Posts Tagged ‘green day’

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Chicago Music Festival Report

April 14, 2010

In 2008, I went to a single day of the Pitchfork Music Festival and all three days of Lollapalooza. In 2009, I did the opposite and went to all three days of Pitchfork and a single day of Lollapalooza. This Summer I’m happy to say I’ll be able to do all three days of both. I have my lovely grandmother who bought me Lollapalooza tickets a a surprise.

A dramatic reenactment of our phone conversation:

“Grandma! Those tickets must have been awfully expensive!”

“Oh, don’t worry, I’ve been saving up quarters.”

Anyway, I thought I’d give my two cents on both festivals’ lineups.

Lollapalooza has ace headliners this year, and they’ve got the goods to call on legions of rock ‘n roll fans throughout the country.

The more mainstream leaning headliners are very strong. Soundgarden is this year’s alt-rock headliner, and the festival’s older devotees and 90’s rock fans will jump to see one of the band’s first reunion shows. Green Day, though they have lost some indie fans since their glory days, have more than enough star power to fill a stadium, and they will probably change the face of the crowd this year. But the real game changer this year, on a brilliant booking move by Perry Ferrell is the pop juggernaut Lady Gaga, who will sell thousands upon thousands of tickets for Lollapalooza. She’ll attract pop fans, preteens and hipsters alike. It stands that not many, if any other festivals have the means or the balls to pull this kind of headliner.

The indie rockers will be drinking tears of joy this year based on the presence of The Arcade Fire alone, who are due for a tour and a new album. They have been out of the live circuit for a while, but they are more than strong enough of a band to make the headliner slot. The Strokes are also a dazzling attraction. Like the Arcade Fire, they’ve also been out of commission for a long time and they’ll enjoy widespread excitement and ticket sales in response to their headlining spot. But the year’s left field headliner is Phoenix, who due in large part to their 2009 album “Wolfgang Amadeus Phoenix” have skyrocketed to the top of the indie food chain, and this slot will be great for Lollapalooza as well as Phoenix, who will consequently get a huge crowd and massive cred regardless of who they go up against in the lineup.

There’s more than enough other shit to keep just about everyone shelling out cash for at least a one day ticket:  Jimmy Cliff and Devo for the older crowd, Slightly Stoopid for the hippies, The Black Keys for the blues fans, AFI for the emos (they’re still around?), Erykah Badu for R&B and funk fans, and Social Distortion and Gogol Bordello for the punks. Perhaps more importantly, there is a large selection of big indie names on the lineup: The New Pornographers, Spoon, The National, Hot Chip, The Dirty Projectors, Yeasayer, The xx, Stars, Matt & Kim and, my favorite, The Walkmen.

Lollapalooza may have a lot of great acts, but Chicago’s biggest indie festival The Pitchfork Music Festival is comparable if not greater in terms of amount of sheer talent.

As with previous years, there is a whole slew of artists at the Pitchfork Festival that you won’t be able to see in too many other places this summer. From the start, Pavement was the festival’s big seller, probably being the major reason that three day passes sold out within the week they were available. The band have reunited for a tour in support of their compilation album “Quarantine the Past,” and we all couldn’t be happier to have the chance to see them live. The other two headliners, Modest Mouse and LCD Soundsystem, are also sought after bookings this Summer, and they sealed the deal.

But there is much more to rabble about beyond the headliners. Wolf Parade, Liars, Broken Social Scene and St. Vincent are also strong sellers. Other stuff you’ll hear me making noise about: Sleigh Bells, Alla, Kurt Vile and The Tallest Man on Earth.

The festival’s hip hop lineup this year is as strong as it has ever been, featuring the likes of Raekwon, Big Boi and El-P. You’ll see me in the crowd for all three.

There are some other very special acts that you probably won’t be able to see in many other places this Summer, particularly Robyn, Panda Bear, Dam-Funk, Major Lazer, and Lightning Bolt.

