popwreckoning

This year, Lollapalooza promised a bigger and better event than past years. The three day festival brought back some classic artists (Big Audio Dynamite, The Cars) and introduced some great new artists (Typhoon, Reptar) to the thousands massed in Grant Park for the music festivals 20th anniversary celebration.

Now nothing says celebration like cake, so to help kick things off, the Charm City Cakes crew, aka Ace of Cakes, unveiled a very special moving treat. The fondant masterpiece had little bands, cassette tapes and the classic Lolla sign. And yes, Charm City’s cakes taste just as good as they look on TV.

The festival officially kicks off with the traditional blasting of the Star Wars theme. As the triumphant ‘dun dun dun duuun’ sounded the opening of the gates, music lovers poured through the gates and excitedly rushed to one of the many stages sporting bands.

The London indie rockers the Vaccines were playing some catchy hooks as PopWreckoning made our way out of the press area and over the nicely shaded Google+ Stage for husband and wife act, Tennis. The Denver couple was joined by a friend to help round out their charming sound. They played saccharine indie pop tunes and were like a fresh breeze to the hot air. Alaina Moore’s light and airy vocals were an especially nice compliment to the piano, as was the group’s neverending supply of smiles.

After the relaxing set from Tennis eased us into the festival, we finally felt ready to dance and worked our way to the Sony Stage. The Naked and Famous perform catchy synth pop tunes – think Passion Pit, but with a female and male singer as opposed to just a male singer who can sound like a female. The Naked and Famous have great chemistry on stage and sound even better live than they do on album.

With “Punching in a Dream” stuck in our heads, we parted Sony to return to the Google+ to experience Reptar, and what an experience they were. If you couldn’t guess from the Rugrats’ inspired name, Reptar is a little quirky…for example, one of the guys was wearing a blue, ankle-length leotard. Their music matches their fun personalities and with their drumming patterns, they sound a bit like Vampire Weekend. Tiny little bells added a great percussive layer too.

Then the amazingly talented Grace Potter and the Nocturnals pulled us to the BudLight Stage, where Potter’s soulful singing kept everyone transfixed. Two tigers adorned the band’s amps and as we watched the frontwoman move about the stage in a flapper-esque dress, we could help but think that she was like a tiger on the prowl with her own might roar.

The ever increasingly popular Foster the People played across the park on the Sony stage. One of the largest crowds of the day had gathered to hear the ubiquitous “Pumped Up Kicks,” among other tunes.

Synth pop/rock kept us busy through the next few acts. White Lies entertained on the Music Unlimited Stage, gleefully smiling at the audience gathered. Question: did someone lose a suitcase on the way to the festival? Three of the members were matching in all white, while the other members were not. Regardless of the peculiarity in fashion decision, the band’s music was the focus and what hooked us in. Fans of the Killers will instantly love this band’s music, whose vocals and synth patterns are of similar fashion.

Ireland’s Two Door Cinema Club also played synth pop/rock, but while White Lies was slower, more reflective musings, Two Door Cinema Club played amped up songs that got people in a dancing frenzy. The band quipped about the effect of playing in the Midwest sun with their fair Irish skin, but the heat didn’t seem to faze them. They were energetic as they passed guitar riffs and vocal lines back and forth amongst members.

Lollapalooza has its share of local Chicago acts and one of the most buzzed about ones was Black Cards, a project featuring former Fall Out Boy bassist Pete Wentz. Here, Pete steps away from the bass and back behind a DJ table. Bebe Rexha sings over the tracks he spins, while Spencer Peterson drops a beat. Some slightly stripperish dancers joined on stage, but we were more intrigued by the prowling male dancer who popped some moves than the girls that were all up on the monitors. Pete doesn’t spend very much time spinning from back behind the DJ table. Cheerleader might be a better description for what he was doing – yelling “put your hands up,” crowdsurfing and throwing toilet paper at the crowd. This was definitely an interesting set to watch, but we’re not sure we’re sold on the musical aspect of it.

