Culture Covered at Random
10
JUN
Cincy Stories' Grand Opening of Story Gallery in Walnut Hills, OH
MUSIC
Featured Fests: The National's Homecoming Ushers in a New Era of DIY
Photos By Sharee Allen
Words by John Mabery
The National’s Homecoming is the kind of festival one gets homesick from once it’s over. The two-day festival - running from April 28th-29th - was attended by locals and sojourners alike (we talked to couples from Canada and Australia alike). But despite all those miles and hours spent traveling to this little Midwestern city, one could tell the crowd left feeling as if they found heaven here in Cincinnati.
Curated by the titular hometown heroes, Homecoming felt both epic and quaint all at once. One could walk over to the National Underground Railroad Museum to see William Oldman play a daytime set with the Dessner Brothers or watch Future Islands high above the crowd from the pedestrian walkway on the Roebling Bridge. Marquee artists (Feist, Father John Misty) and lesser known acts (Spank Rock, Kaitlyn Aurelia Smith) alike tore it up all weekend long. Sometimes there was cross-pollination, like when National drummer Brian Devendorf sat in with another Cincy-based band, A Delicate Motor. He followed up the performance by throwing a Nerf football around with his kids once the crowd had more or less cleared out.
The two strongest performances of the weekend highlighted the spectrum of talent on display. Celebrating a homecoming of their own, the Breeders (featuring their classic Last Splash-era lineup) sounded Last Splash-esque. It was a raucous affair that suggested that the last 25-years had been nothing more than a brief pause. Conversely, Moses Sumney’s minimalist set a mere 24-hours later was both hypnotic and painstakingly beautiful. During a performance of “Don’t Bother Calling,” a hawk soared overhead, the only object in a clear blew sky. It was a fitting optic for the LA-singer/songwriter.
And then of course there was the National.
The titular hometown heroes closed out each night of the festival with two-hour sets, their Sunday night show featuring a complete performance of The Boxer. While it was a momentous occasion for the local boys, it was also a loose affair. They continually shouted out their wives and parents in the crowd, and Matt Berniger gave us a history lesson at one point (“I think I threw up right over there,” he said, motioning to a nearby sidewalk).
The National Homecoming Festival was one of the most relaxed yet tightly-organized festivals an avid music listener will find. It was the perfect celebration of our little Midwestern city and the bands that formed here. Lord knows we’re holding our collective breath waiting for next year’s edition.
Four Reasons to Catch Miguel on the War & Leisure Tour (While You Still Can)
By Sharee Allen
Miguel
Sir
Miguel
The Accessibility
​
From festivals to nightclubs to fancy theatre ballrooms, this Miguel tour is hitting every type of venue in every notable American city. The only plausible excuse you have is that there are only a few weeks left and you might've missed your chance already. But in that case, take a little road trip.
​
The Performance
​
Miguel's shows are a workout, for him and for everyone else in attendance. It's amazing how he can belt it out, bouncing back and forth across the stage with the energy of a tween who's run out of Ritalin. The intimate crowd interaction is also a highlight, particularly during his seated heart-to-hearts in between acts, when he encourages everyone to "Skywalk on their haters."
​
The Sex Appeal
​
This brings us to the visuals. Miguel is undeniably this generation's Prince, and he takes this honor seriously. After two costume changes and sweat pouring down his inked up arms​ and chest, the tension between him and every adoring fan in the front row is palpable. Especially as we sing along to "the valley." (And no, we're not just talking about the women.)
​
The Opening Acts & Band
​
Fans are warmed up by rum & Cokes, a blunt or two, and Miguel's brother Nonchalant Savant. Then comes the romantic but often tortured tracks of singer-songwriter SiR. He's signed to Kendrick's label and has worked with Anderson .Paak and Schoolboy Q. The slow rollout of his smooth lines, like "I got hella shit to do today, I'm just hoping you don't let me," compliment the luscious Miguel vibe perfectly.
*Also Miguel's band is crazy talented. They keep low profiles on the interwebs.
​
Albums of the Year 2017
By John Mabery
Photos by Sharee Allen
​
2017 was a year of personal upheaval – and I think that holds true for most of us. It felt impossible not to be affected in some way by what we read in the news on a regular basis. But if there was one thing that got me through, it was the music. And though it wasn’t the firebrand year for the album that 2016 was (really, a year like that comes along once in a generation), what follows is a long list of players that got it right. These were the ones that either reflected on the unrest or made us get up and stare it defiantly in the face.
SZA – Ctrl
The breakout album of 2017, Ctrl goes right for the jugular. SZA has a lot in common with contemporary Frank Ocean – her range and technique, though wide, don’t detract from the difficult subject matter she tackles with raw vulnerability. Even label mate Kendrick Lamar can’t steal the spotlight from her on album standout, “Doves In The Wind.”
Favorite track: Doves In The Wind
Kamasi Washington – Harmony of Difference
Depending on how much attention you pay to tracks, Harmony of Difference can be viewed as one dynamic song or a series of songs centered around one melody that anchors the EP. But no matter how one views it, it’s an opportunity for members of the L.A. Get Down to express a wide range of emotion in a much shorter time frame compared to The Epic (2015). With this six-song EP and his work on other albums throughout this list, Washington has cemented himself as the go-to crossover jazz musician of our time.
​
Favorite track: Desire
​
Jazzmeia Horn – A Social Call
While it feels like Jazzmeia Horn was sent to the present as a gift from the jazz days of yore, this isn’t the case – she is just a brilliant student of the game. For proof of this, take a listen to her scat solo midway through “Moanin’.” A Social Call doesn’t sound like anything remotely like a debut, but more like the work of seasoned veteran – and that’s exactly what Horn is.
​
Favorite track: Lift Every Voice And Sing/Moanin’
​
Vince Staples – Big Fish Theory
At a svelte 36-minutes (though stout in complexity), Big Fish Theory is the masterwork of a thinking man’s rapper. Known for his unparalleled stream of consciousness, Vince Staples tackles issues from superstardom to gangbanging, love to politics, or really, whatever you think it means – he doesn’t care. But if his nihilistic outlook on life is to be believed, it makes this stroke of genius by the Long Beach native feel all the more impressive.
Favorite track: 745
Fever Ray – Plunge
More like The Knife’s Shaking The Habitual (2013) than her previous solo work, Plunge feels freeing – one can imagine Karin Dreijer bursting from her earthly vessel when listening to album standouts “IDK About You” or “To The Moon and Back.” It is a confrontational album, one that took this listener time to warm up to before I could even consider it for the list. But that’s Fever Ray – challenging the listener with sound and ideology that will rip you from your comfort zone and send you hurtling toward the beautiful unknown.
