Entries tagged with: Animal Collective
DOWNLOAD: The Arcade Fire - Black Mirror (MP3)
Paw Tracks is excited to present the first in a series of limited edition seven inch singles by Animal Collective's Panda Bear. There will be several limited singles total (on different labels), and each one will bring us closer and closer to the much anticipated release of the Tomboy full length.Over the weekend news broke that new music from Panda Bearand Arcade Fire would be on the way shortly. The Amazon info about Panda Bear's "Tomboy" single (b-side "Slow Motion") says that it'll be out July 13th.
Arcade Fire's 12-inch single for "Suburbs/Month of May" is due soon (possibly by June 1), as revealed by a note from the band on their website.
Both act have shows this summer (Panda Bear's are mostly abroad, Arcade Fire have some in Europe and Canada), including stops in Chicago (Panda Bear at Pitchfork Fest, Arcade Fire at Lollapalooza) but nothing in New York as of now.
Richard from Arcade Fire played with The National at BAM on Saturday (more on that in a sec). Sarah from the Arcade Fire played with the Luyas at one of their Brooklyn shows in April.
Arcade Fire's note is below...
by Benjamin Lozovsky
"For the Guggenheim's 50th Anniversary, the band Animal Collective has collaborated with artist Danny Perez on a site-specific performance piece that will transform the museum's rotunda into a kinetic, psychedelic environment. Transverse Temporal Gyrus will feature original recorded music composed specifically for the event along with video projections, costumes, and props, rendering the band members and performers into intense, visual abstractions. During the evening, guests are invited to freely explore the space in order to fully immerse themselves in the environment created by Animal Collective and Danny Perez."Chaos and abstraction found its way back to the Guggenheim Thursday (3/4) night. It had nothing to do with the recently finished Kandinsky retrospective though. Instead it was through Transverse Temporal Gyrus, an almost violently meditative sound and visual installation designed by Animal Collective and artist Danny Perez.
The event was part of the ongoing yearlong celebration commemorating the museum's 50th anniversary. While it's impossible to say what museum founder Peggy Guggenheim might think of such an experiment in spectacle, her track record of gracious support for establishment challenging mind-benders like Max Ernst, Paul Klee, René Magritte and Marc Chagall could be a telling hypothesis.
Animal Collective described their musical contribution to the collaboration as an attempt to mimic the cacophonous yet often unrecognized communication present in both the jungle and thriving urban landscapes. It turned out to be an accurate representation, even through the diluted prism of psychedelia that washed over the towering rotunda for the whole event.
Samples created and collected by the band alternately chirped and blared through the 36 speakers set up along the ascending spiral path, determined at random by a complex (at least complex-looking on a audio engineer monitored screen) computer algorithm. For three hours monastic chants, saw-tooth metallic grinding, and even snippets of recognizable melodic elements from the band's recorded work, among many other sounds, repeated and bled into each other as Geologist, Avey Tare, and Deakin (Panda Bear wasn't there) stood as stylized monstrosities surrounded by black lit, stone-like sculptures and metamorphosing crystal balls. For many attendees, it was hit or miss.
The always challenging and ever-divisive band managed to confound plenty of their fans during the event, but to be fair, a large amount had probably never witnessed a sound installation before. And even as far as sound installations go, it was at times underwhelming. It was perhaps better served as less of a revelatory art piece and more of a completely unique and relaxing way to view and experience one of the most beautiful indoor spaces in all of New York City. Watching saturated colors shifting in tones illuminate the high glass ceiling of the Guggenheim was easily hypnotic.
But as the initially strange noises became more familiar as they reoccurred throughout the night, the mood of the crowd grew more frenetic, as if to connote that more we are able to understand each other, the more confusing our world becomes.
And for Animal Collective, the installation at once seemed like a creative side-indulgence and a culmination of a career long objective: to completely remove themselves as individuals from the music they create, sitting back as prominent but ultimately irrelevant performance objects. With that sort of fulfillment of an artistic destination, Peggy Guggenheim would surely approve.
