UK music program Later… with Jools Holland was back on the air Friday night with another performance from Beach House (check out the first one here). This time, the band showcased “Lazuli” from their Top Star-earning LP Bloom. Watch the replay below.

Bloom is out now via Sub Pop.

Consequence of Sound’s Summer Tour Guide will lead you to the darkest, dankest (not every venue has a ventilation system, folks) concerts where you can dance the night away after spending too many hours in the sun. From Dirty Projectors to Phish to the Diplo/Grimes/Skrillex extravaganza that is the Full Flex Express, we’ve listed the best and brightest artists that are touring new or as-of-yet unreleased albums, touring around festival appearances, or just touring because it’s damn fun.

-Harley Brown
Associate Editor

Feature artwork by Mike Zell.

Beach House

Photo by Phillip Roffman

Who: Beach House

When: May-July

Support: Wild Nothing

Key Dates: July 13th at Forecastle Festival // July 23rd at Central Park Summer Stage

What CoS Says: Baltimore dream-pop duo Beach House are supporting their expansive, haunting new LP, Bloom, and the floating, wonder-drenched tunes therein will echo majestically through many concert halls. The disc is likely to hit at or near the top of many best of the year lists, and this will be your chance to see things unfurl in person. -Adam Kivel

Dirty Projectors

Who: Dirty Projectors

When: July – August

Support: Purity Ring and Wye Oak

Key Dates: July 10th at Brooklyn’s Prospect Park // July 13th at Pitchfork Music Festival

What CoS Says: Dirty Projectors may have produced their masterpiece on 2009′s Bitte Orca, but on this tour they’ll be playing tunes from their first attempt to top that, Swing Lo Magellan. The early sounds from the disc suggest we’re in store for more hocketing and other multi-part vocal insanity that needs to be seen produced live to be believed. -Adam Kivel

Fiona Apple

Who: Fiona Apple

When: June – July

Key Dates: June 24th at New York’s Governors Ball Music Festival // July 10th at the Chicago Theatre

What CoS Says: After drawing eyes and ears from critics everywhere at this year’s South by Southwest, Fiona Apple hit the road for a select number of intimate gigs, all to critical acclaim. Most reviews championed this unspoken, newfound energy in her performances, where she twisted and turned some of her older tracks like “Criminal” or “Extraordinary Machine” into urgent personal affairs. With her forthcoming LP – The Idler Wheel... – due out June 19th, Apple will have plenty to get off her chest once and for all. In other words, expect something emotional. -Michael Roffman

Full Flex Express Tour

Who: Skrillex, Pretty Lights, Diplo, Grimes, KOAN, and Tokimonsta

When: July

Key Dates: July 14th at Ottawa Bluesfest // July 15th at Montreal’s Parc Jean Drapeau

What CoS Says: If Grimes is Janis Joplin, would Diplo or Skrillex be Jerry Garcia? The comparisons might not be entirely fitting, but either way, this bumpin’ tour featuring three of the best beat-making songwriters in the game today might just give the original Festival Express a run for its money. -Harley Brown

Hot Chip

Photo by Cap Blackard

Who: Hot Chip

When: July – September

Key Dates: July 14th at Pitchfork Music Festival // September 9th at Hollywood Bowl (w/ Passion Pit & Omar Souleyman)

What CoS Says: Leaving longtime label DFA doesn’t seem to have put a crimp in Hot Chip’s high step, if their dance-tastic new cuts are any indication. Close to the release date of In Our Heads, this extensive summer tour provides the first chance to hear the fivesome’s fifth installment of technolectronica hot off the vinyl presses. -Harley Brown

The Into The Wild Tour

Who: El-P, Mr. Muthafuckin’ Exquire, Killer Mike, and Despot

When: June – July

Key Dates: June 23rd at Austin’s The Mohawk // July 6th at Chicago’s Bottom Lounge

What CoS Says:  All four guys guest on the majority of each other’s tunes so I feel bad for them on this tour — no one’s going to get a break for too long off stage before they have to come and guest on another verse. Bad for them trying to read a book backstage, but incredible for the audience who are sure to see “Tougher Colder”, “Hail No”, “Butane”, and possibly “The Last Huzzah”. Also, do play the “What liquor will eXquire’s crew spray on the crowd?” betting game for kicks! -Jeremy D. Larson

Japandroids

Photo by Karina Halle

Who: Japandroids

When: May – July

Key Dates: May 31st at Primavera Sound // July 13th at Pitchfork Music Festival

What CoS Says: A Japandroids show is essentially that feeling of screaming yourself hoarse to rock music in your car with the windows down and the radio cranked to the max, only everyone at the show is doing that and you’re all on the same page because Japandroids make you feel young again, dammit. Help out Brian King and David Prowse with those “Ohhhs”from the back of the club — you won’t be the only one. -Jeremy D. Larson

My Morning Jacket and Band of Horses

Photo by Ryan Mastro

Who: My Morning Jacket and Band of Horses

When: August

Key Dates: August 3rd-4th at Red Rocks Ampitheatre

What CoS Says: Ask anyone who’s seen them live (Bonnaroo 2008, anyone?): My Morning Jacket is hands down one of the best contemporary live acts on the circuit(al). Band of Horses, who opened MMJ’s MSG show in December, are hard at work on new material with the legendary Glyn Johns. Put the two acts together, and you’ve got a southern rock fan’s wet dream. -Ben Kaye

Phish

Photo by Debi Del Grande

Who: Phish

When: June-September

Support: Only our resident Phan, Rob.

Key Dates: June 10th at Bonnaroo Music Festival // July 3rd-4th at Jones Beach Theatre

What CoS Says: Bust out the tape recorder and Grateful Dead bong, Phish is hitting the road again this summer. The Vermont jam gods are slotted to headline Bonnaroo alongside Radiohead, marking the first time Thom Yorke will have ever smelled Patchouli. –Bryant Kitching

Refused with OFF!

Who: Refused and OFF!

When: July

Key Dates: July 18th at Williamsburg Summer Garden // July 19th at Riot Fest East (Philadelphia)

What CoS Says: It’s been almost a decade and a half since Refused toured America, and that ended with the police breaking up a Virginia basement show. No one ever thought their classic The Shape of Punk to Come: A Chimerical Bombination in 12 Bursts would see the light of a stage again, but after an appearance at Coachella, fans across the map have a chance to witness the songs in all their glory. The fast and furious kick-assery of punk supergroup OFF! is just the sweetest icing this reunion cake could have, so eat up. -Ben Kaye

Sigur Rós

Who: Sigur Rós

When: July-September

Key Dates: August 3rd at Osheaga // August 5th at Lollapalooza

What CoS Says: It’s been four years since the Icelandic export hit the States. That’s a long time for an act as sweeping and majestic as Sigur Rós to be off the map. But, with time comes reason, and their latest album, Valtari, is an agreeable excuse to trot around the globe. The LP expands upon their sound in dense, circuital ways; as a result, the band will come stocked with an arsenal of new melodies and emotions to levitate that heart of yours into any summer night. Actually, it might be the only festival act that has you packing tissues. -Michael Roffman

Sleigh Bells

Photo by Lauren Guagno

Who: Sleigh Bells

When: July

Support: Class Actress, Jel, Hot Chip, James Murphy, Dave P, and Sammy Slice

Key Dates: July 20th at Philadelphia’s Penn’s Landing (w/ Dave P & Sammy Slice) // July 22nd at Merriweather Post Pavilion (w/ Hot Chip & James Murphy)

What CoS Says: Sleigh Bells have come a long, loud way since Treats, building a stadium-sized sound behind their Top Star-earning Reign of Terror with their trademark wall of Marshalls. Good thing as they get bigger, they also get better, so be sure to catch them while you still can. -Harley Brown

System of a Down with Deftones

Who: System of a Down and Deftones

When: August

Key Dates: August 5th at Jones Beach // August 12th at HEAVY T.O.

What CoS Says: With System of a Down fresh off a five-year live hiatus and Deftones gearing up for a new album, this is a prime double-header. In fact, there’s no better bill this summer for anyone who likes their rock hard, loud, and fist-pumpingly furious – and who doesn’t? -Ben Kaye

Wilco

Photo by Heather Kaplan

Who: Wilco

When: June – September

Support: Andrew Bird, Dr. Dog, Lee Ranaldo, Lee Fields & the Expressions, and Blitzen Trapper

Key Dates: July 23rd-24th at Brooklyn’s Prospect Park (w/ Lee Fields & the Expressions and Lee Ranaldo) // September 30th at the Hollywood Bowl

What CoS Says: With no new album to tour behind (they trekked across the globe for most of last year in support of their eighth LP, The Whole Love) you can expect Tweedy & co. to pull out some deeper cuts this time around. Our fingers are crossed for either “Kingpin” off their 1996 folk-rock opus Being There or “I’m Always In Love,” the unsung hero off 1999’s Summerteeth. –Bryant Kitching

Featured Music:
01. Beach House – “Wishes” (excerpt), “Wild” (excerpt)
02. Garbage – “Control” (excerpt), “Blood For Poppies” (excerpt)
03. Best Coast – “The Only Place” (excerpt), “Do You Still Love Me Like You Used To” (excerpt)
04. White Fence – “Groundskeeper Rag (Man’s Man)” (excerpt), “Makers” (excerpt)
05. PS I Love You – “Death Dreams”, “Don’t Go”, “First Contact”

Audiography Episode 038 – “Paul Saulnier (of PS I Love You)”
Written and Produced by Len Comaratta, Alex Young, Michael Roffman, Ben Kaye, Chris Coplan, Harley Brown, Bryant Kitching, Adam Kivel, and Nick Freed.

[powerpress]

Are you enjoying Audiography? Subscribe to the Podcast via iTunes!

Following last week’s appearance on Letterman, Beach House returned to the small screen on Tuesday for another performance of “Myth”. This time, the band showcased Bloom’s single on the UK program Later… with Jools Holland. Watch the replay below.

Bloom is out now via Sub Pop.

Beach House capped off a banner week with an appearance on Friday night’s episode of Late Show with David Letterman. Supporting their Top Star-earning LP Bloom, the band performed “Myth”. Watch the replay below (via The Audio Perv).

Bloom is out now via Sub Pop.

Photo by Lauren Guagno

Update: The footage has been removed.

On Wednesday night, Beach House performed a record release concert for Bloom at New York City’s Bowery Ballroom. Now, as Listen Before You Buy points out, a recording of the entire concert has been uploaded to YouTube, and you can watch it below.

The 17-song setlist included eight tracks from the new album, as well as past favorites “Zebra”, “Walk in the Park”, and “Norway”.

Setlist:
Wild
Walk in the Park
Norway
Other People
Lazuli
Gila
Equal Mind
The Hours
Silver Soul
New Year
Zebra
Wishes
Take Care
Myth
Encore:
Turtle Island
10 Mile Stereo
Irene

Beach House deals almost exclusively in anticipatory ache. The songs on their first two albums, Beach House and Devotion, never climaxed, instead revolving carousel-like around Victoria Legrand’s vibrato, harpsichords, and simple drum machines that encouraged and rewarded patient listening. Theirs wasn’t a big sound, but it was deep. Behind the mist and cobwebs lay hints evoking the duo’s arguably more accessible later albums, like the falsetto and decrescendo on “Master of None”, the waltzing handclaps of “Holy Dances”, and the minor “la da da da”s that raised hairs on “You Came To Me”.

Right before Beach House released their last album, Teen Dream, multi-instrumentalist Alex Scally dismissed their earlier records as “that really fast thing where you try to catch a sound really quickly and capture this energy to it,” expanding on it later to say, “We’re not satisfied with a song that has only this much [small motion] emotion.” So they took those “really fast” moments like the gasps of “gila-ah-ah-ah” and made them into songs, and 2010′s end product, Teen Dream, practically swoons with emotion. Each track is another single-worthy word for longing like the Inuit’s apocryphal 50 words for snow. There’s a reason I knew my roommate’s boyfriend was over when I would hear “Silver Soul” and (needless to say) “Lover of Mine” wafting from her bedroom.

After that, to put it bluntly, “How the fuck do you follow one of the decade’s best?” Two years and a successful partnership with producer Chris Coady later, Beach House brings us Bloom. On this album, anticipatory ache doesn’t lead into the chorus; it is the chorus. Every movement on Bloom extends that high silence to the length of several minutes, building within the song and into the next track to send wave after wave of eyes-closing, head-tilting, fist-clenching pinpricks. It’s not as immediate as its predecessor because, according to Legrand, it’s a journey ”about the irreplaceable power of imagination as it relates to the intense experience of living.” With the ease of a musician who knows the album they’re about to release is unequivocally a masterpiece, she wondered in a recent interview, “How do you take something completely natural, that will transfer to the listener, but not just settle for that instant feeling of ‘you hurt me,’ and go to an imaginary landscape instead?”

You start with drums. Using a beat to access humans’ innate sense of rhythm often feels like a cheap shot, but Beach House slaps the hand that reaches for instant gratification with Legrand’s inscrutable, Sybilline lyrics. On “Wild”, there’s a moment when she sings, “Heartless to say,” backed only by Scally’s drums booming in ¾ time, sounding distant at the end of each brief phrase like his partner’s absent heartbeat. She finishes the verse with “Go on pretending” as his guitar chords blossom over that moment’s vulnerability. The percussion marries Legrand’s heavy breathing again on “Troublemaker”, when “the thunder rolls in with the dark” as Scally’s kickdrum reverberates through the peaks and valleys of his deliberately finger-picked New Haze.

It’s not until those familiar (maybe too familiar) long, hot, and bothered sighs open follower “New Year” that it becomes clear those two songs are building to something. That something is “Wishes”. Even though the first 30 seconds of “New Year” might be Bloom’s most ecstatic moment, it’s one of those instant feelings that abates over the song’s duration. But it’s a necessary denouement in light of what follows. “Wishes” swells with a synthpad and drum machines, recalling Beach House’s simpler times, before adding layers of basslines and variegated percussion that plunge deeper and deeper into the heart of the song. And then, two minutes in, Scally rips a guitar solo that launches the song to that moment on “Sprawl II”– yes, I’m going there– when the arpeggiated synths finally kick in behind Regine Chassagne’s voice. Which is to say, it’s Beach House’s anthem.

Bloom culminates six years and three albums of anticipatory ache with subtlety and meticulous song placement that unfolds if you let it, once you stop playing “Myth” on repeat. Like Beach House’s earlier releases, it requires patient listening, but that “strange paradise” is more satisfying than Teen Dream’s instant feelings of “you hurt me,” which now seem appropriately adolescent compared to the smoke and mirrors on a song like “Irene”. But perhaps Scally and Legrand knew how awesome their next album would be when they hinted on their last one, “They say we’ll go far, but they don’t know how far we’ll go.” So how do you top that? For Beach House, it doesn’t matter, because they can. And they will.

Essential Tracks: “Wild”, “Troublemaker”, “New Year”, and “Wishes”

Feature artwork by David Stanley.

For the second time in over two years, Baltimore’s dream pop duo Beach House performed at The Fillmore in Miami Beach. The last time they visited South Florida, they were following in the footsteps of Vampire Weekend, which worked both for and against them – mostly because of the audience. While several fans showed up, ready to hear “Zebra” or “Saltwater”, all too many were amped to toss around to the radio and commercial-friendly vibes of “Holiday” or “A-Punk”. No doubt that tour helped push Beach House into many a household, but in the end, it made for an awkward scene. Now, with their long-awaited return, Victoria Legrand and Alex Scally are promoting their fourth studio LP, Bloom, and they’re at the top of the bill.

Finally.

With weeks of surmounting hype – thanks to an exclusive Record Store Day 7″ of “Lazuli” and a recent stream of Bloom on NPR – the Miami crowd fell silent and bewildered as the dark and smokey silhouettes of Scally and Legrand came to fruition on-stage. The haunting organ of “Troublemaker” flooded the room, followed by Scally’s aquatic guitar lines, and once Legrand whispered, “Like a hand you reached out to me,” everyone held tight and drowned themselves in the murky pop.

It’s doubtful everyone has heard that NPR stream, and it’s even more doubtful they’ve committed the songs to memory. However, it was quite refreshing to see a solid body of fans, all transfixed to the newer stuff. Once the two dived straight into “Other People”, another new track, the crowd received it well – some danced, some swayed about, others even made out. Nobody reached for their phone – and if they did, it was to record it (naturally) – and hardly a soul stepped out for a beer or a bathroom break. Granted, they were two songs in, but it brought to mind something unique about today’s generation: The new material is the real ticket. The idea of a “release date” is almost obsolete at this point; in fact, it’s all relative when you get right down to it. Because of this ideology that once it’s out, it’s out, you have a generation that’s actively seeking new material and, what’s more, different ways to listen to it. Basically, it’s a generation of scavengers – and Beach House supplied nugget after nugget of aural gold. Prior to rolling out past single “Zebra”, Legrand observed this, noting, “A lot of the songs you’re hearing, you don’t know, because they’re new. Thank you for being patient.”

In a recent press release, Sub Pop, the band’s label, noted that, “Bloom is meant to be experienced as an ALBUM. It offers a singular, unified vision of the world.” Beach House took this statement to heart playing over 95% of Bloom for Miami. Now, admittedly, the Miami audience could only leave with heavy heads as the band ignored their 2006 self-titled album, but the night’s encore made up for that tenfold. The two broke into a medley that could be construed as a bold evolutionary scale for the band. They returned with Devotion‘s “Turtle Island”, continued into Teen Dream‘s “10 Mile Stereo”, and finished with what’s possibly the best track off of Bloom, “Irene”. This trilogy encapsulated the dense, enigmatic mystery this Baltimore outfit still possesses and evolves, even into its eighth year. If that’s not admirable, then this industry is in trouble.

Setlist:
Troublemaker
Other People
Norway
Walk in the Park
Wild
Lazuli
Silver Soul
Equal Mind
The Hours
New Year
Zebra
Wishes
Take Care
Myth
Encore:
Turtle Island
10 Mile Stereo
Irene

Two of our most anticipated albums, Beach House’s Bloom and Best Coast’s The Only Place are now streaming at NPR.org. Both albums will be released on May 15th.

Photo by Heather Kaplan

In support of their new (and incredibly anticipated) LP, Bloom, Beach House have announced new U.S. tour dates, including a summer jaunt with Wild Nothing. They’ve also scheduled a record release show in New York City on the day of the Bloom’s release (May 15th). Check out the full schedule below.

Beach House 2012 Tour Dates:
05/04 – Charlottesville, VA @ Jefferson Theatre
05/05 – Carrboro, NC @ Cat’s Cradle
05/06 – Charleston, SC @ Music Farm
05/08 – Miami Beach, FL @ The Fillmore
05/09 – Orlando, FL @ Beacham Theater
05/10 – Jacksonville, FL @ Freebird Live
05/11 – Birmingham, AL @ The Bottletree
05/12 – Athens, GA @ Georgia Theatre
05/13 – Asheville, NC @ The Orange Peel
05/15 – New York, NY @ Bowery Ballroom
05/23 – Brighton, UK @ The Haunt
05/24 – London, UK @ Village Underground
05/25 – Belgium, BE @ De Kreun
05/26 – Amsterdam, NL @ Melkweg
05/27 – Berlin, DE @ Volksbuhne
05/29 – Paris, FR @ Maronguinerie
05/31 – Dudingen, CH @ Bad Bonn Kilbi Festival
06/02 – Barcelona, ES @ Primavera Sound
06/03 – Montpellier, FR @ Le Rockstore
06/04 – Bordeaux, FR @ Theatre Barby
06/05 – Nantes, FR @ Stereolux
06/06 – Lyon, FR @ Epicrerie Moderne
06/07 – Blarritz, FR @ L’Atabal
06/08-09 – Porto, PT @ Optimus Primavera Sound
07/01 – San Diego, CA @ House of Blues *
07/03 – Los Angeles, CA @ El Rey Theatre *
07/06 – Aspen, CO @ Belly Up Aspen *
07/07 - Albuquerque, NM @ Sunshine Theater *
07/09 – Tulsa, OK @ Cain’s Ballroom *
07/10 – Lawrence, KS @ Liberty Hall *
07/11 – St. Louis, MO @ The Pageant *
07/12 – Memphis, TN @ Minglewood Hall *
07/13 - Louisville, KY @ Forecastle Festival
07/15 – Chicago, IL @ Pitchfork Music Festival
07/17 – Indianapolis, IN @ The Vogue *
07/18 – Pontiac, MI @ The Crofoot Ballroom *
07/19 – Cleveland, OH @ House of Blues *
07/20 – Columbus, OH @ Newport Music Hall *
07/21 – Pittsburgh, PA @ Mr. Small’s Theatre *
07/23 – New York, NY @ Central Park Summer Stage
08/31-09/02 – North Dorset, UK @ End of the Road Festival 

* = w/ Wild Nothing

Consequence of Sound’s Summer Music Guide contains a comprehensive breakdown of the season’s biggest albums, complete with artwork and audio preview when available. These are the albums that you won’t be able to quit. They’re worthy of deluxe pre-orders, long email chains discussing their place in music today, and soundtracks to balmy summer nights. We hope you find it useful, and please share your most anticipated albums in the comments below.

-CoS Staff

Artwork by David Stanley.

Beach House – Bloom

Fortune surrounds Beach House’s fourth studio offering. Teen Dream producer Chris Coady is back at the helm, the album was mixed at New York City’s legendary Electric Lady Studios, and the already-revealed cuts (“Myth”, “Lazuli”) could be described as no less than divine. It’s far too early to write any year-end lists just yet, but here’s a hypothesis: It’s doubtful we’ll shake off Victoria Legrand’s balmy, dreamy vocals by winter. -Michael Roffman
Due Out: May 15th via Sub Pop 

Beach House – “Lazuli”

Best Coast – The Only Place

With Jon Brion (Kanye West, Fiona Apple, of Montreal) on board as producer, some might be expecting a departure from the endlessly endearing surf pop that earned Best Coast’s 2010 debut our Top Star recognition. Fear not, because while Brion’s more polished and refined touch can certainly be felt on The Only Place (a string quartet actually makes an appearance on a couple of tracks), Bethany Cosentino still keeps her feet firmly planted in her signature fuzzy lo-fi punk sound. -Bryant Kitching
Due Out: May 15th via Mexican Summer

[soundcloud url="http://api.soundcloud.com/tracks/41269412" iframe="true" /]

Garbage – Not Your Kind of People

Nineties alt-pop darlings Garbage go for a surrealist escape in the lead single off their first album in eight years, Not Your Kind of People. The video for the song, “Blood for Poppies”, shot by L.A. cinematographer Matt Irwin, is a shaky, black-and-white montage of space-age black magic and sunny So-Cal scenes. Musically, it’s classic sneer-and-wink Garbage: chainsaw guitars, wonka-wonka bass, and a pop-delicious hook that rushes into the chorus like a gust of wind, and that can only bode well for the rest of the album. -Katjusa Cisar
Due Out: May 15th via STUNVOLUME

Garbage – “Blood for Poppies”

Killer Mike – R.A.P. Music

Some of the first words shot out by Killer Mike on R.A.P. Music reference KRS ONE’s “9mm Goes Bang”. He shouts, “Wa da da dang, wa da da da da dang/listen to my Kimber .45 go bang.” These lyrics could serve as a summary for the whole album: old-school nods that pack more fire power. Killer Mike’s flow keeps it anachronistic like Slick Rick meets Chuck D, but El-P’s production–as always–keeps the whole record avant. It will tear as big a hole in the space-time continuum as it will in your speakers. -Jeremy D. Larson
Due Out: May 15th via William Street Records

[soundcloud url="http://api.soundcloud.com/tracks/35492057" iframe="true" /]

Tenacious D – Rize of the Fenix

After the commercial nonsuccess of 2006′s Pick of Destiny, the greatest rock band in the world is set for the biggest resurgence in music history! In the works since at least 2007, Rize of the Fenix once again sees “Hollywood” Jack Black and Kyle “Rage Kage” Gass teaming up with ex-Nirvana drummer Dave Grohl, and despite the sentiments of album track “Rock Is Dead”, the metal is still righteous. The album is replete with the raunchy humor and outrageously spun stories of sex, rock-n-roll, and friendship The D is known for. Hell, Val Kilmer took a bullet for this record. -Ben Kaye
Due Out: May 15th via Columbia

[soundcloud url="http://api.soundcloud.com/tracks/40722504" iframe="true" /]

El-P – Cancer for Cure

No lie: After pressing play on my promo download of Cancer for Cure, El-P’s first album since 2007′s I’ll Sleep When You’re Dead, I stared at my computer screen, practically slack-jawed, for almost 10 minutes. But what does the greatest and most epic left-field rap full-length of the year so far actually sound like? In essence, it’s a full-on assault of sprawling, 22nd-century boom-bap juxtaposed with justly garrulous and truly cerebral 16s that never cease to impress. El Producto es el genio. -Mike Madden
Due Out: May 22nd via Fat Possum

El-P – “Tougher Colder Killer” (feat. Killer Mike and Despot)

Mount Eerie – Clear Moon

Phil Elverum’s haunting brand of black metal proved intriguing on 2009′s Wind’s Poem, and since then he’s kept rather quiet, save for an archival collection and a couple of singles. This year he returns with two albums: Clear Moon and Ocean Roar. Based on the hazy, driving “House Shape”, the former’s first single, Elverum remains in the darkness, but there’s just enough light to keep us moving. -Michael Roffman
Due Out: May 22nd via P.W. Elverum and Sun, Ltd.

[soundcloud url="http://api.soundcloud.com/tracks/40613992" iframe="true" /]

Edward Sharpe and the Magnetic Zeros – Here

Edward Sharpe and the Magnetic Zeros exploded onto the scene in 2009 with their shakable brand of hippie-soaked indie folk. Three years later, they’re ready to return with a vengeance. Here is actually the first of two albums due this year, birthed from exploring “a wide variety of subject and sound” upon their return to the studio. The lead single, “Man on Fire”, burns slow and warm, the kind of comforting, uplifting stuff that made their Up From Below debut so welcoming. -Ben Kaye
Due Out: May 29th via Community Music/Vagrant

[soundcloud url="http://api.soundcloud.com/tracks/39966234" iframe="true" /]

Lemonade – Diver

After sashaying onto the scene with 2009′s self-titled debut, Lemonade return with their long-awaited sophomore effort, Diver. Constructed from “sounds of the past synthesized with contemporary dance music buoyed by the most immediate matters of the heart,” the album arrives just in time for summer. If you’ve already got your toes in the sand, label True Panther Sounds has gone ahead and released first single “Neptune” along with remixes by various artists. -Harley Brown
Due Out: May 29th via True Panther Sounds

Lemonade – “Neptune”

Regina Spektor - What We Saw from the Cheap Seats

Currently embarking on a tour through the U.S. with Tom Petty and the Heartbreakers, Regina Spektor has already revealed to us nearly one-quarter of her upcoming album What We Saw From The Cheap Seats. The cute, earnest “Small Town Moon” and reworked, jumpy “Don’t Leave Me (Ne Me Quitte Pas)” showcase Spektor in her most accessible, but the cryptic (and a tad awkward) video for  “All The Rowboats” may make you wonder why it was chosen to be the lead single. We can expect a solid sixth record from Regina, and we’ll be looking for those gems undoubtedly buried within the songs yet unheard. -David Dililo
Due Out: May 29th via Sire/Warner Bros. 