​
Favorite track: Mustn’t Hurry
​
Suck The Honey – All Hail Having Failed
In 2017, it was hard to think of rock – like, straight up guitar and drums rock – being anything other than dead. But on All Hail Having Failed, Suck The Honey addresses topics like self-loathing and breakups and responds with the kind of thunderous fury that makes for an instant rock classic. Through all the fire, they manage to come out alive.
Favorite track: In Love With A Ghost
​
Kelela – Take Me Apart
Whether in the club or the bedroom, Take Me Apart is an album made for the nighttime. Kelela’s debut album is filled with lush production that is rife with influences from the 80s to the present, and suits the singer’s sinewy vocals. It’s a transcendent work that establishes the singer as an R&B superstar to watch.
​
Favorite track: Frontline
​
Run The Jewels – RTJ3
Released (digitally at least) shortly before the New Year, the third and strongest album in the brilliant RTJ trilogy sent ripples well into 2017; one that is equal parts call-to-arms and part primal scream therapy in the wake of the Trump election. With RTJ3, Killer Mike and El-P have positioned themselves not just at the forefront of hip-hop, but as torchbearers for political and social change.
Favorite track: Thursday In The Danger Room
Four Tet – New Energy
Kieran Hebdan makes music for quiet contemplation as much as for the dance floor. New Energy reaffirms his status as the finest producer of electronic music this decade, combining Middle Eastern melodies with propulsive club beats. This is an album that breathes life into the listener.
​
Favorite track: SW9 9SL
​
St. Vincent – MASSEDUCTION
Don’t be fooled by its tongue-in-cheek rollout or high art music videos – MASSEDUCTION just happens to be a work of art that occasionally drifts into pop territory and succeeds. Jack Antonoff’s production bolsters the latest iteration of the St. Vincent character, as heard on tracks like “Pills” and “Masseduction.” But it’s when the album is at its quietest that Annie Clarke reminds us how much of a humanist she truly is.
​
Favorite track: Los Ageless
​
Open Mike Eagle – Brick Body Kids Still Daydream
Open Mike Eagle’s work has always been typified by the cerebral nature of his wordplay. On Brick Body Kids Still Daydream, Mike brings all the brick and mortar of the Robert Taylor Homes he grew up in to life through the many characters and experiences he paid witness to. In doing so, he runs a gamut of emotions and ends up producing his most complete work yet.
​
Favorite track: (How Could Anyone) Feel At Home
​
Miguel – War & Leisure
On War & Leisure, Miguel is as devious as ever. Though he’s built an envious catalogue for the ages based mostly around sex, his fourth album is his most politically charged yet. Listening to tracks like “Criminal” or “Wolf” gives one the impression that, with the apocalypse on his mind, all of that sex is more hasty, more dire than ever.
Favorite track: Wolf
​
Bjork – Utopia
On what is her finest album since Homogenic (1998), Bjork has found her musical companion in Arca, whose production compliments the Icelandic singers like few have in more recent memory. He fuses flutes, birds, and blips into one delicate sound while Bjork belts about her senses awakening. In typical fashion, she manages to sound ageless.
Favorite track: Utopia
Kendrick Lamar – DAMN.
Coming back down to earth is hard, particularly when things on earth are so fucked up. But no one handles the pressure, tackles the complexities of life and the afterlife, and ponders the what-ifs with the precision of Kendrick Lamar. No matter which way you listen to the album (I prefer in reverse, starting with “Duckworth), DAMN. is yet another classic from K-Dot that does a tremendous job challenging listeners while garnering mainstream success.
​
Favorite track: HUMBLE.
​
Mount Eerie – A Crow Looked At Me
In a year when death enveloped my own life, A Crow Looked At Me is an artist’s gut reaction to the enormity of loss. Phil Elervum’s lyrics flow with such stream-of-consciousness that you can feel the numbness as he eulogizes his wife, as well as their future together. As beautiful a listen as it is challenging, Elervum confronts all of life’s most difficult questions with sheer bravado, and in the process created an album that couldn’t be replicated, possibly even by its maker.
​
Favorite track: Real Death
Open Mike Eagle Demands That You Respect His Qualifiers
By Sharee Allen
Photos by Sharee Allen
Open Mike Eagle defies all categorization.
It’s a fact that’s evident his lyrics, “I will never fit in your descriptions // I’m giant,” “F*ck you if you’re a white man that assumes I speak for black folks // F*ck you if you’re a white man who thinks I can’t speak for black folks” and in the fluid way he moves from electronica to chill hop to cerebral rap in just one track. Producing all of his own music and mixing in beautiful, soulful vocals seemingly out of left field, he’s a one-man show like no other.
In his intimate performance last Saturday night at The Chameleon in Northside, he kept the crowd involved like a young professor would talk to students in his independent study seminar. His set ran through lots of tunes from his newest album Brick Body Kids Still Daydream, where he flows through every topic from not feeling at home anywhere, to kids in the projects who become hackers, to why you should definitely NOT invite him to your wedding.
There is a dark side to OME, a palpable anger directed at societal constructs, and it comes out in the raw energy he brings to his live show. He’s from South side Chicago, and has seen enough to tell a story. My favorite line of the evening was from My Auntie’s Building, the closing track to the new album, which details the bulldozing of the high-rise Robert Taylor Homes: “They say America fights fair // But they won’t demolish your timeshare.” Preach.
Balancing this protest-anthem flavor is Mike’s unapologetic nerdiness and introspective quality: anyone who can back up the rage with intelligent discourse like he can is a force to be reckoned with. His Atari-inspired beats and references to apps like Words with Friends keep it light enough to stay engaged, like you’re on a rollercoaster of politically-charged emotion but you do need to stop and check your phone. Mike, if you’re reading this, I challenge you to a game. My Words username is Shareemix.
Other OME projects to check out: The Advice Show, any of his podcasts, and The New Negroes, soon to be on Comedy Central.
OME on Spotify:
I’d recommend albums Dark Comedy and Hella Personal Film Festival.
The Good Times Are Killing Me - Modest Mouse & Mimicking Birds
Capitol Theatre, Port Chester, NY
By John Mabery
Photo by Sharee Allen
​
I never got to meet my brother-in-law Jake – he passed away before I had the chance to meet him. One thing I’ve come to learn about him was that he had great taste in music.The last band he ever saw in concert was Modest Mouse, who played the second of two shows at the Cap this past Saturday night. Joined by my fiancé and Jake’s best friend, the band gave us the kind of performance that was as sonically satisfying as it was spiritually healing.
