popwreckoning

Saturday started with a KEXP set, this time by Handsome Furs, who would later headline the main stage. Even though it was much shorter, I enjoyed them much more in the Bean Room than I did on the Main Stage. The room was empty, less than fifty people, which meant they connected better.

Handsome Furs are an incredible live band. Dan Boeckner and his wife Alexi Perry have incredible chemistry which was fantastic to watch. Boeckner got into the crowd near the end of the set, and it was obvious that he was completely energized. The four songs they played were off their recent album Sound Kapital. Read my review of it here, and then go out And buy it.

After that set, a tip at a bar led me to Neumos to see local band Lovesick Empire. http://www.myspace.com/lovesickempire It was to be a weekend of local bands. This was great because Seattle has an amazing scene, and Block Party was set up to showcase a good number of them.

Lovesick Empire play bluesy stuff with something of a dirgey edge. They were spectacularly loud, and fun to watch. Their song “Something In My Blood” is a new favorite, and they are one of many local acts I look forward to seeing again. Pure blooded rock n roll at it’s finest.

Next up was another local band, Fences. I love their debut self-titled album like water, and was looking forward to seeing them again after a year and half of blown opportunities. The one time I had seen Christopher Mansfield and gang was November 2009, opening for Vic Chestnutt.  The band seems to have matured since then, and each song they played hit the speakers like a massive pop hit. The crowd seemed ecstatic, and it was a great set. Singing along to the song “Sadie” with the “it’s really getting old, kid” refrain was a highlight of the weekend.

Then it was back to Neumos, and out of the heat for The Fiery Furnaces’ Eleanor Friedberger’s solo set. Supporting her debut solo album Last Summer it was interesting to see her play alone. Most of the songs came from the solo album, which is great. It’s worth hearing, especially for Fiery Furnaces fans. Most FF albums are hard to get a grip on, and this one is no different. It’s strange, and cathartic, and full of great stories, some of which Freidberger told that afternoon.

Leaving Neumos, and walking to the Vera stage was an experience in itself.  It was wonderful to wade through the crowds. Block Party is hot and sticky, but there is joy to be found in every corner.

When I got to the Vera stage it was time for one of my most anticipated acts of the weekend, Portland’s Lovers, and they did not disappoint. They played blissed out electro-pop, songs about love and sadness. The guy standing next to me danced like a maniac, which encouraged me to do the same. Love poured through the crowd, and it filled me for the rest of the night.

Cold Cave’s set at Neumos later was dark and ambient in all the right ways. The band have an intense following that packed the room, and crowded the stage. Their mix of gothic electronic well fit well with the fog machines, and it seemed as if every single person in the crowd was dressed in black.

From Neumos, it was to the Main Stage for the show that everyone at Block Party seemed to be talking about, TV on the Radio. They owned the festival that night. The crowd packed the grounds, and TVOTR expressed the feeling of greatness is what Block Party is all about. Great people, great music. It was a fantastic, and I headed to the gates, I was sad to see the day go but I was also ecstatic for the next day.

Block Party is beautiful. Every little thing about it is absolutely fantastic. From security yelling at people to get off the sidewalks, and into the streets, to the endless cacophony of music coming from every direction, it’s all wonderful.

The day started off with a short set by Fucked Up, broadcast by KEXP. There is a lot to be said about Fucked Up, but we’ll get there in a moment. For now, here’s a photo of me with Damian, the singer of the band. Yes, I asked him to take his shirt off for the photo.

Next up, was another KEXP set, this time by beloved Seattle band The Head and the Heart. I hadn’t listened to them up to this point, but I wasn’t going to miss them this time.

It has to be said that the band has an absolutely fanatic following.  The Bean Room reached capacity about fifteen minutes before the set, and there were people milling around in anticipation two hours before they were scheduled to play.  Are they worth the hype?

That depends on taste, but I definitely saw something intriguing in their short set. The band plays enjoyable acoustic music, and I saw enough to understand what the fuss is about. I’ll be watching The Head and the Heart more closely in the future.

Next, it was over to Neumo’s to stand in line for the bathrooms, and to see New York’s Cults. Cults sort of sound like twee pop filtered through Joy Division. The strobe lights hit, the band took the stage, and the sound of dark dance music filtered through the room.

