popwreckoning

Lollapalooza is an intense experience, but a fun one. Should you manage to find energy after already having spent 12 hours listening to music in downtown Chicago’s Grant Park, then it’d be in your best interest to continue the festivities with official Lollapalooza afterparties.

Thursday after shows include Devo with Dirty Projectors, Slightly Stoopid with Collie Buddz, The New Pornographers with The Dodos, The Big Pink with Night Gallery, and Cymbals Eat Guitars with Young Galaxy.

Friday shows include MGMT, Cut Copy with Dragonette, The Walkmen with Warpaint, Edward Sharpe and the Magnetic Zeros with Freelance Whales, Wild Beasts, and Rogue Wave with Gamble House.

Saturday shows are The National with The Antlers, The Black Keys with the Morning Benders, Minus the Bear with Miniature Tigers, Blitzen Trapper with Avi Buffalo, The Soft Pack with Royal Bangs, Wavves with Harlem, Gogol Bordello, and Precision Guided Musicians featuring Hot Chip (live), Rusko, Steve Porter and more.

Sunday ends with Phoenix with Toro y Moi and HEALTH with Chandeliers.

Tickets for the after shows go onsale Friday, June 25 at 10 a.m. Get them here.

Sunday morning of Sasquatch came for me with a hot shower and special birthday blueberry muffin at my campsite, as it was my 21^st birthday. Come to find out that day, it was several people’s birthdays. But I’ll get to that later.

The line getting into the venue moved a lot faster that day, and it was met with a bit more cloud coverage, so less burning sunlight directly overhead at noon when we entered the grounds. As the Bigfoot Solar Stage was almost directly inside the gates, I went into the crowd, not really knowing who was playing. As soon as the band got on stage, I checked my schedule, and it turned out that it was Local Natives. When I got there, it was far too crowded for me to get close to get any decent photographs, but I was close enough to fall in love with their sound. I’d heard “Camera Talk” off their album Gorilla Manor about a month ago, but as I stood through the rest of their hour-long set, there were so many more songs I liked. Gorilla Manor was actually the only album I bought at the festival, and I’m glad that I did. I’ve listened to it several times. The band’s soft harmonies work so well both live and on the record, and I can see why they had such a large crowd, even so early in the day. About halfway through their set came the first coincidence of the day. Prefacing their song “Who Knows Who Cares,” guitarist and vocalist Taylor Rice came up to the mic and said, “I’d like to dedicate this song to my special lady, Bethany,” (or something like that), “It’s her thirtieth birthday today. The golden year, 30 on 30.” And everyone in the crowd said “Happy Birthday Bethany!” in unison. Of all days – that was weird. After that, my sister told me that she was going to try to get Flavor Flav to wish me happy birthday. Sure, like that would happen. Anyway, Local Natives were awesome. I’d have to say that they’re my favorite discovery from Sasquatch.

Then I took the familiar stroll to the main stage for the only time on Sunday to see They Might Be Giants. Of all the acts booked for Sasquatch, They Might Be Giants might be the most random. However being a fan of them myself, I was excited to see them on the lineup. As I expected, TMBG were perhaps the goofiest 50-year-olds I’d ever seen. At one point their broke out The Avatars of They, a duo of sock puppets who have been part of their live show since last year. Much to my delight, TMBG did play the hilarious “The Mesopotamians,” the one and only thing I like about the subject of Mesopotamia. The only buzzkill of their set was the fact that a large portion of their crowd was Kid Cudi fans waiting to get close for Kid Cudi’s set directly after TMBG. But that was poor planning. I felt bad actually, because the Kid Cudi fans were restless and a bit rude to TMBG. At one point during the appearance of The Avatars of They, I heard someone shout “Get off the stage, we wanna see Cudi!” Sure I wanted to see Kid Cudi too, but I wanted to see They Might Be Giants as well.

I regret that former statement, because I would have much rather seen Kid Cudi from afar, rather than being stuck in the insane pit of pain present throughout all of Kid Cudi’s set. The only reason I stayed in the pit was so I could get close to see Tegan and Sara after, and get some good photos. What I do for good photos, sheesh.

Now, I’m not much of a hip-hop fan, but I honestly enjoy Kid Cudi. He’s confident on stage without being too arrogant like some rappers can be. But I will never see him live again. Nothing against Cudi, but I feared for my life and my camera in that pit. It’s like they didn’t know the meaning of personal space. I just had to lock my knees and plant my feet. I didn’t really have to hold up my own weight, but I also couldn’t breath comfortably half the time. But regardless, Kid Cudi was really good. Toward the end of his set, he brought this guy out on stage. “You guys remember when I punched that guy in Vancouver? Here he is! Michael and I are cool now!” And Michael Sharpe, the guy whom Kid Cudi punched at his Vancouver show joined him for a man hug on stage in front of thousands of people.

