Another live show from an artist at Bonnaroo. Despite the fact that Chan Marshall and I broke up at Pitchfork Fest last year, and most likely I'm not going to catch her at the 'roo this year, her older stuff is just so amazing that I'll use any excuse I can to post some. Even though I really hate the nu-Cat Power post-You Are Free where she only does covers and cliche sounding country songs, there is no substitute for stuff like this:
First, I think it's hilarious that NME and the AP totally got punked and reported that Led Zeppelin is headlining. Since they deleted their mistake, here it is immortalized:
The weirdest thing is that NME had announced earlier in the day that they would be announcing a "surprise headliner" at midnight, so the conspiracy theorists out there are going to believe there is a chance that they will add Led Zeppelin late after tickets go on sale (because LZ would instantly sell out the fest), to give the 'roo loyalists a easy shot at tickets first. Considering everyone denied Metallica was playing when that rumour broke earlier, it is certainly possible but doubtful.
So, Metallica. Hmmmm. I'm just going to say that i think they are being a little risky with some of their line-up choices for a rare fest with an almost completely non-violent history. It will be an interesting experiment to see how that crowd does, but I'm a bit pessimistic on that front. Although, there have only been a handful of 'roo headliners over the years that have been really awesome in my opinion, so it's not the worst thing to me (plus now i can get a nap Friday night between the day acts and the late-night acts). It's the smaller acts that I always like best anyways. Plus, Pearl Jam is really great live. Also, I'm just gonna say, Jack Johnson isn't necessarily bad, but I can think of like 100 better headliners off the top of my head, and he has to headline both Coachellas and Bonnaroo? Coooooooooooome ooooooon.
Regardless of all that junk at the top of the list, there is a lot to be excited about. Sigur Ros is probably the biggest for me since I love them and have yet to see them. The other names I'm going to be excited to see include Iron & Wine, Broken Social Scene, Mastodon (ATL represent!), !!!, The Fiery Furnaces, Jose Gonzalez, Minus The Bear, Battles, and The Sword. Things I've seen a million times that are still pretty cool to catch again: Phil Lesh, My Morning Jacket, The Allman Brothers, Death Cab For Cutie, Ben Folds, and Dark Star Orchestra. Others I'll probably check out if nothing great is going on include Kanye, Robert Plant, Willie Nelson, B.B. King, Talib Kweli, Gogol Bordello, Rilo Kiley, Tegan & Sara, Vampire Weekend, and Black Kids.
Overall, its decent but not their best line-up. I'm still going cuz I love this fest. A Mars Volta addition would really set it off though.
Speaking of The Mars Volta, Pitchfork finally reviewed The Bedlam in Goliath, and while they still gave it a terrible score, they finally back-tracked a tad bit from the absolute hate they have for this band and moved to a more "well we don't like them, but I can see why others do and they are awesome in certain ways we don't put much value in" position (I'm paraphrasing here). While I appreciate the sentiment, they still laid down some serious presumptuous elitism. Like when the 'fork makes claims that TMV championing prog-rock (or as i would put it, innovating a musical epistemology built on innovation) "couldn't be more averse to real progress in rock music", it just makes me realize how one-dimensional they are in their music taste and while they have been a huge driving force of this current music revolution going on, they are sometimes missing the point. In essence what is going on is about diversity, not about a singular idea or sound. When you value 3 LCD Soundsystem songs that are nice on the dancefloor surrounded by a ton of boringness and repetition over an album where they make every single second on it count, well, I'm just not gonna ever jump on that bandwagon.
Ok, now I am gonna get all pitchforky on you and serve up a glass of haterade. I bought the new The Selmanaires, Anna Kramer, and The Whigs albums a couple of weeks ago. I'm a cheerleader for the local acts as much as the next person, but while I think these are all fine albums in their own right and I know the rest of the Jo-Ja big dawgs are touting them endlessly, these are far from the best acts or albums that Georgia has to offer. They are all copycatting played out styles, and bringing nothing new to the table. There are sure to be plenty of people who will genuinely love these, but I like a bit of innovation, a touch of avant-garde, an artist who takes chances, I like something unique and different, and I hear none of that on these albums. The Selmanaires seem to be only one of these three that I believe have real potential to be something special, but I always find myself thinking about 25% of what they do is amazing, and the other 75% is totally uninteresting. I understand that they are like a library of styles and that they are making very deep musical references, but they don't bring a new perspective to their reference points except sometimes they water them down. They sound like a history book to me. I think they just lay too safe sometimes, and if they really went for it they could be great. Again, The Air Salesman is not a bad album, but if I were to compare it to other ATL albums I consider great, like, I don't know, an Untied States album (or the new Slushco EP that is getting absolutely no press except here), I don't think it stands up.
Ok, enough digression, here's some news:
Iron & Wine and Califonewill be at the Variety Playhouse on April 14th.