Speaking of musical aspect, Tinie Tempah surprised with a much more rocking set than we thought it would be. Rap/hip hop isn’t usually our thing, but with a live drummer, bassist, etc Tinie Tempah’s set delivered a lot more musicality than we ever expected. We wish we could have stayed longer, but we had to get over to our favorite Midwest indie rocker’s set.

Bright Eyes has already been impressing on this year’s festival rounds. The Omaha alternative folk rock act performed with an enthusiasm that was absent from Bright Eyes shows of the past. This refreshed take on the songs was evident from the get-go, when the group started with “Four Winds.”Additionally, frontman Conor Oberst has grown a lot more confident over the years and this really shows in his performance.

“Jar of Hearts” has been everywhere on the radio, so even though it hasn’t appealed to us on that format, we thought it might be a good idea to check out rising star Christina Perri on the BMI Stage. Perri and her backing band ended up being a pleasant surprise – their other songs are a lot catchier and more upbeat than the single “Jar of Hearts.” We were hooked on Perri’s effervescent piano playing. Now, just maybe, we might think twice before changing the dial when “Jar of Hearts” comes on the radio.

Crystal Castles didn’t want any photographs taken of them, which actually ended up being for the better. The groups loud and eccentric electronica/rock songs meant we wanted to be free to dance around. Though it had already been a long day, everyone seemed to find a wave of new energy for this set and those that couldn’t spare the effort to dance stood transfixed on the antics of the act’s bold frontwoman.
When it came time for the headliners, Coldplay and Muse, both ends of the venue spouted fireworks. As excited as we were to see Coldplay and hear the new material they had been working on, we found it a bit hard to stay interested in their set. They sounded fine and were playing lots of the hit singles – “Yellow,” “Lost,” etc – but Muse was way too enthralling from even a mile away. Their laser show was lighting up the night sky, so we  soon moved on from Coldplay back toward their direction. On the way, we stopped at Google+ for instrumental duo Ratatat. They had a bit of a wild video and light show going on in their own little area of Grant Park and we enjoyed dancing and watching their bizarre chicken videos before finishing the walk to Muse.

Muse knows how to headline. They pulled out all the stops and performed lots of singles, spanning their entire catalogue, complete with big guitar solos and lots of wild lights. This band is easily one of the best live rock groups still performing and their live show is one not to be missed. They were the perfect ending to the first night of the festival.

Check back to PopWreckoning.com for more Lollapalooza recaps, interviews and photos…

Sunday started in the same place it would end, at the Vera stage, with a fantastic local band. As I entered the ground, I could hear Land of Pines soundchecking and immediately got excited. Land of Pines are one of the most promising bands I’ve seen lately, and their set was eagerly anticipated. They closed their set with a couple new songs that were especially enticing. These songs were noisier, and less pop orientated than older stuff and sounded excellent.

Following that set was another Main Stage act, My Goodness. They were one of two local bands playing that day I had been meaning to see for a while, but had somehow missed. This duo played bluesy rock reminiscent of The White Stripes, but with much bigger balls. They tore through their songs in a manner that ignited the crowd. It was all very exciting.

After that set I wandered around for a while enjoying the glories of Block Party, before heading to Neumo’s for the other local band I had been meaning to see, Campfire OK. http://campfireok.com/ They play a mix of folk and indie pop that is instantly intriguing. It’s a little dark, very orchestral and incredibly well played. Their new album Strange Like We Are is going to be in heavy rotation for a while. It’s kind of epic.

Headed back into the sun it was time for beloved  instrumental act Battles on the main stage. Battles were furious and noisy, with an electronic precision that the crowd responded well to. This was obviously a day to hear stuff I had ignored. The most recent Battles record Gloss Drop has been talked about quite a bit, and it was good to see why.