As soon as Kid Cudi’s set was over, I scurried out of the pit to catch some air before venturing back in for Tegan and Sara’s set. But naturally, their fans wouldn’t be quite as insane. It was a nice cool down from the overwhelming body heat trapped in the mosh pit from before, and Tegan and Sara’s music was a nice cool down as well. As much as I like their music, it was bit lackluster for the venue we were in, but what made their set especially enjoyable was the sharp banter between the two of them. If they weren’t twins, you could still totally tell that they were sisters by how they acted toward each other. That was my time at the main stage that night, as I spent the next 2 hours at the Bigfoot Solar Stage and turned in early for the night to eat birthday cake and make hot dogs over a camp stove.

First on the Solar Stage that night was Girls, whose album I fell in love with last year. It’s still weird listening to them because it’s like Elvis Costello reincarnate, and Elvis Costello isn’t even dead. It was a mellow and groovy way to move the evening right along, and like the album, seeing Girls live made me feel nostalgic. I don’t know when I was feeling nostalgic about, but the music just sounds so aged, but not outdated. And the music actually fit quite nicely in the setting sunlight in the middle of a flat field. Peaceful, yet not exactly peaceful. It’s hard to explain, but that’s why I advise you to see them. They were good. You won’t be disappointed.

The last act I’d see Sunday night was the Dirty Projectors, and I truly only saw them because I felt like I needed to understand something about them. I listened to Bitte Orca. Several times. And I just didn’t get why everyone was so gaga over them, so I figured seeing them live would illuminate it for me somehow. I was right. I get it now. I’m not going to try and explain why I get it now, because the Dirty Projectors are one of those bands that you love or you hate, because they’re that weird, but the vocals that this band consistently produces is the most amazing part of their live act. During “Remade Horizon,” I swear Amber Coffman and Haley Dekle did this crazy vocal riffing for over a minute that sounded like nothing I’ve heard in a live show before. Also, with how many singers they have on stage at one time, David Longstreth, Angel Deradoorian, Coffman, and Dekle, there is a strange harmony on stage that is also unlike most bands.

This was where the second coincidence came in. Nearing the end of the show, after “Stillness is the Move,” Coffman told the crowd that it was her father’s 51^st birthday, and she wanted us all to sing happy birthday to him and record it for someone to put on YouTube for him to watch. Another birthday? So we all sang happy birthday to her dad Joel.

That was the end of day two for me. I’ll be right with you for the final recap shortly.

For more photos of Sunday’s festivities, visit http://www.flickr.com/photos/abbigshmail/sets/72157624067347657/

Saturday’s coverage: http://popwreckoning.com/2010/06/02/sasquatch-festival-saturday-with-ok-go-the-national-vampire-weekend/

Monday’s coverage: http://popwreckoning.com/2010/06/04/sasquatch-festival-monday-with-the-temper-trap-the-mountain-goats-mgmt/

Here at PopWreckoning, we’ve officially hit a level of mail that makes it impossible for us to give full reviews to every band. However, this does not mean we believe that these bands shouldn’t be granted some for of press. It simply means we have to scale it down a bit. Therefore, we have opted to create a feature called Bite Size Reviews, which shall appear several times a week. This feature will contain 5 reviews each under 100 words and links to the albums website, MySpace page or label. We believe this is the best use of our mail and hope you too enjoy the reviews. They are as follows:

Thao – Know Better Learn Faster

With a 33-second intro of a chain gang chant, complete with handclap poignancy, you’ll expect a jumper and a revolutionary from albums past. Well, let’s just say that the Thermals split they did earlier in the year for Record Store Day was a preemptive move, since you have a little of the Thermals pop persistent throughout. Maybe even edging out their Alterna-Folk ground that was evident on We Brave Bee Stings And All. Social-mixer-and-mix-tape-friendly, with even a few tracks to dance to, like “Easy” and “Body.” “Fixed It!”, however, is a song made for Wednesday night group karaoke.

website | myspace | @ First Unitarian Church | @ Electric Factory | @ Terminal 5 | interview with | @ Liberty Hall

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Lucero – 1372 Overton Park

This album should be taken with a box of tissues, as Lucero rounds a hill of ragged southern blues to its repertoire. Word is, that this record sounds more like Rebels, Rogues & Sworn Brothers and Tennessee, but those slower unrefined drawls bring on an even stronger Memphis soul, with a seriously smoky edge. True, that “What Are You Willing To Lose” maintains that upbeat organ choir uprising, but the album is a toying game between emotions—rebellious cries both amorous and longing. At least with Tennessee the instruments were creative and full, whereas 1372 just sounds like you’re outside a motorcycle rebel dive bar or a truck stop diner.

website | myspace

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Panther – Entropy

Panther begins by playing a little with your mind. The first track, “Latitudes For Centuries” sounds a bit like a Broadway warm-up, with an echo of ethereal vocals overpowering an introduction of piano. From there, it’s anyone’s guess. True to its history, the play-through sounds like it was a one-man (Charlie Salas-Humara) act that gathered a partner and a brand new direction. This adventure is just that, less electrical and more dancy-melodic. “Control Yr Ships” will quickly be an album favorite—the echo-ey voices returning with definite vociferous and keys presence. “Springwater” gets a bit too Dirty Projectors for me in a short chorus, but what’s left off the record is sincerely intelligent fun.