Austin City Limits Fest, slated for September 26th-28th, already has tickets on sale way before they announce a line-up. Lookout Ticketmaster, the groundsquirrel is coming to get you:
We arrived just in time for Califone, who was running a little late. They played 4 or 5 songs and they were pretty good. They had a horn section with them which was cool, but it seemed a little underwhelming. We went in close for Grizzly Bear and listened to Voxtrot from afar. I have to say that I don't really like Voxtrot that much, I think they are over-hyped by the internets. Grizzly Bear, on the other hand, lives up to all the hype. Despite Chris Taylor having some issues with his ridiculously complex equipment setup, they put on the day's best show. If you have not listened to Yellow House yet, do it now fool! I tried to catch the end of Beach House but only caught the last 30 seconds of "Master Of None". By far this was the worst schedule conflict of the fest, especially for the bands themselves as Grizzly Bear and Beach House are both fans of each other. Next up we went to see Battles. They were very impressive. The former Helmet drummer John Stanier was rock solid and had a cymbal up really high so he had to reach up to hit it. It was gimmicky but really cool. The rest of the band used lots of looping computer programs to put together their songs piece by piece.
We skipped Iron And Wine to check out the festival grounds, which were expanded from Friday's setup. They had a huge poster shopping area with almost 50 tents each selling handbills. After that we checked out Atlanta's Mastodon. Their typical badass performance had a mixed reception from the pitchfork kids. Most of the people farther away were complaining and those that stayed up close were rocking out. There was even a mosh pit. Because it was so crazy up front for Mastodon, I was able to get front row and center for Cat Power afterwards on the stage as most of the other Chan Marshall fans weren't so much into the Mastodon scene. It pays to like all kinds of music. I listened to Clipse from the front of the other stage and they were what I expected, decent for a live hip-hop show but nothing to get excited about. Cat Power came on with the Dirty Delta Blues Band. In this performance, Cat Power would not touch a guitar or piano. Instead, she would be leaning over the crowd singing songs from The Greatest, covers, and songs I didn't recognize. I am not a big fan of the nu-Cat Power that is sober, doesn't freakout, and does country/blues music and this was farther in that direction than the three times I saw her last year. It was still great to see her, especially as close as we were, but i don't think I'm going to see her again live until she either starts playing old stuff again or does some new stuff that is not so conservative and, well, ordinary. We wanted to check out Girl Talk but the tiny staging area was packed out beyond belief and the sound system over there was not powerful enough to hear farther back. If I had one complaint about Pitchfork Fest so far it was the sound system problems, of which there were many, and the sound checks drowning out quiet parts of bands performing on the adjacent stages. We skipped Yoko Ono and went into the city to drink into oblivion. Here's some pics from the day:
In case you haven't noticed, our blogging has been a little brisk lately as we are enjoying the summer. But don't dismay as we have a bunch of cool stuff cooking in the lab for you.
We'll start today off by getting krunk with Kanye West:
We start today with a video of The Smashing Pumpkins comeback show:
I never covered the Pitchfork Fest additions of Mastodon, Junior Boys, Voxtrot, Cadence Weapon, Brightblack Morning Light, The Field, Cool Kids, and William Parker Quartet. Now with the combination of a night with legendary artists performing some of the best albums ever written and two days of the people making the very best albums of the last 2 years, I think musically this is by far the best festival of the year. On top of that, it is only 50 bucks for three days so it is also the greatest bargain of the year. I often have my quips with Pitchfork's opinions but they sure nailed this line-up. Here it is in case you forgot:
Yoko Ono Cat Power and Dirty Delta Blues (w/ members of Dirty Three, the Delta 72, and Blues Explosion) Clipse Mastodon Iron and Wine Battles Grizzly Bear Voxtrot Califone The Twilight Sad Girl Talk Dan Deacon Oxford Collapse Professor Murder Fujiya & Miyagi Beach House William Parker Quartet Ken Vandermark's Powerhouse Sound
Sunday, July 15:
De La Soul The New Pornographers Of Montreal Stephen Malkmus Jamie Lidell The Sea and Cake Junior Boys Menomena The Ponys Deerhunter Klaxons The Field Cadence Weapon The Cool Kids Craig Taborn's Junk Magic Nomo Brightblack Morning Light Fred Lonberg-Holm's Lightbox Orchestra
Anybody you don't recognize on that list, you should look into immediately. More info on Pitchfork Fest here. We will be there and you should too.
While we await some of the details from Whitperson's trip down to Florida for Langerado 2007, we're awarded with some details about another festival that the Chicago locals go crazy for -- Pitchfork.
Some details were posted yesterday, although yet to be made fully official by Pitchfork themselves...
Cat Power 05 March 1996 Mercury Theater, Knoxville, TN
What Would The Community Think Enough ? Good Clean Fun Fate Of The Human Carbine ? Bathysphere
Lineage: Aud Camcorder > VHS(?) > DVD (?) > DVD Shrink > My HD > You
Audio Codec: AC3 Audio Bitrate: 256 kb/s Video Bitrate: 9054 kbps, 29.970 Frms Video System: NTSC Aspect Ratio: 4:3
Comment: To me this looks like it could be from the master but don't know for sure. It's a solo set, well shot close up with a clear view & the picture and sound is very good.
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