The Pitchfork Music Festival, Rating: 8.6

Friday Night—Part of the “Don’t Look Back” thing, which I don’t know anything other than someone in Old Britain somehow convinces creepy old dudes to play their best or seminal (ie, not their best) album in its entirety live. One watches with grotesque curiosity at degenerating bodies flubbing their own lyrics. It was a pleasant warm cloudy day.

  • Mission of Burma (Rating: 7.1) My exposure to Mission of Burma far exceeds my appreciation of them. I have 3 albums and have seen them twice and I don’t get their celebrated status. Probably having something to do with when—not what—they played. That said, this wasn’t too bad since they were restricted to playing their best album in its entirety. But that “roman empire” song stinks, even in context.
  • Sebadoh (Rating: 6.5) I don’t remember Bubble and Scrape and I don’t think I would have liked it that much if I had. My experience of Lou Barlow begins with the beautifully sadsap Bakesale, and seeing this album in its live entirety kind of wants me to keep it that way. Lou delegated too many responsibilities back then it seemed.
  • Public Enemy (Rating: 7.0) Everyone but me seemed to be swooning with anticipation. Britt Daniel even came out and stood next to me (I asked him to not suck). Never got into these guys and I lack the capacity to fake enthusiasm. Their songs seemed to die when Flavor Flav did that “Yeah Boy” thing and Chuck D seemed to be stuck in one militant mood. Still, Flav’s television stuff and notorious undependability brought some celebrity and tension to the night. Was Flavor going to flake? But for missing the first song, he put in a solid show. Whatever people like of these guys, they liked this. Pitchfork Priceless Moment 1: As the crowd boos Flav for hawking his next reality television show (it’s on Wednesday nights!), he responds “Why you booing? You a bunch of ghosts? Don’t boo me, you fake ghosts!” Zing and zung.

Saturday—It poured all morning and was not letting up. It was far far from the nightmare that was Woodstock ’98. Still, the sogginess would persist for the rest of the festival. And then arose the dancing mud people. Oh, dancing mud people, what do you do when you’re not doing your filthy jive? Do you have jobs? Do you celebrate Thanksgiving with family? Do you even read blogs?

  • Boban I Marko Markovic Orkestar (Rating: 8.5) Late start because of rain, but still kind of a nice way to begin the festival proper. Nothing of the raucous show they put on a few days before in Millennium Park. Yet, the unpretentious galvanizing gypsy horn tunes served as a nice palate cleanser. It’s like they were wiping the slate clean for us, but we still end up chalking the same shit.
  • Titus Andronicus (Rating: 7.9) I do like them. And I think they did well in the rain. It’s still early Bright Eyes to my ears, but I don’t prize originality that highly. I like the combination of modern overeducated-underexperienced disaffected white boy angst with unhinged 50’s garage rock type pop. Reminds me of my dad. They didn’t need to be on such a big stage, though.
  • Jay Reatard (Rating: 6.4 by day; 9.1 by night) I’m a big fan of 2 minute songs. Get in and get out. And Jay is a master. No banter. Names the song title and boom he’s going. But it doesn’t work too well in the big outdoor setting. Way better for a musky windowless black room (where I would see them later that night).
  • Caribou (Rating: 7.6): Much more rocking than expected from the ethereal Andorra album, but not that much more interesting. Stayed for a few and scooted.
  • Icy Demons (Rating: 7.9): Way more interesting. And not so tricked out in weirdness, but definitely looking for new territory. Didn’t close the deal for me, but I’m not walking away yet, either.
  • Fleet Foxes (Rating: 9.1): I’m pulling for the Foxes to not be destroyed by their ridiculous press. They make pretty sounds, but they need better songs. But I think they’re all only 12 and I need to work through some jealousy. Nonetheless, they do a great job of translating their 70’s country folk sound live.
  • Fuck Buttons (Rating: 3.2): Knob rawk, don’t waste my time.
  • Dizzee Rascal (Rating: 5.1): Oh Rahzkooh, why do you hate us?
  • The Ruby Suns (Rating: 9.1): Their show minted at least one new fan. The breezy disjointed Carribean grooving were an unexpected treat as the sun came out.
  • Vampire Weekend (Rating: n/a): Didn’t see them. Just wanted to say again that I think they’re the Jar Jar Binks of Indie Rock. That’s copyrighted, btw.
  • Elf Power (Rating: 5.0) They’re like the Platonic Ideal for 90’s indie rock. If we ever do one of those satellites we fill up with crap to launch into space for aliens to find and then use to conquer us (wa-wah), we could do worse by throwing in an Elf Power CD. Completely what you (or I) would expect. Stayed for 2 songs. The aliens will have our number, for sure.
  • !!! (Rating: 6.2) I probably needed to be closer to appreciate this show. I had my !!! experience 2 years ago and was content to keep it distant. And it’s hard to get into dance-punk with a backpack. The kids seemed to like it, so good for them.
  • The Hold Steady (Rating: 9.2) I spent the first 3 songs trying to will myself not to like these guys. And I can’t do it. It’s almost un-American. Fist-pumping sing-along anthems about the self-destructive brats. They have embraced they’re place in pop and made it they’re own. I’ve heard Craig Finn say 3 separate times that there’s so much joy in what they do, I almost believe it.
  • Jarvis Cocker (Rating: 9.6): Holy mole, this guy puts on a show. I have a solo album and liked it alright. I liked Pulp, but then my exposure was only through albums there, too. The performance is a revelation. How can I become Jarvis?
  • No Age (Rating: 8.7): Wanted to see more, but was delayed by being unexpectedly impressed by and unhealthfully wanting to be Jarvis. Then they were having problems and I’m like the wind. I got to hear “Teen Creeps,” the Pitchfork 08 anthem I think.
  • Animal Collective (Rating: 9.2): Knob rawk, but on a much higher level. I was expecting something much more sloppier, befitting an Umphry’s McGee (or whatever) opener. These guys were tight. And efficient. They came to work. I wasn’t putting up with much by then. I just might learn not to regret buying “Strawberry Jam.