website | myspace | @ berbati’s pan

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Fink – Sort of a Revolution

This is technically an artist doing the a.k.a. deal, whose real name is Fin Greenall, and whose day job is songwriter, producer, and DJ. A Sort of Revolution is masterfully crafted, from the writing to the production, and given his resume we’re not very surprised. The fourth album strings along Greenall’s beautiful rhythm and blues voice in matching syncopation with intensely focused acoustic guitar plucking. Simply speaking, a record made for chilling out with a slicker vibe. This definitely isn’t folk, so take that you acoustic demographic. And in a flawless addition to his already stellar collection of full-lengths, you’ll be happy to know that it was a John Legend collaboration that set this record to a new tier of awesome.

website | myspace

Last week I was lucky enough to catch a double release show at Berbati’s Pan by two of Portland’s better bands. If they weren’t both on Kill Rock Stars, Panther‘s funky dance punk and the Shaky Hands roots rock might seem like an odd pairing. But genre difference aside, they both deliver high energy performances. The only disappointment that night was that Panther’s set was way too short. They have tons of material. The crowd was into it. I guess I’ll just need to come back sometime when they headline.

It’s no longer surprising that two member bands can be exciting and dynamic, but most of those bands stick to stripped down or fuzzed-out rock, folk, and blues. Sure, they are exciting, but how many of them make you dance? With just a drummer, a guitarist, and a pre-programed bass/keyboard, Panther delivered a flailing and inventive set. At times, Charles Salas-Humara‘s vocals and guitar are almost percussive, making the songs very beat oriented. I love the jerky rhythms of “Live Is Sold” and “Latitudes for Centuries,” but really just about every song they played that night was catchy, wild and fun. Fans of the Dirty Projectors should definitely check them out.

The Shaky Hands’ Let It Die is full of meaty rockers, continuing the progression from indie folk towards classic rock started on Lunglight. While Nicholas Delffs‘ strained nasal voice gives the songs urgency, the guitars propel them forward with a mix of comfortable strums and powerful riffs. This music is meant to be played and heard live, although the songs sound pretty good on the album too. I like how on “Slip Away” the beat stutters while the vocals swagger until finally the guitar is let loose. “Allison And The Ancient Eyes” rolls along, riding cymbals and hand-claps, while Delffs spills regrets. The night ended with Panther coming back on to join the Shaky Hands for their second encore and a chaotic guitar and vocal freakout.

The Shaky Hands: website | myspace | @ the slowdown
Panther: website | myspace

Remind me why we need another indie-pop super group? Members of Vampire Weekend and Ra Ra Riot populate Discovery and that’s a bad place to start. But the real burning question is why do these guys think that it’s okay to make R&B music the hipsters can jive to? It’s not. Now they have some hooks, that’s for sure; you’ll hum some of this and it can be downright maddeningly catchy. But it’s so trite, so immediate and embarrassing in its guilty pleasure-ness that I have a hard time ever believing that someone would cop to actually owning or listening to it…at least not someone from the massive circles of fans that orbit around their day job projects.

Discovery is a derivative version of Justin Timberlake’s solo output blended with Kanye West’s 808s and Heartbreak. It’s Aphex Twin, but substitute misguided posing for actual ambition. While Discovery has a trick or two up their sleeve, they seem fine with bludgeoning those tricks to death. Like the circular arpeggios—I playfully dub them “digital waterfalls”—that dart around “Osaka Loop Line”; solid idea, but when used constantly, it loses the intrigue. “I Wanna Be Your Boyfriend” sports an ear-turning, choppy female hook reminiscent of that Dirty Projectors song everyone is in love with right now. Except that it also features some awkward lyrics (given the voice singing it) and you eventually have to listen to the rest of the tune. Ohh, and if you’re as tired of autotune as I am, don’t even bother with “Carby”. These guys didn’t get the memo from Jay-Z.

The album is mercifully short, clocking in at around 36 minutes, but the length just reminds you of how much drivel is actually here. I mean, did we really need an electro-twee remake of “I Want You Back” by the Jackson 5? This would have worked way better as an EP. The even shorter length would have forced the guys to distill the quirky, indie-dance vibe they were going for into something actually appealing and worthy of more than a cursory spin or two.

Discovery – “Osaka Loop Line”

Tracklisting:
01. Orange Shirt
02. Osaka Loop Line
03. Can You Discover?
04. I Wanna Be Your Boyfriend (featuring Angel Deradoorian)
05. So Insane
06. Swing Tree
07. Carby (featuring Ezra Koenig)
08. I Want You Back
09. It’s Not My Fault (It’s My Fault)
10. Slang Tang

Discovery: website | myspace