Indie Garage-rock staple Ty Segall is well on his way to making his name known throughout the country as one of the genre's best. With performances like last night's take on "Feel" from Conan O'Brien, it's not going to take very long.
Segall comes out dressed like some sort of sci-fi warlock, but mid-way through the song, the magic is shown in Ty's guitar play. Alongside longtime collaborator, Mikal Cronin, Ty Segall gives a performance that needs to be seen to be believed.
Be on the lookout for Ty Segall's seventh (yes SEVENTH) studio album, Manipulator, due out later this month.
Friday, August 15, 2014
Friday, July 25, 2014
|Cadien Lake James of Twin Peaks|
Gonna switch gears here... the first day was great, sure, but over the course of the next two days of the festival, I was blown away by the amazingness lined up before me.
Saturday's lineup began with Twin Peaks at 1pm, a Chicago-native band I've been tracking silently for the last few months. I made sure to bring my group of friends to check out their set on Saturday, hoping they wouldn't disappoint, as I'd never seen them perform live before, not to mention the group doesn't even have a full-length album under their belts (the group released an EP, Sunken, last year).
|Clay Frankel of Twin Peaks|
Three of the four members do a fair amount of singing, with each member bringing an undeniable amount of character to their parts of each song. The track "Making Breakfast" perfectly highlighted the group's strongpoints, with frontman Cadien Lake James (seen in the picture at the top of this article, who was wheelchair-bound until the last song of their set, which he played his last chords from his knees) howling with a gritty and caustic vocal tone in between shaking his head back and forth or sticking his tongue out.
Meanwhile, bassist Jack Dolan and guitarist Clay Frankel bounced around stage, smiling, at one point, Frankel stepped off stage towards the crowd onto a piece of the enormous sound system, performed some riffs
there, and later, smashed the guitar in frustration. It shattered into two separate pieces, both of which Frankel hurled into the crowd, something I can't say I've ever seen done before.
Clay ensured everyone was okay after the hilarity, making sure he wasn't going to be sued, as of course he "...ain't got no moneyyyy..."
Overall, their entire set was one of the best of the weekend. Even without knowing many of the songs, it was a spectacular glimpse into their upcoming album, Wild Onion, which is due out on August 5. The band played incredibly well together, all bringing their own undeniable charm and style to the stage, and proved to be one of the best acts we'd see during the festival.
I'll be looking to pick up one of their 'Chicago Bulls Mascot Smoking A J' t-shirts when they come back through the midwest as part of their headlining tour this fall.
UPDATE: The group's forthcoming album, Wild Onion, is available for stream courtesy of Pitchfork Advance here. I highly suggest you check it out.
Photo: Maclean Stephenson
There's seemingly a never ending slew of things to do in Milwaukee in the Summer. There's literally a festival every weekend, outdoor movies accompanied by fish fries, bike marathons, jazz in parks... you get the picture.
Friday, August 1 marks another busy day on the MKE Calendar, with the annual Urban Island Beach Party at Lakeshore State Park glistening near the top of any young adult's to-do list.
The event is hosted by Newaukee, and as nauseating as some of their events can be (this particular party will feature Mayor Tom Barrett and Alderman Bauman smashing PINEAPPLES... yay), the event is free, and open to the public and will feature a lot of decent food trucks, a pig roast and plenty of beverages our city is known so well for. The party will benefit the Friends of Lakeshore Park, a group looking to further the development of the venue hosting the party, a gorgeous isthmus on the coast of Lake Michigan.
There are numerous reasons to check out the party, and if the title of the event alone doesn't draw some form of intrigue, the main act, Australian-natives Panama, should. Their track, "Always" has been lighting up independent radio stations, blogs and online streaming services, with over 2 million plays on the band's Soundcloud.
Frontman and songwriter Jarrah McCleary is a classically trained pianist (since the age of six), and the group has been working alongside some of the indie dance music business' top names; their latest work, Always EP, was produced in Los Angeles by Eric Broucek, who has worked with FPT-favorites Holy Ghost!, Classixx, !!!, and Chet Faker. The EP features three tracks as well as a few remixes (that Classixx remix is amazing), all of which match the title track's exciting, paradise-now, nature.