More pictures from the 2nd of two shows last night, below...
Animal Collective & Danny Perez
Transverse Temporal Gyrus, the video/music installation/performance by Animal Collective & Danny Perez happening at the Guggenheim, has sold out its 9pm showing on Thursday, March 4th. Good thing they've added an early show for the same day, to happen from 4:30-7:30pm. Tickets are on sale (thanks Christopher & CJ).
The trailer for their previous film with Danny Perez, Oddsac, which coms to NYC this week, is reposted below...
Geologist @ AMNH in January (more by Tim Griffin)
Animal Collective & Danny Perez: Transverse Temporal Gyrus...For the Guggenheim's 50th Anniversary, the band Animal Collective has collaborated with artist Danny Perez on a site-specific performance piece that will transform the museum's rotunda into a kinetic, psychedelic environment. Transverse Temporal Gyrus will feature original recorded music composed specifically for the work along with video projections, costumes, and props, rendering the band members and performers into intense, visual abstractions. During the evening, guests are invited to freely explore the space in order to fully immerse themselves in the environment created by Animal Collective and Danny Perez.The event will happen at the Guggenheim on Thursday, March 4th. Tickets go on sale to museum members Thursday, February 18th at 10am. Tickets for nonmembers go on sale Friday, February 19th at 10am.
Danny Perez is the visual artist who worked with the band on their ODDSAC film, which is coming to NYC's Visual Arts Theatre on Tuesday, March 2nd and (added second night) Wednesday, March 3rd. Tickets to the new night's 6:30pm & 8:30pm screening are on sale.
More details on the new installation and the ODDSAC trailer again are below...
"[A Grammy] definitely doesn't hold as much credence in the indie world," said Amy Phillips, news editor of online music tastemaker and news site Pitchfork.com.
Though the Grammys occasionally have bestowed their highest reward on albums that pretty much everybody agrees are great - such as OutKast's Speakerboxxx/The Love Below, in 2004, or The Miseducation of Lauryn Hill, in 1998 - the Recording Academy's choices usually don't match those of the music press.The 52nd Annual Grammy Awards air at 8PM ET/PT tonight (1/31).
(And that's as true this year as ever, despite the academy's efforts to get hipper and younger. After wins in the last two years by Herbie Hancock and the duo of Robert Plant and Alison Kruass, there's a notable absence of geezer entries in the top categories this year.)
That's because the critical consensus of what makes for good pop music in 2010 has coalesced around indie bands - all of them at least partly based in Brooklyn - such as Grizzly Bear, Dirty Projectors and, most of all, Animal Collective, which won the Village Voice's annual Pazz & Jop critics' poll, published earlier this month.
You won't find any of those bands up for any Grammy Awards. But you will find all of them on 2009's Top 10 list from Pitchfork, the online music magazine whose 1-to-10 scoring system - down to scientifically precise decimal points - is taken as gospel in the indie universe. (Animal Collective's Merriweather Post Pavilion garnered a world-beating 9.6.)
As Chuck Eddy skeptically pointed out in his essay accompanying the Pazz & Jop poll, eight of the Pitchfork Top 10 also made the P&J Top 10, suggesting that "indie-rock is suddenly better than everything put together." [Philadelphia Inquirer]
The Ting Tings, Silversun Pickups, and MGMT all appear in the Grammy's Best New Artist category. David Byrne & Brian Eno, Death Cab For Cutie, Depeche Mode, Phoenix, and Yeah Yeah Yeahs are all up for Best Alternative Music Album (the latter two also made the top 10 albums list in Pazz & Jop).
UPDATE: Phoenix won it.