Over to the Vera Stage it was time for Lake. Lake sound very precious on their new album Giving and Receiving, and it was hard to gauge how they would sound live. They sound a bit like a less electronic Stereolab, if you need a reference. Luckily, they played well, and I’m convinced that I’ll be listening to their music for a long time.

Closing things out for me, were Grand Hallway, again on the Vera stage. I can’t get enough of this band, and see them every chance. They play fantastic orchestral pop that seems to get better every time I see they play. The hometown crowd was very receptive, and was definitely there for this band.

I walked away with their songs still echoing in my head, sad to see the weekend gone. I was totally exhausted, but filled with joy. I’m already anticipating Block Party next year. It’s only once a year I get to see my neighborhood taken over in such a magnificent way.

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.

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.

Déjà vu couldn’t even describe how I felt last weekend when I went to see the Builders and the Butchers at the Tractor Tavern. The last time I saw a show there I seemed to have thought the Builders and the Butchers headlining, but I was wrong. Turned out that they were opening for Murder by Death. Stupid me. But this time I made sure that Builders and the Butchers were the headliners – and I was in luck – in more ways that one.  Local folk math rockers Ravenna Woods and another local band – Yuni in Taxco opened for Builders and the Butchers on this night for the Noise for the Needy festival.

The Noise for the Needy festival is Seattle’s premier benefit festival, with proceeds this year benefiting Real Change, a “reader-supported social enterprise” for Seattle’s low-income and homeless population. For more information, visit http://www.noisefortheneedy.org/.

But back to the music. Both Yuni in Taxco and Ravenna Woods were some of the few local bands I’d never seen live, and I’d been dying to see. Yuni in Taxco didn’t disappoint with their easy, beachy pop rock, and I’ll definitely try and catch them at either Bumbershoot or the Capitol Hill Block Party this summer. Their set was full of energy, however, it was apparent that they hadn’t been playing together as long as other local bands. With such an intimate venue, eye contact goes a long way. But I’ll be keeping my eye on the horizon for them to break through in 2012.

While you’re waiting, you can download their whole album for free from their bandcamp at http://yuni.bandcamp.com/. I just did.

After Yuni in Taxco left the stage, Ravenna Woods began to set up their equipment, and I must say that it was interesting setup. The drum kit consisted of a tom-tom, a bass drunk turned on its side with an egg carton below it to buff the sound, and a tambourine duct-taped to the top of a cymbal stand. And since one of the rubber foot covers was missing from the drum stand, a duct tape wallet sat beneath one of the legs to keep them all even.

Ravenna Woods MacGyver’d the crap out of that drum kit.

But I don’t see how it could have worked any other way, because they were amazing life. On their new record Valley of the Headless Men, the dark mathy rock is complex with a punk attitude, and it’s that much better live. With just the three members of the band, you see how much sound it created from Chris Cunningham’s precise acoustic guitar, Brantley Duke’s perfect harmonies, and Matt Badger’s frantic beating of his one-of-a-kind drum kit.

I’m so in love with this band’s live show, that there’s no other way to express how great it is than to show you. I captured a quick video with my new camera of the song “Tides” here, so you can see for yourself.

At this point, I would have been happy going home, but I was here to finally see Builders and the Butchers headline a show in Seattle. After seeing them three times before, once in Portland and twice in Seattle, I knew exactly what I would be getting. But like a great movie, even after watching it several times over, you often find new things to enjoy about it, and that’s what the Builders and the Butchers do.

The band broke into a plethora of new songs off their fantastic third album Dead Reckoning, and then several older ones for the quite crowded room. I wouldn’t say it was as crowded as the Murder By Death show back in February, but that show included a lot more alcohol from what I gathered, so personal space wasn’t really on anyone’s mind at that show. This was a little bit more subdued, but by no means subdued in a larger scheme of things.

Builders and the Butchers didn’t miss a beat, not even when banjo/mandolin/guitar player Harvey Tumbleson’s mandolin went out. He just kept playing, shoving the hollow of the mandolin up to the microphone so the audience could hear.