The three-piece group has been honing in their live sets over the course of 2014, receiving rave reviews at SXSW this year, and continuing to get the US all worked up over their fantastic summery dance tracks.
The group will go on at around 8:30pm, the perfect time for a band such as Panama. Grab some friends and dance the night away, Panama will take you to that amazingly euphoric place, one in which the sun is setting and epically blissful live music can be heard all around you. The night will be one to remember, and an undoubted highlight to your summer.
Stream Panama's Always EP below, courtesy of Future Classic's Soundcloud page.
Thursday, July 24, 2014
|Beck Performs at Pitchfork Festival 2014|
Photo by Matt Lief Anderson
We'll begin with day one, and I'll start with the not-so-good before getting to the greatness.
We'll begin with what turned out to be my biggest letdown of the weekend, Beck's sound issues.
I had very high expectations for Beck's set, one that ended up being stacked with some of my favorite songs over the singer/songwriter's illustrious career, one that has spanned almost my entire life. However, sound issues seemed to plague the almost-20-song list he had stacked up, starting right away with "Devil's Haircut". Even Beck seemed frustrated, and although it did get better, I couldn't help but to come away unimpressed. Maybe it was my own fault, building up such high expectations in anticipation for an artist that molded my musical tastes, or maybe it was the fault of some of the fantastic undercard performers I caught earlier in the day (more on them, later).
One positive I did take away from the show, was a remembrance of just how great Beck is. Ever the showman, donning that second-most famous hat in music, Beck rattled through some amazing songs, and almost surprised me at just how many of them I knew and loved at some point in my life. I was instantly taken back to a more troublesome and confusing part of my life when "Lost Cause" was played, and then in an instant, I got all alternative again as he transitioned into his breakout song, "Loser".
He closed the set with an encore of "Sexx Laws", fan-favorite "Debra", and finished with "Where It's At" - which spun into an interesting medley (and a brief homage to Chicago and Chicago's-own R. Kelly) before returning to form again. I wanted so hard to be excited as I left the festival grounds on the opening night, but all I could leave saying was an astounding, "meh..."
An important thing to remember during festivals that feature aging musicians looking to capitalize on recent acknowledgement to their greatness, is never to ask "Why is this happening?" and to sit there and enjoy it.
I will more than likely never get another chance to enjoy a Giorgio Moroder-curated set of disco and dance music. The 70-something-year-old Italian "Father of Disco" played his hour-long set with such passion and joy that you could basically see it beaming from his smile beneath his mustache, glistening from his fingers and hands as he waved them back and forth, begging the crowd to go along with him on a musical journey that stretched back to a time long before many of the patrons had been born.
Much like Beck, Moroder reminded us of how long he's been at it, playing tracks from his soundtrack glory days, like "Take My Breath Away" while scenes from the prolific 1986 film were played on the jumbotrons throughout the Green/Red stage area on the grounds. In fact, half of the glory of watching Giorgio play, after exiting the photo pit, were the visuals on either side of him, images of Donna Summer and
Laughter could be heard throughout the crowd as Giovanni Moroder (who insisted on us calling him Giorgio) played that night. But I never once got the vibe that those watching were laughing at him, rather they were simply laughing with him, enjoying themselves, and living in the spectacle of watching the legend perform.
Sharon Van Etten / Factory Floor / Hundred Waters
The triple header of acts that I caught in the early parts of the day on Friday are truly what makes Pitchfork Music Festival so enjoyable.
Hundred Waters were moved to the Red Stage, and pushed back in a time slot, after Death Grips pulled a Death Grips and broke up a couple weeks prior to the festival. And although a lot of the crowd could be heard/seen expressing their disappointment in the Death Grips fallout, Hundred Waters made the most of the situation.
The group will tour later this year with Interpol, and the festival was a great introduction to a band I had only heard a couple of tracks prior to seeing them take the Red Stage on Friday, I was sincerely impressed at the sound and dynamic they offered. Lead singer Nicole Miglis stated the fact that their Friday set was their first festival appearance, and tracks like "Show Me Love", "Cavity", and "Down From the Rafters" really gave a fantastic glimpse of what's to come from the group, and showcased Miglis' entrancingly beautiful voice, reminding listeners of last year's Friday headliner, Björk.