"I'm sure Lady Gaga will do something amazing, and I can't wait to see that," said Pitchfork's Phillips. "That's really good, but the awards themselves don't seem to be relevant.As previously also pointed out, Beast, Neko Case (also a Pazz & Jop Top 10er), Imogen Heap, Kings of Leon and Wilco have also been nominated. If Wilco win, it won't be the first time. They talked about their last Grammy win on stage at a show. Video from that, along with other videos and the full list of nominees below...
"I think what people don't really realize is that it's all industry people voting for themselves. The fact is that it's taken so seriously, and it really shouldn't be." [Omaha World-Record]
DJ Geologist @ AMNH on January 8th (more by Tim Griffin)
Animal Collective and frequent collaborator Danny Perez created a very colorful movie that entirely lacks a plot, but is a series of musical and visual motifs to make a whole. It kick-starts with what seems to be headlights on tall grass, and that's as explicable and transparent as "ODDSAC" gets.ODDSAC, "A Visual Album by Danny Perez and Animal Collective," premiered at Sundance on Tuesday (1/26) - it plays there all week, and has scheduled screenings in NYC and Chicago this March.
It clocks in 53 minutes and boasts all-new compositions from the Brooklyn-based noise-crafters unlike anything we've heard from them before. These generally are not complete songs, but moods and, at times, predictably, purposefully grating rhythms and riffs. [Hitfix]
There will be two Tuesday, March 2nd showings (6:30pm, 8:30pm) at NY's Visual Arts Theatre (333 West 23rd St). Tickets for 6:30pm and tickets for 8:30pm are both on sale. Director Danny Perez and members of Animal Collective will be in attendence.
If Panda Bear is one of the members attending, he'll have to work it around his European tour dates, which are mainly in March with scattered other overseas days that include ATP UK on May 7th and Barcelona's Primavera Fest on May 27th.
ODDSAC trailer, screening times, and all Panda Bear tour dates are below...
photos by Tim Griffin
"Animal Collective was NOT Animal Collective last night. It was a sad dj set from Geologist playing from i-tunes from his laptop. Boo!" - Yvonne G
Animal Collective DJ in a museum tonight (1/8). New 'Brothersport' video below...
Deacon @ Ottobar - Jan 1, 2010 (chrissy abbott / bmoremusic)
Deacon, or Joshua "Deakin" Dibb of Animal Collective, played his first ever solo show on the first night of the new decade here in Baltimore, Maryland. This show was a precursor to his trip to Africa, where he was invited to play the Festival au Desert in Mali.Taper Charlie Hughes recorded the show and posted the audio on Bmoremusic where you'll also find more pictures from the event.
This was the unveiling of his solo material, and part of an amazing evening at the Ottobar that included Jason Urick, Daniel Higgs, Zomes, and Moss of Aura. Deacon played five new songs, all of which he's decided to exist unnamed for the time being. [Bmore Musically Informed]
"In case you missed out on the well-deserved media blitz that was Merriweather Post Pavillion this year, Animal Collective was a trio for their latest releases. Deakin (now spelled Deacon), the original fourth member who helped shape the majority of their catalog has been on hiatus, taking a step away.UPDATE: This show happened and was recorded.
Deacon has just announced his first ever solo show, and it will be here in Baltimore this Friday January 1, 2010. It will be at the Ottobar with the legendary Dan Higgs, innovative Jason Urick, and promising Moss of Aura (solo Future Islands project)."
[Bmore Musically Informed]
Animal Collective @ ATP NY (more by Ryan Muir)
So how the hell did Merriweather Post Pavilion-- an album closer in spirit to the sub-aquatic psychedelia of 2005's Feels and Panda Bear's 2007 solo Person Pitch than its predecessor-- wind up in the Billboard Top 20 and outsell both the Arctic Monkeys and Franz Ferdinand's most recent albums in North America? That mystery is ultimately the most wonderful thing about the album. Unlike so many indie-rock crossover artists before them, Animal Collective did not breach the mainstream by cleaning up their act, or adopting classic-rock conventions, or scoring a strategic soundtrack or iPod-commercial placement. And, above all, they did little to formalize their defining mercurial quality. [Pitchfork]Pitchfork posted their Top 50 Albums of 2009.