Ten years ago, if you would have told me that I would be rocking out to a band armed with a banjo, mandolin, acoustic guitar, a bass, and two drum kits, I would have scoffed at you and gone back to listening to Good Charlotte (yes I listened to Good Charlotte, I was 12, forgive me). But seeing the Builders and the Butchers live for the fourth time made me see how amazing the indie music scene is these days, especially up here in the good ol’ Pacific Northwest. I couldn’t be more thankful that I get to do this in such an innovative time for music, and in my eyes, the Builders and the Butchers is one of the bands leading the way.

I did take some video of Builders and the Butchers, but they were so loud that the sound got blown out and you can barely hear anything. Just take my word for it – they’re an amazing band.

I was pleasantly surprised when I listened to Peter, Bjorn, and John’s sixth record, Gimme Some. I was prepared to hate it, and was mildly dreading writing this review. Instead, the record is a surprising sprint through a variety of genres all culminating into well played Swedish pop songs. Like, Jens Lekman, Frida Hyvonen, and the Shout Out Louds, this band further proves my theory that some of the best music being made today is coming out of Sweden.

Gimmie Some really does run the gamut. There are traces of baroque, mainstream rock, a couple different varieties of punk, plenty of new wave, and even a bit of good old American indie pop. It’s all a bit fascinating. I hear a variety of influences, but can’t quite place my finger on any of them. It’s all filtered together quite well.

The album begins with “Tommorow Has to Wait” which sounds like a marching band on tranquilizers.  The song starts with a fuzzy guitar line, before a single drum starts being beaten, a female harmony joins, and then the male vocal begins singing the lyrics: “I don’t think you are sorry for what you did.” It’s blissed out noise, and it’s beautiful.

Immediately after, ”Dig A Little Deeper” starts with a guitar line out of the ‘60’s. It has a surf sound reminiscent of pop songs from that decade with a more modern edge.  I adore the chorus: “all art has been contemporary/dig a little deeper” complete with plenty of “whoa ohs.”

Late in the album is “black book” which is ‘80’s hardcore softened slightly, but quite good. This album is truly all over the map. I can’t imagine it’s easy to tackle this much territory, but Peter, Bjorn, and John do so. My favorite song on the album, “Down Like Me,” starts after that. It’s a chugging thing that would’ve easily fit on The Magnetic Fields’ 69 Love Songs. It ends in incoherent guitar lines behind a temperamental new wave beat that is completely great.

If you’re into weird, challenging pop music this is your thing. I’m excited about this album, and the fact that they have five others. This is going to be with me for a while.

Track listing:
01. Tomorrow Has to Wait
02. Dig a Little Deeper
03. Second Chance
04. Eyes
05. Breaker Breaker
06. May Seem Macabre
07. (Don’t Let Them) Cool Off
08. Black Book
09. Down Like Me
10. Lies
11. I Know You Don’t Love Me

Man Man is an experimental rock band from Philadelphia. Life Fantastic is their fourth album.  They play a brand of alternative that is reminiscent of the mid-90’s. It all sounds very clever, as long as you don’t pay attention to the lyrics.

The album starts well with a keyboard and a drumbeat before a xylophone descends, and the song starts. It has a bit of a gypsy punk thing going on, and it sets the stage for the remainder of the album.

The best thing here is “Oh, La Brea”. It ends the album on a pleasant, quiet note. It’s a bit jazzy, and obviously Tom Waits influenced with its gruff vocals, and shout outs to Los Angeles streets. The song is something of a lullaby, and it wouldn’t be completely out of place on Waits’ Nitehawks at the Diner.

Another highlight is the druggy “Dark Arts.” The song is full of doom, or trying to avoid doom. It’s the sound of a man in a Mexican wrestler’s mask stampeding through a ballet.  The song is about surviving, somehow living despite the crazy shit the narrator has lived through. It’s fast paced, and a little surviving.

