Pitchfork Music Festival: I won't be there, but check these out for me

For the first time since the festival started in 2006 (and 2005, when it was still called the Intonation Music Festival), I have attended the Pitchfork Music Festival. This year, I will be missing it for the first time.

While this hasn't broken my heart, there were still a few bands I wanted to see. Let me know how it goes.

-Tortoise-This is a band I think would be great live...if I paid attention. These guys were at the first Pitchfork festival (then called Intonation), and while I enjoyed what I saw of their set, I stood in line for most of it, waiting for an autograph from Sebastien Grainger of Death from Above 1979.

Regardless, I have enjoyed every release of theirs, including their new one, Beacons of Ancestorship. I wish I could be there, but alas, I'll catch them some other time (Friday at 5).

-Yo La Tengo - I saw these guys at the Pygmalion Music Festival in Champaign-Urbana last fall, and it was one of the best shows I have ever seen. That band makes quite a noise for such a trio, and with their set being hand-picked by fans, it should be pretty awesome (Friday at 6:10).

-The Jesus Lizard-I think enough has been said about this band reuniting and how powerful of a live act they are. I don't think I need to go into any more detail (Friday at 7:20).

-Fucked Up-This band should be what Les Savy Fav was to the festival in 2005 and 2008 (Saturday at 2:30).

-Ponytail-This band exudes happiness. Their 2008 album Ice Cream Spiritual, while nearly wordless, is a blast of sunshine and dance-y goodness. Here's to hoping it's just as good live (Saturday at 4:30).

-Black Lips-I've heard horror stories about this band's power onstage. I would expect nothing less (Saturday at 8:30)

-Blitzen Trapper-These folkies have been on my radar since 2007's Wild Mountain Nation. I want to see them live, and see if that intimacy/craziness can translate live. They are hippies, but hopefully they can forget that onstage.

-M83-The first album of theirs I really got into was 2003's Dead Cities, Red Seas & Lost Ghosts, and then I kind of forgot about them. I saw them at 2005's Lollapalooza, but ended up falling asleep (it was hot out that day). Again, I wonder how good they really are live, especially if I paid attention. I liked last year's Saturdays = Youth, so if they have a great light show to go along with the ambient music, it should be awesome (Sunday at 6:15).

Sonic Youth: sticking to the new stuff

Note: Photos by Eric Heisig

Sorry it's been so long. Real life is getting in the way more and more these days.

I have to applaud Sonic Youth for almost always playing the most songs from their recent release in concert. That was definitely the case on Sunday at the Vic Theatre.

The band offered almost the entire album The Eternal, which was released earlier this month. The songs sounded good too, with their rougher edges and power shining through (their last album, Rather Ripped, saw the band trying more poppy music. Great stuff, but this new album is their best in a while).

The best song out of the new bunch was, without a doubt, "Anti-Orgasm." With its garage-rock riff and harmony vocals (a rarity for the band), the song was the epitome of what they can do, build tension while create beauty with weird melodies and structures. Other songs such as "Sacred Trickster" sounded just as good, proving that this time around, it's Kim Gordon's band. A lot of the new material is sung by her, and while she was front and center for most of the time, she had the most commanding presence.


When the band tried other material, they seemed less adventurous, but maybe that's because they already know the ins and outs of the songs. They opened the show with "She Is Not Alone" from their very first album, and the encores had them revisiting three songs from Daydream Nation. Sure, they all sounded great, but the best thing about this show was their willingness to try all their new material.

Sonic Youth also seems to be flourishing by playing with former Pavement bassist Mark Ibold. While their first album was released in 1981, Ibold helped create a full sound, which is a big compliment considering how big they can sound with just the guitars of Thurston Moore and Lee Ranaldo.

Opening band White/Light was a one-note band, but that's how they wanted it. Their live show consisted of a drone, with the changes coming ever-so subtly. They weren't trying to be tuneful, and while it was cool for a little while, some changes would have been nice.


There is a reason Lou Reed's Metal Machine Music didn't become a widespread hit.

Here are a couple more photos from the show:

Starlight Mints: cool lights, cool music, a great spectacle

Photos by Ned Mulka

I was wowed by the Starlight Mints, and it takes a lot for me to get wowed.

Their show at The Highdive in Champaign on Friday was awesome. It all added up: the lighting, the music, the energy (the lack of crowd didn't help, but it didn't bug me, even if it did bug the band). It was a legitimate surprise, one of the best shows I have seen this year.

I should have known something awesome was coming up from when I entered The Highdive. There was a video screen up and a projector ready to go. I knew it would be cool, but not this cool.

Starlight Mints are gearing up for the release of their latest record, Change Remians (out now digitally), and a good portion of their 45-minute set was derived from it.

In fact, the upcoming record yielded the best song of the night in "Zoomba." With a pre-recorded discordant horn section and a powerful drum beat, the band displayed their power.

Their music was joyous and upbeat but it had a weight to it. The rhythms were emphasized and made what could have been very precious music into something monstrous.

In addition, the band seems to have learned quite a bit from fellow Oklahomans and former tourmates The Flaming Lips, as their visuals were almost as good as the music. With a video screen playing various backgrounds and two LED lights in the front, the lights were almost as bright as the band's energy, but put together made for a great spectacle on such a small stage.

The band ended their set early, probably because Evangelicals went on late. Starlight Mints was determined to end on a good note though, after a botched version of "Submarine #3." They did, but it was too short for such a good show.

Opening band Evangelicals really love The Cure. That's just about everything you need to know about them, since every song sounded like The Cure (guys, if you aren't getting the message, listen to another band besides The Cure).

To be fair, the band's material had a lot more power onstage, but the weirdness and odd musical styles displayed on 2008's The Evening Descends were not shown.

When I saw them at the Pygmalion Festival last September, I walked out. Part of that was because they were boring, the other was that I wanted to see other bands. While they have improved as a live act since then, they struggle to make the interesting elements of their records a part of their live set.

That being said, I did enjoy how raw and punky some of their numbers became, especially the song "Bellawood." If only they were able to combine the punky and the intricate. Then Evangelicals would really be creating something great.

Here are some more photos from the show:

Starlight Mints


Evangelicals

Just a reminder: audio interviews from Summer Camp are up

So it came t my attention that it may be best to put up links and a reminder on where to find the audio interviews I did at Summer Camp. I posted them on the days they were done and the days they played. I interviewed This Must Be the Band on the Friday, and Backyard Tire Fire and Easy Star All-Stars on Sunday.

Sorry for the confusion, if there was any. In case you missed it, here are links to the audio:

This Must Be the Band

Why Charles Otto (lead singer/David Byrne) decided to form a Talking Heads cover band

Why the Talking Heads music is a good jumping off point for This Must Be the Band, instead of them being a straight cover band

Backyard Tire Fire

Lead singer Ed Anderson talks about the formation of the band

The band talks about recording their new, upcoming album with Steve Berlin of Los Lobos

Why do they come back to Summer Camp year after year?

Easy Star All-Stars

Goldwasser talks about the creation of Easy Star Records

Goldwasser talks about what would not work as an album to cover/create for Easy Star

Goldwasser talks about picking Sgt. Pepper's Lonely Hearts Club Band to recreate as a reggae album

Goldwasser talks about hearing back from the artists he has covered

Summer Camp: The people

Photos by Eric Heisig

I didn't just take photos of bands, you know. Here are some of the people that come every year to a three-day celebration of no showers, live music and substances that wouldn't be allowed to be ingested at any job.