Animal Collective is DJing the Museum of Natural History in January.
DOWNLOAD: Fader Issue 65 (PDF)
The American Museum of Natural History rings in 2010 with One Step Beyond, presented with The Fader Magazine on Friday, January 8, 2010 from 9 PM - 1 AM, with a headline DJ set by Animal Collective and openers, the Activaire DJs. Joining will be a surprise guest, who will be announced the week of. For the first time, advance tickets are $20 until 6 PM on the day of show, and $25 at the door; both ticket prices include a free future visit to the museum, cosmic visuals by Fuevoz (with VJs SeeJ and Benton-C), and entry to the Museum's breathtaking Passport to the Universe Hayden Planetarium Show, narrated by Tom Hanks. Advance tickets are recommended and available at www.amnh.org/osb. The entrance to the event is located on Central Park West at West 79th Street.First person to guess the secret guest in the comments wins a pair of tickets when it gets revealed (make sure to fill in the NOT-visible email field in the comment form so I know how to get in touch with you).
Animal Collective guest-edited the new issue of FADER. That's the cover up there, and right above it is a download of the entire issue.
According to Pitchfork, Animal Collective wrote the best song of 2009. "My Girls" video below...
DOWNLOAD: Big Boi f. Gucci Mane, "Shine Blockas" (MP3)
In theory, she was an artist you want to root for-- all these ideas about art and celebrity and a flair for the dramatic. But the first few singles made the Lady Gaga project feel so presumptuous, her artsy entitlement overwhelming her songs' occasional strengths. "Bad Romance" was the moment where the music didn't just live up to the (self-inflated) hype, but surpassed it. The track is epic in construction-- by the time she gets to the bridge, more than three minutes in, the realization that there are hooks yet to come is thrilling. It helps that RedOne's production matches the songwriting's torrential drama; the churning, earth-shifting low-frequency synths are a programmatic reflection of the singer's unsteady, perhaps unwise, infatuation. But it's Gaga's performance, the wholly unapologetic fools-rush-in carnal energy, that commitment to emotional bravery in a context of increasingly twee chart pop, that makes "Bad Romance" feel so necessary. --David Drake [39. Lady Gaga "Bad Romance"]Pitchfork posted their Top 100 Tracks of 2009. Lady Gaga took two spots.
Neon Indian is also on there twice, which is the the same amount of times they're playing Mercury Lounge (Tuesday and Wednesday night).
The video for the 21st best song, below...
DOWNLOAD: Deerhunter - Carve Your Initials Into the Walls of the Night (mediafire)
Atlas Sound @ MHOW in October (more by Toby Tenenbaum)
It's one of two dates currently booked for the group. The other is a February 26th show in San Francisco.
Over the weekend (12/12), Bradford posted a 2005 Deerhunter CD-R, Carve Your Initials Into the Walls of the Night, as a free download on his blog. He writes: "It features only me and Moses and is very experimental in nature. This was during our "tape phase" when we would often play shows as a duo (or as a trio with colin) playing only tape machines and vocal loops." The recording is linked above. Its tracklist, more info, Bradford's favorite albums of 2009, and tour dates below...
NPR and Stereogum both posted results of listener/reader polls. At Stereogum the contest is known as the Gummy Awards (an annual event). NPR titles it, "All Songs Considered Listeners Pick The Best Music Of 2009". Both lists rank "Best Album of 2009". Both ended up with Grizzly Bear and Animal Collective in the top two spots, but AC took #1 at Stereogum while GB triumphed at NPR. Both lists below...
