popwreckoning

Check out a new track from Wild Nothing, the solo-project of Jack Tatum, called “Golden Haze.”

by Tom Jenkinson

. “Golden Haze”

The song is off the upcoming Golden Haze EP, a follow-up to Wild Nothing’s spring debut Gemini. Wild Nothing features nostalgic, lo-fi sounding synth-pop melodies with lyrical themes of regret.

Wild Nothing is also touring ths fall with Stars. Full tour dates are below.

Tour Dates:
08/28 New York, NY – Bowery Ballroom %
09/22 Rochester, NY – Water Street Music Hall *
09/23 Boston, MA – House of Blues *
09/28 Washington, DC – 9:30 Club *
09/30 Philadelphia, PA – Trocadero *
10/01 Williamsburg, VA – College of William and Mary
10/02 Atlanta, GA – Variety Playhouse *
10/03 Louisville, KY – Headliners Music Hall *
10/05 Nashville, TN – Cannery Ballroom *
10/06 Bloomington, IN – Bluebird Nightclub *
10/07 Chicago, IL – Vic Theatre *
10/08 Madison, WI – Barrymore Theatre *
10/09 Detroit, MI – Majestic Theatre *
% = w/ Blank Dogs, Cosmetics, Minks
* = w/ Stars

Weary festival goers clutched their Starbucks cups closely on the CTA. The enthusiasm for day 2 of Lollapalooza was there, but the energy was not. Friday had been hot and filled with a combination of lots of dancing and walking. The evening was packed with after shows and after parties, so passengers suavely tried to glance at the tangled wrist bands of others to see what Chicago venues they had ended up at or in some cases, were just now returning home from.

For those that thought Saturday would leave thoughts of Gaga in the dust, they were wrong. One of the first bands I saw that day paid her an early afternoon tribute. Over at the BMI Stage, I caught the pop rock act: Skybox. These guys are Chicago-based, but they also have a Kansas City (where I’m from) connection. So I already, felt a bit of a bond to these grandiose rockers. The band’s singer, Tim Ellis, quickly had the crowd in the palm of his hand as he bounced around the stage singing catchy hooks and amping the crowd up for the rest of the day. When it came time for their last number, he said they were dedicating it to Lady Gaga, and he disappeared. When Ellis re-emerged, he was wearing a sparkly bra with his striped pants. Once past the initial shock of his change, we went with it and started dancing and having fun. It was like a big party in front of the stage. Fantastic.

Wild Beasts were one of those surprise bands that I ended up loving and had just kind of stumbled into. I honestly, didn’t know a thing about these ethereal rockers, but from the sampling I saw, I’m recommending everyone check them out.

Dragonette continued the trend of the BMI stage featuring synth-heavy, up-and-coming rock bands that were great for dancing. Considering that Gaga was able to blow up after her hot mess of a set on the BMI Stage a few years ago, I wouldn’t be surprised if this tight performance launches Dragonette into even bigger stardom.

Speaking of hot messes, I was less of a fan of the poptart I saw at the Hard Rock Music Lounge: Kristine Elezaj. She wants to be the next Britney or something, but with her over the top performance for a bunch of already established music industry people was a bit much. Honestly, we don’t need to see some over produced act feeling herself up while we’re trying to enjoy lunch. Ugh. Disgusted, I hurried back to the festival for some guaranteed good music.

More from day 2 soon to follow!

Shortly after the rise in popularity of “Juno,” people in mainstream markets of the record industry stopped to take a look at music in a way they hadn’t bothered to notice prior. Suddenly, artists like Kimya Dawson of the Moldy Peaches and Daniel Johnston, who sport a less than in tune approach to fronting a band, were not only viewed as acceptable, they were embraced as trendy. Overnight, it became the “it” thing in music to care more about the message in music than the pitch in which you present it.

That movement in music couldn’t have come at a better time for Slow Club. Their tongue in cheek sentence structure supplies them with an almost unthinkable “aw factor” that can give any songwriter known for writing cute songs (Stars, Rilo Kiley, ect.) a run for their money. Hitting listeners with lines like “If you came back as the deep sea, I’d come back as the salt,” in “It Doesn’t Have To Be Beautiful” and “There are so many lessons that I never cared to learn” in “When I Go,” Slow Club’s charming wit is as addicting as the butterflies one gets in their stomach when their high school love walks into the room. They may not be true love or your future spouse, but goddamn if they don’t make your knees weak in a way that’s impossible to shake.

Yeah, So, the latest release from Slow Club, is a prime example indie labels in their prime. I have no doubt it could be released side by side with alumni of Saddle Creek or Sub Pop Records. Moshi Moshi, Slow Club’s current home has certainly snagged a sleeper in the group. Their release of this two disc set should turn heads once the word gets out of it’s unquestionable brilliance.

Listeners should be sure to snag the bonus disk, which includes “Christmas TV,” a track so strong it might be better than anything on the conventional release. Hell, to be completely honest, this song might be better than anything I’ve heard in the recent scene. Rocking a happy-go-lucky coffee shop feel and a sing-a-long structure, “Christmas TV” feels like a tune you’ve heard your whole life from spin one. With an addicting heart-warming feel to it, spin one certainly won’t be the last.

Track Listing:

1. When I Go
2. Giving Up On Love
3. I Was Unconscious, It Was A Dream
4. It Doesn’t Have To Be Beautiful
5. Because Were Dead
6. There Is No Good Way To Say I Am Leaving You
7. The Trophy Room
8. Dance ‘ Til The Morning Light
9. Come On Youth
10. Sorry About The Doom
11. Apples And Pairs
12. Our Most Brilliant Friends
13. Boys On Their Birthday

Amy Millan isn’t what you might expect from a Canadian alt-rock, indie siren with two cloistered, heart-rending albums tucked under her seemingly fragile wings. The songs off her sophomore solo album, Masters of the Burial, are hushed and harrowing impressions culled from the absence of what once was, evoking a kind of visceral desire to sing the loss, a feeling that has one easily captured. Despite the delicacy of her sound, on stage at the Mercury Lounge in New York, Millan’s performance was nothing less than an emboldened call to arms for the lone, broken, and estranged…read: a sardined bunch of thirty-somethings on a late Thursday night who actually bought albums by Stars and Broken Social Scene in an actual, like, “record store” way back when, who have been sweating sad indie rock for more than a decade, and didn’t start thinking country was cool when Jenny Lewis came along in high-waisted denim short-shorts.

Commanding the stage with her husky, earthen vox, dug-up folk-inspired live performance, and cache of consummate stage companions, who create rich, old Western- style weavings of sound with banjos, drums, and an upright bass, Millan gave one of the most honest performances I’ve seen in a very long time. This was a show without show if you know what I mean, no pretense, just truthful, honest to song, music torn from the scrapbook of her soul. Millan was humble, down to earth, and gave the vivid impression that the songs were almost seeping from the cracks in her gristly skin. Millan live is like sipping moonshine at dusk, on a good friend’s porch, catching hints of the magnolia tree around the bend…it’s just like being home.

Masters of the Burial, her latest release, is available now on Arts & Crafts records.

Amy Millan: website | myspace | Masters of the Burial review