[soundcloud url="http://api.soundcloud.com/tracks/44365980" iframe="true" /]

The Walkmen - Heaven

The Walkmen, with the help of producer Phil Eck and a guest spot by Robin Pecknold, returns with a rich album, a sound not previously heard from the band. With Heaven, that nervous energy is gone, but what has been left in its wake is a group comfortably growing old. In doing so, they’ve compiled their most personal collection of tunes. As clues into the rest of the sprawling LP, the first single and title track provide insight into the bucket of hooks there to unpack when the album is finally unleashed. -Ryan Staskel
Due Out: May 29th via Fat Possum 

[soundcloud url="http://api.soundcloud.com/tracks/43420973" iframe="true" /]

Sigur Rós - Valtari

Sigur Rós can take their records off the shelf, polish it, repackage it, and send it resounding through the snow fields and white-capped mountains of Iceland until the end of time for all I care. But what sets Valtari apart is its leap into cosmic reflection in contrast with the more neo-natal wonderment of their previous work. It dares to create even larger post-rock expanses and does so without the crutches of tension and release. Instead, Valtari is all about riding for the feeling. Of course it’s still cinematic, but now it’s less Vanilla Sky and more Tree Of Life, which is unequivocally a good thing. -Jeremy D. Larson

Due Out: May 29th via EMI/XL

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Big K.R.I.T. – Live From the Underground

Over the course of some seven years, Mississippi rapper/producer Big K.R.I.T. has manned the boards for everyone from Ludacris to Freddie Gibbs, all while releasing an increasingly influential and captivating series of mixtapes. Though the temptation for change undoubtedly abounds, expect his debut LP to continue on the same trajectory as his back catalog: spiritually aware, socially conscious raps backed by a soulful, retro-centric production style, created by a man who’s never forgotten his Southern roots or sense of duty. In essence, as the album’s title cleverly summarizes, K.R.I.T. will look to entertain throngs of new fans without leaving the confines of the underground bunker he’s worked so hard to fortify. It’s taken nearly a decade to get here, but K.R.I.T.’s more than well equipped to handle the Big Show. -Chris Coplan
Due Out: June 5th via Def Jam 

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Japandroids – Celebration Rock

Fans of Brian King and David Prowse’s Post-Nothing debut shouldn’t have a problem with their second LP. Of course, there’s the previously released single “The House That Heaven Built”, the monstrously fuzzed-up bro-down that doubles as contender for song of the year. But jams like “Younger Us” (also previously released), “Fire’s Highway”, and “Evil’s Sway” will hold up just fine on those long-sought summer nights, too, exuberant and flat-out fun in their catharses. Cheers to post-adolescence, once again. -Mike Madden
Due Out: June 5th via Polyvinyl 

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Liars - WIXIW

Liars have never been predictable, producing over the course of their 12-year tenure both a concept record about creativity and doubt and an album inspired by German legends about witchcraft, among others. Despite these disparate influences, they’ve always hewed to the same dance-inspired punk and drum machine-based songwriting; WIXIW, however, is “simultaneously the most accessible and most challenging release from these iconoclasts, it is both a summation of Liars’ work up to now, and a complete break from anything you’d ever heard the band do previously.” They’ve pretty much covered all the bases with that, leaving listeners with “No. 1 Against the Rush” to guess at what it means. -Harley Brown
Due Out: June 5th via Mute

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Neil Young & Crazy Horse – Americana

Last year’s Buffalo Springfield reunion came sans new recordings, but Neil Young devotees will be satiated when he drops his first album with the complete Crazy Horse lineup (Billy Talbot, Ralph Molina, and Frank “Poncho” Sampedro) since 1996’s Broken Arrow. The material is comprised of classic folk tunes like “This Land Is Your Land” and “She’ll Be Comin’ Round The Mountain”, which will disappoint fans aching for new material. Still, these guys getting back together is nothing to scoff at. Besides, a second record is coming this fall, so let this one tide you over. -Ben Kaye
Due Out: June 5th via Reprise 

Neil Young & Crazy Horse – “Oh Susannah”

PUJOL – United States of Being

With United States of Being, his full-length 12-track debut, Daniel Pujol ropes in his gritty-yet-catchy brand of garage rock. It would be wise to take the title literally, as Pujol states, “love can be a pretty subversive thing. It’s 12 neoliberal love songs for you and the significant Other.” How sweet. -Michael Roffman
Due Out: June 5th via Saddle Creek

PUJOL – “DIY2K”

Guided By Voices – Class Clown Spots a UFO

The classic GBV lineup is back for a victory lap with the album Class Clown Spots a UFO. No doubt, it will be a run through the lo-fi playground that Robert Pollard has called home for more than two decades. Let’s Go Eat the Factory, the inaugural album by the returned classic lineup brought us a sprawling 21 track brilliant mess, and with Class Clown Spots a UFO we have every reason to believe the band of merry drunkards will bring the goods one more time. -Ryan Staskel
Due Out: June 12th via Fire Records

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Hot Chip – In Our Heads

Hot Chip might not be putting out their fifth LP, In Our Heads, on longtime label DFA, but that doesn’t mean things are going to be any different. According to the band, whose myriad side projects (The 2 Bears, New Build) have been shelved for the greater good of dance floors everywhere, the new album will be “an unadultered delight of an album bursting with dynamic dancefloor-movers, instant yet enduring hooks, and verbose synth-fuelled love songs.” That sounds like everything they’ve ever done before, but, fortunately for Hot Chip, they always pull it off with Alexis Taylor’s bittersweet quaver between bumpin’ percussion. -Harley Brown
Due Out: June 12th via Domino

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Redgrave - National Act

It’s a rock renaissance out there in 2012, and Redgrave fills a perhaps unseen vacancy. The Chicago duo takes Sleep’s Holy Mountain, PJ Harvey’s Rid of Me, and The Dead Weather’s Sea Of Cowards and melts them all down into a five song EP that just incinerates everything in its path. Singer Angie Mead’s lupine bellow hits blue note after blue note over her dirge guitars and Stephen Howard’s economic drum work. National Act is a rare moment where something brash and ostentatious creeps slowly in the night, low to the ground, unseen but certainly not unheard. -Jeremy D. Larson
Due Out: June 12th via Lovitt Records

The Tallest Man on Earth – There’s No Leaving Now

Kristian Matsson arrived more or less fully formed when he released his first EP under the Tallest Man on Earth moniker in 2007. Since then, the actually-kinda-short Swede has continued to pump out sophisticated, yet totally natural and happily bare-bones folk that has translated to a pair of great-to-excellent LPs: 2008′s Shallow Grave and 2010′s The Wild Hunt. With There’s No Leaving Now, the usual shtick is to be expected, but so is a little (relative) experimentation; think “The Dreamer”, from ’10′s Sometimes the Blues Is Just a Passing Bird EP, featured some electric guitar, a then-unprecedented move for the usually acoustic-and-pipes Matsson. -Mike Madden
Due Out: June 12th via Jagjaguwar 

Usher – Looking For Myself

Though Usher has proclaimed his seventh LP, Looking For Myself, to be a revolutionary blend of pop, EDM, and R&B, the first three tracks indicate less soul-searching and more rehashing of past hits. There’s a baby-makin’ anthem (the Diplo-produced “Climax”), followed by the always-bangin’ club hit (“Scream”), and the most recent preview, the prerequisite rap collabo (the Rick Ross-aided “Lemme See”). Still, one can’t blame the guy for sticking to what works, with each subsequent effort a shinier, more succinct piece of pop craftsmanship. That, in a way, is far more rewarding than even the most meaningful of personal revelations. -Chris Coplan
Due Out: June 12th via RCA

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Fiona Apple – The Idler Wheel…

The highly anticipated follow up to 2005’s Extraordinary Machine, The Idler Wheel is Wiser than the Driver of the Screw, and Whipping Cords Will Serve You More Than Ropes Will Ever Do marks the enigmatic singer’s triumphant return after seven long years of silence. As evidenced by her recent SXSW performances, where she debuted a few tracks off the epically titled new album, Apple’s voice is as strong and emotive as ever. A North American tour—her first in five years—will follow the release. Don’t miss out—history argues that it’ll probably be another half-decade before you’ll get the chance to see her again. -Lainna Fader
Due Out: June 19th via Epic

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A Place to Bury Strangers – Worship

If your ears have a tendency to shy away from these Brooklyn shoegazers, it’s understandable. On their forthcoming LP, however, the band relies less on the reverb, distortion, and crunch, opting for “threads of krautrock, dream-pop, and ’80s goth without ever losing the edge,” according to a press release. Based on the careening first single, “You Are the One”, it’s likely your dancing shoes will shy away this time around. -Michael Roffman
Due Out: June 26th via Dead Oceans

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DIIV – Oshin

Beach Fossils guitarist Zachary Cole Smith carved out 60 tracks before formally crafting DIIV. Now with a full band in tow, Smith’s decided upon 13 tracks that gush with New Wave decadence, complete with glittery guitar work and Peter Hook-inspired basslines, all primed to add unnatural atmospheres to your summer nights. -Michael Roffman
Due Out: June 26th via Captured Tracks

DIIV – “How Long Have You Known?”

Ty Segall Band – Slaughterhouse

Bay Area psych-rocker Ty Segall isn’t routinely labeled prolific for nothing; Slaughterhouse, a collaborative effort from his Ty Segall Band (also featuring Mikal Cronin, Charlie Moothart, and Emily Rose Epstein), is Segall’s second of three albums in 2012. Despite the unrelenting release schedule, each record sees Segall further hone his wizard-like mastery of punk-inspired, psychedelic-colored gems of effervescent fuzz. From the hardcore doo-wop of “Diddy Wah Diddy” to the awkward-yet-unwaveringly furious “I Bought My Eyes”, Segall and co. have gone beyond blending pop, punk, garage, blues, etc. With passion and distortion galore, they’ve transformed the random, rockin’ components into something unequivocally Segall-ian. At this pace, Segall may very well reinvent all of rock just in time for the new year. -Chris Coplan
Due Out: June 26th via In The Red 

Ty Segall – “Wave Goodbye”

Mission of Burma – Unsound

Can we stop talking about Mission of Burma’s comeback already? It’s been 10 years since the seminal post-punk act reunited, and in that decade’s span, they’ve been more prolific than they were during their original 1980s go-around. (Some may even argue that Mission of Burma 2.0 have rocked even harder in their old age.) Jumping from Matador to Fire Records, Unsound will be their fourth record post-reunion, and from the sound of preview track “Dust Devil”, it’ll continue in their tradition of crank-the-volume-til-your-ears-bleed guitar rock. -Austin Trunick
Due Out: July 9th via Fire Records

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Dirty Projectors – Swing Lo Magellan

Spoiler alert: Angel Deradoorian will not be appearing on Dirty Projectors’ sixth studio album, Swing Lo Magellan. It’s definitely in keeping with frontman David Longstreth’s “stripped-down” approach, even if Deradoorian’s supernatural octaves had become one of the defining features of the band since she was brought on board in 2007. But the bare-bones arrangement of “Gun Has No Trigger” allows each classic Dirty Projectors element, from the choral atonalities to Longstreth’s Oberstian quaver, to still make every ear-hair stand on end. -Harley Brown
Due Out: July 10th via Domino Records

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Nas – Life Is Good

Is Lost Tapes II still a possibility? We might not care, because if “Nasty”, “Daughters”, and “The Don” are any indication, the Illmatic One’s 10th album will be one to remember. It’s Nas’ “magic moment” after all, and he’s spared no expense, enlisting both heavy hitters like Common, the late Heavy D, and No I.D., and relative freshmen like Jay Electronica. It even makes sense logically: God’s Son wouldn’t make an album that was even a contender for the “it’s-no-Illmatic” dismissal while touring his seminal first album at the exact same time. It’s definitely a more mature, fatherly Nas this time around, but the MC is still Nasty through and through. -Harley Brown
Due Out: July 17th via Def Jam 

Nas – “Nasty”

The Gaslight Anthem - Handwritten

On their previous releases, Jersey boys The Gaslight Anthem fashioned themselves the torchbearers of Springsteenian songwriting. Singer Brian Fallon has stated he’s moved on from that style, abandoning characters and allegorical storytelling for the more openly personal Handwritten - a fitting motif, as it’s the first album Fallon wrote entirely by hand. While the lead single, “45”, has only just been unveiled, the album promises to be “big, like Tom Petty songs played by Pearl Jam or the Foo Fighters.” The band seems pleased with what they’ve crafted, an album said to delve down a new path of fearlessness and growth for these Garden State rockers. -Ben Kaye
Due Out: July 24th via Mercury Records

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Passion Pit – Gossamer

Boston synthpop quintet Passion Pit kept enough momentum behind their Manners debut to headline MoogFest over two years after the album’s release. Scores of top festival spots have already rolled in for this summer, and their followup LP, Gossamer, was formally announced only a week ago. Much of what can be expected from the 12 new tracks comes from an interview with Pitchfork: contributions from composer Nico Muhly (“I’ll Be Alright”) and Swedish a cappella trio Erato; R&B stylings (“Constant Conversations”); and some honest, self-disparaging lyrics. The newfound lyrical bluntness, musical experimentation, and major label backing (Columbia) will attempt to meet some massive anticipation. -Ben Kaye
Due Out: July 24th via Columbia 

Atoms For Peace – TBA

If Thom Yorke’s latest DJ set is any indication, Atoms For Peace’s long-awaited LP may see light sooner rather than later. That being said, as one astute reader points out, it’s hard to read much into a remix. So what we know now remains the same as what we knew back in October when Yorke discussed the project with BBC Radio. “It was initially for fun to play all the Eraser stuff, but it sparked something off. So we ended up at the end of that getting into the studio and generating some new beats.” He added that their collaboration in an album in “the sense that Eraser was an album.” -Scoop Harrison
Due Out: Summer (hopefully)

The Avett Brothers – TBA

Producer extraordinaire Rick Rubin aided the brothers Avett on their last release, 2009’s breakthrough I and Love and You, so popping back in to produce their upcoming LP is a no-brainer. What we’ve heard live and seen on TV appearances is promising, to say the least. Scott and Seth Avett switch off on lead vocals during the string-sweeping “Down With the Shine”, while “The Once and Future Carpenter” features harmonies as strong as we’ve come to expect from the duo. One cause of concern: their trimmed hair. May the Gods keep them off the paths of Kings of Leon. -Justin Gerber
Due Out: Summer via American/Columbia 

The-Dream – Love IV MMXII

The-Dream, a.k.a. Terius Nash, still has yet to announce a release date for his fourth LP, but he couldn’t resist sharing a sneak preview with Rolling Stone back in March. As of right now, mere mortals can only hear (and watch videos for) singles “Roc” and “Kill the Lights” in their entirety. But if those are any indication of The-Dream’s forthcoming effort… ladies, watch out. -Harley Brown
Due Out: Summer via Def Jam

The-Dream – “Roc”

GOOD Music - GOOD Music

Just months after its “definitive” announcement, GOOD Music’s eponymous debut compilation has already reached near-mythical proportions. So far, the album’s sole preview, “Mercy”, is indicative of a very Kanye West-sounding album, with its references to Sarah Palin and Pac-Man and wobbly, bass-heavy production. Factor in West’s obsessive control complex and the fact that it is his label, and it should be an album of non-stop West-ian jams and bangers. Still, for a label looking to reach Wu-Tang Clan levels of influence, there’s perhaps no better way to bring home that coveted Platinum record plaque. -Chris Coplan
Due Out: 2012 via G.O.O.D. Music/Def Jam

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How to Destroy Angels – TBA

In December, Trent Reznor announced to Rolling Stone that the debut full-length from How To Destroy Angels, his project with wife Mariqueen Maandig and longtime collaborator Atticus Ross, would be released sometime during the first quarter of 2012. Alas, that time has come and gone, and summer fast approaches with little more information on the album. However, during the same interview, Reznor mentioned that early stages of production were influenced by the textures and deconstructed rhythms of “early Cabaret Voltaire“, pioneers of the industrial music genre. The LP is yet to receive an official release date or tracklisting, but according to a tweet from Reznor, the album’s final mixed was completed in mid-February. Reznor was notoriously slow at releasing his early NIN work, so here’s hoping for further details soon. -Derek Staples
Due Out: Summer via The Null Corporation

Rick Ross – God Forgives, I Don’t

Following a health scare in October 2011, Rick Ross was ordered by doctors to take it easy, leading to the delay of his long-awaited fifth album, God Forgives, I Don’t (originally slated to drop in December). Yet, despite the trauma associated with the ordeal, Ross took it all in stride, telling MTV’s RapFix that he planned to keep the release tentative until he was certain he could deliver a truly impactful work. Since then, the release of three album tracks (“You the Boss”, “I Love My Bitches”, and “Stay Schemin”) and the Rich Forever mixtape have indicated that Ross may well be steppin’ up his game (not hard considering past gems like “Only fat n***a in the sauna with Jews/Went and got a yacht, I’m talkin’ Carnival cruise”). If going for real, earnest rap gold is the true endgame, you take your time, Mr. Ross; even if we write about this LP in our summer 2013 guide, we’ll forgive you. -Chris Coplan
Due Out: Summer via Maybach Music Group/Def Jam 

Rick Ross feat. Nicki Minaj – “You the Boss”

Swans – The Seer

That conspicuously suspicious 13-year hiatus apparently gave Michael Gira more material than he was able to fit on My Father Will Guide Me up a Rope to the Sky, because Swans’ forthcoming double album is a “complete synthesis of everything I’ve done and everything Swans has done.” It features fellow innovators in equally disparate fields, like Akron/Family, Karen O, and slow-core staple Low’s Alan Sparhawk and Mimi Parker. For The Seer, Swans continues to move somewhat away from its seminal, defining abrasion toward a more nuanced, “beautiful and pastoral” sound. So far, the only hint we have is Swans performing a new song, “Avatar”, in Moscow. -Harley Brown
Due Out: Summer via Young God

It’s finally Record Store Eve, everyone! The night in which, uh, Record Santa, throws records down a chimney — or something. While we can’t promise you a visit from some made-up record-slinging fat man, we can promise you that we’ve got another batch of big tunes from heavy hitters including Beach House, The Walkmen, and Hot Chip. So, sit tight, take a listen to these ten tracks, and keep the anticipation going for tomorrow’s big day.

-Adam Kivel
Senior Editor

A.Dd+ – “When Paris Smokes”

This feature’s obligatory 4/20 jam, “When Paris Smokes”, finds Dallas duo A.Dd+ weaving unsurprisingly impressive verses around the topic of Miss Mary Jane. It takes awhile for the track to really kick in, but when it does, Paris Pershun and Slim Gravy cast their early-Outkast-biting tendencies into something elegantly stoned; I can practically smell smoke seeping out of my speakers when it’s on. One issue, though: Shouldn’t these guys be referencing Nowitzki and Terry instead of Parker and Ginobili? -Mike Madden

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Arctic Monkeys – “Electricity”

The B-side to Record Store Day single “R U Mine?”, “Electricity” blends dark pseudo-psychedelia with the umpteenth flaunt of Alex Turner’s melodic gifts. Neither the riffs nor the solos feel indulgent, and the track is a perfect example of the band’s currently manifesting maturation; there’s not much negative to say about the Monkeys’ compulsively listenable first few years, but the stuff they’ve been putting out lately has had the potential to satisfy much wider audiences. So you’ll be at your local mom-and-pop tomorrow, right? -Mike Madden

ASAP Rocky – “Goldie”

The first taste of ASAP’s forthcoming LongLiveASAP LP, “Goldie” was produced by “Niggas in Paris” sculptor Hit-Boy and bears no provincial sonic ties (unless you count the somewhat Houstonian chorus). Still, the Harlem native ASAP makes his own world out of the track, flexing his chameleonic flow throughout. Some of the brags and subject matter are rote, sure (“Call me Billy Gates, got a crib in every state“), but that doesn’t really matter when everything else is centered on a backdrop as luxuriating as this one. -Mike Madden

ASAP Rocky – “Goldie”

Beach House – “Lazuli”

This cut from Maryland dream poppers Beach House comes from their soon-to-be-released LP, Bloom (May 15, via Sub Pop), but it’s also one you can pick up on snazzy white vinyl for Record Store Day. It’s entirely possible to picture that 7″ slab spinning like a lost cloud as the chilly synths, lolling vocals, and marshy percussion waft away. There’s a hazy power to this track, hinting at what is one of the most hotly anticipated albums of the year. -Adam Kivel

Beck – “I Only Have Eyes for You”

Between producing LPs like Thurston Moore’s Demolished Thoughts and Stephen Malkmus and the Jicks‘ Mirror Traffic, most of Beck’s recent musical output has been through helping others. However, that doesn’t mean dude hasn’t been willing to put out a song or two of his own. On “I Only Have Eyes for You”, a rendering of the Flamingos’ 1959 cover of the post-Tin Pan Alley classic, Beck waxes sweet and soulful atop steady piano plunks and crisp major guitar chords, not to mention the enveloping production. Finger-snapping is all but required. -Mike Madden

Doug Paisley – “Sad Sinner”

The extent of an acoustic singer-songwriter’s talent might best be determined by how willingly, and deftly, he or she embraces vulnerability. This is something Doug Paisley knows full well. On the countrified dirge “Sad Sinner”, the Toronto denizen recruits the likes of timeless mandolin and wistful fiddle to guide him through a lament on his faults and limits. Don’t expect too telling a glimpse into Paisley’s theology, but between the quietly melodious riffs and verses, the whole thing’s a small thrill. Paisley’s five-song Golden Embers EP, from which “Sad Sinner” comes, is out now on No Quarter. -Mike Madden

Doug Paisley – “Sad Sinner”

Hot Chip – “Night and Day”

London electro-poppers Hot Chip have been releasing critically well-received albums every two years, and 2012 doesn’t seem like it’s going to end that streak. “Night and Day” is the lead single from In Our Heads (due June 12 from Domino), the band’s fifth record. The plonky, smoky, synth-laden track seems made for a crowded dance floor. The syncopation and insistent rhythm flow by under Alexis Taylor’s deadpan lines. This track will find its way onto plenty of summer dance party mixes. -Adam Kivel

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Major Lazer (Feat. Amber Coffman) – “Get Free”

It’s been three years since we’ve heard an LP from the production/DJ dream team of Diplo and Switch, and they’ve heralded their return in a big way. Not only did they release the first track from their as yet untitled upcoming LP, “Get Free” (which features Dirty Projector Amber Coffman), they’ve given a Bondo de Rolê remix and a sort of sing-along video to go along with it. Coffman’s working on the same sort of weirdo-soul kick as she did on “Stillness is the Move”, and the production is low-slung, even subdued, a strange but alluring change from these notorious party-starters. -Adam Kivel

Shmu – “House of Stares”

One half of Austin, TX psych-rockers Zorch, Sam Chown has developed his own singular voice under the name of Shmu. The multi-instrumentalist sounds at home on “House of Stares” despite its utter left-turn from the material of his other project. The groovy, bouncing rhythm (even including a lithe xylophone) makes for one jazzy, smooth track. Chown’s multi-layered pop sensibility sounds inspired by ’70s pop-rock, the song coming together to make a breezy jam for a sunny afternoon. -Adam Kivel

Shmu – “House of Stares”

The Walkmen – “Heaven”

The Walkmen have spent the last ten years seemingly on the cusp of being the biggest band in indie rock. They’ve done pretty much everything, including Harry Nilsson covers, bar-room stomp, and ripping indie rock. After all of that, though, they’re still rocking here on the title track to their soon-to-be-released 7th LP, Heaven (due June 5 from Fat Possum). The super-jangly guitars and kinetic vocals should make for a live staple, and a blast to hear recorded as well. -Adam Kivel

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Beach House will release their fourth LP, Bloom, on May 15th via Sub Pop. Following the lead single, “Myth”, our second taste of the album comes via “Lazuli”, which will be also be released on 7″ white vinyl for Record Store Day (April 21st). Listen to it below.

Bloom Tracklist:
01. Myth
02. Wild
03. Lazuli
04. Other People
05. The Hours
06. Troublemaker
07. New Year
08. Wishes
09. On the Sea
10. Irene

Armed with a few lights, a smoke machine, and some primo editing skills, bedroom pop composer Mauro Remiddi (aka Porcelain Raft) makes something out of a whole lotta nothing in the music video for “Drifting In and Out”. The resulting visual affair features swirling, smoke-laden imagery ripped straight from some fevered dream of Remiddi patrolling the very innards of his own mind. Equal parts intimate and jarring, grandiose and soothing, one can only imagine what he’d forge with a bigger toolbox. Watch the video below (via NPR First Watch).

Porcelain Raft’s debut album, Strange Weekend, is out now via Secretly Canadian. The “Drifting In And Out” b/w “Chain” 7″ single is due out June 26th. Remiddi will be on tour throughout the spring and summer, with the full schedule listed below.

Update: Porcelain Raft has also announced new U.S. tour dates for later this spring/summer, which you can find listed out below.

Porcelian Raft 2012 Tour Dates:
04/04 – Chicago, IL @ Metro ^
04/05 – Milwaukee, WI @ Turner Hall Ballroom ^
04/06 – Minneapolis, MN @ 7th Street Entry
04/08 – Denver, CO @ Hi-Dive
04/10 – Santa Ana, CA @ Constellation Ballroom ^
04/11 – San Diego, CA @ Porter’s Pub ^
04/12 – Los Angeles, CA @ Troubadour ^
04/13 – San Francisco, CA @ The Independent ^
04/15 – Portland, OR @ Doug Fir Lounge
04/16 – Seattle, WA @ Crocodile Cafe
04/17 – Vancouver, BC @ Electric Owl
04/23 – New York, NY @ Webster Hall +
05/04 – Bucharest, RO @ Control
05/05 – London, UK @ The Sebright Arms #
05/06 – Manchester, UK @ Deaf Institute #
05/08 – Liverpool, UK @ Shipping Forecast
05/10-12 – Brighton, UK @ The Great Escape
05/14 – Bristol, UK @ The Louisiana
05/15 – London, UK @ White Heat
05/16 – Ghent, BE @ Kantine
05/18 – Paris, FR @ Cafe De La Danse
05/19 – Amsterdam, NL @ London Calling
05/23 – Brighton, UK @ The Haunt *
05/24 – London, UK @ Village Underground *
05/25 – Kortrijk, BE @ De Kreun *
05/27 – Berlin, DE @ Volksbuhne *
05/29 – Paris, FR @ La Maroquinerie *
05/30 – Cambridge, MA @ TT the Bears
05/31 – Philadelphia, PA @ Kung Fu Necktie
06/02 – Washington, DC @ Red Palace
06/03 – Chapel Hill, NC @ Local 506
06/04 – Atlanta, GA @ 529
06/06 – St. Louis, MO @ The Firebord
06/07 – Chicago, IL @ Schuba’s
06/08 – Pontiac, MI @ Vernor’s Room
06/09 – Cleveland, OH @ Grog Shop’s B-Side Lounge
06/10 – Buffalo, NY @ Ninth Ward
06/12 – Montreal, QC @ Il Motore
06/16 – Hultsfred, SE @ Hultsfred Fest
09/01-02 – Salisbury, UK @ End of the Road Festival
09/06-09 – Isle of Wight, UK @ Bestival

^ = w/ Youth Lagoon
+ = w/ The Vaccines
# = w/ Here We Go Magic
* = w/ Beach House

If you have anything more than a passing interest in music, chances are you’ll either be spending the better part of March cramming in as many of the impossibly awesome/numerous performances and showcases SXSW has lined up for this year (Jack White! The Jesus and Mary Chain! 50 Cent!) or crying profusely over the fact that you’re anywhere but Austin, TX. Regardless of how you’ll be spending the coming weeks though, this week has been a splendid one as far as new music goes, with new tunes from Sufjan Stevens/Serengeti/Son Lux, Free Energy and Beach House. How’s that for a consolation prize?

Oh and if you do happen to be in town for SXSW, don’t miss either CoSigns or our showcase.

Beach House – “Myth”

I think we can all agree it’s been way too long since Teen Dream, yes? Well, everyone’s favorite pair of Baltimore-hailing dream poppers are finally back with “Myth”, the brilliant first single off of their forthcoming fourth full-length, Bloom. Built around a mechanical drum pattern, Victoria Legrand’s throaty delivery and a shimmering guitar line courtesy of multi-instrumentalist Alex Scally, it’s a glimmering beauty that’s easily among the most memorable tracks in Beach House’s catalog, and one that’s likely to win them a place in many a beachside playlist come summertime. Bloom is out May 15th on Sub Pop. -Möhammad Choudhery

Bear In Heaven – “Sinful Nature”

Bear In Heaven’s sophomore record, I Love You, It’s Cool (due April 3rd from Home Tapes/Dead Ocean) has been streaming for a while, but in their massively slowed-down, droney, experimental take. The heavily reverbed vocals, stuttering synth, and digital haze of this properly sped “Sinful Nature”, though, is quite funkier. Frontman Jon Philpot’s lyrics throughout toe the line between the dark and the seductive, demanding that “you don’t deny me your sinful nature.” -Adam Kivel

Bear in Heaven – “Sinful-Nature”

Black Dice – “Pinball Wizard”

With each new release, Black Dice move further away from grand noise scenes, and into some sort of weirdo dance club. As the newly released “Pinball Wizard” suggests, that trend will continue on their upcoming sixth album, Mr. Impossible (due out April 10th on Ribbon Music). Easily not confused with The Who’s arcade-based track, this one gets wonky with looped electronic drums, squawking synths, and other doses of awesome oddity. -Adam Kivel

[soundcloud width="500"]http://soundcloud.com/ribbonmusic/black-dice-pinball-wizard/s-IR7Iy[/soundcloud]

Dinosaur Feathers – “Beatcha”

There’s something acutely epic about the intro to “Beatcha”, a cut taken from Dinosaur Feathers’ April 10th album, Whistle Tips. Vocalist Greg Sullo sounds like he’s taken a few notes on Vampire Weekend, and the whole band comes together on some giddy synths and sing-along backing vocals. The sunny island feel should make this disc a real winner as the days grow longer. -Adam Kivel

Free Energy – “Electric Fever”

Philadelphia retro-rockers Free Energy are making some big waves, thanks to classic, no frills cuts like “Electric Fever”. The lead single from their upcoming sophomore LP, Love Sign, the track rocks out on cowbell and chugging guitar, sounding like the doting, energetic little brother to Bachman-Turner Overdrive’s “You Ain’t Seen Nothing Yet”. This kind of fun-loving, true to the core rock ‘n’ roll is why Free Energy are headlining our upcoming SXSW showcase. -Adam Kivel

[soundcloud width="500"]http://soundcloud.com/freeenergymusic/electric-fever[/soundcloud]

Lemonade – “Neptune”

Brooklyn dance production trio Lemonade preview their soon-to-be released debut LP Divers with ”Neptune”, a sexy, almost-R&B number that doubles as the album’s lead single. The beat-driven track does well to showcase the group’s crisp production and clattering percussion alongside Callan Clendenin’s sultry croon. Divers is set to be released via True Panther Sounds on May 29th. -Möhammad Choudhery

Lemonade – “Neptune”

Neon Indian – “Hex Girlfriend” (Twin Shadow Remix)

We haven’t heard much from Alan Palomo and the rest of Neon Indian since they dropped the ohsogood Era Extraña back in September. Thankfully, they’ve made up for that with some tireless touring, and now, with the release of Hex Girlfriend, a memorable, moody highlight off the album and now a limited Record Store Day exclusive 10″. On the B-side is a gorgeous flip of the track by Twin Shadow, who infuses the original with his own distinctive percussive touches. Hex Girlfriend 10″ is out April 21 on Static Tongues. -Möhammad Choudhery

Neon Indian – “Hex Girlfriend” (Twin Shadow Remix)

Rustie – “Surph” (feat. Nightwave)

Loaded with Rustie’s distinctively British take on dubstep, rave, garage, and everything in between, Glass Swords was one of the most criminally overlooked debuts of last year. Good thing then that Warp Records saw it fit to rerelease “Surph” as a single, backed by a stellar rework that features Slovenian pop songstress Nightwave on vocal duties, repurposing the slapbass-led original as a hyperactive dance jam that sounds straight out of the future. Don’t sleep on it this time around, Glass Swords is out now via Warp Records. -Möhammad Choudhery

s/s/s – “Museum Day”

Aside from scoring the odd movie and lending his voice to a track here and there, the all-around-musical deity named Sufjan Stevens has kept awful quiet for the past (almost) two years, giving little indication as to what direction he’s moved in since the divisive Age of Adz. “Museum Day”, the first we’re hearing of his just-announced Beak & Claw EP with the unlikely duo of Son Lux and Chicago rap outlier Serengeti, sees Stevens reprise the sort of gloriously overblown electronics and gratuitous use of Auto-Tune that made Adz so divisive to begin with. Not to be outshone though, Serengeti and Son Lux steal the show in their own right, Serengeti with his ambling, half-spoken rhymes and Lux with his ambitious, widescreen production. Beak & Claw is out March 20th on Anticon Records. -Möhammad Choudhery

[soundcloud width="500"]http://soundcloud.com/anticon/s-s-s-museum-day[/soundcloud]

Suckers – “Turn on the Sunshine”

There might not be another album and track pairing so effortlessly bright as “Turn on the Sunshine” off of Suckers’ upcoming sophomore LP, Candy Salad (April 24th, via Frenchkiss Records). Their brand of artsy, electronic indie pop shines on this first cut from the disc, reveling in hook-happy, slow-burning fun. Produced by Matt Boynton (whose work with MGMT and Black Dice shows a capable hand with psychedelic weirdness), the song sounds ready-made for an outdoor dance party.

Photo by Heather Kaplan

Beach House is finally ready to follow up their 2010 album, the CoS Top Star-earning Teen Dream. According to an issued press release, Sub Pop will release Bloom on May 15th.

Self-produced by the band with Chris Coady, the album was recorded in late 2011 at Sonic Ranch Studios in Tornillo, Texas and mixed at Electric Lady in New York City. Of the 10 tracks included, the already-revealed “Myth” serves as the lead single, while “Wild” and “Other People” were previously performed live. There’s also a song called “On the Sea”, which doesn’t stand a chance on Google once its released.

In support of the release, Beach House has already mapped out dates in both the U.S. and Europe for later this spring and summer. Find all the necessary info below.