Trend You Wish Would Go Away
- 90s revivalism (No Age, Japandroids, Cymbals Eat Guitars)
- Afropop indie (Dirty Projectors, Fool's Gold, Abe Vigoda)
- Animal Collective acolytes (Blind Man's Colour, Our Brother the Native, USF)
- Balearic (jj, John Talabot, Windsurf/Hatchback)
- Chillwave/glo-fi (Washed Out, Neon Indian, Nite Jewel)
- Dubstep and its offshoots (wonky, funky, bassline)
- Post-Lily Allen UK pop (La Roux, Little Boots, Florence and the Machine)
- Prim, buttoned-up indie (Grizzly Bear, Andrew Bird, St. Vincent)
- Shitgaze/lo-fi aesthetics (Times New Viking, Wavves, Vivian Girls)
The December issue of Q Magazine is an 'Artists Of The Century' special edition, covering all of the acts that the fine staff of the good ship Q feel are the most important of the century so far. As befitting a special edition of the UK best selling music monthly requires a special cover was commissioned world renowned photographer John Wright has spent over a year shooting 34 artists to fit on triple fold out cover.What do you get when you throw Pitchfork's favorite albums in a blender with NME's? Q's favorite albums of 2009 are (questionable & very UK-centric and) listed below..
The issue is packed to the gills with pieces written by Russell Brand on Noel Gallagher, Glastonbury founder Michael Eavis on Coldplay and Queens Of The Stone Age frontman Josh Homme on The Arctic Monkeys. In addition it also includes exclusive interviews and photos from the likes of Amy Winehouse, Dizzee Rascal, U2, Dave Grohl, Lily Allen, Rihanna, Sir Paul McCartney, Billie Joe Armstrong of Green Day, Brandon Flowers from The Killers, Elbow's Guy Garvey, Pink, Muse's Matt Bellamy, Murdoc from Gorillaz, The Kings Of Leon, Mark Ronson, Mika, Nick Cave, Robert Plant, Florence Welch, Gary Lightbody of Snow Patrol and Tom Chaplin of Keane.
He actually published this list in August, but in case you missed it...
Pitchfork: Fall Be Kind is an EP, right?That's the cover art above. 'Summertime Clothes' video below...
Dave Portner: Yeah. It's like 28 minutes long, five songs. The title is kind of a play on "fall behind," when you move the clocks back. Everything seems to be very seasonal or weather-oriented for us this year. I wanted to keep it a little bit in line with that. It felt like Merriweather Post Pavilion was really springy or summery. We always try and push for our releases to come out at a specific time. It didn't really happen with Merriweather, unfortunately, but that's because we just really wanted to get that one out quickly. But with this one, we were hoping it would come out in the fall, so Fall Be Kind. I think digitally it's probably going to come out in the middle of November, with a pre-order kind of thing for vinyl or CD for the beginning of December.
UPDATE 2: Domino just posted this to their website (thx Philip!)...
UPDATE 3: Domino's header can be updated by anyone?!? (thx J!)...
UPDATE: "Fall Be Kind" (if it exists) is not to be confused with the just-announced Campfire Songs re-release scheduled for January 2010. The press release for that one is below....
Daft Punk's first album had helped refresh house music in the mid 1990s; the second went further, rewriting electronic pop's pleasure principles to such a degree that when it came out a lot of people thought Discovery must be a put-on. They took the joy in the record for irony. Rather, the band had simply plunged into the raw popstuff of their 70s childhoods, from AOR to disco, Buggles to Manilow, rock to robotics. They wanted their listeners to get the rush of context-free delight they had hearing music as kids, and on "Aerodynamic" and "Digital Love" they succeeded wildly, dissolving a decade-plus of dance music good taste. And not all of Discovery looked back. The middle of the album is house music as string theory, with the duo finding dimensions of pleasure coiled within the tiniest loops: "Crescendolls" releases an awesome, gleeful energy by repeatedly triggering one five-second sample.Daft Punk grabbed the #3 spot on Pitchfork's list of the Top 200 albums of the 2000s (now fully announced) (yesterday they were only up to #21). The top 20 are also listed below...