Lead singer Madeline Follin came off something like a Gwen Stefani for the goth set, but the band had a sense of joy around it.  A beach ball hit the stage at least a dozen times during the set, and the crowd seemed extremely happy to be there. The music had plenty of fantastic distortion, and people danced like they were on fire. It was a great show, and up next was the highlight of the evening.

Fucked Up tore the roof off Neumos, in a way that’s rarely seen. The band was noisy, but played extremely well together, even though from the balcony the songs were often indistinguishable from one another. That didn’t matter. Two dozen stage divers cannot be argued with.

Singer Damian Abraham led the crowd in a sweaty, raucous, mess that was absolutely astonishing to witness. At one point he lead the crowd into chanting “I hate summer” during one song, and into “we’re dying on the inside” during the next. It was beautiful. He took off his shirt, and began twirling his microphone during the first song, and the energy did waver for a solid forty-five minutes.

This was punk rock at it’s purest.  Not only did Abraham stage dive but so did one of the guitar players, and the (female) bass player. The latter two did so while they continued playing. The crowd was putty in Abraham’s hands, even when he dove into the crowd during the second to last song, and went to the bar to get a drink.  This kind of ballsy awesomeness is so rarely seen at shows. It was breathtaking to behold, and I cannot wait to see this band again.

After Fucked Up, complete exhaustion set in, but I stayed around for Yuck. The band set up, and by their second song the crowd was enthralled. They played a set of slacker rock that made one nostalgic for the mid-90’s, when bands like Pavement were in their prime.

The set ended, and I struggled my way through the crowd, into the street, and through an exhilarated, completely transformed Capitol Hill. It’s 1 a.m., and I can still hear the drunks partying in the streets from my living room window.

Yuck ( http://yuck.bandcamp.com/)is an indie rock group hailing from London, England. They are currently enjoying buzz band status centering on their self-titled debut record which was released on Fat Possum last February. The album is full of fantastically catchy songs, including the noisy “The wall”

The band plays a brand of fuzz rock that rides a wave of ‘90’s alternative rock nostalgia. They’ve garnered comparisons to legendary acts such as a Dinosaur Jr. and Sonic youth. The comparisons are certainly justified, but Yuck updates the sound of ‘90’s Indie Rock with a sound uniquely their own.

Recent live shows have been well reviewed, and Friday’s set should be outstanding.  Their show is eagerly anticipated, and the crowd should be rapturous. Yuck are not one to miss.

Yuck will be playing on Friday at 10:15 p.m. at Neumos.

Grand Hallway are a band I’ve already seen twice this year, but I eagerly look forward to seeing them again. Their brand of Japanese orchestra pop always makes for an enchanting performance.

The band is currently supporting their new album, Winter Creatures. I talked to singer/songwriter Tomo Nakayama last month, and he told me that he made an effort to write more understated songs, compared to the previous release, Promenade. The pop melodies are there, but there is only one really gigantic pop song on the record. Winter Creatures is deeper than their previous releases, and flows very well. It’s easily their best release to date.

Grand Hallway play in Seattle quite a bit, but every show is worth seeing. Sunday will be my fifth time seeing them, and I cannot wait. Be excited.

Grand Hallway will be playing on Sunday 7:30-8:15 p.m. at the Vera Project

Hailing from Portland, OR, Lovers made one of my favorite records of 2010. Dark Light is a hazy set of electronic pop, heavy on heartbreak, and fantastic hooks.

To say that their set is anticipated would be a vast understatement. Dark Light has been something of an obsession, and I’ve been dying for a chance to see them. They will rock the Vera Stage on Saturday, and it will be good. You should be there, too.

Lovers will be playing Saturday 5:00-5:30 p.m. at the Vera Project.

Over the last decade Fucked Up has gone from being a relatively by the number hardcore punk band to being something that is almost impossible to describe. With their new album David Comes To Life, they’ve given the world an eighty minute rock opera.

The album is dense, but accessible, full of giant hooks, and even bigger ambition. Like most concept albums, the story is difficult to follow, but that doesn’t detract from the album. The fact that the album exists is a testaments to Fucked Up’s greatness. The fact that it doesn’t suck makes the band legendary.