Bloom Tracklist:
01. Myth
02. Wild
03. Lazuli
04. Other People
05. The Hours
06. Troublemaker
07. New Year
08. Wishes
09. On the Sea
10. Irene

Beach House 2012 Tour Dates:
05/04 – Charlottesville, VA @ Jefferson Theatre
05/05 – Carrboro, NC @ Cat’s Cradle
05/06 – Charleston, SC @ Music Farm
05/08 – Miami Beach, FL @ The Fillmore
05/09 – Orlando, FL @ Beacham Theater
05/10 – Jacksonville, FL @ Freebird Live
05/11 – Birmingham, AL @ The Bottletree
05/12 – Athens, GA @ Georgia Theatre
05/13 – Asheville, NC @ The Orange Peel
05/23 – Brighton, UK @ The Haunt
05/24 – London, UK @ Village Underground
05/25 – Belgium, BE @ De Kreun
05/26 – Amsterdam, NL @ Melkweg
05/27 – Berlin, DE @ Volksbuhne
05/29 – Paris, FR @ Maronguinerie
05/31 – Dudingen, CH @ Bad Bonn Kilbi Festival
06/02 – Barcelona, ES @ Primavera Sound
06/03 – Montpellier, FR @ Le Rockstore
06/04 – Bordeaux, FR @ Theatre Barby
06/05 – Nantes, FR @ Stereolux
06/06 – Lyon, FR @ Epicrerie Moderne
06/07 – Blarritz, FR @ L’Atabal
06/08-09 – Porto, PT @ Optimus Primavera Sound
06/13-15 - Louisville, KY @ Forecastle Festival
07/23 – New York, NY @ Central Park Summer Stage
08/31-09/02 – North Dorset, UK @ End of the Road Festival 

The arbiters of dream-pop, Baltimore’s Beach House, dropped a new song, “Myth”, tonight via their Twitter. It will most likely be the opening track track off the duo’s forthcoming album, Bloom, which is purportedly due out May 15th via Sub Pop. Stream the magnificent comeback below.

The 10th annual Forecastle Festival runs July 13-15th at Waterfront Park in Louisville, Kentucky. As previously reported, My Morning Jacket serve as both curator and headliner, and they’ll be joined by Wilco, Bassnectar, Girl Talk, Sleigh Bells, Beach House, Andrew Bird, and Flying Lotus.

Also playing are A-Trak, Neko Case, The Head and the Heart, Atmosphere, Dr. Dog, Deer Tick, Real Estate, Atlas Sound, Washed Out, Clutch, Galactic, Justin Townes Earle, Wye Oak, Dean Wareham plays Galaxie 500, Tanlines, Sleeper Agent, Nerves Junior, Cheyenne Marie Mize, JEFF the Brotherhood, Walk the Moon, Charles Bradley and His Extraordinaires, and Preservation Hall Jazz Band.

Additional artists, as well as details for separately ticketed, late night after parties, including those on the historical Belle of Louisville steamboat, will be announced in the coming weeks. Stay tuned to Festival Outlook for updates.

Three-day and VIP passes are currently on sale, while single-day tickets will be available beginning Friday, March 2nd. Visit the festival’s website for complete ticketing information.

Also, don’t forget that Forecastle is presenting Consequence of Sound’s CoSigns day party during this year’s South by Southwest. Click here for more details.

Primavera Sound returns to Barcelona, Spain from May 30th to June 3rd. Acts like The Cure, Björk, Jeff Mangum, Wilco, Justice, Death Cab For Cutie, Franz Ferdinand, Spiritualized, The Afghan Whigs, The xx, Mazzy Star, Yo La Tengo, Beach House, ASAP Rocky, araabMUZIK, and Neon Indian have already been announced.

Today, the festival revealed the rest of its 2012 bill and new highlights include Refused, Rufus Wainwright, Beirut, Chavez, The Pop Group, Atlas Sound, Laura Marling, Sharon Van Etten, The Rapture, Wavves, Danny Brown, Black Lips, Lee Ranaldo, Hype Williams, Kings of Convenience, Archers of Loaf, Dirty Three, The Wedding Present (performing Seamonsters) Girls, Real Estate, The War on Drugs, Saint Etienne, Richard Hawley, Iceage, Japandroids, Thee Oh Sees, Death Grips, Trash Talk, Bleached, Friends, Dirty Beaches, Lower Dens, The Field, Field Music, and Obits. In addition, Big Star’s Jody Stephens, R.E.M.’s Mike Mills, and others will come together for a special performance of Big Star’s Third. Check out our Festival Outlook to see the complete lineup.

Festival tickets are now on sale for 180 € (+ booking fee), however, the price will increase to 190 € beginning February 4th. Visit the festival’s website for complete ticketing information.

As previously reported, the organizers of Primavera Sound are also launching a sister festival in Porto, Portugal called Optimus Primavera Sound. Acts include Björk, Jeff Mangum, Death Cab For Cutie, Spiritualized, Explosions in the Sky, The Afghan Whigs, The xx, The Walkmen, and more. Check out our Festival Outlook for additional info.

Air‘s new LP, Le Voyage Dans La Lune, is out February 7th via Astralwerks. Right now, NME is streaming the track titled “Seven Stars”, which features vocals from Beach House’s Victoira Legrand.

Inspired by their recent soundtrack to the French film of the same name, the album also features contributions from Au Revoir Simone. Check out the tracklist below.

Le Voyage Dans La Lune Tracklist:
01. Astronomic Club
02. Seven Stars
03. Retour sur terre
04. Parade
05. Moon Fever
06. Sonic Armada
07. Who Am I Know?
08. Décollage
09. Cosmic Trip
10. Homme lune
11. Lava

Saturday was a time for raucous play and shameless dance parties. Dizzee Rascal, Cut Copy, and Empire of the Sun led the way, attracting the weekend’s highest volume of festival-goers. Chromeo‘s performance was a scene in itself, with outbursts of lust erupting from all directions. No longer reign the days where people care about “sex, drugs, and rock & roll” — our generation instead heralds “sex, drugs, and electronica.” I wonder what the implications of this will be for us as listeners and for the future of the music scene, as Saturday was definitely the day of synths, strobes, and smoke machines. Its lineup consisted mostly of electronic bands, and their popularity — but perhaps not talent — is indisputable.

Sunday was a clear transition from the day before. When the smoke had dissipated and the San Franciscan fog had instead rolled in, the day began with mellow acts like The Antlers and Warpaint. All around, people simply lied on the grass and just listened. St. Vincent was the highlight of the entire weekend, playing a set that still sends chills up my spine. Annie Clark’s talent and imagination, as well as her presence onstage as an artist, went altogether unmatched by any other performer. Beach House followed closely, musing back and forth with the crowd, and the sound of Victoria Legrand’s voice coupled with the setting sun creates a feeling one can only possess in a dream. By evening, the lights of Treasure Island haunted the night like spectres of the moon, and eventually I had to bid farewell to this magical weekend.

- Summer Dunsmore
Contributing Writer

Saturday, October 15th

Geographer – Bridge Stage – 12:00 p.m.

Photo by Ted Maider

Regaled as one of the most anticipated acts of the weekend, Geographer’s performance was a strong beginning for the festival. Highlights included “Verona” and “Kites”, each decorated with building synths and the band’s characteristic drum kicks. “Kites” carried all of the sweeping, melodic vocals of the recorded track, while “Original Sin” was a mellow, electronic interpretation. One of the best songs of the set was a preview from their new album, and it featured a background of aural, haunting vocals speckled with strong bass drum beats. It was a tantalizing treat, making me look forward to their as-of-yet untitled forthcoming LP. With the sight of San Francisco’s crystalline bay to the west, I sat entranced during Geographer’s entire performance, anticipating what the rest of the day would bring.

Aloe Blacc – Tunnel Stage – 12:45 p.m.

Photo by Ted Maider

Dressed in an emerald green button-down shirt, a black cravat, and a tweed newsboy cap, Aloe Blacc looked all the gentlemen. Radiating energy during the entirety of his set, Blacc served as a heady dose of soul, singing his modern brand of blues. During “Good Times”, Blacc instigated a saxophone solo from Regis Molina, which culminated into a back-and-forth session between himself and the audience. “Regis…sing something to them”, Blacc mused; Molina proceeded to play saxophone bits, which the entire audience would then sing back. Moves like this during his performance create an unshakable bond between performer and listener, an action that artists like Dizzee Rascal and Buraka Som Sistema would perfect later that day. “Femme Fatale” was the best song of the set, a classic in itself, and positively hypnotizing when performed live. Aloe Blacc and his six-piece band were a rarity of the weekend, and even of the music scene itself; they represent a true band, constructing the sound as they go, forgoing any reliance on electronics or pre-recorded mixes. It was fun and interactive, and Blacc’s natural propensity for performance was a much-valued treat.

Shabazz Palaces – Bridge Stage – 1:30 p.m.

Photo by Ted Maider

I truly anticipated seeing Shabazz Palaces perform; I am a fan of their recorded work, and expected that they would deliver the same standard live. However, at the end of the set, all I could wonder was: Were they drunk? From the first track, their performance was out of tune, proceeding a step too late. It could be argued that this is the Shabazz way, especially with tracks like “Blastit…” and “Swerve…The Reaping of All That is Worthwhile”, but performed live, these just didn’t click. I felt that they were trying to do too much at once, incorporating strange features like a voice modifier that made the singer sound as if he were underwater, as well as lending an overall psychedelic vibe to the tracks. Shabazz Palaces tried to give San Francisco what they thought we wanted. Instead, we were there to see what makes them a unique component of the modern music scene. Something got lost in translation.

YACHT – Tunnel Stage – 2:15 p.m.

Photo by Ted Maider

How does one explain the vivacity, the dynamism of YACHT’s Claire Evans? A mix of Patti Smith and Bowie, with a pixie cut and all the appropriate androgyny, her and Jona Bechtolt’s performance on Saturday was easily one of the weekend’s best. Their second song of the set, “Summer Song”, was a resplendent hybrid of funk, new wave, and electronica. This song evidences the way that YACHT uses their physical performance — waving their hands, stomping, and actively engaging with the audience — to articulate the crazed fervor of their music. They have the ability to contextualize a song, removing it from its bound, black and white position on a page, and translate it into a live presentation. They take the concepts they explore in their music, such as nihilism, nature, and love, and make them real. This is why YACHT is revolutionary, functioning as a truly integral band in today’s alternative scene. At one point, Evans asked, “Do you guys believe in extraterrestrials?” And doesn’t this describe YACHT perfectly? Their sound is strange, expansive, and fueled by their curiosity.

The Naked & Famous – Bridge Stage – 3:00 p.m.

Photo by Ted Maider

Auckland rockers The Naked & Famous were a stable transition from YACHT’s enigmatic, and still resonant, performance. Their song “Spank” mixed the duplicity of strong percussion and loud electric guitar wails with a soothing blend of vocals from lead signer Alisa Xayalith. Just like many of the tracks from The Naked & Famous, this song builds delicately, focusing on electronics, before exploding in synth and distortion during the chorus. The only unfortunate aspect of the band’s performance was that their reliance on distortion and their shoegaze style often drowned out Xayalith’s voice; overall, the group’s sound is very masculine, what with its reliance on electric guitar and synth, and it tries to integrate femininity as a needed contrast. On their recorded work, they pull it off — but while performing live, her voice gets lost in the midst of fuzzy speakers wracked by distortion.

Battles – Tunnel Stage – 3:45 p.m.

Photo by Ted Maider

Battles produces an aggrandized notion of music. Transitioning from one crash of the kick drum to the next, with cartoonish, Dan Deacon-esque keyboard intermissions, the sound was a complement to the afternoon mood. Beers in hand, people wanted to be dazed and confused by the sun and the music. Their sound while performing live is messy, but essentially that is where their lure lies — they tempt you to turn your brain off, to let your senses simply react in response to the music. Their performance of “Africastle” was decorated in its imperfections, as the band produced a version more momentous than on Glass Drop. This song served as the set’s climax, as all around one could tell the evening was truly about to begin. People were beginning to flow in from all directions, with flasks in tow and flowers in their hair — though none of us could even remotely expect what Dizzee Rascal had in store.

Dizzee “fuckin” Rascal – Bridge Stage – 4:35 p.m.

Photo by Ted Maider

He started with a remix of “Bubbles”. He ended with “Bonkers”. He is infamous.

Once Dizzee pranced on stage and “let the first drop kick”, Treasure Island immediately erupted into a mass dance party. Imported from the U.K., his unique brand of indie hip hop and electronica is defying previous conceptions about the union between these genres. Integrating dubstep into his renditions of “Road Rage” and “Bounce”, festival-goers dressed like pirates, indians, and aliens danced and thrashed to Dizzee’s mixes. The highlights of the set were definitely “Dance Wiv Me” and “Holiday”, each exhibiting amazing live beats and ensuring Dizzee’s spot as one of the best performers of the weekend.

Buraka Som Sistema – Tunnel Stage – 5:25 p.m.

Photo by Ted Maider

The dancing mood continued with Buraka Som Sistema’s lively performance. During their cut of “Restless”, they lured women on stage, commanding them to “shake their asses”. Rest assured, a somewhat disturbing mix of crotch grabbing and grinding commenced. BSS’ performance of “Sound of Kuduro” exhibited an interesting range of tribal, Caribbean, and electronic beats. I was disappointed that their performance featured already-recorded beats, with the singers simply interjecting at times to rap and hassle the crowd. Despite this, the hassling was effective — after already six hours of festival-going, BSS infused the crowd with energy in time for Chromeo.

Chromeo – Bridge Stage – 6:15 p.m.

Photo by Ted Maider

Perhaps one of the most hyper-sexualized bands in the scene today, Chromeo’s performance on Saturday was the nearest I’ve come to experiencing an orgy firsthand. With women’s legs stemming from their keyboards, Dave-1 and P-Thugg gave an inspiring performance, using a simple mix of synthesizers and electric guitar to create their “porn” pop.

Starting their set with “Fancy Footwork”, they launched into their music’s main theme of exploration: sexuality. Doused in red light and his own narcissism, Dave 1 painted the spirit of Sodom & Gomorrah on stage, much to the thrill and prevail of the crowd. Chromeo proved themselves to be a talented duo, devoted to their music, and they delivered exceptional percussion and keyboard beats live. “Bonafied Lovin’”, “Needy Girl”, and “Mama’s Boy” were essentials, featuring some noticeable improvisation and ending with a combination of drums, keyboard, and guitar. “Night by Night” delivered an epic end to an epic set.

Flying Lotus – Tunnel Stage – 7:05 p.m.

Photo by Ted Maider

Flying Lotus’ set was a spiritual one, tempting the crowd to simply sit back and vibe. He started with “I Feel Like Dying”, a remix of Lil Wayne’s single. Lotus was just rollin’ beats to the chorus of a thousand voices — to the crowd’s own human chorus. He produced an entrancing murmur of synths and bass, simulating nature, while the lights of San Francisco’s ethereal night framed the background to the Tunnel Stage. I felt like I missed some secret during Flying Lotus; like the crowd, in their inebriated state, knew something I didn’t. There was a calm, and then a buzzing, to the audience, as if Flying Lotus was tending to the beehive — but they didn’t want to be calmed. He played “Yonkers” by Tyler, the Creator, which served as a definite highlight to the set, and he ended strongly with “Massage Situation”.

Cut Copy – Bridge Stage – 7:55 p.m.

Photo by Ted Maider

I’ve been looking forward to seeing Cut Copy since they released Zonoscope earlier this year. The album was a game changer, bringing to light Cut Copy’s accessibility, as well as its devotion to a novel range of New Wave sound. The band has been on tour for the past year, with Treasure Island being one of their last stops; however, all this touring has not slowed them down. Starting their set with “Take Me Over” and “Feel the Love”, Cut Copy’s performance was better — and different — than I expected. During their charged performance of “Lights and Music”, frontman Whitford sang that there were “lights and music on my mind” — and at this moment, it was on my mind too. When I closed my eyes, the kaleidoscope of stage lights remained behind, confounding my sight, leaving me dancing blindly. The lights during a Cut Copy show are just as much a feature of the music, making any performance by them a sensory experience. “Saturdays” on Saturday was only befitting, and was one of the best songs of the entire weekend.

Death from Above 1979 – Tunnel Stage – 8:45 p.m.

Photo by Ted Maider

Treasure Island has a band, and a sound, for everyone. DFA 1979 was opposite to bands like Cut Copy before it, forgoing sugary hooks and synths for scissoring, grating electric guitar and a dirty grunge sound. I believe they were higher on the bill Saturday because of their vivid, energetic style of performance, but other than this energy, I wasn’t charmed by their performance. In contrast to their recorded work, they sounded out of tune, like a blend of several different loud noises deemed as “music”. Their performance of “Black History Month”, which held potential to revive grunge in its truest form, simply fell short.

Empire of the Sun – Bridge Stage – 9:35 p.m.

Empire of the Sun was Saturday’s strongest performance, and after St. Vincent, was the best of the weekend. Lending a vivid visual element to their set, including choreographed goblin/alien creatures and a narrated video that simulated traveling through space, EOTS is truly more than just a band. They are one of the most creative, imaginative acts performing today, and are unafraid to push boundaries. Their second song, “Breakdown”, exhibited such a hooky tune that I couldn’t help but dance ecstatically. The next song, “Half Mast”, showed  that EOTS doesn’t want to just perform — they want to tell a story with their music, to play along with the visual elements depicted all around them. Even their name, “Empire of the Sun”, indicates the fantasy world that they have constructed aurally.

This artistic endeavor to be more than just a band, but to also be a concept, brings back the glam rock of the past, refined by artists like David Bowie. This was when music was about presentation, constructing a story, becoming a character. While they played incredible tracks like “We Are the People”, you realize that the best part is that you want to indulge in the facade they have created. Luke Steele’s voice is just too tempting, too alien, to not be intrigued. Ending with “Swordfish Hotkiss Nigh” and “Walking on a Dream”, EOTS concluded a truly incredible day at Treasure Island, one filled with fantasy monsters, creatures, and dreamscapes.

Sunday, October 16th

Weekend – Tunnel Stage – 12:40 p.m.

Photo by Ted Maider

With no holds barred on this chilly Sunday afternoon, Weekend launched into their heavy style of music. Native to the Bay Area, Weekend was formed by Shaun Durkan, Kevin Johnson, and Abe Pedroza, and has been rising to prominence in the San Francisco scene since 2009. They’re a hybrid of New Wave mavens like The Smiths and Aha, but with a grinding, alternative edge that favors electric guitar distortion, rolling kick drums, and ambient, wailing vocal calls. They are shoegaze-New Wave for the modern generation. At Treasure Island, their songs seamlessly flowed together during their set, with live instrumentalization and improvisation being their strongpoints. “Coma Summer” bookmarked the set, serving as an example of why fans are coveting Weekend’s garage band sound.

The Antlers – Bridge Stage – 1:25 p.m.

Photo by Ted Maider

The Antlers have the unique ability to conduct well-orchestrated symphonies with their music. During their performance of “Putting the Dog to Sleep”, singer Peter Silberman’s voice travelled along the tops of the bay’s wind-capped peaks, setting a tone and mood that fit Sunday afternoon. Compared to Saturday, everything from the colors of the crowd had changed, with people more inclined today to wear their grays and browns, to burrow in their scarves to protect themselves against the bay wind, and to just collect for a picnic and listen to the music. Overall, The Antlers show was a rare jewel, and they played some of the most beautifully crafted music heard all weekend.

Warpaint – Tunnel Stage – 2:05 p.m.

Photo by Ted Maider

Fresh off the release of their 2010 debut album, The Fool, and their follow-up EP, Exquisite Corpse, Warpaint already draws thousands of people to its shows, sharing the stage with acts like Death Cab for Cutie. Right as The Antlers ended their set and Warpaint started theirs, the sun decided to shed its light on the Island, embracing this band that could be considered a bit of an underdog. Do not underestimate them or their live performance, however. Playing tracks like “Warpaint” and “Undertow”, their set was strong, reminding one of bands like Mazzy Star before them. And just like St. Vincent, the next band to play on Sunday, Warpaint has the ability to craft feminine anecdotes with their music, appealing to the complexity and the delicacy of the feminine psyche.

St. Vincent – Bridge Stage – 2:50 p.m.

The moment Annie Clark stepped onstage, I was immediately smitten. Hair dark and tousled, dressed like an indie goddess, few artists today exude such radiance and charisma without having to say a word. Opening with a breathtaking version of “Surgeon”, Clark achieved onstage what her music has perfected: expressing the duplicitous nature of a woman’s vulnerability and her strength, of the very nature of femininity. Clark had a visible integration with the music, and you could see from her expression how much she personally pours into her sound and her content. She takes care to write music that expresses exactly what she wants, while also, quite brilliantly, leaving it up for interpretation. Her music is poetry, a maze of metaphors to interpret, deconstruct, and revel in.

Photo by Ted Maider

The second song of the set, “Cheerleader”, is my favorite off the new album, Strange Mercy. This song speaks about competing desires, a need to be taken more seriously in a society that degrades your individuality. Clark integrated and portrayed her subtleties, her reservations, with radiance. The next song, “Save Me From What I Want”, expresses a similar theme, the essence of this feminine vulnerability which is altogether charming. Each song exhibited a sense of disintegration towards its conclusion, getting lost in electric guitar distortion, representing the physical sound of a person breaking down. And yet, with “Actor Out of Work”, Clark debunks these preconceptions of her vulnerability, of her intangibility. Singing “you’re a boxer in the ring, with brass knuckles underneath”, she shows she isn’t as malleable as one would think. This is especially evident given her meteoric rise through the music world, her fearlessness, her history of experimentation; these are proof that Clark is more than willing to take risks and is, in the end, more tough than expected.

Wild Beasts – Tunnel Stage – 3:35 p.m.

Photo by Ted Maider

Originally from England, this foursome are currently on tour in the United States. Expressing that “this is definitely one of the better things we’ve done this tour”, Wild Beasts continued the mellow mood set by bands like Weekend and Warpaint before them. Their rendition of “All the King’s Men” started with tribalistic beats at its offset, supplemented by simple bass guitar and electric guitar. Though their sound was stable and definitely unique, they did not stand out as a distinctly notable band for the weekend.

Stephen Malkmus & the Jicks – Bridge Stage -4:20 p.m.

Photo by Ted Maider

“It’s like when your brain is in a steeple chase…on acid. When there was acid. There wasn’t any at Burning Man. Are we at Burning Man?” And so went Stephen Malkmus’ gesticulations at the beginning of “Brain Gallop”. You can tell that Malkmus has been in the music scene long enough to just have fun with it, to play the role of the “bad boy” of rock and roll. Before “Forever 28″, Malkmus-style banter went as follows: “Anyone 28 and lovin’ it? Single and lovin’ it? Married and kinda lovin’ it?” Lastly, their performance of “Long Hard Book” was the best of the set, a more folk-influenced track which fit the Sunday mood perfectly.

The Head and the Heart – Tunnel Stage – 5:10 p.m.

Photo by Ted Maider

Sounding like 60′s folk pioneers before them, The Head and the Heart delivered their own brand of retro pop-folk on Sunday. Their musical influences, which range from Bob Dylan to Iron & Wine, give them a truly accessible sound, enjoyable for anyone who is not familiar with their music. The best song of their set, “Down in the Valley”, was executed by The Head and the Heart’s six-person band, which is comprised of two singers, one violinist, one guitarist, one keyboard player, and a drum player. Even given this large range of orchestration and reliance on live instruments, which would confound many other bands, their set was executed well.

Beach House – Bridge Stage – 6:00 p.m.

Photo by Ted Maider

When I saw Beach House’s Victoria Legrand backstage prior to their performance, she seemed visibly perplexed. And though it seemed that something was still bothering her during the set, she and Alex Scally seamlessly delivered the dream pop that their albums promise. This is what makes them the creators of their dark sound — they have a truly innate connection to their music. The way they transcribe their moods, their resentments, their happiness, and their aspirations are woven in the fabric of their music.

Early set inclusions “Gila” and “Walk in the Park” evidenced how the complexity of Beach House’s sound is actually crafted with simplicity — from only a modest mix of keyboard, tambourine, drums, and electric guitar. Set highlight “Norway” showcased Legrand’s voice, retaining all of its haunting melancholy. And later on, during “Used to Be”, Legrand was doused in red stage lights from overhead, while the audience was touched by the rays of the dying sun — the moment was dusty romanticism, magic, and more.

Friendly Fires – Tunnel Stage – 6:50 p.m.

Photo by Ted Maider

With every detail of the San Francisco skyline arched behind the Tunnel Stage, Friendly Fires gladly welcomed the night. One of the first songs of the set, “Skeleton Boy”, was an invigorating mix of New Wave vocals, synth, and electric guitar. Friendly Fires produced an exhilarating live performance, while at this time yesterday, Flying Lotus was dazing the crowd, luring us into a hazed stupor. Instead, Friendly Fires tempted you to dance during tracks like “Hawaiian Air”, off Fires’ new album Pala. Lead singer Ed Macfarlane delivered a passionate, energetic series of vocals, while dancing wildly to the tune of the music. Their enthusiasm and spirit onstage made Fires’ set one of Sunday’s best.

Explosions in the Sky – Bridge Stage – 7:40 p.m.

Photo by Ted Maider

Explosions in the Sky’s set on Sunday was about standing in reverent awe of the transitions of sound and space culminating onstage. Composed of three electric guitars and a drum kit, the band is capable of weaving symphonies with their instruments, of forming narratives and creating emotions with the complexity of their delivery. Their performance Sunday featured all ranges of sound, erupting at times in a scathing series of electric guitar wails, and then transitioning back to the tender delicacy of fingerpicking. At their live shows, they are capable of using instruments to simulate the sounds of nature, of a leaf dropping, a wave crashing — making any performance by them an unforgettably transcendent one.

The Hold Steady – Tunnel Stage – 8:30 p.m.

Photo by Ted Maider

Like Stephen Malkmus & the Jicks before them, The Hold Steady lent a more alternative sound to the festival’s lineup. “Magazines” cracked open the set, and then came bar rocker “Sequestered in Memphis”. Lyrically, The Hold Steady have trademarked tracks about moody girls and one-night stands. Some might consider that a one-way ticket to becoming obsolete. But, judging from the sea of fans gathered in front, it’s clear these Brooklyn-Minneapolis rockers have little to fret about for the future.

Death Cab for Cutie – Bridge Stage – 9:20 p.m.

A fan of past albums such as 2003′s  Transatlanticism and 2005′s Plans, I had high expectations for the Seattle foursome. However, their live performance lacked the punch of Saturday headliners Empire of the Sun, making it an altogether disappointing set.

Starting with “I Will Possess Your Heart”, the extended jogger off their 2008 effort Narrow Stairs, I remember thinking, “This is okay.” I wanted to be blown away immediately, to feel the same effect I did from other bands that weekend. Perhaps my expectations were too high? I kept waiting for a punch, a rigor, a passion, an energy that never came.

Playing “Crooked Teeth” next, I found myself more mesmerized by the San Franscisco skyline than by Ben Gibbard & Co. The sad part is that this band does not lack talent — far from it. They have produced some of the most poignant and innovative indie rock of the past decade. However, their concert performance was indeed lacking. Even when playing more hits, such as “The New Year” and “Grapevine Fires”, I found myself unconvinced. It was an unfortunate end to the festival, but many of the other artists, as well as the series of California sunsets and the people-watching, made it a spectacular and memorable weekend for music.

The Culture of Treasure Island

Gallery by Ted Maider

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Last night in Los Angeles, Beck, Grizzly Bear’s Ed Droste, Mike Patton, Beach House’s Victoria Legrand, Zola Jesus, Sean Lennon and more marked the 20-year passing of French songwriter and filmmaker Serge Gainsbourg with a tribute concert at the Hollwood Bowl. Here are the video highlights:

Beck

Sir Hansen played three songs written by Gainsbourg, including his anti-LSD song “Teenie Weenie Boppie” and the sexually provocative “Les Sucettes”.

Sean Lennon and Charlotte Kemp Muhl

John’s son teams up with the Atlanta-born model and actress for “Ford Mustang”.

Zola Jesus

 Nika Roza Danilova takes on “Harley Davidson”.

Joseph Gordon-Levitt

Hey, it’s Joseph Gordon-Levitt… again…

We’ll add more clips as soon as they hit the web.

And the parameters of the “experiment” continue to evolve. Beach House first debuted a name-less sonic study in effervescence at a show in New York. They subsequently brought back said cut for the Animal Collective-curated ATP Festival in May. Now, Victoria Legrand and Alex Scally have added some more layers to the number and unleashed it once more for their July 24th gig at the Portishead-curated All Tomorrow’s Parties event in London. Check out the track’s progress above courtesy of TwentyFourBit.

If things keep up at this rate, we’ll have a song title in no time!

San Francisco’s Treasure Island Music Festival returns for its fifth go-around from October 15th to 16th at the breath-taking Treasure Island. As has been the case throughout the festival’s history, the bill mixes the best of indie rock and electronic, with Death Cab for Cutie, Empire of the Sun, Cut Copy, Chromeo, and Death From Above 1979 heading the bill.

The festival’s first day leans toward the electronic side. Joining Empire of the Sun, Cut Copy, Chromeo, and DFA 1979 are Battles, Flying Lotus, Buraka Som Sistema, YACHT, The Naked and Famous, Dizzee Rascal, Shabazz Palaces, Aloe Blacc, and Geographer.

The indie-rific day two features Death Cab For Cutie along with Explosions in the Sky, Beach House, The Hold Steady, Stephen Malkmus & the Jicks, St. Vincent, Friendly Fires, The Head and the Heart, Warpaint, Wild Beasts, The Antlers, Thee Oh Sees, and Weekend.

A limited number of early bird two-day passes will go on sale for $99.00 on Wednesday, July 27 at 1:00 pm EST. When that quantity sells out, two-day advance tickets will be available for $115.00, followed by two-day regular tickets for $125.00. Single day ($69.50) and VIP packages will also be available. You can find complete ticketing information at the festival website.

“Not considering this opening worthy of more attention, I continued our pursuit to the Northwest, being desirous to embrace the advantages of the prevailing breeze.” – George Vancouver, 17th century English explorer

Breathtaking describes a lot of things. It’s typically a “go-to” adjective for anything remotely awe-inspiring. For Sasquatch! Music Festival, it’s the only word that works. There’s little room for where it doesn’t work, come to think of it. Even the drive in from Seattle, WA is enough to yank tears from the eyes. Driving through the Mt. Baker-Snoqualmie National Forest, you can’t miss the ominous Douglas-firs, or pry your hands from the wheel at the unpredictable roads that weave and snake through the mountainous terrain. It’s an adventure in every sense of the word.