In terms of the past year’s up and coming Beach Pop scene, Pitchfork has nearly half of the major bands covered: Beach House, Delorean, Real Estate, jj, Girls, Neon Indian, Surfer Blood, Best Coast and Washed Out will all make appearances, plus the likes of Local Natives, Free Energy, and The Smith Westerns, who are though not exactly beach pop are closely related in style and popularity.

Lollapalooza will always have the capacity to bring together acts that will sell hundreds of thousands of tickets, and still have a strong selection of indie bands on tap. Though smaller and more geared towards a specific crowd, The Pitchfork Festival’s lineup this year has finally matched Lollapalooza’s in terms of sheer talent and diversity. We’ve got two great major music festivals lined up for the Summer, and I’m excited for both.

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Ten Reviews

March 1, 2007

So I found this thing called rateyourmusic.com.

Anyone who knows me knows I have issues even keeping my own tastes and opinions straight, and I feel like having a profile like this helps put everything into perspective for me and keep my thoughts organized. It’s a good system for showing what I have, what I want, and what I really like as well. I have copy/pasted all the reviews from here over to there by now. But I have done a few quickie reviews on RYM as well. Not big, full album reviews, but smaller, quick, concise ones. And I feel like that’s working a bit better for me. Whenever I ask for criticism on my reviews, they are almost always that they are too long and not concise enough. So I think for a time I might see if I can write a lot shorter reviews and see how it works out. It’s not like full album reviews will just be out of the question though, I already have some more of those on the way. But I want to post some of the quickie ones I’ve got done on RYM. Enjoy.

Beck – One Foot In The Grave

Beck’s One Foot In The Grave is a quaint release in every way; it wasn’t a major album release, only two out of it’s sixteen songs meander into the three minute range, and most all of the tracks are acoustic folk recordings. Beck’s odd personality still gets into the mix with songs like Forcefield and Cyanide Breath Mint, but this is probably his most subdued album next to Sea Change. Quantity is clearly valued over quality here, but in any case almost all of the songs are real treats. The first five tracks are among Beck’s absolute best and He’s a Mighty Good Leader makes for a great opening cover, and Hollow Log is nothing if not simple and touching. A must have for Beck fans, this album is a real treat and a taste of Beck’s more stripped down early style.

Crossfade – Crossfade

I have no idea why I like this. Crossfade is a guilty pleasure record for me for sure, following in the wake of Linkin Park and other mediocre nu-metal. And let’s be honest here, it is mediocre nu-metal. Very few albums jump between good and bad as much as this. The opening Starless represents just about everything this album does wrong with a boring riff and cliched lyrics of pain and hate. Cold is interestingly enough an apology song and doesn’t wallow in it’s own problems. In any case, the lyrics almost always fail. It reaches some pretty good vibes though, which is weird, because a band of this stature really shouldn’t. It’s a contemplative listen, but the guitars don’t have enough strength. For as bad as Death Trend Setta is (if the name didn’t tip you off anyway), there are other songs that are actually good, specifically So Far Away and Disco, both of which have decent riffs and good choruses. The albums only true win though is The Unknown, the closing. It’s a simple elegant end to an otherwise overly complicated and boring album, and it emenates some great vibes and has an irresistable hook. I hate to see it, but I like this. It fails about as much as it suceeds, so I guess it’s not that accomplished, but it’s high points are actually good. For sleazy whining metal anyway.

Gorillaz – G-Sides

Gorillaz debuted with a killer album of chilled hip-hop and rock, and the album rocketed Damon Albarn to heights rivaling his fame as frontman of Blur. The album had several singles and some very good b-sides, and G-Sides is the best way to get those b-sides. But really, the disk only contains five b-sides that can’t be heard elsewhere. You might not have the Soulchild Remix of 19-2000 depending on your edition of Gorillaz, and it is far superior to the original version and well worth having, but besides the b-sides the disk only has sub-par remixes up for grabs. The version of Latin Simone found here has English vocals, and the Spanish ones were much better anyway. The rest of the remixes are really bad, nothing worth having. But the five b-sides are great gems. The true winners are Faust (chillout synths galore), Ghost Train (almost gospel hip-hop goodness) and 12D3 (a low key guitar strum with accompanying soft vocals). Probably unnecessary, but worth picking up if you liked Gorillaz.