​
Featuring a setlist that spanned their entire discography, including “Talking Shit About A Pretty Sunset” from This Is A Long Drive…
​
Read more at The ReCAP on The Squirrel.
Ripping Through The Neon Prophecies
The Growlers at The Woodward
The Woodward Theater went coastal when the LA-based band The Growlers were joined by New Jersey-bred guitarist Delicate Steve for a night of raucous fun and oddball intimacy.
Kicking off the evening was Steve Marion, who performs under the moniker Delicate Steve. Marion - a burgeoning virtuoso - plays music that feels slightly to the left of power pop; his songs (mostly instrumentals) are accessible without sacrificing any of the prowess that warrants Guitar God status. What magnifies the theatricality of his playing is how Marion assumes all the flashy cliche poses of an Angus Young or Jimmy Page while looking completely deadpan. This seems to underpin the notion that Marion doesn’t take himself too seriously - he plays epic music without breaking a sweat. Early on, he accidentally bumped the microphone with the neck of his guitar while doing some fancy box step move. Instead of playing it cool, Marion then bumped the the mic again, igniting a set-long shoving match between himself and the stand. It never seemed to lose its humor.
The Growlers took the stage soon after (with Marion joining the band on lead guitar, no less). The delayed arrival of singer Brooks Nielsen sent the crowd into a frenzy upon his arrival. After opening with a killer version of “Hashima Weed,” Nielsen said to guitarist Matt Taylor, “You were worried sick, weren’t you?” That was about all the banter for the rest of the night, as The Growlers commenced with a 90-minute set in which it felt like they played fifty songs from their lengthy repertoire.
Throughout the set, Nielsen glided across the stage, sometimes locking hands with audience members as he sang to the heavens. For the most part, the show maintained its mellowness until the encore when the band launched into “I’ll Be Around,” which prompted a dozen people to crowd surfer toward the stage.
With their soul-tinged garage sound, their vintage boutique clothing, and their dazed and confused aura, it feels as if the band descended upon us from another place and time. And though we are geographically far from LA, the diversity of the crowd (ranging from the underaged drinkers to the middle-aged thinkers) reflected the broad appeal of The Growlers. One can assume their base can only grow from here.
​
The Growlers will close out their tour with a pair of shows in their hometown of Los Angeles. For more information or to catch them on tour, visit their calendar.
 |  |  |
|---|---|---|
 |  |  |
 |  |  |
 |  |  |
 |  |
Stay Happy: Canadians & Female Vocalists Unite the MPMF 2017 Crowd
By John Mabery
Photos by Sharee Allen
Okay MidPoint Music Festival, let’s try this again.
While the 2016 edition of the festival had (arguably) the superior lineup, the overall event was marred by poor planning. With that said, this year’s MidPoint made big strides to rectify some of those issues. Sound quality (or lack thereof) was an issue again this year, with a number of acts on the YMCA stage plagued by feedback or hot mics throughout their sets.
Consolidating the festival into one indoor location turned out to be the best move for everyone involved. The Taft Theatre and Masonic Temple made such an ideal spot for the festival that I’m surprised it isn’t utilized for similarly-structured events more often. One of my gripes about the 2016 edition was the competing sounds due to the close proximity of the stages.
​
With four stages spread throughout the facility - particularly in enclosed rooms on different floors - overlap was never an issue. The respective placement of the food trucks along 5th Street and most of the merch vendors centralized in the corridor between Taft and the Temple was also well-executed, though it seemed like neither sections boasted long lines at any point during the festival.
As far as the music itself, there were a lot of subplots to this year’s festival. Given the number of Canadian bands (supergroups Broken Social Scene and the New Pornographers and the up-and-coming Badbadnotgood) headlining, a good name for the festival might’ve been MidPoint Music Festival, Eh? There was also a wide array of local musicians. From the gentle falsetto vocal stylings of Adam Torres to the radio-friendly garage rock of Mad Anthony (both brilliant in their own respects) to the poppy, hair-gelled cast of Walk the Moon, the festival went a long way to conjure the fleeting spirit of WNKU by promoting local artists.
One of my favorite aspects of this year's festival was how it was dominated by an endless array of strong female vocalists. The aforementioned performance from Broken Social Scene was anchored by new vocalist Ariel Engle, whose soul-tinged voice is all over the new record and held up beautifully against the wall of guitars backing her. Simi Sernaker, standing in for Neko Case, was a more than capable replacement during the rocking New Porn’s set. B.Miles took the award for Best Cover of the weekend (her version of Macy Gray’s “I Try” is way better than the original), while Bedouin’s highly confessional brand of folk was juxtaposed perfectly by Valerie June’s rousing country-rock.
But the true breakout performance of the festival came courtesy of Chicago MC
Noname. Sandwiched between energetic sets by iNPO favorites Dan Deacon and Badbadnotgood, Noname (born Fatimah Warner) filled her 45-minute set with tracks from last year’s Telefone and no filler. Onstage, Noname is a commanding presence even when at her most low key. She joked with her backing band as they transitioned from one song to the next, spurring her to spit rhymes delivered as if they were coming from off the top but with little to no effort.
The thing that I will remember most about MidPoint 2017 was the total sense of unity. Valerie June spoke of the pleasure of performing to all different kinds of people every night while Kevin Drew took a moment to address the elephant in the room — the political divisiveness plaguing the country right now —so that everyone could focus on having a good time. There were also somber moments of tribute throughout. Earlier in Broken Social Scene’s raucous set, Engle brought it down for a couple of minutes when she dedicated Hug of Thunder standout “Stay Happy” to the late Charles Bradley, who had not only passed away, but was supposed to perform in Cincinnati the night before.
But perhaps the words that resonated with me the most came from Mad Anthony vocalist & guitarist Ringo Jones, who stated simply, "Whether you've been here for four minutes or four hours, rock 'n roll is all about having fun and we want you to have fun.” It was the perfect thesis statement for an ideal weekend of live music in the Queen City.
Suck The Honey - All Hail Having Failed
Take a look at the album art for All Hail Having Failed - the debut album from Suck The Honey. That sketch is undoubtedly of singer, songwriter, and guitarist Lucas Frazier, but one that makes him look weathered to such an extent that it had to be drawn rather than photographed.
Throughout the ten-track LP, Frazier offers little to no levity, his spirit eroded by human experience (one that includes very human things like failed relationships, soured friendships, and the bleak worldview that comes as a result.) But despite all the doom and gloom of the subject matter, Frazier and drummer Jake Grove have constructed an album with enough cocksureness to placate the broken-hearted.