Discovery was simply the decade's best good-times record, with Daft Punk as pyramid-toting party wizards and the chipmunk Kraftwerk of "Harder Better Faster Stronger" their anthem. But this most celebratory of records has a bittersweet streak, too: Daft Punk know that a rush always carries the risk of exhaustion. Perhaps the album's most underappreciated track is the sad but gorgeous "Short Circuit", a three-minute robot graveyard of crumbled transistors and dying LEDs. But from Romanthony's first blissful, vocoded shout of "one more time!" the dominant emotion on Discovery is joy. A joy that wasn't afraid to be sentimental and funny as well as hard and futuristic, and is all the better for that. When a generation looks back and tries to catch a fuzzy hold of the music that made them happy this decade, Daft Punk's will be top of the list. --Tom Ewing [Pitchfork]
The backstory has been repeated so often with such insistence that three years later it's become a mythic tall tale: Guy breaks up band in North Carolina, decamps to the wilds of Wisconsin, makes a record originally intended to be heard by almost nobody. But what happened next is much more interesting: After Justin Vernon made 500 copies and distributed them himself, the album is picked up by indie juggernaut Jagjaguwar, gets big props from Wisconsin Senator Russ Feingold, holds up to hundreds of repeat listens, and get thousands of festivalgoers singing along solemnly to "The Wolves". Quiet and folkily ambient, For Emma, Forever Ago is an impassioned cry too compelling not to become heard. From those opening strums to the "Flume" to the closing hums of "Re: Stacks", the album communicates acute loneliness and nurses a pain that has dulled but obviously not died-- which is perhaps our own romantic view of ourselves. It's easy to get caught up in the stories surrounding this out-of-nowhere album, but the music pulls you back to the real world. --Stephen M. DeusnerThat's Pitchfork's description of the 29th best album of the decade (part of the top 200), Bon Iver's For Emma, Forever Ago. They will announce the top 20 on Friday. What will they be? In Rainbows got #21. Vampire Weekend was #51. Outkast put out the best song.
words by Black Bubblegum, photos by Ryan Muir
Steve Albini in Shellac
"We're taking a bath, but I don't care," Barry Hogan told [Sasha Frere-Jones]. We were standing in the makeshift production office for the All Tomorrow's Parties festival, at Kutsher's, a resort in the Catskills."My name is Sufjan Stevens and I am going to play all of my Seven Swans album. That should be a good early afternoon hangover sort of thing"
Kutsher's, where Muhammad Ali trained and a thousand schticks were born, was once the jewel of the Borscht Belt. The main venue at Kutsher's, the Stardust Ballroom, has a capacity of 2,800. But Hogan seemed largely unbothered that only 1,800 tickets to ATP had sold. It is 2009, after all.
Considering the bad coffee situation and the fun that I had the day before, Sufjan was spot on. Clad in tie-dye that the band had purchased at the general store at Kutsher's, the five piece were delicate, light and lilting. Sufjan's bright banjo strums and songs, like the sunny "Sister", resonated so well in the Stardust Ballroom. The Seven Swans album was an excellent choice for a wake-up set on the second day of the three day upstate NY festival (Saturday, September 12, 2009).
After Sufjan, I wandered over to catch a crew of young Aussies named Bridezilla. Though their name is a touch offputting, guitarist/vocalist Holiday Sidewinder has a sexy and breathy coo that recalled PJ Harvey and their her cocktail-dress-ed crew were a surprise and a delight.
Grouper were next, and as a fan of 2008's Dragging a Dead Deer Up a Hill, I was eager to check out Liz Harris's ambient soundscapes. Playing to a projection of an ocean at night, the stage show wasn't much visually but the tides of noise was otherworldly.
Conversely, Black Dice in the same room was a psychedelic mindfuck. Blasts of tribal noise beats nodded heads and shook them in equal measure.