Green Day – American Idiot

It’s unfortunate that I have gotten to the point where I cringe at the name ‘American Idiot.’ This is a very good pop album and that is just that, but it was overblown to ridiculous proportions. I’m not sure that I have heard any single album overplayed as much as this on the radiowaves, and for that reason the album is almost a task to listen to all the way through. But if it’s any condolences, this is about as good as the bands most popular effort Dookie, in it’s own way. Green Day hasn’t changed much by 2004, and they still know how to mix pop with punk pretty effortlessly. They have, however, gained a political edge. I had the pleasure of seeing the band play live on the tour, and they were very good. The crowd was annoying as all getout, but that aside the band still knows how to put on a show. And by this time they still know how to make a catchy tune. The title track and Holiday are probably the two best songs on the album, not to outrule the two great rock symphonies Jesus of Suburbia and Homecoming that are just too freaking long for the radio, but they were by no means the only tunes that got radioplay. Boulevard of Broken Dreams was a radio juggernaut and Wake Me Up When September ends got a music video what felt like years after this came out. It trips in a few places, specifically Are We The Waiting and Extraordinary Girl, but it is still classic Green Day. It just annoys the shit out of me. The radio killed it. Does that matter? Eh, not really.

Screamin’ Jay Hawkins – Cow Fingers and Mosquitoe Pie

Screamin’ Jay Hawkins is, without a doubt, the most ridiculous blues artist you will ever have the pleasure of listening to. His popularity lives on even after his death and this disk outlines his career very well. Let’s be honest here, the man is freaking crazy. But fortunately, this craziness translates through his music perfectly. His biggest claim to fame is his, well, incessant screaming, and he does it all the time. Be it through the ridiculous blathering of Little Demon or You Made Me Love You, the mindbending irony of Darling, Please Forgive Me (the man did have well over sixty illegitimate children), or the racist bombshells I Love Paris and Hong Kong, every minute of this is pure gold. This compilation would have been worth it’s price if only just for the fantastic and influential I Put A Spell On You and the hilarious cover of Temptation, but you get your full money’s worth on this album. The only problem is the lack of Constipation Blues, a Screamin’ Jay classic that you can probably hear in your mind already. There are even some alternate takes to put the icing on the cake. Don’t hesitate; pick this up now. You need it.

Nirvana – Sliver: The Best of the Box

I can’t bear to give this a bad rating, mostly because most all of these songs are very good Nirvana rarities, but I won’t deny that the collection is kind of pointless. Anyone who would have been interested in these rarities in the first place probably wouldn’t have been adverse to just shelling out the money for the box set With The Lights Out. Even if they did put their trust in this alone, there are many selections from the box set that were left out and truly deserved a spot, such as D7, They Hung Him On A Cross, If You Must, and Verse Chorus Verse. There are three previously unreleased tracks that might make this worth it to fans like me, and they are the Spank Thru take from the Fecal Matter demo, a boombox version of Come As You Are, and another version of Sappy. I can’t complain too much because these are all great tracks, but it’s a poorly constructed and unnecessary compilation that was probably a ploy to get the casual fans money, and it most likely didn’t work very well. That’s alright though; it’s another one for the collection.

Santana – Shaman

Why I gave this the lowest rating possible is irrelevant, as everything at 2.0 and under is a blur anyway. Either it’s bad or it’s not at that point, and this is bad. REALLY BAD. Santana is one of my favorite guitarists ever, and the preceeding Supernatural was a fantastic album. I actually saw Santana on the Supernatural tour and it was my first show ever. Not too shabby. But the energy from Supernatural almost doesn’t translate to here at all. The opening Adouma is the exception. It’s a good trance-like latin solo-fest, exactly what we love from Carlos. But the rest of the album consists of horrible collaborations with people who don’t deserve to be said in the same sentence as Santana. America is an easy pick for a worst Santana song list. I suppose The Game of Love is decent if not a bit annoying, but the album is otherwise dirt. He should have stopped while he was winning with Supernatural.