Sunday—It was a scorcher. Applied sunscreen 4 times to my sweat-slick forehead and I’ll still burn. But it was cost effective. Made 4 beers feel like 8.

  • Times New Viking (Rating: 7.3) I was expecting both much worse and much better. Their ridiculously low-fi ecstatic recordings portended either a brilliant live show or just sloppiness. Nonetheless, the short set of minimalist bursts of atonal poppy screaming didn’t offend or inspire.
  • The Dirty Projectors (Rating: 8.1) Maybe I’m just overly impressed that they can play Dirty Projectors’ songs. So oddball and overly constructed. But they sounded like the recordings. No fist pumping sing-alongs, though. And did they need to be on the big stage? Stay in the library, you nerds. I change my mind. 4.3.
  • Boris (9.1 for content; 4.3 for length) Japanese lady shreds. Drummer wears white gloves and plays a gong. But the token metal group only goes for 25 minutes? They flew from Japan for just 25 minutes of stage time. What kind of carbon footprint did that leave? Drummer says something about “electrical problem” but I can’t understand him.
  • Apples In Stereo (Rating: 8.5) Exactly what I expected. More nerd pop. At least these nerds were trying to be likeable. They were the eager-to-please waterboys to the indie jock squad.
  • King Khan and His Shrines (Rating: 10.0) I pretty much hate anyone who has not seen King Khan live. That casts pretty big net, I know and sorry. But by missing the rarely US-touring Canadian-Indian paunchy naked-but-for-lavender-hotpants-and-a-gold-beaded-head-dress Memphis-style soul-punk KING, it probably says something about them missing something rare and essential to life that I just can’t abide. Pitchfork Priceless Moment 2: I score a press pass gaining me front stage access. While the KING unnecessarily pantomimes lyrics from their transgendered anthem “I Want To Be A Girl,” my head ends up about a foot from where he has unsecurely tucked his manhood, exposed for all to see. Some see too much.
  • The Dodos (Rating 8.2) They probably need a smaller stage and to not come after King Khan, still the 3 guys do pretty well for the little instrumentation they bring.
  • M. Ward (Rating: Whatever) I’ve seen this guy so many times. And he doesn’t need anymore press.
  • Les Savvy Fav (Rating: 7.80 They’re alright I guess, but I’ve seen too many unappealing naked bodies today to be shocked by this guy’s antics. But still, they do an old school Superchunk cover. 
  • Spiritualized (Rating: 6.9) I really like Songs in A&E. But this seemed kind of boring here. But maybe I’m still coming off my Khan high. Too bad. He had some soulful backup singers that ended up doing too much of the lifting. Saw 3 songs and moved along.
  • Bon Iver (Rating: 9.3 for the originals; 1.2 for the Talk Talk cover) There were some really nice moments here. The crowd participation was well managed and made the experience almost cozy in the overflowing crowd. Pitchfork Priceless Moment 3: Bon Iver makes a very wrongheaded detour with an overlong cover a forgettable Talk Talk mess. The confused crowd politely applauds and yet someone shouts “More Talk Talk!”
  • Dinosaur Jr (Rating: 7.9) Holy guacamole, J Mascis is old. He now reminds me of this creepy dude who used to clean the pool at our YMCA when I was a kid. Or a short pudgy Gandolf the Grey. And say what you will of his reunion with Lou Barlow, I’m not too sure they deserved the prize spot they get in the schedule. But it was sweet that people still seem to like them. For me, that ship has sailed.
  • Spoon (Rating: 9.0) They did their job as headliners. Nothing too mindblowing, though. Speaking of jobs, I have one to wake up to tomorrow in 5 hours. I’m no dancing mud person.
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Jerry Grit’s Year in Albums #3: April-July (Part 1)