But, that’s just the drive. Once you’re there, snuggled between the small towns of Quincy & George, you’re essentially cut off from the traditional confines of society. You’re a free spirit, roaming the natural habitat. It’s a liberating feeling, but also somewhat frightening. You’re at the hands of society’s loose change. Actually, it’s very frightening. But, that risk is what makes it so extraordinary. After everyone’s settled and the traffic conditions slacken, festivalgoers, musicians, and staff co-exist together in a melting pot within a melting pot. It’s madness, it’s a little chaotic, but it’s raw. It harkens back to the age-old American idealism of venturing beyond, exploring the uninhabited abyss.

What an abyss, though. It’s so easy to just say, “Well, the Gorge is out of this world. Duh.” But, that’s really it. Natural wonders retain that title for a reason. The Gorge earns it triple-fold. There are colors baked into its natural walls that haven’t even been named yet. Even more spellbinding, these colors evolve every minute, every hour, and each day. So at first glance, it’s something you’ll remember forever, but that feeling never leaves you.

Couple that with music and it’s truly a win-win.

-Michael Roffman
President/Editor-in-Chief

Friday, May 27th

Rival Schools – Bigfoot Stage – 4:00 p.m.

Photo by Heather Kaplan

“Hey there,” Rival Schools‘ vocalist Walter Schreifels muttered, cracking open the four-day Sasquatch! weekend. As the still evolving crowd poured in from the nearby gates – which had only opened 15-20 minutes prior to the set – the New York rockers breezed through a slightly raucous if not traditional set. Opener “Wring It Out”, their current single supporting this year’s Pedals, wrenched some acclaim from fanatics who scattered around the mid-sized Bigfoot stage, granting the band access to segue straight into other new material, specifically “69 Guns”, which turned things up a notch. It didn’t take long for the quartet to scale back to older material, either. Oldie ”Everything Has Its Point”, a track that dates back to their 2001 debut, United by Fate, popped up rather quickly. Then the rest just fell into place. -Michael Roffman

Mariachi El Bronx – Yeti Stage – 4:30 p.m.

Photo by Heather Kaplan

There’s a moment in every festival where a band conjures up the wonderful “freak flag” moment. For Sasquatch!, it came an hour into the weekend, when Los Angeles’ own The Bronx donned the sombreros and dove head first into mariachi music. Dubbed Mariachi El Bronx, after the group’s WTF 2009 LP of the same name, the group really stirred the proverbial post-modern fiesta hippy pot, to which everyone just sort of let their souls run wild. Sometime amidst the chaos, one of the band members exclaimed, “There’s some badass shit going on today.” Although it was a tad too early to admit this, that pretty much summed up the remainder of the day. Mariachi men or fortune tellers? Hmm. -Michael Roffman

Biffy Clyro – Bigfoot Stage – 5:00 p.m.

Photo by Heather Kaplan

I was lucky enough to catch Biffy Clyro at the Illosaarirock Festival in Finland last year and was completely won over by the Scottish trio’s driving live act and larger-than-life sound. Though the catchy prog-metal band isn’t well known in North America, and they were one of the first bands to play at the start of the festival, they still managed to draw a sizeable crowd of fans who knew all lyrics by heart and were moshing out during some of the harder numbers. The Biff (as their fans affectionately call them) were quick and bouncy, turning their more pop-based songs into metal numbers and causing lead singer and guitarist (and Jesus lookalike) Simon Neil to break his strings several times over. -Karina Halle

Bob Mould – Mainstage – 5:45 p.m.

Photo by Heather Kaplan

Similar to Paul Westerberg, Bob Mould travels alone these days. Actually, the major difference between the two is that the latter actually travels. However, their stage show is strikingly similar – at least when Westerberg last toured. It’s bare bones logic: a famed songwriter, alone, with an electric guitar, and a largely celebrated discography in the noggin. That might sound like a match made in heaven, but when you’re playing the Gorge Amphitheatre, it’s a tad…vacuous? Still early in the schedule, with the sun blazing beyond the hills and mountainous plains (if that makes sense), Mould, decked out in red flannel and some jeans, strolled out to a small yet adoring fan base. (Small in the sense that he’s performing at the fucking Gorge.) Still, as he patrolled through Hüsker Dü classics like “Hardly Getting Over It” or solo hits a la “Wishing Well”, he maintained an edge that was hard to dismiss. In the middle of the set, one fan nearby caught his attention, screaming, “Just rock on man! You’re doing great!” A sweaty, rather exhausted Mould replied back, “I’m trying, man.” In the end, you have to respect that. -Michael Roffman

Against Me! – Bigfoot Stage – 6:10 p.m.

Photo by Christopher Nelson

In keeping with Friday’s theme of nonstop hard rock, Against Me! played a consistently high-energy set to close the Bigfoot Stage for the evening. No acoustic breakdowns or intimate stage banter, just rocker after rocker, including highlights “Pints of Guinness Make You Strong”, “T.S.R. (This Shit Rules)”, and “I Was a Teenage Anarchist”. At one of the Florida punk band’s headlining shows it would have been tiring, but this was an ideal one-hour festival set. Outside of maybe Dave Grohl, Wayne Coyne, and Dave King, Tom Gabel was quietly the most likable frontman at Sasquatch!. Against Me! also earns points for choosing plain black tees over the flannel everyone else was wearing throughout the weekend. - Harry Painter

The Bronx – Mainstage – 6:45 p.m.

Photo by Jackie Kingsbury

“I want to see all of you move out there! There’s a Sasquatch in all of you!” – Matt Caughthran

Not many bands received two sets at Sasquatch this weekend; although, it’s arguable you could even count The Bronx’s shows as two sets. After an upbeat Mariachi show, they wandered to the Sasquatch stage where they stripped off the gear, but turned up the volume. There, the band screamed and thrashed, while the nearby pit proceeded to go ape-shit. They slammed through tracks like “They Will Kill Us All (Without Mercy)” and “White Tar”, and set a much different vibe than the Mariachi set, as body parts were actually smashed at this show. To go from playing sexy salsa tunes to hardcore numbers with names like “Heart Attack America” was more or less a bloody and triumphant transition. -Ted Maider

Death From Above 1979 – Mainstage – 8:00 p.m.

Photo by Heather Kaplan

The banner behind what would eventually become the DFA riot was a picture of a tombstone that read: “DFA 1979, 2001-2006”. Far more interesting than the tombstone, however, were the ghoulish images of Jesse Keeler and Sebastian Grainger emerging from the gravesite. The secret’s been out for some time (see: Coachella and SXSW), but Death From Above 1979 are back from the dead and sounding better than ever.

Photo by Heather Kaplan

Not ones to stop and chat, the pioneering duo took the stage and began melting faces right off the bat. The two took the slow afternoon from zero to 60 in a matter of milliseconds, and they didn’t relent for the entire time they were allotted. Mosh pockets opened up in literally every part of the Gorge, from the very front of the pit to the lawn seating, which made sense, considering DFA1979 has the power to bring human beings the insatiable urge to push one another. The set climaxed with a three song KO – “Sexy Results”, “Romantic Rights”, and “Do It!” – and as one might expect, everyone left the pit drenched in other people’s sweat, blood, and booze. Which I’m sure is what DFA consider a complete triumph. -Winston Robbins

Foo Fighters – Mainstage – 9:30 p.m.

When Sasquatch first announced that the festival would be four days long instead of three, many people wondered how on Earth they’d be able to draw in the crowds on Friday, the day that wasn’t a national holiday. Then they announced the Foo Fighters were headlining that night and everything fell into place. If there is any band that fans would skip out on work for, it’s the Foo Fighters.

Of course, it’s always been kind of “cool” to rag on the Foo for being too commercial or “happy”, but riding high on the success of their latest album, Wasting Light, even cynical festival-goers were at least stopping by the main stage to check out their act. And if they checked their cynicism at the door, it was hard to walk away disappointed.

From the moment Dave Grohl and his plaid-clad crew of chain-smoking Pat Smear, Chris Shiflett, Nate Mendel, and Taylor Hawkins (the only one not in flannel), took to the stage, the audience was treated to two hours of wailing guitars, singalong anthems, and never ending energy. They opened with Wasting Light’s raucous “Bridge Burning” and sailed all the way through to “Everlong” (forgoing the encore, as Grohl said, “We’d rather keep playing until the end”) and the enthusiasm from the band and the crowd never dipped for a second. Though I would have loved for all songs off of Wasting Light to be played, they did pull out a fair chunk of it including “White Limo”, “Arlandria”, and “Dear Rosemary” (featuring Bob Mould who played the same stage earlier). The soaring, feel-good “Walk” united the crowd as much as their older hits such as “My Hero” and “Learn to Fly” did, and they even tossed out lesser-played songs such as “I’ll Stick Around” and “Generator”.

The thing about the Foo Fighters is that they never just play their songs as is, they have to take them a step beyond. At Sasquatch this meant an extra epic jam session for “Monkey Wrench”, a drum solo courtesy of the tireless Hawkins, and numerous bridge breakdowns and build ups. Though it’s an effective live tool, the technique became repetitive after the 10^th song, but as soon as Grohl slams back into the chorus, you were singing along with him and bumping elbows with people in the world’s happiest mosh pit. There were rumors that Grohl’s ex-bandmate Krist Novoselic was there watching from the side stage, which would have been an amazing opportunity for him to come out and join the band (especially since he contributed to Wasting Light’s heartfelt “I Should Have Known”), but perhaps he wanted this moment to be all about the Foo Fighters and not a quick Nirvana reunion, which is understandable. The Foo Fighters ended Friday with a sea of smiles and set the bar high for the whole festival. -Karina Halle

Photo by Heather Kaplan

Friday Gallery by Heather Kaplan

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Saturday, May 28th

Seattle Rock Orchestra – Bigfoot Stage – 12:00 p.m.

Photo by Heather Kaplan

On paper, an orchestra performing the songs of Radiohead sounds worthwhile — and what better venue to house such an event than the stage closest to the entrance of a hip music festival as a bunch of likely Radiohead fans walk in? Last year was a similar deal, with the Seattle Rock Orchestra instead performing an Arcade Fire tribute. For whatever reason, this time around, people were not moved to sing along, dance, or even pay much attention. Seattle Rock Orchestra, which has at times been comprised of over 60 members, brought out a couple dozen at most to play hits from The Bends and OK Computer. The problem was it felt more like a standard cover band with a string section than a real orchestra as the abridged SRO recited uninspired arrangements of “Just”, “Airbag”, “Paranoid Android”, and “My Iron Lung”.

There were bright spots, however. “Exit Music”, “Electioneering”, and “Karma Police”, despite never approaching the emotional gusto of the originals, at least did some justice to them and made the strings and horns feel necessary. Using multiple decidedly un-Yorkeian vocalists (including a female) was a good call, and the performances never felt cheesy. - Harry Painter

The Radio Dept. – Mainstage – 1:05 p.m.

Photo by Heather Kaplan

For as long as The Radio Dept.’s been at it, and for how very little they tour, they should have been placed later in the day. But beggars can’t be choosers, and no matter the time of day, The Radio Dept. in the flesh is The Radio Dept. in the flesh. Touring behind their latest singles collection Passive  Aggressive, their setlist consisted entirely of the singles they’ve released over the past decade and a half. From Lesser Matters’ “Ewan” to the more recent “Heaven’s On Fire” off their last LP, 2010′s Clinging To A Scheme. The three piece Swedish outfit timidly went about their 45 minutes to a fairly full floor, which makes sense, given the fact that they’re somewhat reclusive and playing to a very, very large Gorge lawn crowd. Never ones to crack under the pressure, they played a beautiful set note for note. -Winston Robbins

k-os – Bigfoot Stage – 3:00 p.m.

Photo by Karina Halle

Toronto-based musician k-os (nee Kevin Brereton) brought a lively dose of his grooving rap-rock to the Bigfoot stage. There was a distinct lack of hip-hop acts at Sasquatch, so savvy festival-goers were quick to catch his set, his reggae-induced beats suiting the blue-sky and sunshine perfectly. Songs like “Sunday Morning”, “I Wish I Knew Natalie Portman”, and “Man I Used to Be” went over well despite the stage’s frequent sound problems that plagued his microphone and interrupted a few of the songs. -Karina Halle

Local Natives – Mainstage – 3:15 p.m.

Photo by Heather Kaplan

It would have been easy to overlook the Local Natives as the band that played Sasquatch! because Fleet Foxes can’t be there every year. That is, it would have been easy had they not turned so many heads. Besides it being a little hard to take seriously a folk band led by a guy with a porn star mustache, Local Natives earned their stripes with what frontman Taylor Rice said was their biggest gig yet (the list includes their appearance at Sasquatch! 2010 on the smaller Bigfoot Stage). Local Natives played the usual Gorilla Manor material, before reporting they would be heading home to L.A. to record the next album. - Harry Painter

Trailer Park Boys – Banana Shack – 3:45 p.m.

Photo by Karina Halle

What to say about the Trailer Park Boys? Because Canada’s answer to Reno 911 follows the lives of Nova Scotian ex-convicts Bubbles (Mike Smith), Ricky (Rob Wells), and Julian (John Paul Tremblay) in a trailer trash mockumentary style, it was interesting to see how the show would play out as a live comedy show (at a US festival, too). Though it was hard to hear and see at times, the trio managed to titillate the mainly Canadian crowd (this I deduced from the “Go Canucks Go” chant just prior) and maybe win over a few new fans. The free hot dogs that Julian tossed into the crowd probably helped too. -Karina Halle

Wolf Parade – Mainstage – 4:20 p.m.

Photo by Heather Kaplan

This set was doubly tragic. Not only did indie veterans Wolf Parade only get 45 minutes to play, but it would (possibly, probably) be the last time they performed for a very long time. They announced months ago that they were going on an indefinite hiatus, Sasquatch! Music Festival being the last stop before calling it quits. The enormity of the situation wasn’t lost on the crowd, either. Wolf Parade drew the largest group of people for any band non head or sub-headlining. Seemingly undaunted by any of these stressors, they put on a historic show. Once again, it was tragically short, but it was bursting at the seams with the best work of their career. Obviously, the tracks from Apologies To Queen Mary (“You Are A Runner And I Am My Father’s Son” and “Fancy Claps” in particular) were the best received, but they gave each track the treatment it deserved. Expo 86 cut “What Did My Lover Say? (It Always Had To Go This Way)” primed the crowd before they played themselves off with a rendition of “I’ll Believe In Anything” that sent chills down the spines of all those who grasped the reality of the situation. -Winston Robbins

J. Mascis – Yeti Stage – 4:35 p.m.

Photo by Christopher Nelson

The demographics that made up Sasquatch! couldn’t have been expected to know or care who J. Mascis was, and it appeared most didn’t. But it wasn’t much of a challenge for the silver-maned, baseball cap-wearing Dinosaur Jr. frontman to win people over. Featuring songs off his debut solo album, Several Shades of Why, as well as some Dino Jr. favorites, Mascis’ set alternated between accessible acoustic folk rock and the noisy guitar solos for which he is known. The 1993 Dino Jr. track “Get Me”, in particular, had the Yeti crowd in a trance. Mascis wins the old guy award for the weekend, as great as Bob Mould was. - Harry Painter

Jenny & Johnny – Bigfoot Stage – 5:10 p.m.

Photo by Ted Maider

It was not a secret that the crowd kept very well, they were absolutely at this set just to see Jenny Lewis. And why wouldn’t they be? She was true to form: beautiful, endearing, and immensely talented. Joke was on the Lewis-driven crowd, though, when they realized that singer-songwriter Johnathan Rice (the Johnny portion of the duo) was no laughing matter. The two (with the help of Rilo Kiley and Conor Oberst & The Mystic Valley Band drummer Jason Boesel) put on a sweet show, singing songs about love and loss with unmatched pop sensibility. I’m Having Fun Now tracks “Scissor Runner” and “Pet Snakes” seemed to particularly catch the attention of the crowd. But in the end, the hapless Jenny Lewis fans got what they wanted when she broke out Acid Tongue epic “The Next Messiah”. -Winston Robbins

Wye Oak – Yeti Stage – 5:40 p.m.

Photo by Heather Kaplan

Saturday’s breakout act was a hell of a follow-up to J. Mascis. Baltimore’s Wye Oak, which consists of singer/guitarist Jenn Wasner and drummer/keyboardist (simultaneously!) Andy Stack, is a duo that has all the depth of a standard four-piece. Wasner could work on emphasizing her vocals, but between Wye Oak and The Radio Dept., Saturday was a good day for dream pop. -Harry Painter

The Antlers – Bigfoot Stage – 6:20 p.m.

Photo by Ted Maider

Fresh off the release of their impeccable Burst Apart, it was uncertain how this set would go for The Antlers. It was so vastly different from its predecessor, it seemed impossible that the two albums could ever share the same stage. This worry was alleviated when it was revealed track by track that they were playing Burst Apart in the order it appears on the LP tracklist. Coming out with the enormous “I Don’t Want Love”, the Brooklyn trio (with a backing drummer) destroyed the Bigfoot Stage fearlessly. There wasn’t time for them to play the album in its entirety, unfortunately, in the 45 minutes they were allotted, but they got the first six of the 10 tracks in, and peaked during an almost post-rock version of “Rolled Together”. They closed with the only track from their 2009 hit album Hospice they’d play all night, “Two”. But even that old track had been altered to sound a tad more Burst Apart-y, for lack of a better phrase. It will be interesting to see how The Antlers go about splicing these two vastly different pieces of work into a coherent live set, but it was something we were fortunately (or unfortunately?) spared of having to deal with. But after seeing them play a sunset performance at The Gorge, there seem to be very few things The Antlers can’t do right. -Winston Robbins

The Thermals – Yeti Stage – 6:45 p.m.

There are some pros and cons to the Yeti Stage. On the positive side, it faces the outside horizon; the area that surrounds the festival; the natural habitats that bring people here week after week. On the downside, it also faces the setting sun. Many artists have had problems with this; after all, who wants to rock out with a blinding sun? However, Portland’s own The Thermals remained true to their name, using the sun’s radiant energy to, and please pardon the use of the pun, thermally ignite. With an agreeable combination of both new and old, the minimalistic trio punched and kicked through nearly 20 songs in the evening’s transitioning hour. During an incendiary opening cut of “Time to Lose”, vocalist Hutch Harris took things to the floor, channeling his inner Chuck Berry, and kept things going with “Returning to the Fold”, “Not Like Any Other Feeling”, and “It’s Trivia”. Blame it on their tour with the always thrilling Matt & Kim, but The Thermals were fiddling with an energy that hasn’t been this exciting for awhile. The crowd fed off it, too. Before they trekked forward, Harris observed: “Oh yeah, it’s getting rowdy out there. Keep it going Sasquatch.” They did, but so did the band. -Michael Roffman

Photo by Heather Kaplan

Washed Out – Banana Shack – 7:00 p.m.

Photo by Ted Maider

The newly re-vamped Verizon Banana Shack seemed the perfect home for chillwave pioneers Washed Out. But hindsight’s 20/20, and they would have been better suited at a regular stage. The Banana Shack is more commonly home to house/dance music, and it took an extremely long time to get the band’s gear onstage. They finally managed to start 20 minutes after their scheduled time, and seemed very scattered throughout their set as a result. Leading man Ernest Greene was the glue that held the set together as he ran through a shortened set that incorporated old favorites (“New Theory, “Feel It All Around”), introduced a new song, and closed with a rendition of their latest single “Eyes Be Closed” that was almost good enough to redeem the flaws of the show. Washed Out started out as Ernest Greene, and as it has expanded to a five-piece, some of his earlier songs seemed very crowded with five instruments trying to create a fairly small sound. But as for the song they debuted and “Eyes Be Closed”, the band couldn’t have sounded better, and Washed Out’s forthcoming Within And Without will no doubt be a bigger, bolder record. But this particular show? Washed Out dropped the ball. -Winston Robbins

Bright Eyes -Mainstage – 8:15 p.m.

Photo by Heather Kaplan

The veteran cast of Bright Eyes (along with their backing band, which includes Rilo Kiley/Mystic Valley Band drummer, Jason Boesel) took the stage one at a time -legendary producer/artist Mike Mogis, followed by the master of quiet intangibles Nate Walcott, all leading to the centerpiece of the indie legends: Conor Oberst. Oberst emerged from the side of the stage throwing his arms around, while wearing a hood that covered most of his face, which made him look uncannily like B. Rabbit from 8 Mile. The music that ensued was far from rap battling, however, and Oberst took no time getting into his all too short sub-headlining set with a massive rendition of The People’s Key single “Firewall”, which sent the crowd into an uproar. It was deathly cold and getting colder by the minute, but that didn’t deter the insanely devoted Oberst fans down in the pit.

Every movement he made, every word he said (of course he had something to say about politics and the state of affairs in our day and age), and every song he sung inspired the crowd to get more and more worked up. Their hour set included songs from every era of the Bright Eyes career: tracks from I’m Wide Awake It’s Morning, Lifted or the Story is in the Telling, Cassadaga, and even one from Fevers & Mirrors, which he dedicated to his contemporaries that he’d been in the business with since late 90’s: Iron & Wine and Death Cab For Cutie. And while I’m sure they appreciated the gesture, the set was about the fans.

Photo by Heather Kaplan

“Four Winds”, “Lover I Don’t Have To Love”, and a combination of “Road To Joy” and  “One For You, One For Me” caused a particularly large uproar. The latter of the three mentioned was possibly the most moving of the entire weekend. Oberst left the stage to join his adoring fans, one of whom hurdled the barrier and kissed him passionately on the lips before being escorted away by security. As the voice over to “One For You, One For Me” played over the PA, Oberst remained at the front of the crowd hugging and shaking the hands of fans, some of whom were literally weeping to be in his presence. Love him or hate him, Conor Oberst has an immovable charisma that speaks powerfully to some. -Winston Robbins

Robyn – Bigfoot Stage – 9:00 p.m.

Photo by Heather Kaplan

It wasn’t really fair to pit Robyn between Bright Eyes and Death Cab for Cutie – especially since the latter hasn’t toured in quite awhile. However, the Swedish treat sweetened enough folks by name alone to create a massive scene at the Bigfoot Stage. Technical difficulties pushed the set back 25 minutes, which turned the crowd into a tepid mob scene. Several fans chanted “Robyn!”, plenty walked away, and one guy wholeheartedly attempted to sell the crowd on chanting “18 minutes late!” (which soon evolved into “25 minutes late!”), though no one joined him. They didn’t have to because once the international sensation appeared, all energy was focused on dancing. Strictly dancing. Smiling, waving, and stripping down – even amidst the chilly winds rolling through – Robyn powered through a close pocketed 45 minute set, starting with “Fembot”, continuing on with “Bad Gal”, and naturally including her scorching single (and Gossip Girl burner), “Dancing On My Own”. A double dosage of percussion injected some adrenaline into an already impressive stage set up, tailoring songs like “Indestructible” with an epic sheen. Basically, if you haven’t seen her live, then you’re not just missing out, you’re selling your heart short. -Michael Roffman

Death Cab for Cutie – Mainstage – 9:30 p.m.

Writer’s Note: Ben Gibbard needs a haircut.

As it was the 10^th anniversary of Sasquatch, it seemed reasonable to book some of the Pacific Northwest’s finest modern acts to carry on the torch for another year. Seattle’s own Death Cab for Cutie was a perfect choice for such an occasion as they continue to embody the Washington spirit. As time has raced on by, Death Cab has gone from an indie sensation to a slew of pop-stars with constant airplay. Only in Seattle, right?

To prove that they were worthy of a headlining title, Gibbard  & Co. took the stage to deliver one of the most surprising shows of the weekend. The energy was quite high – especially for a Death Cab gig. Opener “I Will Possess Your Heart” lasted for ages, but its thumping bass line and stirring percussion were enough to stir the crowd. This sort of chemistry washed over other gems like “Movie Script Ending”, an electrifying “Cath”, and a version of “Long Division” that brought people to crowd surf. Hit after hit, and song after song, Death Cab for Cutie rattled their catalog for a show that would not only impress the Sasquatch crowd, but also make every fan jealous that they missed this show.

The true highlight of the set though was when Gibbard came out alone to strum away Plans favorite, “I Will Follow You Into the Dark”. Feeling the raw intimacy of the song, the crowd joined along and sang in unison, their voices echoing off the walls of the Gorge. People will follow Gibbard anywhere, I guess. -Ted Maider

Photo by Kyle Johnson

Sleigh Bells -Banana Shack – 10:10 p.m.

Photo by Winston Robbins

The Banana Shack was hands down the best addition to this year’s installment of Sasquatch!. Very much like Coachella’s Sahara Tent, the Banana Shack was solely for the purpose of comedians during the day and electro raves at night. So, of course, this is the stage where Sleigh Bells landed. Their set was unfortunately stuck in the middle of Death Cab’s and Robyn’s respective sets, but it mattered very little in the end. They were 20 minutes late to start, but they made up for that by not only going an extra half hour longer than they were scheduled, but by rocking especially hard. Sleigh Bells are admittedly more flash than music, but their flash is so illustrious that it enhances the music to levels many of their contemporaries could only hope to achieve. After an instrumental cover of “Iron Man” by Derek Miller, Alexis Krauss joined him for what would be an hour of sheer sweaty chaos. Sleigh Bells is best played at maximum volume, and the sound in the Banana Shack more than accommodated this ideal. Being that Treats is a fairly short album they played almost every track, the highlights being “Riot Rhythm”, “Infinity Guitars”, and a very funky version of “Rill Rill”. -Winston Robbins

Bassnectar – Bigfoot Stage – 11:30 p.m.

Photo by Kyle Johnson

Disclaimer: I hate dub-step.

Prior to this show, an audience member informed me humans are conditioned to enjoy heavy bass, as the vibrations remind our subconscious of time spent in the womb and the comfort we received within it. This has to be true because thousands of people crammed in for Bassnectar’s late night show…. and, well, he delivered. The DJ, whose popularity has clearly skyrocketed within the past couple years, blew out speakers, mixed Nirvana, and played one of the highest energy sets possible. The only thing more insane than the DJ himself was the crowd. People tossed glow sticks, moshed, crowd-surfed and went ballistic. It was hands down the best dance show of the weekend.

Disclaimer: I still hate dub-step. -Ted Maider

Saturday Gallery by Heather Kaplan

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Sunday, May 29th

The Drums – Mainstage – 1:05 p.m.

Photo by Heather Kaplan

For the past year or two, New York post-punk rockers The Drums have raised eyebrows in critics’ circles for making Joy Division sound sunny and fun. Their self-titled debut hit plenty of End of the Year lists last year and despite some lineup changes, they continue to truck on and maintain a some gravitas in the indie community. None of that’s changed. If their early spot at the Mainstage is any indication, they’re not going anywhere. Songs like “Best Friend”, “Let’s Go Surfing”, and “Down by the Water” are all classics by now. They’re great. But when beach blonde Jonathan Pierce introduced new song “Money”, and reported that the band wrapped up recording their sophomore follow up, things took a turn for the best. Sounding like a spunky outtake from New Order’s Movement, “Money” whisked on by with a sharp noise that made cuts in everyone’s ears. That’s a good thing. Waiting until we hear the studio version? Not a good thing. Either way, the boys continue to look hip (from hair to toe) and sound fresh. At this point, they can continue championing the whole surfer rock thing, even if that whole image has been burned to the ground. They at least earned it. -Michael Roffman

Fitz & The Tantrums – Mainstage – 2:10 p.m.

Photo by Heather Kaplan

There is nothing new going on here. Fitz & The Tantrums play a predictable blend of funk and neo-soul designed, of course, to get the dance floor moving. But these guys are really good at it. Fitz, full name Michael Fitzpatrick, is a David Bowie lookalike in a flashy suit who puts in his 110 percent to get the crowd involved. How often do you see a frontman request a clap or mass kneel and fail miserably? In Fitz’s case, he had everyone, lawn included, complying with his every command — so you know he’s doing something right. Highlights included “Rich Girls”, the single “MoneyGrabber”, and a cover of “Sweet Dreams (Are Made of This)”. - Harry Painter

S. Carey – Bigfoot Stage –  3:00 p.m.

Sean Carey has come a long way from being the guy that timidly confronted Justin Vernon at a show to tell him he admired his music. Not only did he shortly thereafter join Bon Iver, but he embarked on a solo career of his own while Justin Vernon was off doing other things (you know, hanging out with Kanye West and stuff). Over the past year or so, S. Carey has toured behind his debut solo record, All We Grow, with a notable spot opening up for last year’s biggest folk sensation The Tallest Man On Earth. Carey came out confident and played his quiet, beautiful post-rock to a very large crowd, considering how early in the day he was scheduled to play. He and his five piece brought their A game and finished big with an impromptu cover of David Lynch’s Twin Peaks theme song, followed by a very subtle cover of Bjork’s “Unravel”, and an emotional version of the title track, “All We Grow”. This was surely one of his last solo performances, as he will be joining back up with Bon Iver, who is about to take over the world yet again when their new album drops later this June (don’t pretend for a second you haven’t downloaded the leak…). -Winston Robbins

Tokyo Police Club – Mainstage – 3:15 p.m.

Photo by Ted Maider

Tokyo Police Club has been whoring out their Canadian goodness to all the festivals in the past year, so it seemed natural that they’d show up at Sasquatch! (considering how many Canadians were there to support them). The band was definitely a decent way to fill some time throughout the day’s heat, and they actually played a pretty good set. They got the crowd to help them out with “Tessellate” and jammed on gems like “Elephant Shell” and “Nature of the Experiment”. The real show though was when the band brought their good friend on stage, not to rock, but to propose to his girlfriend. Perfect for an indie-rock festival. -Ted Maider

Sam Roberts Band – Bigfoot Stage – 4:05 p.m.

Photo by Karina Halle

Juno-award winning (you know, the Canadian Grammys) singer/songwriter Sam Roberts is perfect festival fodder and his appearance on the Big Foot stage was no exception. His brand of smooth-voiced rock and roll is simple enough for sunny days but catchy enough to keep an audience moving on their toes, which is exactly what he did. Even people who weren’t planning on catching the show were stopping by the stage and joining along with the singalongs and hand-waving to such songs as “Brother Down” and “The Last Crusade”. Watching the smiling festival-goers jump and flail around to “Them Kids” made you think that the song’s lyrics were wrong and the kids do “know how to dance to rock and roll” after all. Well, at least they try. -Karina Halle

Beach House – Mainstage – 4:20 p.m.