That song ends, and the xylophone returns. That strange instrument guides the song, as the carnival sound continues. This song, “Haute Tropique,” contains the albums best line: “I eat my peas like a good boy’s supposed to.” The singer barks the lines. It’s a fucking carnival.

The best thing about this album is the variety of instruments. What at first sounds like Smashmouth, full of inconsequential nonsense quickly turns into a game of “name the sound.” By the time the song “Shameless” hits you’re on your knees with the band, and your head is in the clouds. Your brain is full of strange sounds, and you’re begging for more.

Track List:
01. Knuckle Down
02. Piranhas Club
03. Steak Knives
04. Dark Arts
05. Haute Tropique
06. Shameless
07. Spooky Jookie
08. Eel Bros
09. Bangkok Necktie
10. Life Fantastic
11. Oh, La Brea

A road trip with all the girls to see a show; what better way to spend a Friday night? That’s precisely what I did last week and every painful cent of gas money was worth it.

We arrived at the Firebird with what couldn’t have been more perfect timing. We walked in, paid our dues, settled into the crowd, and the show began. There was a large crowd which both bands deserved: The Antlers hadn’t been through St. Louis in quite some time, and the opening band Little Scream was an enjoyable forty minutes of music, not just a time waster that a lot of openers can be. Hailing from Montreal, Canada, the trio was reminiscent of female-fronted Company of Thieves mixed with the distorted vocals of Karen O. from the Yeah Yeah Yeah’s. I was digging it. They kept the crowd entertained, and with more than just music alone. The drummer recited celebrity birthdays and deaths in between songs. Definitely a first. Maybe a little strange, but hey, it made the band memorable.

The crowd packed in tighter and I somehow found myself right up front by the time The Antlers started their set. Sweet! The heavenly choir of angels – I mean The Antlers – opened with “Parentheses” from their new album Burst Apart and it was absolutely gorgeous. There was no introduction, no “how ya doin’ St. Louis,” just music. And I couldn’t have asked for anything better. They transitioned right into Kettering from 2009 release Hospice before taking a little break for banter about mustaches. Next was a string of five new songs which all ran together into one long symphony. The entire crowd seemed to be in a trance. I had seen The Antlers once before (the previous summer at Lollapalooza) but nothing even comes close to the experience of a small, intimate setting like the one I was experiencing. It was all I could do to not close my eyes and get lost in the depths of my thoughts for the rest of the set. And they played a lengthy one too; ten songs, with an encore of three for a total of an hour and twenty minutes of ethereal melodies.

With Hospice being such a heavy and dense album, one would think that The Antlers’ live shows would be a drag. It’s really quite the opposite though, and Burst Apart, while still somewhat mellow and somber, is on the lighter side and has its jammable moments. In the words of a Metro Chicago tweet, “FYI, I’m probably gonna cry-dance at The Antlers’ show.”

Set list:

Parentheses
Kettering
No Widows
I Don’t Want Love
French Exit
Rolled Together
Every Night My Teeth Are Falling Out
Bear
Hounds
Putting The Dog To Sleep

Two
Corsicana
Wake

www.littlescream.com
www.antlersmusic.com

Alex Turner is sounding more and more like Carl Barat every year, I swear. The older he gets, the older his voice gets, with a softer, sweeter tone than when the Arctic Monkeys put out their first record, oh… five years ago.

But I’m not complaining, because I do love a good dose of the Libertines. Basically what the Arctic Monkeys sound like now is a mixture of Turner’s side project, Last Shadow Puppets, and all of Barat’s projects. Rather than the garage rock of the mid-00s that the Arctic Monkeys did so well, Suck It And See sound much more 60s, much more classic.

Which is quite ironic, because when I put this album into my iTunes, under genre it listed it as “Classic rock.” I thought, “that’s kind of perfect.”

With such a punchy, suggestive title to their new record, I expected a bit more of a bang from The Arctic Monkeys. I hoped for more attitude than what I got, but the album didn’t disappoint. The easy, sunny, hippie vibe of the album makes it perfect for summertime, and I can only imagine how fun it will be to dance to when they head on tour next month.

