked with concert options here in Columbus, Ohio. My list so far includes the Scott Amendola Band (ft. Nels Cline & Jeff Parker), Apples in Stereo, TV on the Radio, and Animal Collective. Whoever books these acts gets my humble thanks, as this is truly one of the more eclectic line-ups I've seen around these parts in my relatively few concert-going years. I just bought the Scott Amendola Band's Believe today and, if the album is any indication, their live show is going to be pretty mind blowing.

Plenty of record releases dropping within the next few months as well. I've listened quite a bit to Damon Albarn's new sideproject The Good, The Bad & The Queen, and I really like what I'm hearing. Danger Mouse's production work is pretty obvious, almost sounding like a direct continuation of Gorillaz Demon Days. The single "Herculean" is my favorite so far, so give it a quick search on Hype Machine is you're interested. However, my real anticipation is focused on Wilco's newest full-length, entitled Sky Blue Sky, which will be released on May 15. Although I've already heard live versions of many of the song which will be included on this release, Wilco has a habit of really mixing things up with the studio arrangements, so it's not unreasonable to expect these tunes to take on a whole new sound in their recorded forms. Speaking of Wilco, lead guitarist/noisemaker Nels Cline has TWO new albums with his Nels Cline Singers group coming out care of Cryptogramophone sometime in May. I really dug the group's last release, The Giant Pin, so hopefully at least one of these new records will continue that last album's unique blend of jazz, rock, and noise.

I've decided to hand out a few honorable mentions to my favorite albums of '06 list. A recent episode of Austin City Limits turned me on to Cat Power's 2006 release The Greatest. I can't say I ever been much of a fan of Marshall Chan, but put a Memphis soul band behind this girl and it's damn hard not to enjoy. She's got a voice that works extremely well with the gernre, and the record just has an amazing sound to it. My other favorable mention goes to Aloha's Some Echos, which I recently picked up on a whim. These Ohio-natives craft a solid pop album which at times evokes the Arcade Fire and the New Pornographers. Some great almost jazzy guitar work rounds out the package and makes it list-worthy. I'm sure I've overlooked some others, but these are what came to mind directly after the fact. Perhaps I should just post another list entitled: "Nice One, Dumbass: The Ones I Forgot"? Ah well, expect a review of the Scott Amendola Band sometime next weekend.