As a fan of Bradford Cox, it was great to see him pull a doubleheader on Saturday, beginning with Atlas Sound. Rolling solo with guitar, harmonica, and some backing tracks, Cox was engaging both in song and with between song banter. I would regrettably end up missing Deerhunter's set a few hours later. Drowned in Sound was there though:
Bradford Cox is a picture of serenity as he swaps his shirt for a more tasteful number and leads Deerhunter into their Saturday night set. He announces that this will be their last performance for some time, causing the band to roll out the hits in quick-fast fashion. They gallop through 'Cryptograms' and 'Nothing Ever Happened', the positively herculean double guitar sound feeling unstoppable and a sense of jubilation ricocheting between the walls as people succumb to these great big shining pop songs. The closing 'Calvary Scars' is a slab of beautiful kraut-pop, with Lockett Pundt's metallic Tim Gane-esque strum leading the way, face-painted kids jerking their bodies back and forth, and Cox looking genuinely sad that this will be the last time these songs will be wrung from his fingers and throat for a while.Anti-Pop Consortium was my next venture, the first time I had ever seen the crew though I was a long time fan. On the Stardust Ballroom system, APC's distorted and creative beats sounded amazing but save for Beans energetic movement, I was less than impressed with their live show. Live hip hop is hard to pull off, and those who try should heed the great Rakim who said "to me MC means move the crowd". If you want to give them a chance, they're at Santos Party House on September 29th.
Sleepy Sun were line checking when I got back to the second stage, with vocalist Rachael Williams checking her levels in the monitor
"Check. Check. I. Hi. Me. You. All of you. Us. Getting nervous."
If they had nerves, the band channeled them into positive energy. Sleepy Sun's influences fit right in with their hometown, San Francisco, as the band dabble in a psychedelic California sound with some krautrock-y elements. I was most struck by their fantastic drummer Brian Tice as well as vocalist Williams, who ripped out a solo that had the crowd shouting and applauding. Wayne Coyne watched the band from stage left, clearly impressed.
After an elongated line check, El-P came on and with a four-piece band (Chin Chin) and hypeman (Mighty Quinn) to the sound of "Tasmanian Space Coaster". I have a soft spot for El-Producto's Blade Runner beats and post-apocalyptic rhyme styles, and it was great to see a Hip Hop artist who actually puts an emphasis on his live show. As a matter of fact, El-P put a little too much of himself out there, almost falling off the stage after pogo-ing around during "Smithereens". Careful dude... we need a follow-up to I'll Sleep When You're Dead.
I hadn't seen Akron/Family since the then more acoustic-centric band played Tonic many years ago (with Hamid Drake?) and it was refreshing to see their energy were still in place. Against a backdrop of a tie-dyed American flag, the band played a rousing and ripping set. It's good to see that the loss of Ryan Vanderhoof to a Buddhist center hasn't slowed them a bit.
Autolux had the discordant riffs, feedback squalls, and a 90s alt punk sound to hit all of the right influences (Joy Division, Sonic Youth, etc), but unfortunately didn't really distinguish themselves from their influences. Autolux isn't offensive by any means, just not compelling or distinctive, and I find it a touch disappointing that guitarist Greg Edwards was a member of Failure (a band that I dug).
Dead Meadow and their fuzzy freakout psych blues were riffing on Stage Two towards the end of the Autolux set, but by half way in, the crowd had diminished considerably due to Shallac on the main. For shame, as the trio played a ripping set!
words by Black Bubblegum, photos by Ryan Muir
Friday, September 11th - Stage 1:The floors have been waxed. The bathroom tile is dry and shiny. Couches are not draped with bodies. Kutsher's and it's distinct 1960s time capsule "charm" is still in full force, though the place seems oddly tidied. Doorways that last year lead to muddy, mold infested corridors have been nailed shut. Random holes punched into the drywall have been patched. The musty smell that permeates the building is "covered" by an equally foul carpet deodorizer. I arrived a shade past 3PM on Friday (9/11) and it was obvious the ATP crowds hadn't sunk their fangs into the Country Club yet. Everything was still nice and clean.