What makes All Hail so palpable is all the piss and vinegar that runs through it’s veins. Frazier sounds like he’s grown accustomed to the role of the scorned lover. But he and Grove infuse tracks like “Right Where It Hurts,” “What Makes A Man A Boyfriend,” and lead single “Bite Yr Tongue” with so much swagger that you can hear them locating redemption in the pain. This is most palpable on the bluesy “In Love With A Ghost,” in which Frazier declares, “I hate your guts but I love your ghost.” Reading that lyric might lead one to think Frazier is lamenting a loss, but when taken into context, it sounds like he’s just reporting the facts.
Suck The Honey’s impressive live act can be characterized by Frazier’s showmanship and Grove’s thunderous drumming, something that translates perfectly to the album. All Hail is an album brimming with heavy riffage, and Grove gives it the foundation, primarily through unexpected rhythm changes that add depth to many of the tracks (“Bite,” “Boyfriend”). Though their strengths create something akin to a yin and yang balance, Frazier and Grove sound as if they’re on the same page throughout, while constantly challenging one another with their respective nuances.
This is an album that kicks all kinds of ass indiscriminately. Throughout all ten tracks, Suck The Honey continually strikes a balance between beauty and ugliness, heaviness and quietude, candidness and guardedness. By the time we get to “Truly Alone and Lonely” (the album closer and lone acoustic track), Frazier sounds like he’s got nothing left to give. But on All Hail Having Failed, he gives it his all.
In support of this weekend’s release of “All Hail Having Failed,” Suck The Honey will play MOTR Pub in Over-The-Rhine this Saturday, September 23rd at 10pm. The show is free.
MOTR Pub is located at Main Street, Cincinnati, OH 45219
​
All Hail Having Fail is available at www.suckthehoney.com
Soften - seen + unseen
Cincinnati-based Soften is new in name but not in reputation. For anyone who’s had the opportunity to see them live (their month-long residency at The Comet or their set at Northside Music Festival earlier this year come to mind) is familiar with their dynamism. A collective of four distinct personalities initially named after singer, songwriter, and guitarist Brianna Kelly, the band is now truly — at least in terms of their namesake — a band.
Their debut seen + unseen is less of an album and more of an experience. It washes over you like a low tide wave from a sun-drenched ocean. It has the feel of a classic shoegaze album: atmospheric but without the indecipherable lyrics. And though it is Kelly’s vocals (specifically, her vocal restraint) that are the centerpiece of this sublime seven-song EP, it is obvious from the start that this is an all-hands-on-deck affair.
Kelly is truly calculating — she exhales lyrics over the instrumentals, as if blowing a toy boat along the surface of the water. Guitarist Corey Waddell, bassist Jon Delvaux, and drummer Andrew Aragon each augment her performance with one of equal restraint, never expending more energy than is necessary. And though she teases her range on album standout “Breaking My Bones,” Kelly doesn’t truly flex her muscles until the band does, as evident in the explosive climactic track “See Me.”
The beauty of seen + unseen is that it doesn’t go where you expect it to. Songs like album opener “To Be Known” take an unexpected shift in rhythm midway through. Sometimes the band teases with a build (“Snow,” “Shiver In Yr Soul”) before petering out, never reaching that violent conclusion you’ve been anticipating for the first four or five minutes of the song. That’s what makes “See Me” such a fitting conclusion, and it’s the reason the EP is best absorbed as a singular work rather than a series of tracks.
At a time when the quiet-loud-quiet format feels like pretty well-worn territory, we get a reminder that sometimes it’s good to stay right where you are. For the listener, it is that discipline that makes seen + unseen such a rewarding experience.
In support of this weekend’s release of “seen + unseen,” Soften will play Northside Tavern tomorrow night, September 22nd at 9:30 pm. This is a free show.
Northside Tavern is located at 4163 Hamilton Avenue, Cincinnati, OH 45223
​
seen + unseen is available at soften.bandcamp.com/album/seen-unseen
In this section, we take a look at a pair of local bands who aren’t on the MidPoint Music Festival lineup, but in an almost blatant F You to the Man, are releasing the best music you will hear over the upcoming weekend.
Also, there’s no point in grading them. They’re both pretty much perfect.
​
By John Mabery
Photos by Sharee Allen
Cincinnati Bands Celebrate Record Releases
Six Avant-Garde Festivals to Put On Your Radar: Late Summer
These festivals are not just booze and jam bands: they're making a difference.
​
By Sharee Allen
Photos by Sharee Allen
​
Missoula, MT
With guests Sylvan Esso, Charles Bradley, and Belle & Sebastian, The Decmeberists announce the first ever Travelers’ Rest Fest, coming to Big Sky Brewing Company Amphitheatre in Missoula, Montana. The August 12-13 festival brings together more than 15 artists across two stages, and you know if it’s curated by The Decemberists, it’s limited to the very best in music.
​
http://afropunkfest.com/brooklyn/line-up/
Brooklyn, NY — and four other cities worldwide
Afropunk is the annual, widely anticipated celebration of the soul that still exists in ever-gentrifying areas like Brooklyn. All five incarnations (Bk, London, Paris, Atlanta, Johannesburg) run a global initiative, leveraging "our collective cultural power to drive progressive social change." The Brooklyn fest is August 26-27th and boasts Anderson Paak, Raphael Saadiq, Thundercat, and a special mystery guest TBA.
​
http://hopscotchmusicfest.com/lineup/
Raleigh, NC
Over four days (Sep 7-10), Hopscotch’s venues range from large outdoor mainstages in Raleigh City Plaza and Red Hat Amphitheater to intimate club shows. As their site relishes, the festival features music in basically every genre imaginable, including Solange, Run the Jewels, Angel Olsen, Noname, and our recently discovered vulnerable love project, Mount Eerie.
​
http://www.thepygmalionfestival.com
Champaign, IL
In Champaign/Urbana, from Sep 20-24, the five-day festival (named after the album by Slowdive) features a slew of fabulous artists from Animal Collective and Badbadnotgood, to Thundercat and Noname. It's only 2 1/2 hours from Chicago, and it features a collaboration with Madefest, an huge outdoor marketplace of handmade & vintage sellers.
​
Cincinnati, OH
If you can’t take off work that entire week, head down to Cincinnati for the weekend (Sep 23-24) to check out Dan Deacon, Frightened Rabbit, Broken Social Scene, Badbadnotgood and so many more at Midpoint Music Festival. MPMF made some changes last summer under new management, and we're excited to see the brand continue to develop: this year the fest will be in the Taft Theatre and the Masonic Lodge downtown. To see Dan Deacon is to attend the most interactive, feel-good dance party any artist is putting on today — the audience becomes the performer and Deacon is simply steering the ship.