Switching gears completely, Factory Floor was next on the day's task list, and ended up being one of my top surprises of the festival that weekend. I knew their set would be heavy, but I had no idea it would be that heavy.
The crowd ate it up, as if the group was feeding them their next round of amphetamines, and as I continuously checked the crowd behind me, the nodding heads turned into a mass of bodies jumping up and down, turning into a swarm of accelerated heart rates.
For the first time in my life, I saw body passing at an electronic show. I'm positive it's happened before, but I've never seen so many people get that involved in a set that took place mid-afternoon.
Sharon Van Etten is one of the most underrated folk singers of recent memory. Her beautiful voice is matched by her grace and talent on stage, and she is always so charming and kind as she stares out into a sea of thousands of people. She smiles, waves, and mouths "Hello" to possibly familiar faces in the front row.
Opening with "Afraid of Nothing" and closing with "Every Time The Sun Comes Up" was a carefully crafted move. Both tracks off of her latest album, Are We There, served as perfect bookends to one of Friday's more flawless sets.
Wednesday, July 23, 2014
All photos & coverage by Anders Seefeldt
At one time they seemed infinite. The technicolored lights and beating tones dancing through the trees alongside the tens of thousands of restless Foresters. Then, at the end of the last night of Electric Forest, Moby took off his headphones and stepped out from behind the podium. With the reverb from the last track melting into the roar of the crowd, he approached the very edge of the stage, stopped, and perched there for several moments. Without saying a word, he peered out over everyone as if completely humbled by the site of it all - right where he was meant to be.
It is impossible not to be in awe of Electric Forest. Even though I had been here before, it was as surreal as ever. The giant new Forester statue and redesigned Tripolee stage were spectacular new sights, but they were small compared to all I would discover.
I arrived at the four day camping festival Thursday afternoon with a great deal of uncertainty. My good friend and fellow Forester had a family emergency the day before (all is well now thankfully) and couldn’t attend, so I decided to join up with a friend of a friend and a couple others. Not overly outgoing or a camping expert by any stretch of the imagination, I was well out of my comfort zone as we began to pitch our tents under the sweltering sun in the thick of the action. But I had to keep moving... There were shows to catch.
On the surface, Electric Forest appears to be largely an EDM festival. But as soon as you arrive you realize how broad the spectrum of music really is. Cut Copy threw down a silhouetted multicolored dance party Sunday night, Umphrey’s McGee jammed away on consecutive occasions and Steve Angello turned up the heat with a fire breathing set so scorching the fire department was in attendance in case things got real.
Austrailian house producer Anna Lunoe joined in the fun, dancing along with the audience, and Ms. Lauryn Hill even joined up with The String Cheese Incident during one of their three mesmerizing shows. Aloe Blacc, Matt & Kim, St. Lucia, Classixx, Poolside, and Tycho were all in the mix as well.
To escape the heat Sunday afternoon, I trekked towards the Forest stage to catch some cool house vibes from Kygo, a Norwegian dj, playing at the stage. But as so often the case here, I was sidetracked. Standing in the middle of the open plaines was Kansas Bass. Two guys with a bass and a fiddle, beard and suspenders. Their bare feet caked with dirt from kicking up a good ol’ fashioned barn dance. I stayed for a few steps which was enough time for a small group to jump in. A short walk later and I had arrived at my intended destination in the Forest, flooded with people swaying to Kygo’s digitized dance.
As fascinating and diverse as these shows were, they were only a small part of the festival. And this is what makes Electric Forest so special. There is so much to see and do; it is a foregone conclusion that you will become lost in the energy of the place. From silent discos to psychedelic bingo to a meditative gong hut (you really have to see this for yourself), the more we wandered the forest the more we discovered, and the closer my makeshift group of friends and I became.