3.15pm-4.15pm : The Drones performing Wait Long By The River...
4.45pm-5.30pm : The Feelies performing Crazy Rhythms
6.00pm-7.00pm : Dirty Three performing Ocean Songs
7.30pm-8.30pm : Suicide performing Suicide (First LP)
9.00pm-9.45pm : Panda Bear
10.15pm-11.15pm : Iron & Wine
11.45pm-1.00am : The Jesus Lizard
Friday, September 11th - Stage 2:
9.00pm-9.30pm : Jon Glaser & Jon Benjamin
9.45pm-10.15pm : Derrick Brown & The Navy Gravy
10.30pm-11.00pm : Eugene Mirman
11.15pm-11.45pm : David Cross
As a veteran of multiple music festivals, I think that most feel very familiar... borderline generic even. ATP is an animal all its own. There is an energy that is positive, creative and palpable. Musicians wander about the grounds, checking out the bands. The sound system is killer. It's like an indie summer camp complete with a poorly functioning shower.
We arrived early enough to catch the first part of The Drones whose current tour also had them at The Bell House in Brooklyn two days earlier.
"I hope you like bronchitis, 'cause that's what all you're getting" the guitarist said while pointing toward the front row of the audience.
Bronchitis or no, the band's angular and sometimes atonal pop was immediate and fun despite anyone's poor health.
The Feelies followed with Crazy Rhythms indeed, alternating between jingle bells, timbale, shaker, maracas, hanging lead pipe as well as a satellite floor tom and snare drum. It was great to see those songs come alive. See them in Brooklyn on Sunday night.
Dirty Three was four, as Nick Cave sat in the tickle the ivories. Nick played a backseat role, no singing, none of his songs... For all intensive purposes he was John Q. Pianoplayer. Ocean Songs is a very affecting record, and their engaging post-rock-y compositions swelled and collapsed with emotion. Just don't call them emo.
"I'd like to set the record straight for Pitchfork and those guys... we did not invent emo. Blame it on some other cunts," Warren Ellis quipped between songs.
During songs, Ellis hopped around on one leg while playing his violin, sashaying to melodies and punctuating key moments with jump-kicks. Dude has ups, especially in a suit. Those in NYC have another chance to catch the band Sunday at Bowery Ballroom.
Suicide followed, and I am definitely a fan of their first LP. In the Stardust Ballroom, a ski-goggled Martin Rev banged away at his Triton producing compelling keyboard squelches and 200 BPM kick drum assaults, while Alan Vega barked lyrics from his music stand like an ornery old man. It was very loud. Fun for a while, but I couldn't watch the entire set.
Panda Bear's loopy harmonious bliss is something that I enjoyed on the Person Pitch LP, but was not looking forward to in a live setting. Nevertheless, I checked out Noah Lennox's knob-twisting live set which contained backlit projections. It's hard to pull off a one man show effectively, especially if there is limited crowd interaction. Noah's other band headlines Saturday night (tonight) of the festival.
Iron & Wine was solo acoustic, and Sam Beam engaged the crowd fully. I caught a few songs until leaving catch some of David Cross's set before The Jesus Lizard.
Kicking off with "Puss" and heading into "Gladiator" and "Seasick", The Jesus Lizard attacked the stage with their trademark screechy guitar lines and high frequency bass lines. Duane Denison, David Wm. Sims, and Mac McNeilly were tight as hell and the band roared through their classics to an extremely enthusiastic crowd all while David Yow acted like a buffoon.
Either I'm showing my age, or he his, but I used to find David Yow and his antics menacing. That's not to say he was anything less than riveting. He performed 1/3 of the show from the crowd (surfing or otherwise). When on stage, Yow mock-jerked himself off, hula-danced, slap-boxed the microphone stand, pointed at women while crotch-thrusting, and wished the audience a.... "Happy 9/11".
By the way, if you're wondering who IS responsible for emo. David Yow has the answer.
"That's Slint's fault"