​
Las Vegas, NV
From volunteering for "greening crew" to photographing and covering the fest, we’ve been part of Life is Beautiful from day one in 2013. This year on Sep 22-24th, LiB headliners include Muse, Chance the Rapper, Gorillaz, Blink-182 (throwback!) and Lorde. What we love about this fest is the involvement of tech, science (Bill Nye is a speaker), comedy, and street art in the revitalizing of what's known as downtown Vegas.
The Long Way Home
Fleet Foxes Return with "Third of May/Odaigahara"
By John Mabery
This past weekend, Father John Misty (ne Josh Tillman) took to Twitter to answer a plethora of questions. One of note pertained to Fleet Foxes - the band Tillman used to drum for - and their recently-released single, “Third of May/Odaigahara.” It is their first new music in six years.
2008 - the year Fleet Foxes broke through with their self-titled, debut LP - seems like a lifetime ago for many reasons. Just saying the name conjures images of a time when I was buying everything that was current on vinyl with the limited funds I had during those initial post-college days. Their sound was so deeply layered it leant itself readily to vinyl. I remember seeing them at the 50th annual Newport Music Fest and they blew me mind with their synchronicity. The silence during that pause toward the end of “Sun It Rises” lingered in the air around the park, the entire crowd captivated by their performance. They brought about a resurgence in folk, which almost immediately fell by the wayside with the emergence of bands who sounded less anthemic and more artificial (*cough* The Lumineers *cough*).
Then they disappeared into thin air and, now six years later, returned just as casually. Their third LP, Crack-Up, will be released on June 16th. Recently, they released the first single from that album, “Third of May/Odaigahara.”
​
The eight-plus minute track (far superior to the four-minute edit) is revelatory for longtime fans as well as new ones. The song is one of singer Robin Pecknold’s finest lyrical performances to date, the content of which centers around his friendship with founding member Skye Skjelset. Listening to it in full, there is nothing to indicate that Pecknold’s voice has deteriorated or that the band’s sound has been revamped. Instead, it feels like Fleet Foxes are picking up right where he left off, albeit with a slightly more prog influence to it, as evident by the lengthy instrumental that concludes “Third of May…”
I wondered recently after such a long layoff, is a new Fleet Foxes album something we really need right now? Well, the answer to that is a simple of course we do! Because even after a six year hiatus and a drastically different music landscape, Fleet Foxes has delivered us a gift that reminds us that we can rely on to be Fleet Foxes. Maybe that’s why new music from Fleet-Foxes, albeit not so different from the old, is such a necessity in 2017.
Winter Jam 2017: Praising the Lord & Keeping Pepsi Co. in Business
By Sharee Allen
Photos by Sharee Allen
​
Touring the country right now is the only music festival you can bring your grandma to. In fact, mine brought me to this one. The main reason that Winter Jam is so appealing to the blue-hairs is that it features Christian music.
Whatever connotations flash in your head when you read “Christian music fest,” I can’t say that they don’t apply here. Yes, there was a southern gospel quartet singing about the resurrection, and yes, they ended their set standing at the base of a giant laser-lit cross. But there were also some unexpected acts: American Idol finalist Colton Dixon, and the banjo-playing, bearded Grammy winner Crowder, who headlined. As I don’t listen to any of these bands on the regular, I had to make mental comparisons to appreciate them more: there were energetic rappers Steven Malcolm and Andy Mineo (aka Christian Run the Jewels), Thousand Foot Krutch, the pretty-boy punk/metal band with vertebrae mic stand (aka Christian Deafheaven), and Britt Nicole, a blonde female vocalist with a killer team of backup dancers (aka Christian Britney Spears.)
Other unquestionably churchy aspects stood out mostly because of the scale of Winter Jam. In Cincinnati's full US Bank area—a venue that holds over 17,000 people—typical church activities like passing a collection basket for offerings, seeking out prayer, and sermon delivery all turn into grand spectacles. Even the line out the door, 4 blocks down the street past Great American Ballpark, presents an issue for older churchgoers (Whatup Grandma) and young kids who are used to instant-seat gratification. Given that this event only comes around once a year, though, and tickets are a mere $10 suggested donation, people are more than willing to freeze outside for an hour or two and throw a little lettuce in that offering basket.
This event is presented by Holt International, who last year raised almost $26 million, and intermission consists of the MC charismatically telling adoption stories and encouraging child sponsorship, handing off “kid packets” to visitors like some kind of frantic charity auction. While the style of guilt-tripping rural middle class midwesterners into becoming “the hands and feet of Jesus” is uncomfortable to me, I have to hand it to them, they know how to pull people’s heart strings. Winter Jam is also sponsored by a whole plethora of companies from Christian college Liberty University, to Samaritan Ministries, a neighborly health insurance model on a global scale. Not to mention the sales of pretzels and Pepsi, which surely tripled the usual hockey game earnings on Dollar Beer Night.
 |  |  |  |
|---|---|---|---|
 |  |  |  |
 |  |  |  |
 |  |  |  |
 |  |  |  |
|---|---|---|---|
 |  |  |  |
 |  |  |  |
The highlights, for me, were more personal: talking to local up-and-coming musicians who volunteer the fest to meet some of their idols, and running into my brother’s high school music teacher (Miami Valley Christian Academy Choir came out to sing backup for Newsong, the band that founded the festival.) Then, of course, there was the priceless, voyeuristic moment when I caught my Grandma in the stands, hand up, bouncing and nodding to the hip hop beat of Andy Mineo. Now I’ve seen everything.
​
Winter Jam hits Cleveland tonight—March 12, 2017. For the rest of the tour dates, visit their site.
iNPO’s Best Albums of 2016
By John Mabery
Photos by Sharee Allen
​
It is impossible for me to separate the music from the moment, and after this past year, that theory will prove to be particularly true. After all, the albums that received the most critical acclaim in 2016 reflected the year which begat them. In a year besieged by tragedies both individually and globally, I found these albums to be the most therapeutic. There’s no comparing Atrocity Exhibition to MY WOMAN or ranking Blonde higher than Hopelessness, so you won’t find any number or order attached to them. Simply, what follows is a list of my favorite albums of the year, in the spirit of our name, in No Particular Order.
Radiohead – A Moon Shaped Pool
Radiohead has never followed the script, especially one for a rock band approaching middle age. One could take a look at A Moon Shaped Pool from a distance – a collection of songs (some twenty years old) that were never given a proper release – and think that the Liverpool quintet were phoning it in. And putting the tracks in alphabetical order? What gives? Instead, after some time apart to work on separate projects, Radiohead sound more cohesive than they have in some time. From the fervent paranoia of “Burn The Witch” to the haunting finale that is “True Love Waits,” A Moon Shaped Pool is their most complete (and bugged out) album since Kid A. When your favorite band is still putting out their best material into their third decade, that’s cause for adulation.