Fucked Up will be playing two sets on Friday, and I plan on seeing both. I expect the venues to explode. It will be a joyous, sweaty, and rowdy experience.  Fucked Up has a reputation as a fantastic live act, and they shouldn’t be missed.

Both sets are on Friday, at 5 p.m. in The Bean Room at Cafe Vita and 9 p.m. at Neumos across the street.

When I reviewed a Land of Pines (http://landofpinesmusic.bandcamp.com/) show at The Tractor last April, I predicted they’d be one of Seattle’s next big breakout hits. They are a very young band, with only a couple EP’s to their name, but they put on very strong performances.

If you like noisy, slightly eccentric pop songs Land of Pines could very well be your new favorite band. They have incredible chemistry, and are tighter than many older bands. I’ve been meaning to see them again for months. Get to the Vera stage early, because in a couple years you’ll be able to brag that you saw Land of Pines “way back when.”

Land of Pines are playing on Sunday 2:00-2:30 p.m. at the Vera Project.

This was the first time I’d ever been to the Crocodile Cafe (or “the Croc” as it’s affectionately known) in Belltown, and I’m glad it turned out to be an insanely fun time. But then again, when has Sondre Lerche ever not put on a good show? Surely I didn’t know, but that’s what I’d been told.

Before the show began, I stepped outside for a minute – as it was some of the best weather Seattle has seen since last August, and as I walked back in, I was met with some of the most unique sounds I’ve ever heard in a live setting. This was Kishi Bashi, a friend of Lerche’s from New York, and he was amazing.

Seeing that Kishi Bashi’s recorded stuff is largely made up of layering and synthesizers, the loop pedal was his main instrument on stage – accompanied by a violin (sometimes played as a ukulele), a drum machine, and his unique vocals. He sounds like a mix between an Asian James Mercer and Ezra Koenig. Very hip, and very awesome.

Sadly I didn’t get any video footage of his performance, but there are plenty of amateur videos up on YouTube of his amazing on-stage looping. Here’s one I found.

One of my favourite parts of his set was a quite interesting song – you can guess what it’s about – called “Just the Tip.” I’ll leave that to your imagination – but I strongly suggest you check him out at http://kishibashi.bandcamp.com/

After Kishi Bashi’s awe-inspiring set, Nightlands took the stage, which to be honest, it took me a bit to warm up to them. They weren’t bad, they just didn’t have a lot of stage presence to start out with. Once they got through a few songs, Nightlands loosened up a bit and played more to the crowd rather than in front of the crowd if that makes sense. I liked their music – it was catchy indie pop with a self-deprecating tinge. It’s definitely something I’d listen to on record, maybe just not go out and see live again.

However, it was a nice little moment when Sondre Lerche and his drummer came out on stage to jam with Nightlands during their last couple songs. He just sneaked out onto the stage – he’s so tiny.

For more on Nightlands, visit http://www.nightlands.us/

Finally, once the crowd was comfortably inebriated, Sondre Lerche took the stage with his many guitars.

Let me tell you – this guy is a surprise on stage. When you listen to Lerche’s music on record, you hear a crooner with a voice smoother than a good cheese sauce. And on stage, he’s jumping all over the place rocking out. It’s like two different worlds, yet it all makes sense together and makes for a great Friday night.

Playing through an extensive setlist, he started out with the hugely catchy “Private Caller.” He also included in the set – “Domino,” “Two Way Monologue,” “Living Dangerously,” and “Coliseum Town.” Forgetting how big his catalog is, I hadn’t realized that Lerche had been doing this for ten years when he said it – but that’s maybe because he looks like he’s about my age, 22.

Lerche’s charming on stage persona was only made better when he started taking requests. At one point, he sweetly said to the audience, “I know I’ve been playing through all these new songs, but I completely forgot to ask if anyone had any requests.” And instantly people shouted out song titles somewhat incoherently, but one did stand out from the rest.

“Sleep on Needles!”

So Lerche busted right into the catchy tune and the whole Croc turned into a little dance party.