Starting with “She’s Thunderstorms” wasn’t the greatest idea, mainly because the whole beginning of the record isn’t nearly as strong as the latter half. At least that’s how it was for me. Several of the songs, “Black Treacle,” “Brick by Brick,” and “The Hellcat Spangled Shalala” all kind of mix together and don’t stand out that much from one another. The one thing “Hellcat” has going for it is the simple “shalalala” hook.

However, “Don’t Sit Down ‘Cause I’ve Moved Your Chair” is a spectacular track, one that I would have preferred to open the album, but it is quite heavier than the rest of the tracks on Suck It And See. “Don’t Sit Down” has a driving bassline and a loud and fast “yeah yeah yeah” hook, as well as the most attitude from Turner. And what follows is the frantic “Library Pictures,” which is most reminiscent of vintage Arctic Monkeys, with a bit of dirty Sex Pistols punk rock mixed in. It was definitely a surprise in the middle of this otherwise rather vanilla record, but a pleasant surprise.

This is where the album starts to get really good. “All My Own Stunts” is another great heavy rocker, “Reckless Serenade” is a catchy summer track, “Piledriver Waltz” is a lovely ballad, as is “Love is a Laserquest.”

The final surprise, and another one of my favourite songs on the album is “That’s Where You’re Wrong,” which relies on Turner’s painfully earnest lyrics and very New Order-esque melodies.

So while the album starts out rather flat, the build up to the splendid finale gains plenty of momentum, making “Suck It And See” an album to at least give a listen or two. I know I’ll be spinning it all summer.

Track listing:
1. “She’s Thunderstorms”
2. “Black Treacle”
3. “Brick by Brick”
4. “The Hellcat Spangled Shalalala”
5. “Don’t Sit Down ‘Cause I’ve Moved Your Chair”
6. “Library Pictures”
7. “All My Own Stunts”
8. “Reckless Serenade”
9. “Piledriver Waltz”
10. “Love Is a Laserquest”
11. “Suck It and See”
12. “That’s Where You’re Wrong”

Melissa’s Recap:

Yeasayer singer Chris Keating said he didn’t believe Kansas existed; he thought it was some magical, far away land.

But on June 2, fans gave them a welcome Dorothy would be jealous of – by packing the Granada Theater for the band’s first show in the state.

The one-man freak show known as Hush Hush opened. With his huge beard and gangly limbs, he confidently danced around the stage alone, hitting high notes over smooth R&B beats.

A few songs into his set, it was clear this was not just some weird gimmick – this guy is actually talented, and he seems to be (mostly) serious about his music (minus some incredibly vulgar lyrics that I feel uncomfortable even trying to type out – so I won’t).

And his strange (but awesome) solo act upstaged the second band, the Smith Westerns.

This five piece from Chicago just did not match the energy of Hush Hush and Yeasayer; their breathy vocals and straight-forward melodies fell a bit flat among the other acts. They seemed to sense the more somber vibe from the crowd, dedicating one of their songs to “everyone who’s giving [me] a dirty look right now.”

They may have been only partially serious, but the crowd wasn’t very responsive. Everyone seemed to be anxious and waiting for Yeasayer.

The lights faded as hip-hop blasted through the speakers and Yeasayer calmly took the stage as fans clapped and screamed in excitement. They started with “Madder Red,” one of the more melancholy songs from their latest dance-inducing record, Odd Blood.

Though it was a calmer start than expected, the lights, smoke and their album-quality live performance laid the framework for the rest of the night.

Their hour-long set included a mixture of songs from their debut album, All Hour Cymbals (2007), to Odd Blood to new songs to be featured on their next album – and from this preview, Yeasayer will keep producing incredible ambient pop that’s sure to draw in even more fans.

They also played “Tightrope,” a delay-heavy, slow-moving harmonic song from a compilation album titled Dark Was the Night, easily one of my favorites from the show.