​
Danny Brown – Atrocity Exhibition
How far does an artist have to go before others his cry for help? Make an album so startling in content and jarring in sound that it infects the listener’s brain like a mountain of cocaine. Atrocity Exhibition serves two functions. In terms of its message, it’s an album for everyone who slept on the more autobiographical Side A from Old or tracks like “Scrap Or Die” and “Party All The Time” from XXX. Sonically, it allows Danny Brown to showcase his myriad influences, namely those in the broader realm of alternative music like System of a Down and the Talking Heads. By the end of its chaotic 46-minute run time, Exhibition dispels any notion that Brown is some goofy crack-smoking comedian rapper. Instead, he reaffirms himself as a thinking-man’s MC and a connoisseur of different genres who deserves to be taken (deadly) seriously.
Angel Olsen – MY WOMAN
MY WOMAN is Angel Olsen’s most focused and inspired work so far. Starting with the epic opening track “The Intern” and ending with the beautiful “Pops,” the album never lets up. The duality of her lyrics strikes a chord, heavy love songs highlighting the futility of it all. Through its 47-minute runtime, Olsen’s voice bursts forward like never before. She is a master manipulator of her instrument, able to display a wide range of emotions in a single song. It resonates like the perfect soundtrack to the film playing in your mind.
Blood Orange – Freetown Sound
Prince Rogers Nelson died on April 21st, 2016. Though Dev Hynes had already recorded Freetown Sound, the album (released two months later) carries on the mantle of the Purple One in a way he would have appreciated. Much like Sign ‘O The Times, Sound is as sonically freewheeling as it is lyrically political. With its brilliant guest spots from female vocalists like Carly Rae Jepsen, Nelly Furtado, and Sky Ferriera, stark production, and instrumentals rooted in R&B, funk, and rock, Hynes has created a musical adventure that is as joyous as it is confrontational.
A Tribe Called Quest – We got it from here…Thank you 4 Your Service
We got it from here… is an anomaly. It shouldn’t exist, and it shouldn’t have been this good. But it does, and it’s phenomenal. Released on November 11th, 2016, at a time when nothing seemed to make sense, the album’s hits like “We the People” were performed on the first post-election SNL episode, including jabs at media and government like “false narratives of gods that came up against the odds.” That being said, the album is a masterwork that exists in a pocket and doesn’t adhere to time. With all four original members at the helm – including one of my all-time favorite MCs, the late Phife Dawg – A Tribe Called Quest have constructed an album that is sonically and thematically angrier than any of their previous work, the vibes and stuff absent in favor of a more cynical tone. Likeminded MCs (and Tribe students) Kendrick Lamar and Talib Kweli show up throughout to pitch in, but it’s the original tastemakers who take center stage for what will be remembered as one of music’s greatest (and most necessary) curtain calls.
Death Grips – Bottomless Pit
No band is better at hitting the reset button than Death Grips. They aborted their deal with Epic Records in 2012 and “broke up” in 2014. But no matter what kind of shenanigans they pull, they continue to come back to what they’re good at, and that’s making music. Since 2012, Death Grips have been appearing on my list of albums of the year due to the consistent quality of their output, unrivaled by any other band this decade. With Bottomless Pit, they continue to marry rock, glitch, and the enraged lyricism of MC Ride into a carefully crafted sound for our angry times.
Animal Collective – Painting With
Having expectations for what a new Animal Collective record will sound like only leads to disappointment – there is no narrative thread from one album to the next. On their most accessible record since Merriweather Post Pavillion, the band ditches talk of personal matters in favor of shedding light on global ones, such as climate change (“Vertical”) and the Ukranian conflict (“Bagels In Kiev”). Painting With, while more stripped down and less jammier than any of their previous records, features crisp production and the kind of beautiful world-weariness we’ve come to expect from Animal Collective. Probably one of the most slept on records of 2016.
David Bowie – Blackstar
When David Bowie released Blackstar on January 8th, 2016 (his 69th birthday), it was another brilliant and weird album in a canon of them. Then when his shocking death was announced two days later, the album became the final will and testament of one of rock’s most brilliant and weirdest stars. A dark affair with jazz leanings, Blackstar relies heavily on the strength of Bowie’s backing band, (namely saxophonist Donny McCaslin) who help to add a sense of urgency to the music. But it’s the man himself who stands front and center, experimenting with vocalization on the title track and “Girl Loves Me.” But the song that stands out to me, not just this year but out of the whole decade, is “Lazarus” – which will be remembered as the epitaph of one of the most influential rock ‘n rollers of any generation.
Frank Ocean – Blonde
If Ocean hadn’t followed up channel ORANGE, who would anyone be able to judge him? Isn’t one generation-defining album per decade enough? After several false starts, he gave us Endless (a visual album that helped free him from Def Jam) and then this, a proper follow-up. Blonde starts off with “Nikes” – a song that hits like the first wave in an acid trip – and continues down a path that is both beautiful and strange, like ORANGE before it. But this time around, Frank is truly at the forefront, singing over more restrained instrumentals, allowing his voice (both written and musical) to take the spotlight. It’s the soundtrack to a drive along the PCH, one that makes you feel like you can leave everything else behind.
ANOHNI – Hopelessness
Anohni is our generation’s Nina Simone, and Hopelessness was how she claimed that mantle. The production from Hudson Mohawke and Oneohtrix Point Never is epic in scope, danceable but filled with dread. Meanwhile, the songstress sounds at home amidst the chaos as she tackles difficult subject matter like drone bombing and global warming. She sounds like Mother Earth herself, full of sorrow but never wavering in her strength, while mankind tears itself apart. After the election, Anohni tweeted the lyrics to “Save The Children” from What’s Goin’ On? Much like that classic album, Hopelessness is a product of the time that birthed it, a desperate call for action. It’s one that we should be listening to now instead of catching up with later, before it’s too late.
Childish Gambino – "Awaken, My Love!"
There’s nothing in Donald Glover’s previous releases as Childish Gambino or his work on the mysterious TV show Atlanta to suggest that he had "Awaken, My Love!" in him. It gets into your soul, sets up camp, and lingers there long after the album has ended. Whereas Because The Internet was bogged down in too many ideas, "Awaken" is a visceral experience that warrants repeat listens for its heart rather than its brain. It is as joyous as it is paranoid, a tribute to the work of Sly and George Clinton as much as it is to newfound love and fatherhood in the life of its creator. Simply put, it’s just a fun album.