During the last few songs of his set, Lerche brought out several members of Nightlands and Kishi Bashi as his backup band, and it seemed like one big family on stage, and that infectious feeling spread throughout the Croc. I didn’t want to leave, even though some might say his well-over-an-hour set was too long. My philosophy is: a set is only too long when an artist doesn’t blow you away.

Sondre Lerche’s set was definitely not too long.

Seattle’s premiere mid-summer music festival the Capitol Hill Block Party is happening in less than a week, this Friday, Saturday, and Sunday to be precise. If you live anywhere near Seattle and haven’t heard about it by now, you must have been living under a rock.

Last year’s festival had the likes of the Dead Weather and MGMT headlining the urban festival, set in the middle of Seattle’s South Capitol Hill neighborhood.

This year’s lineup includes: TV on the Radio, Explosions in the Sky, the Head and the Heart, and well you can see the whole lineup above – over 70 bands including some of Seattle’s finest local talents.

For the full festival schedule, go to http://capitolhillblockparty.com/schedule/

To purchase tickets, individual day tickets for $27.50 or 3-day passes for $82.50 are available here: http://capitolhillblockparty.strangertickets.com/Home

The Mountain Goats’ fan base is made up largely of nerds. Don’t deny it. That’s probably the reason that they didn’t sell out the Showbox – because nerds generally don’t like leaving the house and being in large groups. But the crowd was surprisingly large, considering.

Arriving in just the nick of time, I walked into the Showbox, with people sitting on the floor waiting for the opening act, Midtown Dickens. Clearly, people were taking ownership of their rightful places in the crowd. So naturally, I sat down because everyone else was.

Once the members of the openers, Midtown Dickens, took the stage, people instantly stood up. The North Carolina natives put on a fantastic energetic show, considering the fact that vocalist Kym had just arrived to Seattle 20 minutes before they went on stage. Her guitar wasn’t even tuned when she got on stage, so they filled up that awkward time with some of the wittiest storytelling I’ve heard in a long time.

Midtown Dickens had a great stage presence, what they call on their Facebook page “post-folk punk grass,” preempting several songs with the story of their origin. It was the perfect precursor to the Mountain Goats, with the largely narrative songwriting.

After the highly entertaining set that Midtown Dickens put on, the Mountain Goats had one of the weirdest introductions I’ve ever heard. As they took to the stage, very excruciating indistinguishable death metal played over the loud speakers (emphasis on the ‘loud’). I couldn’t help but laugh, because of the sheer irony of the death metal juxtaposed to John Darnielle in his suit, tie, and nerdy glasses taking the stage. It was perfect.

This was the point when I realized that this crowd was full of nerds – because a.) most people danced like dorks, and b.) personal space was honored more than usual. People were spread out, which made the venue much more comfortable for the night.

While I love the Mountain Goats music, I just love listening to Darnielle speak. He’s incredibly eloquent and quite funny. At one point, bassist Peter Hughes brought up the idea of narrating the set like a DJ would on the radio. “That was ‘You Were Cool’vby the Mountain Goats, and here’s another one from the Mountain Goats,” Darnielle said aloud with the quintessential radio voice.

Speaking of “You Were Cool,” that song really needs to be on an album, like legitimately recorded. Mainly because I feel like it is the perfect theme song for, well, life.

Seeing that Darnielle is one of the most prolific songwriters of our time, I had no clue which songs we were going to get. It’s definitely a different experience than seeing an emerging band with only enough songs to play a full set. While a lot of songwriters try and hide the muddle the meaning of a song with metaphors and vague references, Darnielle’s songs are painfully honest and easy to relate to – especially us nerds.

To end out the set, the Mountain Goats played my favourite song of theirs, “This Year.”

“If the members of Midtown Dickens are still in the building, would they please join us on stage?” Darnielle shouted to the audience. So Midtown Dickens quickly made it to the stage, and “This Year” turned into a joyous, triumphant dance party. Again, it was perfect.

But it wasn’t over yet, because we got not one, but two encores. Heck, there are enough Mountain Goats songs to fill almost an entire 24-hour day, so two encores wasn’t surprising.

In fact, I would like to see 24-hour Mountain Goats marathon. I’d be all over that.