Photo by Heather Kaplan

Three years ago, Beach House‘s Victoria Legrand and Alex Scally were performing at intimate venues like Chicago’s own Schubas. You know, to maybe 300 people tops? So seeing them entertain thousands at the Gorge on Sunday evening was beyond surreal. Here’s a place that acts like Pearl Jam or Dave Matthews Band have used for their landmark live efforts. Now, this Baltimore dream pop duo can say they’ve matched them – sort of. They may not be able to rope in that many on their own, but they’re certainly up for the task, at least if their stage presence is any indication. Tighter, more intense, and highly personable, Legrand and Scally actually look alive these days. In between their lush and gorgeous ballads like “Zebra” or “Walk in the Park”, the two committed to some friendly banter. Legrand even remarked on the group’s questionable set time: “We like that our set started at 4:20, but we don’t really care about that. That makes me sound like a pothead.” As the sun glazed the surrounding fields, everyone was at peace with themselves, including a little indie toddler, who tossed dirt around and brought smiles from passerby’s. “Humans are meant to cooperate. Good job, human beings,” Scally observed. Yes, kudos. -Michael Roffman

Black Joe Lewis & The Honeybears – Yeti Stage – 4:35 p.m.

Austin, TX’s Black Joe Lewis likes to have a good time. His Honeybears make that happen each time they’re on stage together. As the sun started to spill over, the bluesy octet owned the Yeti Stage, and its many inhabitants. Lewis’ trademark swagger has finally worked. For the past two years, they’ve been a festival staple, though in smaller capacities. Although the Yeti Stage is technically the smallest of the Sasquatch! venues, the crowd proved he needs to move up next time he’s in “town.” This wasn’t a group of passerby’s; no, this was more like a loyal following. And by the time they started grooving to a muddy rendition of “Louie, Louie” or “Bird is the Word!”, they had hundreds of fans screaming their hearts out. Too bad the nearby BBQ was overpriced. It could’ve added to the great backyard jam. Oh well. -Michael Roffman

Photo by Jackie Kingsbury

Mad Rad – Yeti Stage – 5:40 p.m.

Photo by Heather Kaplan

It’s hard to explain Seattle’s Mad Rad. They’re essentially a slew of Caucasians that create nasally-sounding hipster hip-hop. But it’s loud, it’s obnoxious, and it’s enigmatic. For a small group that’s technically still unheard of, they commandeered one of the largest crowds at the Yeti Stage. They didn’t waste any time roping them in, either. The band’s ensemble includes Buffalo Madonna, Terry Radjaw, DJ Darwin, and P Smoov and all of them shared the spotlight equally. Throughout their then potentially hazardous set, Buffalo, Terry, and P Smoov tossed toilet paper into the crowd and rapped while crowd surfing over fans. Some of the best crowd interaction of the weekend happened during songs like ”Love in a Strange World” or “I Want Your Blood”, which have deeper meanings than their titles imply. Then again, they’re just not the same without the ridiculous introductions before them. Bottom line: Look ‘em up. -Michael Roffman

Archers of Loaf – Bigfoot Stage – 6:20 p.m.

Photo by Ted Maider

So, was the reunion worth it? Archers of Loaf, known for their weird songs in the ’90s, played the Bigfoot Stage to one of the smallest crowds of the entire weekend. In fact, I saw more people with artist wristbands at the show than kids with festival wristbands. It didn’t stop the band from rocking out, though, and dishing out numerous classics like the dreary “You and Me” or the thrashing “Audiowhore”. But considering nobody seemed to know who they were, it makes one think, are reunions even important anymore, or just a bunch of Internet hype? -Ted Maider

Das Racist – Yeti Stage – 6:45 p.m.

Photo by Heather Kaplan

You know what, we’ll try and cut Das Racist some slack, as they traveled all the way from performing a show at Primavera Sound festival in Barcelona, Spain the night before. But even if we gave them the most slack in the history of slack cutting, this was still one of the worst performances at Sasquatch. Things got off to a bad start when they didn’t go on until 40 minutes after they were supposed to. The crowd was visibly restless, and were on the verge of eating and/or maiming each other when Das Racist finally came on. And from there, one would assume that they were never able to fully recover. Das Racist’s bread and butter is drunken, lazy, nonsensical raps. It’s just part of their charm. But for this particular performance they were either remarkably jet lagged, or especially drunk. Even when they finally started performing, they barely moved, and their raps should be more accurately described as very quick mumbling. Not even their extremely popular “hahahaha jk?” could save them. And what had been one of the largest crowds at the Yeti Stage quickly dispersed, either to find some floor space for The Flaming Lips, or to bump up the hill to see Gayngs. -Winston Robbins

Gayngs – Bigfoot Stage – 7:30 p.m.

Photo by Ted Maider

Gayngs were tragically scheduled against The Flaming Lips, which obviously took away from a crowd that should have been bigger. But for those who stuck around, it was well worth the small portion of The Flaming Lips that had to be missed. All eyes were intensely glued to the stage, hoping Justin Vernon and Mike Noyce of Bon Iver would show up, but when the suave 10-piece band took the stage neither of the men were to be found. After the initial disappointment wore off, the crowd began to get into Gayngs’ slow, sexy jams. Ryan Olson has enough charisma and then some to make up for the lack of Vernon. The backing band consisted of relatively unknown individuals, (other than Zach Coulter) but were all immensely impressive. With Olson at the helm, the backing musicians rapidly seeing limelight, and Bon Iver members popping in and out, Gayngs very well might one day be America’s answer to Broken Social Scene. “The Gaudy Side of Town”, “The Crystal Rope”, and set closer “The Last Prom On Earth” were all met with huge fanfare and massive sing-a-longs despite a no-showing Justin Vernon. -Winston Robbins

The Flaming Lips – Mainstage – 8:00 p.m.

Photo by Heather Kaplan

The Flaming Lips are no stranger to the festival scene. Not only do they seem to play every notable festival year after year, their music feels expertly tailored for the events filled with drug-infused music lovers and experimental looky-loos. Their appearance at Sasquatch though had one change from the norm; they were playing their beloved album, 1999′s The Soft Bulletin, in its entirety. Of course they had their trademark theatrics to wow over the general public, such as guns that shot pastel confetti, the cast of The Wizard of Oz dancing on the sides of the stages, singer Wayne Coyne in a giant hamster ball, multi-colored balloons, and crazy video projections. But hardcore fans were also delighted to hear the psychedelic harmonies and orchestrations of the acclaimed album. It started off at a good pace with “Race for the Prize” luring people into the set’s vibe.

By the time they reached “The Spiderbite Song“, Coyne began to tell stories about the band members Steven Drozds and Michael Ivins, which slowed the momentum down. Sure, Coyne can sometimes yammer on too much, but at least he’s always engaged and always sincere with his interaction with the audience, and appreciative of the set’s stunning location. Even if you weren’t high off your gourd, you still felt a bit of magic at the playful atmosphere and the sight of the orange sun setting behind the rugged hills of the Columbia River Gorge.

Photo by Heather Kaplan

The set ended on a rather somber note which might have pulled some of the crowd down before Modest Mouse hit the stage, but there’s no doubt Lips fans walked away satisfied. It was a good way for the band to marry their over-the-top theatrics with their spared down melodies, making it feel that even though you were surrounded by many, the Lips were singing just for you. -Karina Halle

Flying Lotus – Banana Shack – 8:40 p.m.

Photo by Christopher Nelson

Let’s think of this set in terms of stocks and bonds. Skipping The Flaming Lips for Flying Lotus is obviously a high risk investment. But every now and again on Wall Street, sheer dumb luck makes Franklins fall from the sky, and your payout becomes exponentially larger than what you invested to begin with, making your initial investment worth the risk. The 2,500 people that were either brave or drunk enough to make this gamble came out of Flying Lotus’ set feeling like masters of stocks and bond; it was truly one of the greatest risks they ever took.

Even Steven Ellingson (Flying Lotus) himself was surprised to see so many people in the crowd, remarking “I made the two and a half, three hour drive here thinking the whole time no one would show up. But you did! And I thank you from the bottom of my heart for it.” And it was with that grateful sentiment that FlyLo started his set, which was an hour of pure electronic/hip-hop bliss. Ellingson was literally smiling the entire time, and the wheat had been separated from the chaff, if you will, leaving only the truest of true fans to party with Flying Lotus, creating an even more legitimate environment.

Photo by Luke Johnson

As a result of FlyLo’s appreciation and the crowd’s enthusiasm, he rolled out a set that will go down in history as one of his most spectacular. Incorporating Radiohead, Lil’ Wayne, and dozens of other artists in with his own infectious beats sent chills down the spines of those watching. The Banana Shack nearly toppled over (figuratively, of course) when he mixed the sheer grit of Tyler, The Creator’s “Yonkers” on top of one of his most bass-heavy tracks, “Melt!”. Word spread quickly and a major topic of conversation between festival-goers for the rest of the weekend was about how bummed they were that they went with The Flaming Lips (all due respect to Mr. Coyne and Mr. Drozd) over Flying Lotus. -Winston Robbins

Yeasayer – Bigfoot Stage – 9:00 p.m.

Photo by Heather Kaplan

After The Flaming Lips fizzled out, thousands flocked to the Bigfoot Stage, where Yeasayer turned the heat up. (Actually, it was getting pretty cold, so it made sense that people would want to dance.) Though the lights were impressive and Chris Keating, Ira Wolf Tuton, and Anand Wilder all maintained a stoic composure, a few tracks felt a tad hollow. On record, “O.N.E.” feels so all encompassing, but on stage it felt lacking. Maybe it was just too loud or too open of a space, but the tracks didn’t leave any bruises upon impact. Instead, they just warmed things up. “Ambling Alp” solved a lot of these issues, but by then, most were flocking away towards Modest Mouse. See you in the clubs, guys. -Michael Roffman

Modest Mouse – Mainstage – 9:45 p.m.

Photo by Heather Kaplan

Prior to this show, I heard countless horror stories about Modest Mouse, and people’s experiences with them. Stories like “I’ve seen them three times and they sucked for all of them” were quite popular, as well as, “Last time, Issac Brock was so drunk he couldn’t even sing ‘Dramamine’”. One must assume that the people who organize Sasquatch! know what they’re doing, because they billed Modest Mouse as Sunday’s headliner, and it seemed to be one of the headliners most people were concerned about. But when Brock and friends took the stage, everyone swelled and wondered what was going to come next. Brock stood in front of the mic quietly as feedback filled the Gorge until finally, he took a deep breath and screamed, “THIS PLANE IS DEFINITELY CRASHING!”, which meant one thing: “Shit Luck”. For those in attendance, as a Modest Mouse fan, you can die happy now.

Photo by Heather Kaplan

They didn’t stop there either. The band dipped all over their catalog for the next two hours. A soothing “Gravity Rides Everything” followed, a fantastic rendition of “Dramamine” (complete with all the lyrics) was delivered, two new songs were debuted (“Lampshades on Fire”, “Poison”), and even more recent stranger songs like “King Rat” were played, too. People danced, people sang, yet all were genuinely pleased that, for once, Modest Mouse was fucking killing it. They even played their most mainstream hit, “Float On”, which was more than enough to get the crowd on their feet and rocking out with every ounce of strength. But by far the most epic part of the night was the encore that included “World at Large”, especially as every “Ba ba ba” bounced off the Gorge. Only at Sasquatch kids… -Ted Maider

MSTRKRFT – Banana Shack – 10:00 p.m.

Photo by Jackie Kingsbury

Leave it to Jesse Keeler to be responsible for creating not one but two of the most out of control shows at Sasquatch! 2011. His other project, the recently reincarnated Death From Above 1979, rocked the Gorge to its knees two days prior, and he did it again, only this time in a completely different vein of music. Keeler and his producer cohort Al-P took to the Sasquatch! equivalent of Coachella’s Sahara Tent, The Banana Shack, to throw what would be the biggest rave at this year’s installment of the festival. In the past, MSTRKRFT haven’t been known for their studio music being extremely rave-centric. But with the release of this year’s singles “Back In the USSA” and “Beards Again” (both of which were played during the set), it seems as though MSTRKRFT may be headed that way if and when they decide to drop a new full-length.

Photo by Jackie Kingsbury

With the exception of a few of the hip hop samples that appeared on their (pretty lackluster) sophomore album, Fist of God, they didn’t play a single song off their two LPs; they played only new music that was a menagerie of smart sampling, well placed drops, and house-savvy beats. When it came for them to leave, Keeler announced to the crowd that they wanted to keep playing, and that they would soldier on well past their time slot and wouldn’t leave until the crowd didn’t want to hear them anymore or until an authority figure told them they couldn’t go on any longer. Obviously the ravers didn’t want them to stop (how do ravers go for 12 hours at a time and barely even break a sweat? They’re a rare sub-species, who I find to be particularly interesting), especially when they  combined their “Beards Again” with Daft Punk’s “Da Funk”. They ended up playing until 11:40, 40 minutes after when they were scheduled to stop. Eat your heart out, Sahara Tent. -Winston Robbins

Ratatat – Bigfoot Stage – 11:00 p.m.

Photo by Christopher Nelson

Ratatat has found their niche in the music world. After two solid releases – their self-titled, and Classics – the instrumental duo found themselves immensely popular, giving them the leniency to sort of do whatever the hell they want, musically. And they’ve done just that. They’ve gone down an alley of quick, bright sampling that is fairly different than their first two releases, but impressive all the same, especially in a live setting.

They pulled the late night slot at Sasquatch, which screams perfection in terms of time slot placement. And even though MSTRKRFT and Modest Mouse ate through a good bit of their set, Ratatat drew a huge crowd, especially once the aforementioned bands were done. People returning to camp were naturally drawn in by the enormously catchy sound, and even more so by the bizarre visual arrangements.

Photo by Christopher Nelson

Not only did the stage lighting involve some of the most elaborate sets at Sasquatch! (other than The Flaming Lips, of course), the montages being played over  the massive screens were so visually captivating, it was nearly impossible to look away. From bad infomercial acting to wildly shifting arrangements of birds, the screens were nearly as fun to watch as the band itself, who were quite impressive. No longer touring solely behind LP4, they were allowed to visit old favorites like “Loud Pipes”, “Kennedy”, and “Wildcat”. But that didn’t stop them from playing some of the strongest new material such as “Falcon Jab”, “Shempi”, and “Neckbrace”. But no track even held a candle to the one encore song they played as they approached one in the morning: an incredibly well re-arranged version of all-time classic “Seventeen Years”. It was the perfect way to end the most dance heavy day of the festival. -Winston Robbins

Sunday Gallery by Heather Kaplan

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Monday, May 30th

Wavves – Mainstage – 11:30 a.m.

Photo by Ted Maider

Perhaps it was the fact that they were a late addition, but Wavves was scheduled far too early in the morning. It’s not like Nathan Williams’ surf-punk project needs the extra exposure or anything, they get plenty of that from every musically oriented output in the civilized world. But after three days of hard festival partying, 11:30 a.m. was a little too early for everyone but the absolute biggest Wavves fans. Regardless, they put on one of the most energetic shows of the day, peaking with the one two punch combo of “King of the Beach” and “Idiot”. -Winston Robbins

Young the Giant – Mainstage – 12:35 p.m.

Photo by Heather Kaplan

Young the Giant had its work cut out for it following a morning Wavves set, and results were mixed. The energy lagged a little, perhaps because of the heat and everyone being tired by Monday. But Sameer Gadhia and co. did their best to counteract this, and had the pit jumping during the set-closing single “My Body”. - Harry Painter

Twin Shadow – Yeti Stage – 1:00 p.m.

Photo by Ted Maider

Brooklyn’s George Lewis, Jr., aka Twin Shadow, crafted an excellent album in Forget. It’s sad, it’s haunting, and it’s beautiful all at once. But none of that came across live, which may sound like a knock, but is a huge compliment. Lewis and his confident five-piece band went about their songs tirelessly for their 50 minute set. As well as debuting two new songs (which hopefully means he’s working on a follow-up with Grizzly Bear’s Chris Taylor, who produced the first record), Twin Shadow did ultra dance versions of their ominous new wave songs (in the order that they appear on the record) “Tyrant Destroyed”, “When We Were Dancing”, and “I Can’t Wait”. If Lewis doesn’t become a prominent figure in the rise of chillwave, whatever the hell that means anymore, I’ll be thoroughly surprised. The man is an incredible performer, has great stage presence, and best of all writes fantastic music. -Winston Robbins

Old 97′s – Mainstage – 1:40 p.m.

Photo by Heather Kaplan

Once again, maybe it has to do with playing in the heat on a tired Monday afternoon when everyone was trying to nap, but the Old 97′s completely failed to get a reaction out of anyone outside the front rows. And it’s just as likely the Old 97′s were the ones putting everyone to sleep. One song blended into another, into another. The songs that made an impression were “I’m a Trainwreck”, “Every Night Is Friday Night (Without You)”, and “Timebomb”. -Harry Painter

Chromeo – Mainstage – 2:45 p.m.

Photo by Heather Kaplan

On paper, a midday Chromeo show sounds as enthralling as watching Miami Vice on a sick day. It’s just not the right mood. However, early Sunday at the Gorge, Montreal’s unlikely duo Dave 1 and P-Thugg delivered all the glitz and glamour of their traditional live show. The fans helped make it magical, too. In addition to dancing and sweating a storm under the scorching hot sun, thousands of fans tossed around inflatable sea animals, exclaiming as each shark or octopus made its way toward them. Surrounded by his back up singers, an idea no doubt borrowed from the late Robert Palmer, Dave 1, remarked, “Pretty lively for a Monday afternoon, I’d say.” Between set opener (and last year’s hit single) “Don’t Turn the Lights On” to the lyrical madness that’s “Momma’s Boy”, the two prowlers of the night became close friends with the sun. Judging from the sea of festivalgoers flooding the area, Chromeo made a connection there, too. -Michael Roffman

Black Mountain – Bigfoot Stage – 3:00 p.m.

God bless Black Mountain for adding a little classic rock pep to what was an exasperatingly slow morning. I guess even festivals sometimes suffer from cases of“The Mondays”. The Vancouver-based hard rockers took the stage to a massive hometown(ish) crowd. It seemed as though every member of the audience knew every word to every song. They opened big with Wilderness Heart duet “The Hair Song”, blending male and female vocals to perfection. The set got even bigger with the trippy In The Future track “Wucan”, followed by the climactic “Tyrants” with its epic drum solo, followed by the metal-worthy guitar solo. Not a whole lot of crowd interaction went on, but when you are that naturally talented, that matters little. They were certainly a fan favorite of the morning. -Winston Robbins

Guided by Voices – Mainstage – 3:50 p.m.

Photo by Heather Kaplan

Sadly and incredibly, Guided by Voices was the victim of the largest exodus of the weekend, one only possible because of Chromeo’s humongous crowd. The hordes of youngins that turned up for Chromeo’s mid-afternoon dance party and filled out the floor somehow found their way out in 20 minutes to watch Paul F. Tompkins or something. GBV, a reunion act that appears to be nearing the end of its current run, was left with maybe 200 people in the pit and a largely apathetic lawn crowd.

The liquor-swigging Robert Pollard commented on the disparity, observing that no one seemed to care about GBV. He mockingly wondered aloud, “Who was that last shitty band?” and his loyal pit-dwellers screamed back “Chromeo” at him before engaging in a “GBV” chant. The negativity ended there, however, and Pollard twice expressed gratitude for being invited to Sasquatch! and “all these lovely events.”

The presence of acts like GBV, J. Mascis, and Archers of Loaf was a sweet reminder of a time when being “indie” didn’t mean being a huge pussy. The crunchy indie rock began with “Over the Neptune / Mesh Gear Fox” and continued with favorites like “Kicker of Elves” and “Game of Pricks”. It was a set enjoyed by a select few, which used to be part of the fun of indie rock. - Harry Painter

Sharon Jones & The Dap Kings – Mainstage – 5:10 p.m.

Photo by Heather Kaplan

People love to dance, but sometimes they like to watch other people dance even more. That’s why Sharon Jones & The Dap-Kings were so much fun to watch; not only can Jones sing her soul out, but she packs a mean shuffle as well. And while people will likely remember that Jones and her band sounded like a vintage soul band, and a good one at that, they will remember more vividly a young hipster named Patrick, whom Jones pulled on stage upon seeing him go nuts in the pit. “Come on, security, let him go,” pleaded Jones before yanking him up and singing at him. Patrick, a skinny white kid dressed in thigh-length shorts and a red and green striped hoodie, showed no nerve dancing in front of thousands plus cameras. The contrast was priceless; think DJ Qualls and his large black girlfriend in Road Trip. - Harry Painter

Surfer Blood – Bigfoot Stage – 6:20 p.m.

Photo by Ted Maider

“Thanks for sticking around and watching us in the rain!” –John Paul Pitts

It seems dreary weather and Surfer Blood’s sludgy sound go together perfectly, but all in all, there needs to be more bands like this in indie music these days. Sure, their sound is a bit murky, but it’s totally distinct, and the band constantly exerts loads of energy. For example, singer and guitarist John Paul Pitts has a tendency to thrash his guitar about like it’s a toy (although he claimed their equipment had been stolen prior), and he likes to run up on the amps and into the crowd. During “Take it Easy” he wandered through the audience, shaking hands (including our very own Winston Robbins). And the band played such a high-octant version of “Fast Jabroni” and dedicated it to all of us “living the gremlin life”. They even revealed new material with tracks entitled “Miranda” and “Golden Boys” to show that this isn’t the last we have heard of Surfer Blood…and thank God for that one. -Ted Maider

Rodrigo y Gabriela – Mainstage – 6:35 p.m.

Photo by Heather Kaplan

Rodrigo y Gabriela are so talented you can’t help but laugh at how small they make everyone else look. Their coordination is flawless, they make it look easy, and now they apparently do it without sitting on a stool. Both players, but Rodrigo especially, genuinely love the stage. Rodrigo wears a knowing smile on his face, one that says “You think that was good? Then watch this.” They even controlled the weather; it begun to suddenly pour rain when Rodrigo y Gabriela came on, then stopped after 15 minutes. The set included tributes to Jimi Hendrix and Metallica, but only a tease of the beginning of “Stairway to Heaven” (denied!). - Harry Painter

Best Coast – Yeti Stage – 6:45 p.m.

Photo by Heather Kaplan

For awhile, Monday looked like the perfect day for the sunny cadence of Best Coast. For one, it was by far the hottest of the four days and, what’s more, the sun graced every corner of the Gorge Amphitheatre grounds. You couldn’t hide from it. However, after a surprisingly demanding set by Foster the People, a five minute session of heavy rain (the heaviest of the weekend) came down and pretty much changed the scenery. Throw in a chilly breeze and some dusty clouds and you suddenly had a very unlikely setting for Bethany Cosentino & Co. “I feel like I’m at Woodstock or some shit,” Cosentino, the sweet tongue songwriter with the grungy underbelly, observed. “But seriously, this shit is fucked up.” In addition to pounding away favorites like “Miss You”, “Boyfriend”, and “When I’m With You”, Cosentino also got fuzzy and dirty on “The End” and “Crazy for You”. By the time she rang through “Our Deal”, she had the very dedicated yet very wet crowd feeding out of the palm of her hand. Nice try, weather. -Michael Roffman

The Decemberists – Mainstage – 8:00 p.m.

Photo by Heather Kaplan

It was a bit of a bittersweet moment watching The Decemberists, finding out it would be Jenny Conlee’s last appearance with the band for a while as she fights breast cancer. But Conlee was in great spirits, and The Decemberists played happy songs; in fact, it was an all-around feel-good set.

The band mainly stuck to The King Is Dead material, with a couple off of 2009′s The Hazards of Love and some older ones. Early on, Colin Meloy’s acoustic guitar began to experience problems, which was a blessing in disguise. Because guitarist Chris Funk, also in disguise as the Russian Sasquatch, is a born entertainer, a fact that manifested while Meloy had his guitar fixed. Funk told a “Sasquatch joke” that consisted of incoherent growls, before becoming “Jazzquatch” and displaying his scat-singing skills. Bassist Nate Query joined in with some slap bass, while Sara Watkins topped it all off with some yodeling. By the time Meloy came back into the fold, The Decemberists had begun leading the audience in a sing-along of The Outfield’s “Your Love”.

Photo by Heather Kaplan

By this point it wasn’t clear anyone wanted to hear The Decemberists play their own music anymore, but they did just in case. The band redeemed the set after the guitar problems, and closed by taking crowd participation to the next level. They played (and acted out) a full rendition of “The Mariner’s Revenge”, leading the whole amphitheatre in screaming as if everyone had been eaten by a giant whale. Tens of thousands of honest-to-goodness dorks complied, and it was delightful. - Harry Painter

Deerhunter – Bigfoot Stage – 9:00 p.m.

Photo by Ted Maider

Admittedly, I was embarrassed for the people of Sasquatch! when 10 minutes before Deerhunter were to start, there were hardly 200 people in attendance. But as Bradford Cox came on to help speed up the sound check and equipment set up (they were a good 10 minutes behind schedule), I got so busy watching him, I didn’t notice that that 200 had multiplied to thousands. And as a light rain began to fall and the deepest purple thunderclouds loomed overhead, people began to don their ponchos and garbage bags.

Photo by Ted Maider

Rushed by all of these factors, Bradford Cox and his Georgia outfit dove right into things and didn’t stop more than one or two times to tune or say thank you. It all became one beautiful cohesive piece of music, beginning with “Desire Lines”  bleeding into their new, unreleased “60 Cycle Hum”, which then turned rapidly into “Little Kids”, making for a 15 minute cohesive jam. The stormy clouds still threatened, but never quite made their move, but that didn’t stop the cold. The crowd was obviously spellbound, but for tracks that are in theory very danceable (“Nothing Ever Happened”), it was very hard to make the human body do anything other than just try and survive. The wind howled across the lands and up onto the stage, which added an epically ethereal touch to some already very ethereal rock music. And finally the lights all dimmed to leave one spotlight on Bradford Cox, who stood alone while he buzzed into a slow, chilly version of “Helicopter” that perfectly encapsulated the set. -Winston Robbins

Wilco – Mainstage – 9:30 p.m.

Photo by Christopher Nelson

“This is the place where Wilco had our worst show ever,” Jeff Tweedy said of the band’s 2004 Sasquatch! set (blame Arcade Fire). The deck was stacked against them this time around too — Wilco was the only Sasquatch! headliner without roots in Washington; Wilco’s set came in the middle of a much more energetic Deerhunter set on the Bigfoot Stage; and lastly, Wilco’s kind of a sad band, which doesn’t necessarily make for good festival-closing material. Tweedy even acknowledged it was hard to follow The Decemberists’ happy alt-rock tunes with a bunch of sad songs, but “I guess that’s what we do.”

Admittedly, if you like to end a weekend of music by partying, you were better off just watching Deerhunter and Major Lazer and heading back to the tent. Admittedly, the Chicago rockers started off by playing slow folksy songs, and didn’t exactly offset them with arena rock anthems. But what Wilco did do was play a set of 20-plus great songs with style and precision, which is all you can ask.

Photo by Christopher Nelson

Wilco’s set included Yankee Hotel Foxtrot selections like “Ashes of American Flags”, “I Am Trying to Break Your Heart”, “War On War”, and “Jesus Etc.”, the last of which Tweedy implored the crowd to sing along to; it complied. Other favorites scattered throughout were the rarely played “Company In My Back”, “Misunderstood”, “Via Chicago”, “Spiders (Kidsmoke)”, and “Impossible Germany”.

One thing that can’t be stressed enough is how much Nels Cline made the show. Whether it was his screeching guitar solos, his slide guitar twangs, or his keyboard noodling, Cline’s roles took precedence in almost every song; he’s so crucial to the performance, it’s almost hard to imagine how this band made do before 2004.

Photo by Christopher Nelson

Wilco ended the night with “Hoodoo Voodoo”, with Tweedy all smiles. A fan threw a glowstick at him, and Tweedy responded, “You missed.” More glowsticks came, and Tweedy invited them. More glowsticks, and even half-full water bottle came flying toward the stage, almost nothing hitting the target. Right when you thought Tweedy might be mad, he simply said, “You guys suck” and “good night.” Maybe this wasn’t Wilco’s worst show ever, but like Sasquatch!, Wilco had an anniversary to celebrate, and that’s just what the band did. - Harry Painter

Monday Gallery by Heather Kaplan

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The Culture of Sasquatch!