Jenny Hval – Blood Bitch
Blood Bitch cements Hval’s status as a brilliant avant-gardist. It’s a horror film rooted in the supernatural (vampires) and natural (menstrual blood) alike. It interweaves soundscapes with interviews and captured sound, never allowing the listener to be lulled into a sense of comfort. While the scope of Hval’s vision is at the forefront for most of the album, it’s her voice that shines through at the end during “Secret Touch,” serving as a reminder that she is as much a talented songstress as she is a visionary director.
Kendrick Lamar – untitled. unmastered.
I was a little disappointed when one my favorite Kendrick songs – an untitled track performed on the final episode of The Colbert Report –didn’t make it onto To Pimp A Butterfly. So you could imagine my glee when the track surfaced earlier this year as “untitled 3/5.28.2013” on untitled.unmastered. The rest of the album – a continuation of the themes and experimentation he began exploring on Butterfly – is equally transcendent. It acts almost like a behind the scenes documentary, shedding light on collaborators Thundercat, Bilal, Sounwave, and more. And Kendrick, much like Biggie before him, proves himself to be a master manipulator of voice and rhythm, sometimes within a single track. His work is savory – he doesn’t need to put out an album or two every year like other rappers – but I’m sure glad he did.
Nick Cave and the Bad Seeds – Skeleton Tree
I had a strange feeling when I first peeked at the cover of Skeleton Tree. I hadn’t heard it yet, but that cold, industrial look created a brutal, roaring sound in my head. So, when the sounds of “Jesus Alone” first came pouring out of my speakers, I was a little freaked out but more than satisfied. His fourteenth album with the Bad Seeds, Skeleton Tree is a continuation of the subdued sound from Push The Sky Away, though no less brutal than what we’re used to. While mostly completed beforehand, the eight-song cycle is buried in tragedy, as it was released in the wake of the death of Cave’s 15-year-old son Arthur. In keeping with the times, it’s hard to separate the opening lines of “Jesus Alone” or the refrain from “I Need You” from the personal trauma that has beset the artist. But no matter the narrative backdrop, this is without a doubt the Bad Seeds’ most satisfying release in some time. Cave has been telling tales of doom and gloom for decades now. In 2016, time (and perhaps, the rest of us) caught up with him.
 |  |
|---|---|
 |  |
 |  |
 |  |
 |  |
 |  |
 |  |
 |  |
 |  |
FYFest Los Angeles
August 29-30
By John Mabery
Photos by Sharee Allen
This year’s FYF Fest required a lot of discipline. With a wealth of talent up and down the lineup, it took some self-control to walk away from one amazing act to go catch part of another. Such is the nature of the music festival. But too much of a good thing isn’t always a bad thing, and FYF proved that over and over again.
The soundtrack to our arrival was provided by DIIV, as the festival entrance was located along Vermont Avenue, right next to the Main Stage. We entered the festival grounds around 5 p.m., got our bearings, and went to the Main Stage to catch Vince Staples (easy to locate - we just followed the smoke). Staples boundlessly danced and skipped around the stage while spitting verses from his just-released Prima Donna EP, last year’s Summertime ’06, and Hell Can Wait (2014). Staples is a charismatic performer with a mature sense of tongue-in-cheek humor, dedicating the anti-police brutality tune “Hands Up” to the LAPD.
We then arrived at the Lawn Stage, where we enjoyed the polyrhythmic sounds of Todd Terje and the Olsens. The quartet, stoic amongst the potted palm trees, provided an excellent transition from late afternoon to evening, infecting the crowd with a never-ending slew of danceable grooves. One order of chicken and waffles and 45 minutes later, we shifted towards the front center to catch the entirety of Air’s set, which was the ideal soundtrack to the sunset. The band poured through a set that included classics like “Venus,” “Cherry Blossom Girl,” “Sexy Boy,” and a gorgeous instrumental version of “Playground Love” from the Virgin Suicides.
Tame Impala played to a jam-packed Main Stage crowd, electrifying everyone within an earshot with renditions of “Elephant,” “Eventually,” and “Daffodil.” It was at this point that I realized the biggest commonality among this diverse lineup was the ability to recreate their studio sound live. Nobody proved this theory better than Kevin Parker and company, whose tasty blend of psych-rock and dance didn’t disappoint. As the band launched into “New Person, Same Old Mistakes” to close out their set, we headed back towards the Lawn Stage.
From here, discipline truly took over as we scurried from one epic set to the next.
We took to the Lawn to watch the first half of Hot Chip’s set. The crowd danced along as the London-based octet played favorites like “Over and Over,” “Ready For The Floor,” and “Flutes,” which was performed with some great synchronized dance moves by the band. Alexis Taylor also has one of the best underrated voices in music today that translates beautifully to the stage. If you’ve never seen Hot Chip live you’ve never truly experienced Hot Chip.
Next on the docket was Wolf Parade at the Woods Stage. If there was ever any question as to whether the band had any rust after a six-year hiatus, those anxieties were instantly quelled. In fact, one would wonder if the Montreal-based quartet had ever stopped playing. We watched them tear through material from their three studio albums and recently-released EP 4 from the lowest branch of a pine tree right near the sound booth, which proved to be the best view of the entire weekend.
Saturday’s headliner Kendrick Lamar drew the biggest crowd of the day. We came down the street toward the Main Stage to the sound of “Levitate." There was no chance of getting remotely close to front unless you danced into to the far right or left, so that’s what we did. Lamar, who can hold a crowd of several thousand in the palm of his hand with his powerful vocals, dedicated his set to “all his day ones,” before offering cuts from good kid maad city (2012), To Pimp A Butterfly (2015), and guest verses from ScHoolboy Q’s “Collard Greens” and “That Part (Black Hippy Remix)."
Our Saturday culminated with a performance by Explosions In The Sky, which is the only logical culmination for any day at a music festival. The Austin-based post rock quintet are wholly absorbed in the music as it roars out of the amplifiers, making it that much more enticing to the listener. It is comparable to being overtaken by a wave in high tide. The band wrapped up the set, and the first day of the festival, with crowd-favorite “Your Hand In Mine” from The Earth Is A Cold, Dead Place (2003).
Sunday’s itinerary proved to be more mellow, while
including the biggest draws for us individually.
We arrived at the Main Stage just in time to catch the start of
Blood Orange’s set. Dev Hynes and his backing band were
a sight to behold (a versatile musician, Hynes completely
shreds on the guitar). He brought even out Nelly Furtado,
Sky Ferreira, and Carly Rae Jepsen - single-handedly giving
us enough guest appearances for the weekend.