Other highlights included the more poppy singles “O.N.E.” and “Ambling Alp” that got everyone moving wildly – and Yeasayer thanked fans for making this a fun show.

Bethany’s Recap:

“I’m always feeling Yeasayer.” That may be an inside joke with my friends, but it is also a fact of my life. Since I first saw the band all the way in Manchester, Tenn., during Bonnaroo, I’ve been enamored with their live show. I found myself driving to other cities to see them – Chicago, Omaha, and so on. Each time I’ve been dazzled by the lights, my throat left sore from singing along and my feet happily echoing my dance moves from the venue to my car.

But I had yet to see Yeasayer on my home turf. Finally, for the first time, Yeasayer would make it to my humble home of Kansas. We’re notorious for not dancing and not singing here – jaded hipsters standing around with our beers and only giving slight nods if we approve. What would happen with Yeasayer? I guess they were as uncertain about what would happen in Kansas, too. They tweeted this pleasantly surprised statement after the show:

Who knew? When the odd, yet entertaining Hush Hush took to the Granada’s stage, the crowd was small. However, they were excited and many started dancing along with Hush Hush. Hush Hush is a guy in a crazy ensemble and computer, dancing and singing around the stage. The music was a little R&B/synth pop, but honestly, it would probably be unforgettable if it wasn’t for Hush Hush’s stage presence. That guy knew how to work it. With a big beard, cut off shorts and a fancy jacket, the guy danced, jumped and ran around singing his provocative lyrics. He bantered with the audience and as I said, left us entertained, but also scratching our heads in bewilderment.

Just a few months ago, Chicago’s Smith Westerns visited neighbor city Kansas City, but this was their Lawrence debut. The band has been touring heavily behind their 2011 release Dye It Blonde. Despite all the acclaim they’ve received for the album and the buzz around their SXSW performance, the band has kept a modest attitude. Their set was significantly toned down from Hush Hush’s performance, but it was just as engaging. They’re kind of the wild card on this tour because they aren’t dance rock like their tourmates, but instead they perform garage rock. What made the band even more impressive is that they’re also significantly younger than the other bands on the bill – like x’s on the hands young. But their youth only gives them great lyrical fodder about growing up and longing. Their talent with tight writing and sensible h0oks could easily make you suspect them of being veterans of the stage for ages if you were wearing a blindfold. I can’t wait to see what this band continues to produce.

Oh, Yeasayer. I went into this show already knowing that I liked this band. I left the show knowing that I would always love this band. If you’ve never heard their music, they’re a Brooklyn band, but they have a wordly sound. The band describes their sound as “Middle Eastern-psych-snap-gospel.” It’s the type of music that is impossible not to move to – I know I found myself dancing. Three of the guys switch of vocal duties, which only adds to their unique sound enhanced by swirling synth loops and big percussion. I was thrilled to hear “Tightrope” early in the set, a song they contributed to AIDS benefit compilation Dark Was the Night. We all eagerly clapped along to pretty much every song they played and the room was explosive with dancing during “O.N.E.” The band ending out their regular set with the highly-anticipated “Ambling Alp.” After hearing all my favorite singles and plenty of tantalizing new songs (the band is heading back to the studio after this tour finishes), I could have been a happy camper if that was the tune I went home carrying still in my head, but as my friend leaned over and said, “They have to play an encore.” And my friend wasn’t just saying that because now there is an expectation that every band will play an encore, regardless. My friend said that because looking around the venue, everyone was blowing up. I had never seen such hunger for an encore. So with a reaction like that from Lawrence, yes, Yeasayer really would have to play an encore. The group came back out and obliged us with two more fantastic numbers, ending with “2080.” I imagine there were some sore feet after all that dancing.

Yeasayer Set List:
Madder Red
Tightrope
Henrietta
O.N.E.
Devil and the Deed
Mondegreen
Rome
Wait for the Summer
Grizelda
Sunrise
Ambling Alp
///
???
2080