Smashing Pumpkins – Pisces Iscariot

A fine collection of Smashing Pumpkins b-sides, Pisces Iscariot handpicks the finest Siamese Dream era b-sides the band has to offer. One disappointing absence is that of Bullet Train To Osaka, a great James Iha original, but another one of his great songs is included, the country oriented Blew Away. Pretty much all of these songs stand alone be they muscular sunny riff-rockers like Hello Kitty Kat and Pissant or more downtempo melodies like Obscured and Soothe. There are two fabulous covers as well, a touching rendition of Fleetwood Mac’s Landslide and a catchy Girl Named Sandoz, as well as a signature SMP epic, Starla. Also included is probably the bands best b-side, Frail and Bedazzled. It almost holds the power of an individual album. You can see why these are b-sides because they really aren’t as memorable as the album songs, but they are essential nonetheless.

Tool – Lateralus

Tool’s biggest flaw is that their music goes over peoples heads before they can truly get a grip on the music and enjoy it, but the band makes up for it by being easily the most sophisticated and talented metal band active today. Lateralus just so happens to be their magnum opus, and like Tool as a band, it is an acquired taste and at first very difficult to understand. The band has progressed a great deal since Ænima, but every member of the band has already proved themselves to be of the absolute best at their trades, so there isn’t any real need to prove anything. The whole band lets loose with this energetic, dark, adrenaline filled masterpiece. But once again, it’s no easy listen. The genre is no longer just metal, but progressive metal, and each song is laced with complex beats and druggy dirty guitars. But for anyone who can manage to wrap their head around this album, the payback is plentiful. No time is wasted here, and only two “filler” tracks are included, both essential to the overall mood. Every track is key to the overall structure of the album, but some are a bit stronger than others. The Grudge is a colossal opener, featuring the famous Maynard twenty five second spine tingling scream and a killer Danny Carrey drum solo. Schism is the radio pick with it’s irresistible bassline akin to Fourty Six & 2. Parabol and Parabola are respectively reflective and muscular accompanying tracks, and Triad is the albums highest point, an instrumental outburst of dark energy. But once again, there is not a weak track on the album. It’s not hard to have problems with this album on the first listen; Maynard’s voice is extremely varied and may not appeal to some people and the rhythm can be downright confusing if your ear is not trained. This album may not be an easy listen or a good introduction to Tool, but it is, by a good margin, the height of their career. Tool is a very difficult, complex, and draining band, but giving them enough time to sink in yields great rewards, a fact that Lateralus demonstrates to the utmost.

Yo La Tengo – Painful

Easily Yo La Tengo’s best album, Painful is a wonderful masterpiece of dream pop and noise rock. It may not be packed to the brim with gems like I Can Hear The Heart Beating As One is, but the album does wonders in it’s own subtle ways. Each song is a meticulously planned work of art. The songs fall under two categories, quiet comforting pop and the signature Yo La Tengo guitar developing noise. This kind of combination would seem counterproductive, but in a way both fit the same mood, conveyed well even with the cover of the album. Each song has it’s own distinct night time image to go along with it, be it a badass hero trip to 7/11 or a gentle sleepy dream, this is Yo La Tengo at their absolute best. But the height of the album actually comes at the end with the monumental I Heard You Looking, one of the best dream-pop instrumentals you will ever hear and a truly moving development of sound. The problems Painful has are a matter of preference; Painful has a stronger coherency as an album than anything and has maybe less power in individual songs than I Can Hear The Heart, but it still holds a historical place with Yo La Tengo by being the first album where the band came into full circle. A tight, classic album.