That brought us to my personal highlight of the weekend - Father John Misty. There were no diatribes about the current state of the nation or shenanigans involving battleships this time around (though personally I wouldn’t have minded). Instead, Mr. Tillman gave us a good old fashioned rock and roll show for the ages. He and his band tore through “Hollywood Forever Cemetery Sings,” “I Love You, Honeybear,” and “The Ideal Husband” with ferocity I’ve never seen from Tillman before. He dove to his knees, pelvic-thrusted, and jumped about through the entire set. Naturally, Tillman’s show wasn’t completely devoid of his usual brand of antics, like his teasing of a Grace Jones-duet, his stealing of audience member phones, and a backdrop that transformed into a "Bonnaroo 2014” poster at the end of his set.
After some much-needed nourishment (bacon-wrapped hot dogs, of course), we went to the Lawn Stage to see Anohni Presents Hopelessness. Easily the most thought-provoking and enthralling performance of the weekend, Anohni performed tracks from this year’s Hopelessness along with co-producer Oneohtrix Point Never. The setup was simple - the songstress sang from behind a burka, minimally lit, while videos of different women lip-synching along with the music played on the screen behind. But it was Anohni’s vocals, booming with soul and lyrically cryptic, that held everyone within an earshot captive. That is a testament to the intrigue Anohni brings to the stage - though the material on Hopelessness can be challenging at times, it is a beautiful performance piece that reflects our turbulent times. Sometimes it’s nice to be challenged by a performance, even at a festival.
We walked around after this, previewing the different stages - the final chaotic moments of Mac Demarco, the sleekness of Grace Jones, and the pulsating bass at Young Thug, which was a little too crazy for our blood.
But really, we were there (as I imagine many were) for LCD Soundsystem.
Having missed them on their farewell tour, Sharee couldn’t have been happier to see James Murphy and company. Their near-two hour set didn’t disappoint, as they blew through dynamic renditions of “Get Innocuous,” “I’m Losing My Edge,” “Dance Yrself Clean.” This doesn’t even do justice to their setlist, which played like a never-ending greatest hits compilation (really, these cats have a lot of amazing songs). Age and time away from the spotlight has done little to shake the drollness from James Murphy (still a hilariously reluctant frontman), who reminded us over and over, “if you missed Grace Jones, you seriously fucked up.”
The band closed out Day 2 and the festival appropriately enough with “All My Friends.” As he left the microphone, Murphy shrugged to someone on the side of the stage as if to say, “I guess our time’s up.” Though their set could’ve lasted into the wee hours of the morning and we all would’ve been perfectly okay with that, it felt like a miracle to have seen them at all. Before the rumors started, the prospect of an LCD Soundsystem reunion was grim. Then dream became a reality and we can say we were there for it. Murphy and company (and really, every act that weekend) ruined us forever. We’ll probably never leave a festival that satisfied again.
​
​
​
​
​
​
​
​
​
Instead of focusing primarily on hooks, the trio stretched on all tunes,
transforming Bruner’s intricately produced songs into a set of free-flowing improvisation. That's where the correlating facial workout comes into play. While engaged in a musical dialogue with Hamm and Brown that could only have been passed down to them from the cosmos, Bruner picks at his six-string in a manner that suggests he’s constantly excavating for new sounds, as all giants of fusion are wont to do.
Of course, Bruner paused between songs to humor us with his nonchalant brand of stage banter. After knocking his drink to the floor with his ax, he sighed in defeat. Fortunately, someone brought him a replacement several songs later - the contents of which made him momentarily forget the setlist. That did little to halt the momentum of the show; the crowd singing along furiously to “Them Changes,” “Oh Sheeit It’s X,” and Kendrick Lamar’s “Complexion,” which Bruner contributed to.
Shortly before closing out the set with “For Love I Come” and “Daylight” from The Golden Age of the Apocalypse, a young man called out, “Don’t ever leave Brooklyn!” Bruner replied in his usual deadpan, “Okay…” And though no one has any intention of holding the one they call Thundercat hostage, one would imagine he’ll always be welcome inside the funktastic confines of Brooklyn Bowl.
THUNDERCAT
JUNE 3
Brooklyn Bowl - Governer's Ball After Party
By John Mabery
Photos by Sharee Allen
Thundercat has a major case of bass-face. This ever-changing series of facial expressions - along with Bruner’s technical prowess - was on full display this past Friday, June 3rd when he took the stage at Brooklyn Bowl. I got to witness these attributes up close, as Bruner, keyboardist Dennis Hamm, and drummer Justin Brown burned through a set rife with material from his entire discography.
 |  |  |
|---|---|---|
 |  |  |
 |  |  |
 |
MAY 14 ANIMAL COLLECTIVE
Starland Ballroom
By John Mabery
Photos by Sharee Allen
Animal Collective is still as enigmatic as ever. This time around though, it was perhaps for the wrong reasons, as longtime fans were dismayed by the quartet's decision not to showcase material from Painting With in advance of the album’s release. But Animal Collective are the electronic Grateful Dead. They know how to craft a set, just as they know how to transition from one song to the next seamlessly - there is intrigue in how they get from A to B.
They reminded me of this when we saw them at their stop at Starland Ballroom in Sayerville, New Jersey. While founding members Panda Bear, Geologist, and Avey Tare twist a slew of knobs to create a wall of sound, drummer Jeremy Hyman (of Dan Deacon fame) adds layers of thump to tunes both old and new. His performance - one of superhuman stamina - is a necessity to the material and reinforces the notion that he’s the best live drummer working today.
For anyone who somehow didn’t enjoy Painting With, now is the time to see Animal Collective
live. Hyman’s drumming bolsters the new material in the same way that Clive Deemer’s work
with Radiohead added layers to material from The King of Limbs. But the band didn’t just play
new stuff, as they peppered their set with several classic songs, including “Bees” (Feels, 2004)
and an emaculate performance of “Daily Routine” (Merriweather Post Pavillion, 2009). With this
set, AC reminded me that they haven't lost their ability to weave the past and present together.
NEW YEARS EVE-Eve DAN DEACON at Brooklyn Bowl
Only Dan Deacon would have the audacity to come onstage to the sounds of The Little Mermaid’s “Under the Sea,” setting the tone for the kind of performance we were in store for last night at Brooklyn Bowl...
a
l
w
a
y
s
​
Photographers, Writers,
Dreamers,
Entrepeneurs:
​
Here at iNPO, we are always looking to collab.
Started a small business lately? Went to an amazing festival? Discovered a new wonder of the world? We wanna hear about it!