Holy guacamole, it’s been a long time since I’ve done this. And the longer I delay, the worse it becomes. My music consumption has not dissipated one bit. I’ve accumulated at least 50 albums since the last entry. But I refuse to give up. If I finish this list, I’ll be halfway through the freaking year. Here goes, nose a la grindstone.

  • Bonnie “Prince” Billy – Lay Down in the Light  Someone’s been on a roll lately. It’s a shambling and shimmering sound. Perfect summer album for this guy. Beardy continues the very nice formula of dueting with a quirky indie female vocalist (Faun Fables lady on “Let Me Go” and Meg Baird on “Ask Forgiveness”). But this time it’s my personal fav Amber Webber (of Black Mountain and the canonical Lightening Dust) with a set of pleasant–even cheerful–songs.  And did I hear a jazzy clarinet? The public fellatio tune aside, of course. 
  • Bonnie “Prince” Billy – Ask Forgiveness  I’m a sucker for cover albums, and still for Will Oldham albums, so this one had me on the Tuesday it came out. Meg Baird of the great freaky-deaky Espers and her own efforts (who I think I would really like) joins Beardy this time. So this should be much more awesome than it is. I don’t think Bill is good at covers. That Tortoise cover album was terrible. This one’s not as bad, but you can hear it’s lost potential more clearly. It seems like Meg’s parts were kind of tacked on. She doesn’t even get to do the duet on the lamey version of the best Bjork song ever. Instead, Bill sings both the Bjork and Thom York parts on “I’ve Seen It All”. What does that make the song about? And btw, that song title is an appropriate response to the R. Kelly cover. Did you know he played a cop in one of those gross “In the Closet” episodes?  
  • Cloud Cult – Feel Good Ghosts (Tea-Partying Through Tornadoes)  Another ecstatic ensemble celebrating life as it is, I think. Still, it’s pretty great. They live in a commune.
  • Crystal Castles – Crystal Castles  “Crimewave” to me represents the best of electronica or whatever this genre is. Repetitive, incomprehensible, and vaguely robo-erotic. I’m down, but this makes feel old.
  • Crystal Stilts – Crystal Stilts  This one hits me just right. Nothing groundbreaking. Sounds like I should have been listening to this with my The Clean album.
  • Cut Copy – In Ghost Colours  I don’t think I would have got this if they weren’t going to be at the Pitchfork Festival. It’s kind of cheesy. But it’s playing on that newly discovered love of 80s synth pop exploited better by Glass Candy in March. I never liked New Order or any of that in their heyday, but now I’m digging the imitators. Maybe they’re better dressed.
  • Darondo – Let My People Go  I think Darondo is/was actually a pimp, I’m told. So was Al Green, of which he sounds like a cracked-out version. And I’m no hebrew scholar or nothing, but Moses kind of seemed like a pimp. So it makes sense.
  • Extra Golden – Hera Ma Nona  I swear to you on my life that I only long for Extra Golden to punk the hell out of Vampire Weekend at this year’s Pitchfork Festival. I don’t care how they do it. Maybe by washing the Vampire cardigans in hot water. Or midway through Weekend’s set of the most offensive appropriation of a heritage (they’re the hipster Jar Jar Binks), they could like throw blood on their loafers. Or they could just completely blow them out of the water with their sound so superior to the VDub’s Gap Ad-version. And they do the “Obama” song.
  • No Age – Nouns  Somewhere along the way, I got it in my head that these guys were a garage band. Maybe it was the picture of  garage (or is it a storefront?) on their album cover. Whatever. My expectations were defied and I refused to listen further. But they kept creeping back in my zune shuffle (oh wise Shuffle) and forced a reconsideration.  This one is better from the pretty good “Weirdo Rippers.” And their’s something to be said about the packaging (I actually bought the CD old school), which is pretty worthwhile. “Teen Creeps” is my summer anthem.
  • Jay Reatard – Blood Visions  I love it. 2 years old, but still kicks ass. Like my son*. Appropriately on the same label as the morekickassing Reigning Sound. That should be enough. Cover’s a little gross, though. 

To be continued…

*Artistic license…I really want to use this simile, but I don’t have any children, nor do I know any two-year-olds that can kick ass with any particular skill. I assume mine would, though.