Late Saturday night after STS9 and Art Department unplugged, we ventured out into the Sherwood Forest to see what kind of nocturnal commotion we could drum up. Sure enough, we found a small band wailing away at The Grand Artique, a wooded turn-of-the-century bungalow and trading post burrowed deep beneath the trees. The cozy spot was so intimate that Francisco Fernandez’s mic was hardly needed as he poured out his emotions with the Ferocious Few under an American flag scrawled with the note “Victory today or tomorrow. Liberty forever.”
One of the greatest discoveries however was Emerson Jay. The indie dance group was performing only their fifth show ever and threw an energizing party one afternoon with synths that seemed to ride in on sunbeams. Even their tropical and native patterned clothes seemed to fit in perfectly with the spirit of the festival. And when I asked them about their colorful attire, it all made sense. “Another buddy that we met here, he was like ‘I make clothes and I heard you playing. Would you guys be interested in wearing my clothing when you perform?’ And we were like, ‘Oh, yea, of course. Please!’”
Mother nature joined in on the fun too. As soon as the sun went down, Mars and Venus glowed red and yellow in the starlit sky, adding to the festival’s already amazing production. At one point, a shooting star blazed overhead as if it were a wink from the heavens.
On the last day, my new friends and I took shelter from the sun under the shade of a wooden hut. On the underside of the roof we discovered a trove of hand-drawn art, and it reminded us of all the discoveries we’d made, and the memories we’d created. Talking as if we’d been friends for years, it seemed completely foreign to think that just days earlier I was uncomfortable at all. From strangers to artists to nature - everyone was part of everything.
“It’s the energy of the place,” Anna Lunoe said to us in quiet amazement after her set, “It’s the whole community that has a certain outlook on life.” Adorned with kandi bracelets and a dreamcatcher necklace given to her by fans she added “This festival is incredible and so different to so many other festivals that I’ve been to.”
Thursday, July 17, 2014
|Peter Matthew Bauer |
Photo Credit: Matt Barrick
Last November, long-time favorites The Walkmen announced their indefinite hiatus, leaving behind 13 years of some of the greatest modern American rock music.
When the news struck, I can't say I wasn't surprised, but that doesn't mean it had no affect. The group's 2011 album, Lisbon, is one of my favorites of all time, not to mention the previous albums all shaped my perspective of music; the band released their first album alongside the arrival of great NYC bands like The Strokes and Interpol, but managed to hold their grounds as one of the city's finest (despite hailing from Philadelphia).
But in 2012, with the release of Heaven, the "human" side of the group really started to take form. Family members made their way onto the album art, and the songs began to feel more interpersonal. Thus, when the "hiatus" was announced, it seemed that the band was ready to step aside from music, and focus on relishing in this "human" side a little more.
But that wasn't necessarily the case. This year, three members of The Walkmen have released solo projects. Frontman Hamilton Leithauser released Black Hours, an album that contains some of the same character as The Walkmen's previous two albums, and echoes what the group was trying to
accomplish, but instead with more jazzy vocal pop and old folk influences, noting heavy influences of Frank Sinatra, Randy Newman and Bob Dylan, amongst others.
Multi-instrumentalist Walter Martin released a more family-oriented album, We're All Young Together earlier this year as well. Martin stated that he created the album with his daughter in mind - he began writing the album while his wife was pregnant with their first child, and the results clearly reflect this. There's even room for a novelty song, which features The National's Matt Berninger, called "We Like The Zoo ('Cause We're Animals Too)".
Where these two albums falter, it's The Walkmen's former bassist and multi-instrumentalist Peter Matthew Bauer who picks up the slack. His album, entitled Liberation!, focuses heavily on Bauer's religious experiences growing up, and translating them into brilliant, light-hearted pop-folk songs. I recently had the chance to speak with Peter about his album, and the transition to becoming a solo artist.
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I made sure to tread lightly, when talking about The Walkmen with Peter Matthew Bauer, the band's former bassist & organist - although, as they progressed as musicians, the members all became multi-instrumentalists. This may be a sign of the growth of the band members over their 13-plus-year career, or it may have been a sign of the quintet grasping for thrill in a project that could have become trite and arbitrary. In an interview with Noisey, Bauer said, "My hope is that by the end of the year I won't remember being in The Walkmen." So I did my best to avoid the subject.