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CoS at Sasquatch!: Mini Documentary

Cameras: Michael Roffman, Ted Maider
Edited By: Colin Peterson

]]> "Not considering this opening worthy of more attention, I continued our pursuit to the Northwest, being desirous to embrace the advantages of the prevailing breeze." - George Vancouver, 17th century English explorer Breathtaking describes a lot of things. It's typically a "go-to" adjective for anything remotely awe-inspiring. For Sasquatch! Music Festival, it's the only word that works. There's little room for where it doesn't work, come to think of it. Even the drive in from Seattle, WA is enough to yank tears from the eyes. Driving through the Mt. Baker-Snoqualmie National Forest, you can't miss the ominous Douglas-firs, or pry your hands from the wheel at the unpredictable roads that weave and snake through the mountainous terrain. It's an adventure in every sense of the word. But, that's just the drive. Once you're there, snuggled between the small towns of Quincy & George, you're essentially cut off from the traditional confines of society. You're a free spirit, roaming the natural habitat. It's a liberating feeling, but also somewhat frightening. You're at the hands of society's loose change. Actually, it's very frightening. But, that risk is what makes it so extraordinary. After everyone's settled and the traffic conditions slacken, festivalgoers, musicians, and staff co-exist together in a melting pot within a melting pot. It's madness, it's a little chaotic, but it's raw. It harkens back to the age-old American idealism of venturing beyond, exploring the uninhabited abyss. What an abyss, though. It's so easy to just say, "Well, the Gorge is out of this world. Duh." But, that's really it. Natural wonders retain that title for a reason. The Gorge earns it triple-fold. There are colors baked into its natural walls that haven't even been named yet. Even more spellbinding, these colors evolve every minute, every hour, and each day. So at first glance, it's something you'll remember forever, but that feeling never leaves you. Couple that with music and it's truly a win-win. -Michael Roffman President/Editor-in-Chief Friday, May 27th Rival Schools - Bigfoot Stage - 4:00 p.m. Photo by Heather Kaplan "Hey there," Rival Schools' vocalist Walter Schreifels muttered, cracking open the four-day Sasquatch! weekend. As the still evolving crowd poured in from the nearby gates - which had only opened 15-20 minutes prior to the set - the New York rockers breezed through a slightly raucous if not traditional set. Opener "Wring It Out", their current single supporting this year's Pedals, wrenched some acclaim from fanatics who scattered around the mid-sized Bigfoot stage, granting the band access to segue straight into other new material, specifically "69 Guns", which turned things up a notch. It didn't take long for the quartet to scale back to older material, either. Oldie "Everything Has Its Point", a track that dates back to their 2001 debut, United by Fate, popped up rather quickly. Then the rest just fell into place. -Michael Roffman Mariachi El Bronx - Yeti Stage - 4:30 p.m. Photo by Heather Kaplan There's a moment in every festival where a band conjures up the wonderful "freak flag" moment. For Sasquatch!, it came an hour into the weekend, when Los Angeles' own The Bronx donned the sombreros and dove head first into mariachi music. Dubbed Mariachi El Bronx, after the group's WTF 2009 LP of the same name, the group really stirred the proverbial post-modern fiesta hippy pot, to which everyone just sort of let their souls run wild. Sometime amidst the chaos, one of the band members exclaimed, "There's some badass shit going on today." Although it was a tad too early to admit this, that pretty much summed up the remainder of the day. Mariachi men or fortune tellers? Hmm. -Michael Roffman Biffy Clyro – Bigfoot Stage - 5:00 p.m. Photo by Heather Kaplan I was lucky enough to catch Biffy Clyro at the Illosaarirock Festival in Finland last year and was completely won over by the Scottish trio’s driving live act and larger-than-life sound. Though the catchy prog-metal band isn’t well known in North America, and they were one of the first bands to play at the start of the festival, they still managed to draw a sizeable crowd of fans who knew all lyrics by heart and were moshing out during some of the harder numbers. The Biff (as their fans affectionately call them) were quick and bouncy, turning their more pop-based songs into metal numbers and causing lead singer and guitarist (and Jesus lookalike) Simon Neil to break his strings several times over. -Karina Halle Bob Mould - Mainstage - 5:45 p.m. Photo by Heather Kaplan Similar to Paul Westerberg, Bob Mould travels alone these days. Actually, the major difference between the two is that the latter actually travels. However, their stage show is strikingly similar - at least when Westerberg last toured. It's bare bones logic: a famed songwriter, alone, with an electric guitar, and a largely celebrated discography in the noggin. That might sound like a match made in heaven, but when you're playing the Gorge Amphitheatre, it's a tad...vacuous? Still early in the schedule, with the sun blazing beyond the hills and mountainous plains (if that makes sense), Mould, decked out in red flannel and some jeans, strolled out to a small yet adoring fan base. (Small in the sense that he's performing at the fucking Gorge.) Still, as he patrolled through Hüsker Dü classics like "Hardly Getting Over It" or solo hits a la "Wishing Well", he maintained an edge that was hard to dismiss. In the middle of the set, one fan nearby caught his attention, screaming, "Just rock on man! You're doing great!" A sweaty, rather exhausted Mould replied back, "I'm trying, man." In the end, you have to respect that. -Michael Roffman Against Me! - Bigfoot Stage - 6:10 p.m. Photo by Christopher Nelson In keeping with Friday's theme of nonstop hard rock, Against Me! played a consistently high-energy set to close the Bigfoot Stage for the evening. No acoustic breakdowns or intimate stage banter, just rocker after rocker, including highlights "Pints of Guinness Make You Strong", "T.S.R. (This Shit Rules)", and "I Was a Teenage Anarchist". At one of the Florida punk band's headlining shows it would have been tiring, but this was an ideal one-hour festival set. Outside of maybe Dave Grohl, Wayne Coyne, and Dave King, Tom Gabel was quietly the most likable frontman at Sasquatch!. Against Me! also earns points for choosing plain black tees over the flannel everyone else was wearing throughout the weekend. - Harry Painter The Bronx – Mainstage – 6:45 p.m. Photo by Jackie Kingsbury “I want to see all of you move out there! There’s a Sasquatch in all of you!” – Matt Caughthran Not many bands received two sets at Sasquatch this weekend; although, it’s arguable you could even count The Bronx’s shows as two sets. After an upbeat Mariachi show, they wandered to the Sasquatch stage where they stripped off the gear, but turned up the volume. There, the band screamed and thrashed, while the nearby pit proceeded to go ape-shit. They slammed through tracks like "They Will Kill Us All (Without Mercy)" and "White Tar", and set a much different vibe than the Mariachi set, as body parts were actually smashed at this show. To go from playing sexy salsa tunes to hardcore numbers with names like “Heart Attack America” was more or less a bloody and triumphant transition. -Ted Maider Death From Above 1979 - Mainstage - 8:00 p.m. Photo by Heather Kaplan The banner behind what would eventually become the DFA riot was a picture of a tombstone that read: “DFA 1979, 2001-2006”. Far more interesting than the tombstone, however, were the ghoulish images of Jesse Keeler and Sebastian Grainger emerging from the gravesite. The secret’s been out for some time (see: Coachella and SXSW), but Death From Above 1979 are back from the dead and sounding better than ever. Photo by Heather Kaplan Not ones to stop and chat, the pioneering duo took the stage and began melting faces right off the bat. The two took the slow afternoon from zero to 60 in a matter of milliseconds, and they didn’t relent for the entire time they were allotted. Mosh pockets opened up in literally every part of the Gorge, from the very front of the pit to the lawn seating, which made sense, considering DFA1979 has the power to bring human beings the insatiable urge to push one another. The set climaxed with a three song KO – “Sexy Results”, “Romantic Rights”, and “Do It!” - and as one might expect, everyone left the pit drenched in other people’s sweat, blood, and booze. Which I’m sure is what DFA consider a complete triumph. -Winston Robbins Foo Fighters – Mainstage - 9:30 p.m. When Sasquatch first announced that the festival would be four days long instead of three, many people wondered how on Earth they’d be able to draw in the crowds on Friday, the day that wasn’t a national holiday. Then they announced the Foo Fighters were headlining that night and everything fell into place. If there is any band that fans would skip out on work for, it’s the Foo Fighters. Of course, it’s always been kind of “cool” to rag on the Foo for being too commercial or “happy”, but riding high on the success of their latest album, Wasting Light, even cynical festival-goers were at least stopping by the main stage to check out their act. And if they checked their cynicism at the door, it was hard to walk away disappointed. From the moment Dave Grohl and his plaid-clad crew of chain-smoking Pat Smear, Chris Shiflett, Nate Mendel, and Taylor Hawkins (the only one not in flannel), took to the stage, the audience was treated to two hours of wailing guitars, singalong anthems, and never ending energy. They opened with Wasting Light’s raucous “Bridge Burning” and sailed all the way through to “Everlong” (forgoing the encore, as Grohl said, “We’d rather keep playing until the end”) and the enthusiasm from the band and the crowd never dipped for a second. Though I would have loved for all songs off of Wasting Light to be played, they did pull out a fair chunk of it including “White Limo”, “Arlandria”, and “Dear Rosemary” (featuring Bob Mould who played the same stage earlier). The soaring, feel-good “Walk” united the crowd as much as their older hits such as “My Hero” and “Learn to Fly” did, and they even tossed out lesser-played songs such as “I’ll Stick Around” and “Generator”. [vimeo 24549112 500 325] The thing about the Foo Fighters is that they never just play their songs as is, they have to take them a step beyond. At Sasquatch this meant an extra epic jam session for “Monkey Wrench”, a drum solo courtesy of the tireless Hawkins, and numerous bridge breakdowns and build ups. Though it’s an effective live tool, the technique became repetitive after the 10th song, but as soon as Grohl slams back into the chorus, you were singing along with him and bumping elbows with people in the world’s happiest mosh pit. There were rumors that Grohl’s ex-bandmate Krist Novoselic was there watching from the side stage, which would have been an amazing opportunity for him to come out and join the band (especially since he contributed to Wasting Light’s heartfelt “I Should Have Known”), but perhaps he wanted this moment to be all about the Foo Fighters and not a quick Nirvana reunion, which is understandable. The Foo Fighters ended Friday with a sea of smiles and set the bar high for the whole festival. -Karina Halle Photo by Heather Kaplan Friday Gallery by Heather Kaplan [nggallery id=220] Saturday, May 28th Seattle Rock Orchestra - Bigfoot Stage - 12:00 p.m. Photo by Heather Kaplan On paper, an orchestra performing the songs of Radiohead sounds worthwhile -- and what better venue to house such an event than the stage closest to the entrance of a hip music festival as a bunch of likely Radiohead fans walk in? Last year was a similar deal, with the Seattle Rock Orchestra instead performing an Arcade Fire tribute. For whatever reason, this time around, people were not moved to sing along, dance, or even pay much attention. Seattle Rock Orchestra, which has at times been comprised of over 60 members, brought out a couple dozen at most to play hits from The Bends and OK Computer. The problem was it felt more like a standard cover band with a string section than a real orchestra as the abridged SRO recited uninspired arrangements of "Just", "Airbag", "Paranoid Android", and "My Iron Lung". There were bright spots, however. "Exit Music", "Electioneering", and "Karma Police", despite never approaching the emotional gusto of the originals, at least did some justice to them and made the strings and horns feel necessary. Using multiple decidedly un-Yorkeian vocalists (including a female) was a good call, and the performances never felt cheesy. - Harry Painter The Radio Dept. - Mainstage - 1:05 p.m. Photo by Heather Kaplan For as long as The Radio Dept.’s been at it, and for how very little they tour, they should have been placed later in the day. But beggars can’t be choosers, and no matter the time of day, The Radio Dept. in the flesh is The Radio Dept. in the flesh. Touring behind their latest singles collection Passive  Aggressive, their setlist consisted entirely of the singles they’ve released over the past decade and a half. From Lesser Matters’ “Ewan” to the more recent “Heaven’s On Fire” off their last LP, 2010's Clinging To A Scheme. The three piece Swedish outfit timidly went about their 45 minutes to a fairly full floor, which makes sense, given the fact that they’re somewhat reclusive and playing to a very, very large Gorge lawn crowd. Never ones to crack under the pressure, they played a beautiful set note for note. -Winston Robbins k-os – Bigfoot Stage - 3:00 p.m. Photo by Karina Halle Toronto-based musician k-os (nee Kevin Brereton) brought a lively dose of his grooving rap-rock to the Bigfoot stage. There was a distinct lack of hip-hop acts at Sasquatch, so savvy festival-goers were quick to catch his set, his reggae-induced beats suiting the blue-sky and sunshine perfectly. Songs like “Sunday Morning”, “I Wish I Knew Natalie Portman”, and “Man I Used to Be” went over well despite the stage's frequent sound problems that plagued his microphone and interrupted a few of the songs. -Karina Halle Local Natives - Mainstage - 3:15 p.m. Photo by Heather Kaplan It would have been easy to overlook the Local Natives as the band that played Sasquatch! because Fleet Foxes can't be there every year. That is, it would have been easy had they not turned so many heads. Besides it being a little hard to take seriously a folk band led by a guy with a porn star mustache, Local Natives earned their stripes with what frontman Taylor Rice said was their biggest gig yet (the list includes their appearance at Sasquatch! 2010 on the smaller Bigfoot Stage). Local Natives played the usual Gorilla Manor material, before reporting they would be heading home to L.A. to record the next album. - Harry Painter Trailer Park Boys – Banana Shack - 3:45 p.m. Photo by Karina Halle What to say about the Trailer Park Boys? Because Canada’s answer to Reno 911 follows the lives of Nova Scotian ex-convicts Bubbles (Mike Smith), Ricky (Rob Wells), and Julian (John Paul Tremblay) in a trailer trash mockumentary style, it was interesting to see how the show would play out as a live comedy show (at a US festival, too). Though it was hard to hear and see at times, the trio managed to titillate the mainly Canadian crowd (this I deduced from the “Go Canucks Go” chant just prior) and maybe win over a few new fans. The free hot dogs that Julian tossed into the crowd probably helped too. -Karina Halle Wolf Parade - Mainstage - 4:20 p.m. Photo by Heather Kaplan This set was doubly tragic. Not only did indie veterans Wolf Parade only get 45 minutes to play, but it would (possibly, probably) be the last time they performed for a very long time. They announced months ago that they were going on an indefinite hiatus, Sasquatch! Music Festival being the last stop before calling it quits. The enormity of the situation wasn’t lost on the crowd, either. Wolf Parade drew the largest group of people for any band non head or sub-headlining. Seemingly undaunted by any of these stressors, they put on a historic show. Once again, it was tragically short, but it was bursting at the seams with the best work of their career. Obviously, the tracks from Apologies To Queen Mary (“You Are A Runner And I Am My Father’s Son” and “Fancy Claps” in particular) were the best received, but they gave each track the treatment it deserved. Expo 86 cut “What Did My Lover Say? (It Always Had To Go This Way)” primed the crowd before they played themselves off with a rendition of “I’ll Believe In Anything” that sent chills down the spines of all those who grasped the reality of the situation. -Winston Robbins J. Mascis - Yeti Stage - 4:35 p.m. Photo by Christopher Nelson The demographics that made up Sasquatch! couldn't have been expected to know or care who J. Mascis was, and it appeared most didn't. But it wasn't much of a challenge for the silver-maned, baseball cap-wearing Dinosaur Jr. frontman to win people over. Featuring songs off his debut solo album, Several Shades of Why, as well as some Dino Jr. favorites, Mascis' set alternated between accessible acoustic folk rock and the noisy guitar solos for which he is known. The 1993 Dino Jr. track "Get Me", in particular, had the Yeti crowd in a trance. Mascis wins the old guy award for the weekend, as great as Bob Mould was. - Harry Painter Jenny & Johnny - Bigfoot Stage - 5:10 p.m. Photo by Ted Maider It was not a secret that the crowd kept very well, they were absolutely at this set just to see Jenny Lewis. And why wouldn’t they be? She was true to form: beautiful, endearing, and immensely talented. Joke was on the Lewis-driven crowd, though, when they realized that singer-songwriter Johnathan Rice (the Johnny portion of the duo) was no laughing matter. The two (with the help of Rilo Kiley and Conor Oberst & The Mystic Valley Band drummer Jason Boesel) put on a sweet show, singing songs about love and loss with unmatched pop sensibility. I’m Having Fun Now tracks “Scissor Runner” and “Pet Snakes” seemed to particularly catch the attention of the crowd. But in the end, the hapless Jenny Lewis fans got what they wanted when she broke out Acid Tongue epic “The Next Messiah”. -Winston Robbins Wye Oak - Yeti Stage - 5:40 p.m. Photo by Heather Kaplan Saturday's breakout act was a hell of a follow-up to J. Mascis. Baltimore's Wye Oak, which consists of singer/guitarist Jenn Wasner and drummer/keyboardist (simultaneously!) Andy Stack, is a duo that has all the depth of a standard four-piece. Wasner could work on emphasizing her vocals, but between Wye Oak and The Radio Dept., Saturday was a good day for dream pop. -Harry Painter The Antlers - Bigfoot Stage - 6:20 p.m. Photo by Ted Maider Fresh off the release of their impeccable Burst Apart, it was uncertain how this set would go for The Antlers. It was so vastly different from its predecessor, it seemed impossible that the two albums could ever share the same stage. This worry was alleviated when it was revealed track by track that they were playing Burst Apart in the order it appears on the LP tracklist. Coming out with the enormous “I Don’t Want Love”, the Brooklyn trio (with a backing drummer) destroyed the Bigfoot Stage fearlessly. There wasn’t time for them to play the album in its entirety, unfortunately, in the 45 minutes they were allotted, but they got the first six of the 10 tracks in, and peaked during an almost post-rock version of “Rolled Together”. They closed with the only track from their 2009 hit album Hospice they’d play all night, “Two”. But even that old track had been altered to sound a tad more Burst Apart-y, for lack of a better phrase. It will be interesting to see how The Antlers go about splicing these two vastly different pieces of work into a coherent live set, but it was something we were fortunately (or unfortunately?) spared of having to deal with. But after seeing them play a sunset performance at The Gorge, there seem to be very few things The Antlers can’t do right. -Winston Robbins The Thermals - Yeti Stage - 6:45 p.m. There are some pros and cons to the Yeti Stage. On the positive side, it faces the outside horizon; the area that surrounds the festival; the natural habitats that bring people here week after week. On the downside, it also faces the setting sun. Many artists have had problems with this; after all, who wants to rock out with a blinding sun? However, Portland's own The Thermals remained true to their name, using the sun's radiant energy to, and please pardon the use of the pun, thermally ignite. With an agreeable combination of both new and old, the minimalistic trio punched and kicked through nearly 20 songs in the evening's transitioning hour. During an incendiary opening cut of "Time to Lose", vocalist Hutch Harris took things to the floor, channeling his inner Chuck Berry, and kept things going with "Returning to the Fold", "Not Like Any Other Feeling", and "It's Trivia". Blame it on their tour with the always thrilling Matt & Kim, but The Thermals were fiddling with an energy that hasn't been this exciting for awhile. The crowd fed off it, too. Before they trekked forward, Harris observed: "Oh yeah, it's getting rowdy out there. Keep it going Sasquatch." They did, but so did the band. -Michael Roffman Photo by Heather Kaplan Washed Out - Banana Shack - 7:00 p.m. Photo by Ted Maider The newly re-vamped Verizon Banana Shack seemed the perfect home for chillwave pioneers Washed Out. But hindsight’s 20/20, and they would have been better suited at a regular stage. The Banana Shack is more commonly home to house/dance music, and it took an extremely long time to get the band’s gear onstage. They finally managed to start 20 minutes after their scheduled time, and seemed very scattered throughout their set as a result. Leading man Ernest Greene was the glue that held the set together as he ran through a shortened set that incorporated old favorites (“New Theory, “Feel It All Around”), introduced a new song, and closed with a rendition of their latest single “Eyes Be Closed” that was almost good enough to redeem the flaws of the show. Washed Out started out as Ernest Greene, and as it has expanded to a five-piece, some of his earlier songs seemed very crowded with five instruments trying to create a fairly small sound. But as for the song they debuted and “Eyes Be Closed”, the band couldn’t have sounded better, and Washed Out’s forthcoming Within And Without will no doubt be a bigger, bolder record. But this particular show? Washed Out dropped the ball. -Winston Robbins Bright Eyes -Mainstage - 8:15 p.m. Photo by Heather Kaplan The veteran cast of Bright Eyes (along with their backing band, which includes Rilo Kiley/Mystic Valley Band drummer, Jason Boesel) took the stage one at a time -legendary producer/artist Mike Mogis, followed by the master of quiet intangibles Nate Walcott, all leading to the centerpiece of the indie legends: Conor Oberst. Oberst emerged from the side of the stage throwing his arms around, while wearing a hood that covered most of his face, which made him look uncannily like B. Rabbit from 8 Mile. The music that ensued was far from rap battling, however, and Oberst took no time getting into his all too short sub-headlining set with a massive rendition of The People’s Key single “Firewall”, which sent the crowd into an uproar. It was deathly cold and getting colder by the minute, but that didn’t deter the insanely devoted Oberst fans down in the pit. Every movement he made, every word he said (of course he had something to say about politics and the state of affairs in our day and age), and every song he sung inspired the crowd to get more and more worked up. Their hour set included songs from every era of the Bright Eyes career: tracks from I’m Wide Awake It’s Morning, Lifted or the Story is in the Telling, Cassadaga, and even one from Fevers & Mirrors, which he dedicated to his contemporaries that he’d been in the business with since late 90’s: Iron & Wine and Death Cab For Cutie. And while I’m sure they appreciated the gesture, the set was about the fans. Photo by Heather Kaplan “Four Winds”, “Lover I Don’t Have To Love”, and a combination of “Road To Joy” and  “One For You, One For Me” caused a particularly large uproar. The latter of the three mentioned was possibly the most moving of the entire weekend. Oberst left the stage to join his adoring fans, one of whom hurdled the barrier and kissed him passionately on the lips before being escorted away by security. As the voice over to “One For You, One For Me” played over the PA, Oberst remained at the front of the crowd hugging and shaking the hands of fans, some of whom were literally weeping to be in his presence. Love him or hate him, Conor Oberst has an immovable charisma that speaks powerfully to some. -Winston Robbins [vimeo 24559363 500 325] Robyn - Bigfoot Stage - 9:00 p.m. Photo by Heather Kaplan It wasn't really fair to pit Robyn between Bright Eyes and Death Cab for Cutie - especially since the latter hasn't toured in quite awhile. However, the Swedish treat sweetened enough folks by name alone to create a massive scene at the Bigfoot Stage. Technical difficulties pushed the set back 25 minutes, which turned the crowd into a tepid mob scene. Several fans chanted "Robyn!", plenty walked away, and one guy wholeheartedly attempted to sell the crowd on chanting "18 minutes late!" (which soon evolved into "25 minutes late!"), though no one joined him. They didn't have to because once the international sensation appeared, all energy was focused on dancing. Strictly dancing. Smiling, waving, and stripping down - even amidst the chilly winds rolling through - Robyn powered through a close pocketed 45 minute set, starting with "Fembot", continuing on with "Bad Gal", and naturally including her scorching single (and Gossip Girl burner), "Dancing On My Own". A double dosage of percussion injected some adrenaline into an already impressive stage set up, tailoring songs like "Indestructible" with an epic sheen. Basically, if you haven't seen her live, then you're not just missing out, you're selling your heart short. -Michael Roffman Death Cab for Cutie – Mainstage – 9:30 p.m. Writer’s Note: Ben Gibbard needs a haircut. As it was the 10th anniversary of Sasquatch, it seemed reasonable to book some of the Pacific Northwest’s finest modern acts to carry on the torch for another year. Seattle’s own Death Cab for Cutie was a perfect choice for such an occasion as they continue to embody the Washington spirit. As time has raced on by, Death Cab has gone from an indie sensation to a slew of pop-stars with constant airplay. Only in Seattle, right? To prove that they were worthy of a headlining title, Gibbard  & Co. took the stage to deliver one of the most surprising shows of the weekend. The energy was quite high - especially for a Death Cab gig. Opener “I Will Possess Your Heart” lasted for ages, but its thumping bass line and stirring percussion were enough to stir the crowd. This sort of chemistry washed over other gems like “Movie Script Ending”, an electrifying “Cath”, and a version of “Long Division” that brought people to crowd surf. Hit after hit, and song after song, Death Cab for Cutie rattled their catalog for a show that would not only impress the Sasquatch crowd, but also make every fan jealous that they missed this show. The true highlight of the set though was when Gibbard came out alone to strum away Plans favorite, “I Will Follow You Into the Dark”. Feeling the raw intimacy of the song, the crowd joined along and sang in unison, their voices echoing off the walls of the Gorge. People will follow Gibbard anywhere, I guess. -Ted Maider Photo by Kyle Johnson [vimeo 24552419 500 325] Sleigh Bells -Banana Shack - 10:10 p.m. Photo by Winston Robbins The Banana Shack was hands down the best addition to this year’s installment of Sasquatch!. Very much like Coachella’s Sahara Tent, the Banana Shack was solely for the purpose of comedians during the day and electro raves at night. So, of course, this is the stage where Sleigh Bells landed. Their set was unfortunately stuck in the middle of Death Cab’s and Robyn’s respective sets, but it mattered very little in the end. They were 20 minutes late to start, but they made up for that by not only going an extra half hour longer than they were scheduled, but by rocking especially hard. Sleigh Bells are admittedly more flash than music, but their flash is so illustrious that it enhances the music to levels many of their contemporaries could only hope to achieve. After an instrumental cover of “Iron Man” by Derek Miller, Alexis Krauss joined him for what would be an hour of sheer sweaty chaos. Sleigh Bells is best played at maximum volume, and the sound in the Banana Shack more than accommodated this ideal. Being that Treats is a fairly short album they played almost every track, the highlights being “Riot Rhythm”, “Infinity Guitars”, and a very funky version of “Rill Rill”. -Winston Robbins Bassnectar – Bigfoot Stage – 11:30 p.m. Photo by Kyle Johnson Disclaimer: I hate dub-step. Prior to this show, an audience member informed me humans are conditioned to enjoy heavy bass, as the vibrations remind our subconscious of time spent in the womb and the comfort we received within it. This has to be true because thousands of people crammed in for Bassnectar’s late night show…. and, well, he delivered. The DJ, whose popularity has clearly skyrocketed within the past couple years, blew out speakers, mixed Nirvana, and played one of the highest energy sets possible. The only thing more insane than the DJ himself was the crowd. People tossed glow sticks, moshed, crowd-surfed and went ballistic. It was hands down the best dance show of the weekend. Disclaimer: I still hate dub-step. -Ted Maider Saturday Gallery by Heather Kaplan [nggallery id=221] Sunday, May 29th The Drums - Mainstage - 1:05 p.m. Photo by Heather Kaplan For the past year or two, New York post-punk rockers The Drums have raised eyebrows in critics' circles for making Joy Division sound sunny and fun. Their self-titled debut hit plenty of End of the Year lists last year and despite some lineup changes, they continue to truck on and maintain a some gravitas in the indie community. None of that's changed. If their early spot at the Mainstage is any indication, they're not going anywhere. Songs like "Best Friend", "Let's Go Surfing", and "Down by the Water" are all classics by now. They're great. But when beach blonde Jonathan Pierce introduced new song "Money", and reported that the band wrapped up recording their sophomore follow up, things took a turn for the best. Sounding like a spunky outtake from New Order's Movement, "Money" whisked on by with a sharp noise that made cuts in everyone's ears. That's a good thing. Waiting until we hear the studio version? Not a good thing. Either way, the boys continue to look hip (from hair to toe) and sound fresh. At this point, they can continue championing the whole surfer rock thing, even if that whole image has been burned to the ground. They at least earned it. -Michael Roffman [vimeo 24496576 500 325] Fitz & The Tantrums - Mainstage - 2:10 p.m. Photo by Heather Kaplan There is nothing new going on here. Fitz & The Tantrums play a predictable blend of funk and neo-soul designed, of course, to get the dance floor moving. But these guys are really good at it. Fitz, full name Michael Fitzpatrick, is a David Bowie lookalike in a flashy suit who puts in his 110 percent to get the crowd involved. How often do you see a frontman request a clap or mass kneel and fail miserably? In Fitz's case, he had everyone, lawn included, complying with his every command -- so you know he's doing something right. Highlights included "Rich Girls", the single "MoneyGrabber", and a cover of "Sweet Dreams (Are Made of This)". - Harry Painter S. Carey - Bigfoot Stage -  3:00 p.m. Sean Carey has come a long way from being the guy that timidly confronted Justin Vernon at a show to tell him he admired his music. Not only did he shortly thereafter join Bon Iver, but he embarked on a solo career of his own while Justin Vernon was off doing other things (you know, hanging out with Kanye West and stuff). Over the past year or so, S. Carey has toured behind his debut solo record, All We Grow, with a notable spot opening up for last year’s biggest folk sensation The Tallest Man On Earth. Carey came out confident and played his quiet, beautiful post-rock to a very large crowd, considering how early in the day he was scheduled to play. He and his five piece brought their A game and finished big with an impromptu cover of David Lynch’s Twin Peaks theme song, followed by a very subtle cover of Bjork’s “Unravel”, and an emotional version of the title track, “All We Grow”. This was surely one of his last solo performances, as he will be joining back up with Bon Iver, who is about to take over the world yet again when their new album drops later this June (don’t pretend for a second you haven’t downloaded the leak…). -Winston Robbins Tokyo Police Club – Mainstage – 3:15 p.m. Photo by Ted Maider Tokyo Police Club has been whoring out their Canadian goodness to all the festivals in the past year, so it seemed natural that they’d show up at Sasquatch! (considering how many Canadians were there to support them). The band was definitely a decent way to fill some time throughout the day’s heat, and they actually played a pretty good set. They got the crowd to help them out with “Tessellate” and jammed on gems like “Elephant Shell” and “Nature of the Experiment”. The real show though was when the band brought their good friend on stage, not to rock, but to propose to his girlfriend. Perfect for an indie-rock festival. -Ted Maider [vimeo 24559422 500 325] Sam Roberts Band – Bigfoot Stage - 4:05 p.m. Photo by Karina Halle Juno-award winning (you know, the Canadian Grammys) singer/songwriter Sam Roberts is perfect festival fodder and his appearance on the Big Foot stage was no exception. His brand of smooth-voiced rock and roll is simple enough for sunny days but catchy enough to keep an audience moving on their toes, which is exactly what he did. Even people who weren’t planning on catching the show were stopping by the stage and joining along with the singalongs and hand-waving to such songs as “Brother Down” and “The Last Crusade”. Watching the smiling festival-goers jump and flail around to “Them Kids” made you think that the song’s lyrics were wrong and the kids do “know how to dance to rock and roll” after all. Well, at least they try. -Karina Halle Beach House - Mainstage - 4:20 p.m. Photo by Heather Kaplan Three years ago, Beach House's Victoria Legrand and Alex Scally were performing at intimate venues like Chicago's own Schubas. You know, to maybe 300 people tops? So seeing them entertain thousands at the Gorge on Sunday evening was beyond surreal. Here's a place that acts like Pearl Jam or Dave Matthews Band have used for their landmark live efforts. Now, this Baltimore dream pop duo can say they've matched them - sort of. They may not be able to rope in that many on their own, but they're certainly up for the task, at least if their stage presence is any indication. Tighter, more intense, and highly personable, Legrand and Scally actually look alive these days. In between their lush and gorgeous ballads like "Zebra" or "Walk in the Park", the two committed to some friendly banter. Legrand even remarked on the group's questionable set time: "We like that our set started at 4:20, but we don't really care about that. That makes me sound like a pothead." As the sun glazed the surrounding fields, everyone was at peace with themselves, including a little indie toddler, who tossed dirt around and brought smiles from passerby's. "Humans are meant to cooperate. Good job, human beings," Scally observed. Yes, kudos. -Michael Roffman Black Joe Lewis & The Honeybears - Yeti Stage - 4:35 p.m. Austin, TX's Black Joe Lewis likes to have a good time. His Honeybears make that happen each time they're on stage together. As the sun started to spill over, the bluesy octet owned the Yeti Stage, and its many inhabitants. Lewis' trademark swagger has finally worked. For the past two years, they've been a festival staple, though in smaller capacities. Although the Yeti Stage is technically the smallest of the Sasquatch! venues, the crowd proved he needs to move up next time he's in "town." This wasn't a group of passerby's; no, this was more like a loyal following. And by the time they started grooving to a muddy rendition of "Louie, Louie" or "Bird is the Word!", they had hundreds of fans screaming their hearts out. Too bad the nearby BBQ was overpriced. It could've added to the great backyard jam. Oh well. -Michael Roffman Photo by Jackie Kingsbury Mad Rad - Yeti Stage - 5:40 p.m. Photo by Heather Kaplan It's hard to explain Seattle's Mad Rad. They're essentially a slew of Caucasians that create nasally-sounding hipster hip-hop. But it's loud, it's obnoxious, and it's enigmatic. For a small group that's technically still unheard of, they commandeered one of the largest crowds at the Yeti Stage. They didn't waste any time roping them in, either. The band's ensemble includes Buffalo Madonna, Terry Radjaw, DJ Darwin, and P Smoov and all of them shared the spotlight equally. Throughout their then potentially hazardous set, Buffalo, Terry, and P Smoov tossed toilet paper into the crowd and rapped while crowd surfing over fans. Some of the best crowd interaction of the weekend happened during songs like "Love in a Strange World" or "I Want Your Blood", which have deeper meanings than their titles imply. Then again, they're just not the same without the ridiculous introductions before them. Bottom line: Look 'em up. -Michael Roffman Archers of Loaf – Bigfoot Stage – 6:20 p.m. Photo by Ted Maider So, was the reunion worth it? Archers of Loaf, known for their weird songs in the '90s, played the Bigfoot Stage to one of the smallest crowds of the entire weekend. In fact, I saw more people with artist wristbands at the show than kids with festival wristbands. It didn’t stop the band from rocking out, though, and dishing out numerous classics like the dreary “You and Me” or the thrashing “Audiowhore”. But considering nobody seemed to know who they were, it makes one think, are reunions even important anymore, or just a bunch of Internet hype? -Ted Maider Das Racist - Yeti Stage - 6:45 p.m. Photo by Heather Kaplan You know what, we’ll try and cut Das Racist some slack, as they traveled all the way from performing a show at Primavera Sound festival in Barcelona, Spain the night before. But even if we gave them the most slack in the history of slack cutting, this was still one of the worst performances at Sasquatch. Things got off to a bad start when they didn’t go on until 40 minutes after they were supposed to. The crowd was visibly restless, and were on the verge of eating and/or maiming each other when Das Racist finally came on. And from there, one would assume that they were never able to fully recover. Das Racist’s bread and butter is drunken, lazy, nonsensical raps. It’s just part of their charm. But for this particular performance they were either remarkably jet lagged, or especially drunk. Even when they finally started performing, they barely moved, and their raps should be more accurately described as very quick mumbling. Not even their extremely popular “hahahaha jk?” could save them. And what had been one of the largest crowds at the Yeti Stage quickly dispersed, either to find some floor space for The Flaming Lips, or to bump up the hill to see Gayngs. -Winston Robbins Gayngs - Bigfoot Stage - 7:30 p.m. Photo by Ted Maider Gayngs were tragically scheduled against The Flaming Lips, which obviously took away from a crowd that should have been bigger. But for those who stuck around, it was well worth the small portion of The Flaming Lips that had to be missed. All eyes were intensely glued to the stage, hoping Justin Vernon and Mike Noyce of Bon Iver would show up, but when the suave 10-piece band took the stage neither of the men were to be found. After the initial disappointment wore off, the crowd began to get into Gayngs’ slow, sexy jams. Ryan Olson has enough charisma and then some to make up for the lack of Vernon. The backing band consisted of relatively unknown individuals, (other than Zach Coulter) but were all immensely impressive. With Olson at the helm, the backing musicians rapidly seeing limelight, and Bon Iver members popping in and out, Gayngs very well might one day be America’s answer to Broken Social Scene. “The Gaudy Side of Town”, “The Crystal Rope”, and set closer “The Last Prom On Earth” were all met with huge fanfare and massive sing-a-longs despite a no-showing Justin Vernon. -Winston Robbins The Flaming Lips - Mainstage - 8:00 p.m. Photo by Heather Kaplan The Flaming Lips are no stranger to the festival scene. Not only do they seem to play every notable festival year after year, their music feels expertly tailored for the events filled with drug-infused music lovers and experimental looky-loos. Their appearance at Sasquatch though had one change from the norm; they were playing their beloved album, 1999's The Soft Bulletin, in its entirety. Of course they had their trademark theatrics to wow over the general public, such as guns that shot pastel confetti, the cast of The Wizard of Oz dancing on the sides of the stages, singer Wayne Coyne in a giant hamster ball, multi-colored balloons, and crazy video projections. But hardcore fans were also delighted to hear the psychedelic harmonies and orchestrations of the acclaimed album. It started off at a good pace with “Race for the Prize” luring people into the set's vibe. By the time they reached “The Spiderbite Song“, Coyne began to tell stories about the band members Steven Drozds and Michael Ivins, which slowed the momentum down. Sure, Coyne can sometimes yammer on too much, but at least he’s always engaged and always sincere with his interaction with the audience, and appreciative of the set’s stunning location. Even if you weren’t high off your gourd, you still felt a bit of magic at the playful atmosphere and the sight of the orange sun setting behind the rugged hills of the Columbia River Gorge. Photo by Heather Kaplan The set ended on a rather somber note which might have pulled some of the crowd down before Modest Mouse hit the stage, but there’s no doubt Lips fans walked away satisfied. It was a good way for the band to marry their over-the-top theatrics with their spared down melodies, making it feel that even though you were surrounded by many, the Lips were singing just for you. -Karina Halle Flying Lotus - Banana Shack - 8:40 p.m. Photo by Christopher Nelson Let’s think of this set in terms of stocks and bonds. Skipping The Flaming Lips for Flying Lotus is obviously a high risk investment. But every now and again on Wall Street, sheer dumb luck makes Franklins fall from the sky, and your payout becomes exponentially larger than what you invested to begin with, making your initial investment worth the risk. The 2,500 people that were either brave or drunk enough to make this gamble came out of Flying Lotus’ set feeling like masters of stocks and bond; it was truly one of the greatest risks they ever took. Even Steven Ellingson (Flying Lotus) himself was surprised to see so many people in the crowd, remarking “I made the two and a half, three hour drive here thinking the whole time no one would show up. But you did! And I thank you from the bottom of my heart for it.” And it was with that grateful sentiment that FlyLo started his set, which was an hour of pure electronic/hip-hop bliss. Ellingson was literally smiling the entire time, and the wheat had been separated from the chaff, if you will, leaving only the truest of true fans to party with Flying Lotus, creating an even more legitimate environment. Photo by Luke Johnson As a result of FlyLo’s appreciation and the crowd’s enthusiasm, he rolled out a set that will go down in history as one of his most spectacular. Incorporating Radiohead, Lil’ Wayne, and dozens of other artists in with his own infectious beats sent chills down the spines of those watching. The Banana Shack nearly toppled over (figuratively, of course) when he mixed the sheer grit of Tyler, The Creator’s “Yonkers” on top of one of his most bass-heavy tracks, “Melt!”. Word spread quickly and a major topic of conversation between festival-goers for the rest of the weekend was about how bummed they were that they went with The Flaming Lips (all due respect to Mr. Coyne and Mr. Drozd) over Flying Lotus. -Winston Robbins Yeasayer - Bigfoot Stage - 9:00 p.m. Photo by Heather Kaplan After The Flaming Lips fizzled out, thousands flocked to the Bigfoot Stage, where Yeasayer turned the heat up. (Actually, it was getting pretty cold, so it made sense that people would want to dance.) Though the lights were impressive and Chris Keating, Ira Wolf Tuton, and Anand Wilder all maintained a stoic composure, a few tracks felt a tad hollow. On record, "O.N.E." feels so all encompassing, but on stage it felt lacking. Maybe it was just too loud or too open of a space, but the tracks didn't leave any bruises upon impact. Instead, they just warmed things up. "Ambling Alp" solved a lot of these issues, but by then, most were flocking away towards Modest Mouse. See you in the clubs, guys. -Michael Roffman Modest Mouse – Mainstage – 9:45 p.m. Photo by Heather Kaplan Prior to this show, I heard countless horror stories about Modest Mouse, and people’s experiences with them. Stories like “I’ve seen them three times and they sucked for all of them” were quite popular, as well as, “Last time, Issac Brock was so drunk he couldn’t even sing ‘Dramamine’”. One must assume that the people who organize Sasquatch! know what they're doing, because they billed Modest Mouse as Sunday’s headliner, and it seemed to be one of the headliners most people were concerned about. But when Brock and friends took the stage, everyone swelled and wondered what was going to come next. Brock stood in front of the mic quietly as feedback filled the Gorge until finally, he took a deep breath and screamed, “THIS PLANE IS DEFINITELY CRASHING!”, which meant one thing: “Shit Luck". For those in attendance, as a Modest Mouse fan, you can die happy now. Photo by Heather Kaplan They didn’t stop there either. The band dipped all over their catalog for the next two hours. A soothing “Gravity Rides Everything” followed, a fantastic rendition of “Dramamine” (complete with all the lyrics) was delivered, two new songs were debuted ("Lampshades on Fire", "Poison"), and even more recent stranger songs like “King Rat” were played, too. People danced, people sang, yet all were genuinely pleased that, for once, Modest Mouse was fucking killing it. They even played their most mainstream hit, “Float On”, which was more than enough to get the crowd on their feet and rocking out with every ounce of strength. But by far the most epic part of the night was the encore that included “World at Large”, especially as every “Ba ba ba” bounced off the Gorge. Only at Sasquatch kids… -Ted Maider [vimeo 24559386 500 325] MSTRKRFT - Banana Shack - 10:00 p.m. Photo by Jackie Kingsbury Leave it to Jesse Keeler to be responsible for creating not one but two of the most out of control shows at Sasquatch! 2011. His other project, the recently reincarnated Death From Above 1979, rocked the Gorge to its knees two days prior, and he did it again, only this time in a completely different vein of music. Keeler and his producer cohort Al-P took to the Sasquatch! equivalent of Coachella’s Sahara Tent, The Banana Shack, to throw what would be the biggest rave at this year’s installment of the festival. In the past, MSTRKRFT haven’t been known for their studio music being extremely rave-centric. But with the release of this year’s singles “Back In the USSA” and “Beards Again” (both of which were played during the set), it seems as though MSTRKRFT may be headed that way if and when they decide to drop a new full-length. Photo by Jackie Kingsbury With the exception of a few of the hip hop samples that appeared on their (pretty lackluster) sophomore album, Fist of God, they didn’t play a single song off their two LPs; they played only new music that was a menagerie of smart sampling, well placed drops, and house-savvy beats. When it came for them to leave, Keeler announced to the crowd that they wanted to keep playing, and that they would soldier on well past their time slot and wouldn’t leave until the crowd didn’t want to hear them anymore or until an authority figure told them they couldn’t go on any longer. Obviously the ravers didn’t want them to stop (how do ravers go for 12 hours at a time and barely even break a sweat? They’re a rare sub-species, who I find to be particularly interesting), especially when they  combined their “Beards Again” with Daft Punk’s “Da Funk”. They ended up playing until 11:40, 40 minutes after when they were scheduled to stop. Eat your heart out, Sahara Tent. -Winston Robbins Ratatat - Bigfoot Stage - 11:00 p.m. Photo by Christopher Nelson Ratatat has found their niche in the music world. After two solid releases – their self-titled, and Classics - the instrumental duo found themselves immensely popular, giving them the leniency to sort of do whatever the hell they want, musically. And they’ve done just that. They’ve gone down an alley of quick, bright sampling that is fairly different than their first two releases, but impressive all the same, especially in a live setting. They pulled the late night slot at Sasquatch, which screams perfection in terms of time slot placement. And even though MSTRKRFT and Modest Mouse ate through a good bit of their set, Ratatat drew a huge crowd, especially once the aforementioned bands were done. People returning to camp were naturally drawn in by the enormously catchy sound, and even more so by the bizarre visual arrangements. Photo by Christopher Nelson Not only did the stage lighting involve some of the most elaborate sets at Sasquatch! (other than The Flaming Lips, of course), the montages being played over  the massive screens were so visually captivating, it was nearly impossible to look away. From bad infomercial acting to wildly shifting arrangements of birds, the screens were nearly as fun to watch as the band itself, who were quite impressive. No longer touring solely behind LP4, they were allowed to visit old favorites like “Loud Pipes”, “Kennedy”, and “Wildcat”. But that didn’t stop them from playing some of the strongest new material such as “Falcon Jab”, “Shempi”, and “Neckbrace”. But no track even held a candle to the one encore song they played as they approached one in the morning: an incredibly well re-arranged version of all-time classic “Seventeen Years”. It was the perfect way to end the most dance heavy day of the festival. -Winston Robbins Sunday Gallery by Heather Kaplan [nggallery id=222] Monday, May 30th Wavves – Mainstage - 11:30 a.m. Photo by Ted Maider Perhaps it was the fact that they were a late addition, but Wavves was scheduled far too early in the morning. It’s not like Nathan Williams’ surf-punk project needs the extra exposure or anything, they get plenty of that from every musically oriented output in the civilized world. But after three days of hard festival partying, 11:30 a.m. was a little too early for everyone but the absolute biggest Wavves fans. Regardless, they put on one of the most energetic shows of the day, peaking with the one two punch combo of “King of the Beach” and “Idiot”. -Winston Robbins [vimeo 24559430 500 325] Young the Giant - Mainstage - 12:35 p.m. Photo by Heather Kaplan Young the Giant had its work cut out for it following a morning Wavves set, and results were mixed. The energy lagged a little, perhaps because of the heat and everyone being tired by Monday. But Sameer Gadhia and co. did their best to counteract this, and had the pit jumping during the set-closing single "My Body". - Harry Painter Twin Shadow – Yeti Stage - 1:00 p.m. Photo by Ted Maider Brooklyn’s George Lewis, Jr., aka Twin Shadow, crafted an excellent album in Forget. It’s sad, it’s haunting, and it’s beautiful all at once. But none of that came across live, which may sound like a knock, but is a huge compliment. Lewis and his confident five-piece band went about their songs tirelessly for their 50 minute set. As well as debuting two new songs (which hopefully means he’s working on a follow-up with Grizzly Bear’s Chris Taylor, who produced the first record), Twin Shadow did ultra dance versions of their ominous new wave songs (in the order that they appear on the record) “Tyrant Destroyed”, “When We Were Dancing”, and “I Can’t Wait”. If Lewis doesn’t become a prominent figure in the rise of chillwave, whatever the hell that means anymore, I’ll be thoroughly surprised. The man is an incredible performer, has great stage presence, and best of all writes fantastic music. -Winston Robbins Old 97's - Mainstage - 1:40 p.m. Photo by Heather Kaplan Once again, maybe it has to do with playing in the heat on a tired Monday afternoon when everyone was trying to nap, but the Old 97's completely failed to get a reaction out of anyone outside the front rows. And it's just as likely the Old 97's were the ones putting everyone to sleep. One song blended into another, into another. The songs that made an impression were "I'm a Trainwreck", "Every Night Is Friday Night (Without You)", and "Timebomb". -Harry Painter Chromeo - Mainstage - 2:45 p.m. Photo by Heather Kaplan On paper, a midday Chromeo show sounds as enthralling as watching Miami Vice on a sick day. It's just not the right mood. However, early Sunday at the Gorge, Montreal's unlikely duo Dave 1 and P-Thugg delivered all the glitz and glamour of their traditional live show. The fans helped make it magical, too. In addition to dancing and sweating a storm under the scorching hot sun, thousands of fans tossed around inflatable sea animals, exclaiming as each shark or octopus made its way toward them. Surrounded by his back up singers, an idea no doubt borrowed from the late Robert Palmer, Dave 1, remarked, "Pretty lively for a Monday afternoon, I'd say." Between set opener (and last year's hit single) "Don't Turn the Lights On" to the lyrical madness that's "Momma's Boy", the two prowlers of the night became close friends with the sun. Judging from the sea of festivalgoers flooding the area, Chromeo made a connection there, too. -Michael Roffman Black Mountain – Bigfoot Stage - 3:00 p.m. God bless Black Mountain for adding a little classic rock pep to what was an exasperatingly slow morning. I guess even festivals sometimes suffer from cases of“The Mondays”. The Vancouver-based hard rockers took the stage to a massive hometown(ish) crowd. It seemed as though every member of the audience knew every word to every song. They opened big with Wilderness Heart duet “The Hair Song”, blending male and female vocals to perfection. The set got even bigger with the trippy In The Future track “Wucan”, followed by the climactic “Tyrants” with its epic drum solo, followed by the metal-worthy guitar solo. Not a whole lot of crowd interaction went on, but when you are that naturally talented, that matters little. They were certainly a fan favorite of the morning. -Winston Robbins Guided by Voices - Mainstage - 3:50 p.m. Photo by Heather Kaplan Sadly and incredibly, Guided by Voices was the victim of the largest exodus of the weekend, one only possible because of Chromeo's humongous crowd. The hordes of youngins that turned up for Chromeo's mid-afternoon dance party and filled out the floor somehow found their way out in 20 minutes to watch Paul F. Tompkins or something. GBV, a reunion act that appears to be nearing the end of its current run, was left with maybe 200 people in the pit and a largely apathetic lawn crowd. The liquor-swigging Robert Pollard commented on the disparity, observing that no one seemed to care about GBV. He mockingly wondered aloud, "Who was that last shitty band?" and his loyal pit-dwellers screamed back "Chromeo" at him before engaging in a "GBV" chant. The negativity ended there, however, and Pollard twice expressed gratitude for being invited to Sasquatch! and "all these lovely events." The presence of acts like GBV, J. Mascis, and Archers of Loaf was a sweet reminder of a time when being "indie" didn't mean being a huge pussy. The crunchy indie rock began with "Over the Neptune / Mesh Gear Fox" and continued with favorites like "Kicker of Elves" and "Game of Pricks". It was a set enjoyed by a select few, which used to be part of the fun of indie rock. - Harry Painter Sharon Jones & The Dap Kings - Mainstage - 5:10 p.m. Photo by Heather Kaplan People love to dance, but sometimes they like to watch other people dance even more. That's why Sharon Jones & The Dap-Kings were so much fun to watch; not only can Jones sing her soul out, but she packs a mean shuffle as well. And while people will likely remember that Jones and her band sounded like a vintage soul band, and a good one at that, they will remember more vividly a young hipster named Patrick, whom Jones pulled on stage upon seeing him go nuts in the pit. "Come on, security, let him go," pleaded Jones before yanking him up and singing at him. Patrick, a skinny white kid dressed in thigh-length shorts and a red and green striped hoodie, showed no nerve dancing in front of thousands plus cameras. The contrast was priceless; think DJ Qualls and his large black girlfriend in Road Trip. - Harry Painter Surfer Blood – Bigfoot Stage – 6:20 p.m. Photo by Ted Maider “Thanks for sticking around and watching us in the rain!” –John Paul Pitts It seems dreary weather and Surfer Blood’s sludgy sound go together perfectly, but all in all, there needs to be more bands like this in indie music these days. Sure, their sound is a bit murky, but it's totally distinct, and the band constantly exerts loads of energy. For example, singer and guitarist John Paul Pitts has a tendency to thrash his guitar about like it’s a toy (although he claimed their equipment had been stolen prior), and he likes to run up on the amps and into the crowd. During “Take it Easy” he wandered through the audience, shaking hands (including our very own Winston Robbins). And the band played such a high-octant version of “Fast Jabroni” and dedicated it to all of us “living the gremlin life”. They even revealed new material with tracks entitled “Miranda” and “Golden Boys” to show that this isn’t the last we have heard of Surfer Blood…and thank God for that one. -Ted Maider [vimeo 24559407 500 325] Rodrigo y Gabriela - Mainstage - 6:35 p.m. Photo by Heather Kaplan Rodrigo y Gabriela are so talented you can't help but laugh at how small they make everyone else look. Their coordination is flawless, they make it look easy, and now they apparently do it without sitting on a stool. Both players, but Rodrigo especially, genuinely love the stage. Rodrigo wears a knowing smile on his face, one that says "You think that was good? Then watch this." They even controlled the weather; it begun to suddenly pour rain when Rodrigo y Gabriela came on, then stopped after 15 minutes. The set included tributes to Jimi Hendrix and Metallica, but only a tease of the beginning of "Stairway to Heaven" (denied!). - Harry Painter Best Coast - Yeti Stage - 6:45 p.m. Photo by Heather Kaplan For awhile, Monday looked like the perfect day for the sunny cadence of Best Coast. For one, it was by far the hottest of the four days and, what's more, the sun graced every corner of the Gorge Amphitheatre grounds. You couldn't hide from it. However, after a surprisingly demanding set by Foster the People, a five minute session of heavy rain (the heaviest of the weekend) came down and pretty much changed the scenery. Throw in a chilly breeze and some dusty clouds and you suddenly had a very unlikely setting for Bethany Cosentino & Co. "I feel like I'm at Woodstock or some shit," Cosentino, the sweet tongue songwriter with the grungy underbelly, observed. "But seriously, this shit is fucked up." In addition to pounding away favorites like "Miss You", "Boyfriend", and "When I'm With You", Cosentino also got fuzzy and dirty on "The End" and "Crazy for You". By the time she rang through "Our Deal", she had the very dedicated yet very wet crowd feeding out of the palm of her hand. Nice try, weather. -Michael Roffman [vimeo 24559343 500 325] The Decemberists - Mainstage - 8:00 p.m. Photo by Heather Kaplan It was a bit of a bittersweet moment watching The Decemberists, finding out it would be Jenny Conlee's last appearance with the band for a while as she fights breast cancer. But Conlee was in great spirits, and The Decemberists played happy songs; in fact, it was an all-around feel-good set. The band mainly stuck to The King Is Dead material, with a couple off of 2009's The Hazards of Love and some older ones. Early on, Colin Meloy's acoustic guitar began to experience problems, which was a blessing in disguise. Because guitarist Chris Funk, also in disguise as the Russian Sasquatch, is a born entertainer, a fact that manifested while Meloy had his guitar fixed. Funk told a "Sasquatch joke" that consisted of incoherent growls, before becoming "Jazzquatch" and displaying his scat-singing skills. Bassist Nate Query joined in with some slap bass, while Sara Watkins topped it all off with some yodeling. By the time Meloy came back into the fold, The Decemberists had begun leading the audience in a sing-along of The Outfield's "Your Love". Photo by Heather Kaplan By this point it wasn't clear anyone wanted to hear The Decemberists play their own music anymore, but they did just in case. The band redeemed the set after the guitar problems, and closed by taking crowd participation to the next level. They played (and acted out) a full rendition of "The Mariner's Revenge", leading the whole amphitheatre in screaming as if everyone had been eaten by a giant whale. Tens of thousands of honest-to-goodness dorks complied, and it was delightful. - Harry Painter Deerhunter – Bigfoot Stage - 9:00 p.m. Photo by Ted Maider Admittedly, I was embarrassed for the people of Sasquatch! when 10 minutes before Deerhunter were to start, there were hardly 200 people in attendance. But as Bradford Cox came on to help speed up the sound check and equipment set up (they were a good 10 minutes behind schedule), I got so busy watching him, I didn’t notice that that 200 had multiplied to thousands. And as a light rain began to fall and the deepest purple thunderclouds loomed overhead, people began to don their ponchos and garbage bags. Photo by Ted Maider Rushed by all of these factors, Bradford Cox and his Georgia outfit dove right into things and didn’t stop more than one or two times to tune or say thank you. It all became one beautiful cohesive piece of music, beginning with “Desire Lines”  bleeding into their new, unreleased “60 Cycle Hum”, which then turned rapidly into “Little Kids”, making for a 15 minute cohesive jam. The stormy clouds still threatened, but never quite made their move, but that didn’t stop the cold. The crowd was obviously spellbound, but for tracks that are in theory very danceable (“Nothing Ever Happened”), it was very hard to make the human body do anything other than just try and survive. The wind howled across the lands and up onto the stage, which added an epically ethereal touch to some already very ethereal rock music. And finally the lights all dimmed to leave one spotlight on Bradford Cox, who stood alone while he buzzed into a slow, chilly version of “Helicopter” that perfectly encapsulated the set. -Winston Robbins Wilco - Mainstage - 9:30 p.m. Photo by Christopher Nelson "This is the place where Wilco had our worst show ever," Jeff Tweedy said of the band's 2004 Sasquatch! set (blame Arcade Fire). The deck was stacked against them this time around too -- Wilco was the only Sasquatch! headliner without roots in Washington; Wilco's set came in the middle of a much more energetic Deerhunter set on the Bigfoot Stage; and lastly, Wilco's kind of a sad band, which doesn't necessarily make for good festival-closing material. Tweedy even acknowledged it was hard to follow The Decemberists' happy alt-rock tunes with a bunch of sad songs, but "I guess that's what we do." Admittedly, if you like to end a weekend of music by partying, you were better off just watching Deerhunter and Major Lazer and heading back to the tent. Admittedly, the Chicago rockers started off by playing slow folksy songs, and didn't exactly offset them with arena rock anthems. But what Wilco did do was play a set of 20-plus great songs with style and precision, which is all you can ask. Photo by Christopher Nelson Wilco's set included Yankee Hotel Foxtrot selections like "Ashes of American Flags", "I Am Trying to Break Your Heart", "War On War", and "Jesus Etc.", the last of which Tweedy implored the crowd to sing along to; it complied. Other favorites scattered throughout were the rarely played "Company In My Back", "Misunderstood", "Via Chicago", "Spiders (Kidsmoke)", and "Impossible Germany". One thing that can't be stressed enough is how much Nels Cline made the show. Whether it was his screeching guitar solos, his slide guitar twangs, or his keyboard noodling, Cline's roles took precedence in almost every song; he's so crucial to the performance, it's almost hard to imagine how this band made do before 2004. Photo by Christopher Nelson Wilco ended the night with "Hoodoo Voodoo", with Tweedy all smiles. A fan threw a glowstick at him, and Tweedy responded, "You missed." More glowsticks came, and Tweedy invited them. More glowsticks, and even half-full water bottle came flying toward the stage, almost nothing hitting the target. Right when you thought Tweedy might be mad, he simply said, "You guys suck" and "good night." Maybe this wasn't Wilco's worst show ever, but like Sasquatch!, Wilco had an anniversary to celebrate, and that's just what the band did. - Harry Painter Monday Gallery by Heather Kaplan [nggallery id=223] The Culture of Sasquatch! [nggallery id=218] CoS at Sasquatch!: Mini Documentary [vimeo 24701991 500 325] Cameras: Michael Roffman, Ted Maider Edited By: Colin Peterson ]]> http://consequenceofsound.net/2011/06/festival-review-cos-at-sasquatch-11/feed/ 19 http://consequenceofsound.net/2011/05/watch-beach-house-debuts-new-song-at-atp-festival/ http://consequenceofsound.net/2011/05/watch-beach-house-debuts-new-song-at-atp-festival/#comments http://c438342.r42.cf2.rackcdn.com//wp-content/uploads/2011/05/bh329pic.jpg Wed, 18 May 2011 18:36:26 +0000 Chris Coplan http://consequenceofsound.net/?p=122108