But I had to get one question in...
"When you're in a group, you're constantly trying to play certain roles. Whoever is in the group, no matter the dynamic," he says speaking generally, "you're constantly compromising, which can be a good thing when you're young, or in certain scenarios. But in other scenarios it can be a really bad thing. It's not like groups don't work, because obviously they do, but leaving the group - leaving that dynamic is a very... very interesting thing.
"It's certainly [emancipating], but you're looking for life in whatever you're doing, that's the point of this stuff: you look for this raw energy to things. And... everything dies, y'know? That moment in time-- it dies off, and that's the case.
"I was talking about this to someone else, too. Where, you know those guys that have been in bands for like, 50 years - you know, those kind of "old-timer" bands? And you can see the physical deterioration in people who have been a proper band member for that long. They just look terrible. Like something has just gone haywire, physically; versus, you know, there's plenty of lifer [solo] musicians who kind of keep it together and things get better. So it's an unhealthy thing, really. A band is basically an art project- it's a project. You can't consume your life to it forever. And as soon as it stops being an art project, and starts being more of an organization, it loses the basic reason to exist that it once had, and it becomes more about feeding people... it has a time limit."
Bauer maintained a very light-hearted tone throughout our chat. He may have sensed my nervousness, talking to a key member in one of my favorite bands. But then again, it seems like that's just his personality... his album is filled with charm and humor, despite its overtones of religion and spirituality.
"I would hope most people on earth think about that sort of thing," he says laughing, speaking of the themes of Liberation!, "It's sort of a basic human idea, as people say 'Write what you know' -- you know that old hogwash thing? But it ends up being true, when you're trying to find a way to express something sort of universal to people.
"This is obviously what I care and think about, the books I read, and things that matter to me. Those are my experiences."
But Bauer never admits to being as wise as he comes across, another reason I went in to the interview cautious to not get over my head. The opening track on Liberation!, "I Was Born In An Ashram" is actually written based around his life, as is most of the album. Raised by his family visiting various Hindu places of worship and study, Peter spent a lot of his "formative" years studying under gurus and an Indian astrologer, learning intricacies within the Hindu religion.
"Those are my experiences, [but] it's not like I'm trying to solve anything, or tell anyone anything, because I don't have any resolutions to anything that arises from it. But I do feel a lot better doing it, and a lot less angry about things of that nature.
"I've been really lucky, being able to meet sort of 'walking saints' and healers and all these people that, in a very strange manner, most people don't get to relate to. It's very [important] to who I am, I studied with these people that spend their whole lives trying to get to be, without feeling like a sort of disciple to anybody."
In Liberation!, Peter Matthew Bauer's lyrics reflect not only his beliefs and personality, but his process of writing as well. One of my favorite tracks of the album, "You Are The Chapel", Bauer plays up the charm and humor, singing, "I see you lookin' like Oasis / Why does anyone wanna look like Oasis?!". But in the same song, he sings "You are the chapel / and everything is wonder" after the chorus "Here comes the mystery of love / Yeah, I see the mystery / Here comes the mystery of everything".
"... 'You Are The Chapel' [is a] song that is supposed to be trying to haul as much information as I could come up with about disparate situations and trying to get at a very basic expression of something.
"It was just a different way [of writing], y'know, I'm not Hamilton [Leithauser], and he writes songs his way. In a band, you're in a support role to the voice; really, that's the idea, and that's what you should be doing - I think, anyway. This is a different thing, it's a different type of music, it's about something different. And I think what was frustrating to me is I like music that's about something specific, and it's very hard to pull it off without sounding kind of -- silly. It was important that everything was kind of trying to be funny even if it came off as something self-serious, or at least at the time it felt funny for a second [laughs].
"Mysticism and spirituality -- certainly not religion -- but that kind of idea is inherently a really ridiculous thing... and so is rock and roll - so is all music. And that's the most important thing to get to, y'know you think about some of the greatest writers who think about that stuff. Kafka is seen as this very self-serious guy, but when he was reading his stories out loud to his friends, they were all laughing. That stuff is supposed to be funny, all that shit is supposed to be funny; it's absurd. That's what you're aiming for, you don't know what you're gonna get out of it.