The promoters who organized ATP Minehead had a stroke of genius when they decided to tap Animal Collective as guest curators for this year’s festivities, which went down May 13th-15th.  While they’re beloved fan favorites on their own, AnCo’s presence at the festival undoubtedly had some impact on the acts they chose to perform.  For the second time (that we have documentation of) in just a few months, Beach House used their set to debut a new song. The “experiment,” available for viewing above via Gorilla Vs. Bear, is a an effervescent little number with a pounding beat. Plus, it won’t give you a seizure!

Beach House shows are always near-epileptic affairs, and their Friday night gig at New York City’s Webster Hall was no different, but what made staring at glowing pyramids and flashing strobes well worth the potential convulsions was the Baltimore-Md.-based band unveiling a brand spanking new song.

They teased the still-untitled tune at a festival gig in Singapore, but now TwentyFourBit has just posted a video of Alex Scally laying down some incredibly thick, droning guitar before Victoria Legrand bellows out that sweeping, contralto vocal in a way that’s become increasingly distinct in the last year that their latest, best-of-list making LP – Teen Dream – has been on our hard drives and Technic decks. Unless you live in the UK, you’re only chance to catch them live will be at Sasquatch! since they’ve recently announced plans to returning to the studio and presumably record their fourth, still-untitled full-length.  Tour dates are listed below.

Beach House 2011 Tour Dates:
05/13 – Minehead, UK @ Butlins Holiday Centre (ATP Curated by Animal Collective)
05/28 – George, WA @ Sasquatch! Music Festival
07/23 – London, UK @ Alexandra Palace (ATP I’ll Be Your Mirror UK 2011)

Sasquatch! Music Festival celebrates 10 years in 2011, and along with the previously confirmed Foo Fighters, the festivities will be headed by Death Cab for Cutie, Modest Mouse, Wilco, and The Flaming Lips, who will perform their 1999 classic, The Soft Bulletin, in its entirety.

Set to take place from May 27th-30th at the Gorge Amphitheatre in George, Washington, the 2011 bill also features The Decemberists, Bright Eyes, Iron & Wine, Robyn, Wolf Parade, Chromeo, Beach House, Yeasayer, and three recently reunited outfits: Death From Above 1979, Guided By Voices, and Archers of Loaf.

Other confirmed notables include Bassnectar, Flogging Molly, Ratatat, Against Me!, Matt & Kim, Flying Lotus, Local Natives, Cold War Kids, Best Coast, Sleigh Bells, MSTRKRFT, Deerhunter, Major Lazer, Pink Martini, Rodrigo Y Gabriela, Sharon Jones & the Dap Kings, Jenny & Johnny, Surfer Blood, !!!, The Thermals, CSS, GAYNGS, Tokyo Police Club, Black Mountain, Das Racist, Noah and the Whale, The Radio Dept., Old 97′s, Reggie Watts, Fitz & the Tantrums, Smith Westerns, and The Head & the Heart.

Rounding out the lineup are The Antlers, The Drums, Sharon Van Etten, K-os, Bonobo (DJ Set), City and Colour, Young the Giant, Moondoggies, Twin Shadow, Secret Sisters, Aloe Blacc, Villagers, Sam Roberts Band., Wye Oak, Rival Schools, Foster the People, Alberta Cross, S. Carey, White Denim, Cotton Jones, Basia Bulat, Other Lives, The Bronx, Gold Panda, Macklemore & Ryan Lewis, Tim Minchin, and Pepper Rabbit.

Update: You can find Sasquatch!’s day-by-day schedule here or below.

Four-days passes are now available through LiveNation. Stay tuned for an extraordinary giveaway very soon.

Victoria Legrand’s voice is a powerful thing. She’s like if Nico and Grace Slick combined into one. As dream-pop duo Beach House coast into their 11th month supporting their list-garnering album Teen Dream, Legrand and instrumentalist Alex Scally showed their dynamic force on Conan last night. Beach House are always full of power, while still managing to wash over you with calm. A quick glance at the late night twitter feed showed mixed reactions to Beach House, from the obligatory ”killing of it”, to the unfortunately obligatory ”boorrring” (to the “can’t wait to go to my beach house for x-mas”). However their performance of “10 Mile Stereo” sounds just as exciting as when I first heard it almost a year ago, proving that the milage and exposure you get from an album may actually be a good barometer as to how truly spectacular it is. Watch the clip above.

We could sit here and reminisce on everything of prominence over the past 365 days, and all of you gracious readers that strapped us into the #1 Music Blog position on About.com could bask in nostalgia’s glorious sun shower. In the essence of practicality, while revisiting landmark albums like Exile On Main St. and Pretty Hate Machine, dismantling Consequence of Kanye at the culmination of his Dark Twisted Fantasy, and doling out five stars to Arcade Fire, we had the chance to compile this lovely Top 100 list for your critiquing and commenting pleasure.