"In a sense I was brought up, and this is what I arrived at: you usually kind of go through a lot of things when you're frustrated with hierarchies and intricacies in cultures surrounding religion. But I do feel like my parents were bright people and I was brought up to try not to believe anything - to go past belief at all times. And that's basically the idea behind the record too: any belief you have, if you keep breaking it down, you get to something real. You get to experiences as opposed to beliefs. And it's a process of doing that over and over and over again, and one part of beliefs that I have - the sort of frustration and youthful antagonism towards spirituality. And that in itself is a belief structure, so you have to find a methodology to get your experience and your consciousness.
"It's kind of a normal thing, you know: "Heaven is a far away place" - but it's right here, right now. Liberation is not something that takes a million years, or all your life; it's not a goal it's a basic idea...
"But [the album] is also trying to make fun of that," Bauer says laughing.
When I spoke with Peter, he was on his way to Seattle, playing a show at The Barbosa with Japanese Guy. He'll play Chicago at Lincoln Hall on Saturday, July 19, as part of a Pitchfork Festival Aftershow, and a piece of their new live concert series Nightcap.
I asked him how the shows had been going, something I was honestly interested in: it's not every day you get to relate and talk with someone in Bauer's shoes.
"Good!" he responds emphatically, "you know, you definitely start from scratch, and it's a tough, tough, tough, road. We're driving endlessly, and just throwing money out the window. It's crazy... but a lot more fun. A lot more fun than something where you know what's going to happen -- you basically don't know what's going to happen next, which is a great feeling."
Peter now thrives in a state of chaos, embracing it almost as if he was meant to live in it.
"When we were touring with The Walkmen, you knew you'd get paid and you'd get a hotel room. Now I'm sleeping on an ant hill in like a desert [laughs] it's terrible. I wake up in the morning, basically wondering how I'll make it to the end of the day. But it's a lot of fun.
"With The Walkmen it was very boring: you knew what you were gonna do, you knew who was going to be in the crowd, you knew what people were gonna look like, you knew some guy was gonna yell 'THE RAT!!!" then you'd play 'The Rat' and the guy would still yell 'THE RAT!!!!!' and then you'd go home. It wasn't a lot of fun. But this is a lot of fun, it's a very different thing. All that stuff is a kind of formative experience, being in a group -- and then you don't want to go back."
Peter Matthew Bauer tours with a 7-piece band, which is made up of several friends, including his wife. The group still needs a name or a title, which Bauer admits:
"My wife and another girl sing with me. I think we're on the edge -- we've only played 15 shows or something -- but I think we're on the edge of having a really great band. The people in it, the whole thing, it feels like a band in a different sense. We're not a band, we're not all 20-year-olds trying to start a gang, but instead it's kind of cool: it has its own structures; there's a sort of anarchy to it that I like, politically, where everyone is there and trying to have a good time and enjoy themselves. It's a great group of characters. And I know it's my name but we also need to come up with some sort of backing band name, because they definitely have a vibe -- they're definitely not hired guns by no regard. We're really getting something going, and it's starting to be its own, high-energy thing. I'm excited about it.
"A lot of them are old friends. Some guys, Mickey Walker, a Philadelphia guy, I've been on tour with him since 2001 or 2002. Another guy Matt Oliver, one of our guitar players is from Austin, TX. We toured with [Matt] years ago, and kind of lost touch until making this record. And he ended up mixing a lot of this record. And Sky [Skyler Skjelset] is from Fleet Foxes, and I've known him a couple years and we've become really good friends."
Liberation! is the strongest of any member from The Walkmen's solo endeavors. It's filled with fantastic lyrics that achieve exactly what their author intended, and Bauer surprises you with a voice that pays homage to some of the great solo vocalists who only need one name; Reed, Dylan, Springsteen, et al. Somehow, Bauer has kept all of this a secret for almost 14 years, and if nothing else comes from the void left by The Walkmen's split, Bauer's Liberation! at least makes the absence much smaller.