This is the cream of the crop from all walks of genre, sub-genre, and fused genres alike. This is the definitive mark, two-thousand-ten’s best album releases, summarily graphed — and generously bled for — by your favorite Web site’s dedicated writers and contributors. So much has happened in such a minute expanse of time, we could not feasibly compress it all into a single article, but nonetheless, here lies the certifiable superlative one-off for 12 months’ worth of music.

[cue the confetti strands and silly string]

Significant moments leave a deep impact during December; we start wondering if things were given due justice. Questions arise as to why certain obligations might have been neglected (did you listen to even half of the albums on our list yet?). Perhaps many will silently renew devotions for the sake of a new year. Personally, I try not to guilt myself too harshly; After all, humans are imperfect creatures. Forget about making some last-minute proclamation of weight-loss goals and nicotine withdrawals. Why not focus on enjoying that year-end martini? If you want to lose pounds or finish your novel, do it for your own reasons, not because it’s the standard.

Make 2011 a time of positive build, not redundant letdown. Other usual goal selections are still worthy causes, but nothing is ironclad. If another passing birthday has taught me anything, it is that life is too short to bitch and moan. Think of the positives instead of the negatives, and you will find that the music sounds much sweeter than it did. The rose tint is absent, the naggers are quieted — What remains is the soothing remedy of a happy medium, the way it makes sense for you.

Welcome to the end of 2010 — May your resolutions be fruitful, may your Armageddon be swift, and may your record collection exponentially grow in value. May Chinese Democracy be your how-to guide for overhype. May the last lone Walkman live long and prosper. And may your iTunes gift card see plenty of use.

In bowing out, we implore you… pop the Scroll Lock from your keyboard — it’s obsolete now.

-David Buchanan
Senior Staff Writer

100. Black Label Society – Order of the Black

Ozzy Osbourne and Zakk Wylde have both released albums this year: the former’s Scream, the latter’s latest Black Label Society disc, Order of the Black. While Scream seems to have fallen from grace (despite being entertaining enough), Black Label Society have risen from the grave. With old school rising to the nth degree, Order of the Black is definitely one of the best heavy metal albums all year. Is it favoritism if Wylde shares a birthday with my daughter? -David Buchanan

99. Avi Buffalo – Avi Buffalo

High school must have been a trip for this fresh-out-the-suburbs band that only recently graduated. Following in the ’60s-recalling footsteps of fellow indie poppers MGMT, Avi Buffalo’s self-titled debut gives us innocence on mushrooms, and plays like their own personal summer of love. “Truth Sets In” and “Five Little Shits” show the craftsmanship behind the music is top-notch. Noodly guitars form flower-child pop rock with forays into folk and country as on “One Last”. The lyrics may be a little high school, but Avi Buffalo write music like pros. The guitar work alone sounds 20 years older, as they work through one sunny jam after another. Avi Buffalo couldn’t have come at a better time, what with so many throwback rock bands making their mark in the past year. While timing is everything, so is having a solid record where every track stands out. With an album like this, it sounds like the next generation will be all right. -E.N. May

98. The Gaslight Anthem – American Slang

Nowadays, rock and roll music is married to a lot of different genres, be it rap, pop, various forms of world music, etc. Rare is the truly good album that is just plain rock and roll. However, The Gaslight Anthem proved rock can still just be rock, with the down-on-their-luck punk rock of American Slang. Pain and frustration roar through the speakers, all on the backs of big, booming guitar and tight-as-it-comes drumming. The album showed that while rock music is drifting further away from its glory days, there’s still tons of room for the good, old-fashioned stuff. -Chris Coplan

97. Caribou — Swim

When an artist makes a turn towards pop, one wonders whether the artist has actually improved or simply tricked the listener into accepting the music. I wondered this after hearing Merriweather Post Pavilion and The Suburbs, but 48 listens later each, I’m pretty sure those are both still good albums. Like, 90 percent sure, but I didn’t need to be converted. Caribou sparked these same questions for me with Swim, and going with my instinct was the right choice. It’s hard to put this down, as they used to say when albums were physical objects. Even if you’re not on drugs, Swim will make you feel like you are. It’s not just for dance music junkies though — Caribou has much more to offer than a beat and some synth fiddling. -Harry Painter

96. Tokyo Police Club – Champ

After a somewhat disappointing debut LP in Elephant Shell, which failed to capture the spark of their A Lesson in Crime EP, Tokyo Police Club returned in 2010 with Champ. Like its name would suggest, the album feels triumphant in that it reintegrates that catchy vibe and also sees the band expand their lyrical concepts by adding a dash of worldly cynicism and diversifying their sonic output with lots of effects and improved instrumentation. Consider this the band’s musical equivalent of Rocky making it to the top of the stairs. -Chris Coplan

95. Mike Patton – Mondo Cane

Mondo Cane in one sentence: Mr. Bungle meets ’50s Italian pop with a backing orchestra. Seriously, it’s Mike Patton! Weird is not his calling card — it’s his genetic makeup, and I look forward to more operatic productions in the future. At the very least, a Mr. Bungle reunion? Pretty please? -David Buchanan

94. Cotton Jones – Tall Hours in the Glowstream

Not many records do an artist’s influences perfect justice, creating something strangely fresh without sounding like imitation. But Tall Hours in the Glowstream, Michael Nau’s dreamed out, smoky, hazy exploration of country’s golden age, is exhilarating in both its authenticity and dreamy beauty. -Drew Litowitz

93. Laurie Anderson - Homeland

Homeland is a sprawling and desolate quasi-sequel to Laurie Anderson’s first breakthrough 1984 performance piece, United States Live. This revisiting of America rides on the back of economic desperation, global unrest, and the new electronic reality. It’s a fascinating and haunting perspective on our day and age, from America’s greatest performance artist. -Cap Blackard

92. Weezer – Hurley

On Weezer’s eighth full-length album, Hurley, the band did what they do best; they made a Weezer album. And as always, Rivers Cuomo kept it close to the heart. He and the guys rehashed the glory days “back when Audioslave was Rage” on the Jackass sing-along “Memories”. Rivers kept the power pop Weezer alive too, with “Ruling Me” and “Hang On”, but also wrote some personal and emotional songs like “Trainwrecks” and “Time Flies”. No matter how many releases they have, Weezer showed us that all they will do is rock. At least as long as they have the limbs to do it. -Ted Maider

91. The Besnard Lakes – The Besnard Lakes Are the Roaring Night

Shoegaze and ’70s AOR make for a strange combination, but together they make The Besnard Lakes‘ sophomore LP, The Besnard Lakes Are the Roaring Night, which sees the band continue to sharpen their sound with lush, slow-burning jams. Jace Lacek’s classic guitar work and resonant voice fit perfectly with Olga Goreas’ acidy soprano. Turn it up, bang your head, and vibe out. -Jeremy Larson

90. Antony and the Johnsons – Swanlights

More a step sideways than a step backwards, the new album by Antony and the Johnsons doesn’t quite reach as many high points as his previous two albums, but it doesn’t have many low points either. It’s another very solid effort from one of the most unique voices in modern music. Adding more guitar-based songs gives this album a wider palate than before, but the highlights are still Antony and his piano. His voice, like always, is the main attraction, and his lyrics are just as affecting as ever. The centerpiece of the album is the title track, a mysteriously sprawling song that is simultaneously one of the strangest songs Antony has ever produced and also one of his best. If his self-titled effort was an introduction, I Am a Bird Now was his breakthrough masterpiece, and The Crying Light was the solid followup to a near perfect album, then Swanlights proves that Antony is here to stay. -Carson O’Shoney

89. Los Campesinos! – Romance is Boring

Singer Gareth Campesinos! wants to talk to you about sex. And death. And fighting. And football. And everything in between. Seems like a lot of material to shove into one album, right? Yet, not only does Romance is Boring cover all of this and more, it does so in a dramatic, sarcastic, and anthemic fashion. The sprawling, 15-song effort is full of tasty moments to digest over multiple listens. The band covers sparse arrangements, noise rock, and even what the casual observer may call a hit song. Numbers like the title track, “There Are Listed Buildings”, and “Straight in at 101” are certainly highlights, but this is a record you should hear from beginning to end. Romance may be boring, but Los Campesinos! is anything but dull. -Joe Marvilli

88. El Guincho – Pop Negro

The man who has been hailed the “Panda Bear of Spain” followed up his immensely successful sophomore album, Alegranza!, with yet another album of his curiously eccentric brand of pop music. Although this release did not receive the same acclaim as its predecessor, it was, without a doubt, one of the most enjoyable pop albums of the year. Opening track “Bombay” proved not only to be perhaps the sunniest, most memorable track on the album, but also provided one of the coolest videos of the year. El Guincho stayed true to form on Pop Negro, losing absolutely no integrity, having instead created yet another enjoyable work from his zany imagination. Spanish speaker or not, everyone will be able to understand the obvious musical prowess showcased on this album. -Winston Robbins

87. The Thermals – Personal Life

It ain’t easy squeezing a respectable catalog out of three chords. Few bands do it well, but The Thermals have thankfully stepped up to join the ranks of artists like The Bouncing Souls and Bad Religion as the modern day torch carriers of power punk. Unlike their earlier work, Personal Life displays more new wave tendencies, with lovelorn, bass-heavy tracks like “Only for You” and “Never Listen to Me” owing more to The Cars than The Germs. But mellowed out or not, 10 perfect songs in under 35 minutes is an equation that can’t be beat, even by their younger, rabble-rousing selves. -Dan Caffrey

86. Interpol - Interpol

Even though Carlos D was in the studio for Interpol‘s fourth go-round, the self-titled LP will always be associated with the visible bassist’s departure soon after its release. This is not completely unfair; If it weren’t for Paul Banks’ distinctive monotone, it would be hard to recognize this as an Interpol album. True, it’s not the Interpol we remember and expect, and it’s no Turn on the Bright Lights. But, my, did this LP not deserve to be ignored the way it was. This is more an album of scattered standout moments than one of constant pop perfection, but given repeat listens, those standout moments are worth the time. It’s hard to give Interpol the benefit of the doubt at this point, but here’s hoping the future improves for the New Yorkers. -Harry Painter

85. Four Tet – There Is Love in You

It turns out that 2010 was an amazing year for emotional, powerful electronic music, but none is more emotionally strong than Four Tet‘s There Is Love in You. It’s a powerful album where a baby’s heartbeat is turned into an actual beat. The vocals, the beats, the atmosphere — it’s all beautiful. -Evan Minsker

84. Delorean – Subiza

Spanish quartet Delorean know what they’re doing. Subiza offers layer upon layer of samples, synths, and catchy melodies that result in an uplifting, atmospheric album sure to have your toes tapping. Repeated, airy vocals entrance the listener and add even more depth to the already complex and varied soundscape. The album plays like a DJ set, songs flowing in and out of one another, keeping true to the band’s Balearic roots. Animal Collective references aside, Delorean has forged a home in today’s overpopulated realm of electronic pop music. Whether it’s the ,majestic single “Stay Close” or “Warmer Places”, with its anthemic repetition of “Never settle, never settle, never settle”, Subiza does no wrong. -Caitlin Meyer

83. Pete Yorn - Pete Yorn

Before the drowsy acoustics of 2009′s Back and Fourth and a bubbly collaboration with Scarlett Johansson, Pete Yorn was roughing it up in the garage with producer Frank Blank. At the Pixies frontman’s behest, Yorn swiftly recorded his eventual sixth album in 2008, giving his usual classic rock stylings a newfound sawtooth urgency. Pete Yorn‘s first half is pared down to nothing but crunchy distortion, with power pop nuggets like “Velcro Shoes” and “Badman” recalling a scrappier T. Rex, while the more jangled second half pays tribute to R.E.M. and Big Star. “Come on wheels, take this boy away,” he croons in the twangy closing track. As long as it’s back to where he started, we’ll all be in good shape. -Dan Caffrey

82. Charlotte Gainsbourg – IRM

Inspired by Charlotte Gainsbourg’s brush with death and subsequent time spent in an MRI scanner, IRM reveals Gainsbourg’s continued evolution and maturation as a singer. Through producer and co-writer Beck’s diverse instrumentation which ran the gamut between lush and minimalist, Gainsbourg’s distant, barely there whisper offers the occasional peek behind her mystique. The collaboration between Gainsbourg and Beck is a match made in heaven, with both artists bringing the best out of each other. Who else but Beck could replicate the pulsating rhythm and sense of claustrophobia produced by the machine, and turn it into such captivating music? IRM is two artists nearing 40 exploring and reflecting upon death, and the result is the best Beck album since Sea Change. -Frank Mojica

81. Belle & Sebastian – Write About Love

A new Belle & Sebastian album is a welcome outcome in itself; Such is the band’s track record. This latest offering doesn’t disappoint, but requires repeat plays to really sink in. Once there, it’s hard to escape the conclusion that B&S have delivered yet another first-class pop album — bright, breezy and accomplished, both vocally and in the tight, rich ensemble instrumentation. -Tony Hardy

80. Damien Jurado – Saint Bartlett

On his ninth LP, the grossly undervalued alt-folk lion continues his decades-long odyssey into the broken heart of America, working with friend and producer Richard Swift to deliver a collection steeped in vintage sounds and ideas. Damien Jurado‘s work on Saint Bartlett is timeless and penetrating, at once a sonic nod to mid-century production techniques and a reminder of the importance of storytelling in an age that increasingly has little appetite for nuance and reflection. Indeed, his thoughtful, literary tales and troubled, but familiar characters have never seemed so vital. -Ryan Burleson

79. Wild Nothing – Gemini

Upon listening to “Summer Holiday”, the first single from Wild Nothing’s debut full-length Gemini, it would be too easy to lump the band and its principal actor Jack Tatum in with other bands currently feeding on ’80s nostalgia pop, like the Pains of Being Pure at Heart. In fact, tracks like “O, Lilac” do sound as if they came out of the Pains’ playbook. However, the album as a whole is a bit more diverse. Not simply relying on fuzzy tones or shrilly synths as a crutch, Wild Nothing also owe something to early ’90s indie pop for its sound. The more I listened to Gemini, the more I also heard elements of the Drop Nineteens and the Swirlies (or other bands from the early SpinArt roster), especially in the way Tatum plays his guitar. Everything is utilized loosely to help highlight the wistful haze surrounding Wild Nothing’s particular approach to dream pop. The carefree jangle theand gorgeous vocal harmony on “Our Composition Book” is like Galaxy 500 on caffeine. “Bored Games” has an underlying dance beat that is akin to some of the sounds found with IDM artists on Ghostly International, and “Chinatown” is simply a strong pop song oozing with dreaminess. -Len Comaratta

78. Fang Island – Fang Island

Give credit to these punks. They’re punks in the true sense because their style and sound is something at odds with the status quo. The frugality that 2010 favors in its music is laughed at by Fang Island’s three part guitar harmonies and the band’s exuberant vocal power. Their sound is that of a band incubating until they someday find themselves in a stadium or an arena. You’d be hard-pressed not to have people tell you it’s prog, but underneath there’s a rich cushion of the history of rock, metal, and strong arena melodies. In other words, they make what they do sound authentic — the highest form of currency in 21st century music listening. -Jeremy Larson

77. The Drums – The Drums

If there was a perfect pop album from cover to cover this year, a strong argument could be made for the Drums‘ self-titled full-length. Coming off the success of 2009’s Summertime EP, the Drums returned with a strong, vibrant album that captured elements of ’60s pop melodies and blended them with the jaded post-punk/new wave attitude of many U.K. bands from the late ’70s. The full-length featured a few repeats from the 2009 EP, including a re-recording of “Let’s Go Surfing”, the hot single that started it all; But newer tracks like “Forever and Ever Amen” and “Best Friend” demonstrate that the band has for-real potential. Their look and sound is vintage U.K. new wave and if they were to be subjected to a time machine accident dumping them out on the streets of post-Punk Revolution London or Glasgow, nobody would bat an eye. With that in mind, the Drums are in no way derivative and they do for the pop sounds of the era what bands like Bloc Party and Franz Ferdinand did for the post-punk/dance punk sounds of bands like Gang of Four and Wire. -Len Comaratta

76. of Montreal – False Priest

Coming off their proggiest album, 2008′s Skeletal Lamping, of Montreal could have gone any direction with this release. Fans and critics alike criticized Skeletal for being too nonsensical and tough to grasp, which are spot on analyses. Fortunately, of Montreal stuck to their guns for False Priest, expertly cranking out infectious psych-pop. But, of course, in true of Montreal fashion, the sound of the music did not remain static. This album incorporated the usual Prince/David Bowie influences, but also a largely unexplored territory for the psych-rockers: R&B. Citing Stevie Wonder as a major influence for the record, front man Kevin Barnes deliberately included appearances from longtime friend and psych R&B darling Janelle Monáe, as well as Solange Knowles, the younger sister of pop enigma Beyoncé. In the end, the record wasn’t their strongest, but it was a return to the youthful, lovable of Montreal we’ve all become so enamored with. -Winston Robbins

75. My Chemical Romance – Danger Days: The True Lives of the Fabulous Killjoys

My Chemical Romance made its name on vampire songs and screamy music for sad kids. This will only take you so far in terms of earning critical respect, though. They followed up 2006′s heavy-handed concept album The Black Parade with 2010′s Danger Days: The True Lives of the Fabulous Killjoys. This is another concept album, to be sure, but it’s one that rings true and doesn’t overwhelm the music. The album takes us through a radio show piloted by pirate DJ Dr. Death through a post-apocalyptic wasteland controlled by a mysterious corporate behemoth. Luckily, alter-egos the Killjoys are on the loose, providing us with death-defying escapades, corporate defiance, and, of course, some of MCR’s best music to date. It’s still guided by Gerard Way’s snarly, self-indulgent punk vocals, but this time, they’re layered over the top of some solid rock music. Danger Days takes the best of MCR’s skill set and combines it with incredibly listenable, textured rock tunes that will lend MCR some much-needed cultural relevance for many years to come. -Megan Ritt

74. School of Seven Bells – Disconnect from Desire

For School of Seven Bells, creating atmosphere is what it’s all about. On their second album, they do more than succeed at that lofty goal. Each track transports you to a new location, one that’s different, yet still familiar. It turns from the high-pitched, rhythmic vocals of “Windstorm” to the rave-inducing “Dust Devil” and back to shoegaze without any jarring transitions. The duel vocals of twin sisters Alejandra and Claudia Deheza move between angelic and haunting within the same song. Meanwhile, guitarist Benjamin Curtis brings up a whole array of effects that he masterfully uses to his advantage. My recommendation? Lie back, close your eyes, and lose yourself in this album. You won’t regret it. -Joe Marvilli

73. Goldfrapp – Head First

These days, there are a ton of bands who readily make use of the musical cash cow that is the 1980s. However, none do it as skillfully as Goldfrapp on their fifth LP, Head First. Full of shiny synths, melodies like sweet ear candy, and coming off like ABBA meeting Olivia Newton-John on some glorious dancefloor in paradise, the album is everything most people loved about the ’80s with an update, thanks to some kicking house and dance music. Plus, you don’t have to wear shoulder pads or neon to enjoy it. -Chris Coplan

72. Miniature Tigers – F O R T R E S S

It was going to be hard to top Tell It to the Volcano, but Miniature Tigers did just that on the followup to their 2008 debut LP. F O R T R E S S was greatly overshadowed by the hype surrounding Arcade Fire’s The Suburbs (which was released a week later), but music fans who overlooked this album missed one of 2010’s brightest nuggets of precision-crafted pop and a timeless collection of songs that our own E.N. May called “so close to perfect, it hurts.” -Ray Roa

71. GAYNGS – Relayted

GAYNGS’ debut LP led to The Purple One attending (and almost playing at) their first show ever, but what Relayted really accomplished was giving us something to chill to without having to call it “chillwave.” Filled with bowel-shaking low end and airy vocals, the 11-track effort from this super collective – which features members of Bon Iver, Megafun, and Solid-Gold – was surely the soundtrack to many a joint-smoking session. -Ray Roa

70. PS I Love You – Meet Me at the Muster Station

PS I Love You‘s album was a pleasant surprise this year — a rock ‘n’ roll record without pretensions or frills from a band who broke through with one single. Paul Saulnier churns out some instant hits here: “Facelove”, “Breadends”, and the title track all come to mind. Killer rock, no gimmicks. -Evan Minsker

69. Revere – Hey Selim!

Revere is an eight-piece London outfit that skilfully blends rock and orchestral instrumentation to create a lush and majestic sound. This fusion, attached to some great songs and an expressive lead vocal, is an explosive mix. This debut album provides a glimpse of the intensity of the band’s live performances through epic songs like “The Escape Artist”. The group is still relatively unknown outside the U.K., but the impact of this album has already led to an invitation to SXSW in 2011. -Tony Hardy

68. Rufus Wainwright – All Days Are Night: Songs for Lulu

All Days are Nights: Songs for Lulu finds Rufus Wainwright in an intense place, both musically and personally, as the album was written as his beloved mother succumbed to cancer. This album, full of love songs to the dark muse, represents a major evolution for the songwriter. He’s dark without being morose (“Zebulon”, “What Would I Ever Do with a Rose”), he’s heartbreakingly earnest (“Martha”), and respectably well-read (“A Woman’s Face”, “Shame”, and “When Most I Wink”, all adaptations of Shakespearean sonnets). The resulting album — performed on tour in a grand, uninterrupted song cycle — is a moving collection of 12 tracks that represents some of Wainwright’s most well-composed and executed work to date, music to be remembered by. -Megan Ritt

67. Liars – Sisterworld

This dank, echoing gem of an album accomplishes something I didn’t think possible: It comes close to the glory that was Drum’s Not Dead. And Liars achieve greatness on Sisterworld with string arrangements as they did on Drum’s with feedback. Angus Andrew, Aaron Hemphill, and Julian Gross masterfully produce dark, powerful rock without delving into the overt theatrics of metal or the macabre-for-the-sake-of-it aesthetics of goth material. The disc plays out like the soundtrack to an expressionist horror film yet to come. Not the slasher “he’s right behind you!” type, but the eerie, “what’s going on here” type. -Adam Kivel

66. Torche - Songs for Singles EP

If Mastodon has its passion for epic themes, and ISIS was Tool with a twist, Torche is most likely a candidate for the second coming of Kyuss and Beaver. Strapped with a wall of stoner metal fuzz, ethereal vocals, and a drummer on speed, 2010′s Songs for Singles EP keeps up the tradition of ’08′s Meanderthal — short bursts of Torche awesomeness that leave ringing in your ears. -David Buchanan

65. Everybody Was In The French Resistance… Now! - Fixin’ the Charts, Volume 1

Known for his work with Art Brut, Eddie Argos combined forces with his girlfriend, Blood Arm member Dyan Valdes, and came up with a unique concept for an album: make responses to famous pop songs. Whether it’s telling Bob Dylan that ex-girlfriends should think twice or playing the part of Billy Jean’s bastard son, Argos and Valdes crafted a concept album that isn’t weighed down by its concept, instead being free to be smart and funny and appealing without being overly cerebral. Pop music ain’t perfect, but they’re the best maintenance team we could ask for. -Chris Coplan

64. These New Puritans – Hidden

Tighter around the frame than its predecessor, mixing elements from trip-hop, theatrical music, jaunty keyboard, and avant-garde, Hidden is what future critics will undoubtedly label as These New Puritans‘ 2010 magnum opus. Regardless of who is right or wrong, this Immediate Music meets Interpol for the Dead Man’s Bones fans (the handful left) will stay stuck to your brain, sobriety be damned. -David Buchanan

63. Cee-Lo Green – The Lady Killer

Known for being a member of Atlanta-based rap group Goodie Mob, Cee-Lo Green returned with his third solo album like he was the blaxploitation version of James Bond. The Lady Killer was drenched in the sounds of soul, R&B, and top-40 radio from the ’70s, every song about being done wrong by a she-devil. With a voice to match, Green demolished a lot of preconceived notions and forged himself an album of the best vintage sounds he could cull, and that’s as one-of-a-kind as the introverted and bombastic singer himself. In a phrase, he killed it. -Chris Coplan

62. The Chemical Brothers – Further

The Chemical Brothers‘ seventh studio album holds a special place in the electronic genre. With the romantic swirl of “Snow” and “Escape Velocity” giving way to the soaring highs of “K+D+B” and “Wonders of the Deep”, the Brothers Chemical showed on Further that electronic music can be cool, slick, technical, danceable — and most importantly — emotional, moving, even almost religious. The results are an endlessly listenable album that transports the audience to a higher place. -Megan Ritt

61. The Walkmen – Lisbon

Lisbon plays out like the music a civil war-era punk band might conjure up, if time, technology, and knowledge permitted. With click-clacking trashcan drums, minimally vintage electric guitar, occasional strings, lush brass, and, of course, Hamilton Leithauser’s reedy howl, Lisbon takes The Walkmen sound deeper into the past. By imitating the sounds of yesteryear with contemporary instrumentation, Lisbon sounds like something entirely new. -Drew Litowitz

60. Ryan Adams – Cardinals III/IV

In a year where Ryan Adams released a bunch of crappy demos and a metal album, the realization of the long-awaited Cardinals III/IV was a sight for sore ears. While Adams’ journey into the mythology of metal was a fun distraction, this two-disc album demonstrates what Adams does best: He makes rocking, folksy music with a down-home appeal and lots of deviation and experimentation, songs that, at their core, are universal and eat their way into your bloodstream. It’s good to have you back, Mr. Adams. -Chris Coplan

59. Avey Tare – Down There

In 2010, Camp Animal Collective has been the fodder for the TMZ of indie rock, with every critic and fan pouring over relationship updates (Is Deakin back in the band?),and impatiently waiting for a sequel to the surefire decade list-topper Merriweather Post Pavilion. Meanwhile, Avey Tare (Dave Portner) quietly released this slightly minimal album of electronic textures, full of repetitive journeys through the aural equivalent of a hellish swamp. The dark vibes on Down There were inspired by dark times (his sister’s cancer scare, family deaths), but there’s also a joyful release to the mournful music, like a tripped-out New Orleans funeral march. We’re still impatiently waiting, but this is one hell of a holdover. -Ryan Reed

58. Peter Gabriel – Scratch My Back

Cover albums are often forgettable or regrettable, but when a massively influential artist like Peter Gabriel steps up to the task of reimagining some of his favorite songs, the result is nothing short of amazing. The music is simple, somber, and stripped of any bells and whistles, leaving only raw intentions, pure lyrics, and Gabriel’s passionate voice. This collection of tracks, culled from everyone from Paul Simon to Radiohead, are laid bare, exposing just what makes the originals beautiful and brilliant while lifting them up to an emotional catharsis they may have never intended to go to. What’s more, Scratch My Back is part of a double-album concept in which the artists Gabriel covers return the favor by covering him. If the moons align, the reciprocal follow-up compilation, I’ll Scratch Yours will be out next year. -Cap Blackard

57. The Radio Dept. – Clinging to a Scheme

Hailing from Sweden, relative unknowns (except to a very small, devout following) The Radio Dept. have kept a low profile for the majority of their career, which began back in 1998. And that’s where they’d like to stay, I believe. Does that mean they have to make bad music to stay out of the eye of the masses? Absolutely not. They have released dozens and dozens of tracks that are as solid as any indie pop out there, only they haven’t marketed the music to those selfsame masses. Due to very minimal touring and virtually no deliberate public accolades, The Radio Dept. has remained relatively low key. Clinging to a Scheme is their third official studio album, but was the first heard for many individuals. The album is a testament to a band who has honed in on their craft and made it everything it can/should be. Don’t be surprised if The Radio Dept. continues to release good music, but also don’t be surprised if Scheme becomes their magnum opus. The perfectly placed vocal samples, the wonderfully ethereal musicianship, and the pop mastery are hard not to like, and make for The Radio Dept.’s most polished work. -Winston Robbins

56. The Soft Pack – The Soft Pack

The Soft Pack‘s opening track “C’mon” coaxes listeners to sing along and dance — and with the band’s straightforward, high energy, ridiculously catchy brand of punk rock, they don’t have to try too hard. The simplicity of The Soft Pack‘s sharp lo-fi is what makes their music so charming; You know all of the lyrics to the choruses halfway through the songs, and can’t help but sing along. The album is reminiscent of a night of drunken debauchery with its rapid tempo, atonal vocals and, honestly, endless fun. There’s no profundity in the lyrics, no pretension in the instrumentation. The Soft Pack isn’t out there to hide meaning in their songs, they’re there to make you dance. This honesty and straightforward approach is refreshing, and the result is a downright addictive 30 minutes of punk bliss. -Caitlin Meyer

55. Menomena – Mines

On their fourth release, Menomena take everything that worked so well on Friend or Foe standouts like “Muscle and Flow” and spread it all over the place. The Portland, OR trio’s homebrewed approach to music-making can be heard in the playfully layered loops of spontaneous riffs and bangs on tracks like “Tithe” and “Oh Pretty Boy, You’re Such a Big Boy”. Mines gets haunting on “Dirty Cartoons” and “Killemall”, while bringing elaborate rock on “TAOS.” One of their best to date, Brent Knopf and crew have created an accessible record that stays unabashedly unconventional. -Ben Kaye

54. B.o.B – The Adventures of Bobby Ray

B.o.B had some serious all-star power behind his highly anticipated and fulfilling debut. Hayley Williams, Eminem, Bruno Mars, Rivers Cuomo, and more helped make B.o.B’s dreams come true with one of the best albums of the year. It was a big year for hip-hop, and this album stands as one of the best. The hit single “Airplanes” was everywhere this summer, and “Nothin’ on You” featuring Bruno Mars netted a Grammy nomination. B.o.B shows all of his talents on this album and his vocals are just as good as his raps. The Adventures of Bobby Ray is as entertaining as it is impressive and proved that it was highly worth the wait. -Kevin Barber

53. Superchunk - Majesty Shredding

Waiting nine years between albums is a potentially lethal move. But for indie royalty Superchunk, their unique blend of boyish ache and super sweet chops proved that time means nothing when you’ve still got something to say. Despite being in their 40′s, the guys and gal of Superchunk prove on Majesty Shredding that their nervous, awkward ways can still translate into relatable, rocking songs that transcend any generational gap. The album’s so good, we’d consider waiting another decade for the next one if necessary. -Chris Coplan

52. Phosphorescent – Here’s to Taking It Easy

Phosphorescent‘s last album was a full-length of Willie Nelson covers, so it was relieving to discover Matt Houck and company still had the goods on Here’s to Taking it Easy. His fifth album may be so refreshing because his company is more stable this time around. As Philip Cosores pointed out, it’s Houck’s first time recording an album with a traditional band, and this is reflected in the sound. It feels like we’re experiencing an assault of alt country and folk rock, but Phosphorescent has been under the radar for too long and this record would shine in any era. -Harry Painter

51. Local Natives – Gorilla Manor

This record is a paradigm of artistic collaboration, with the band members sharing creative duties on nearly every aspect of its formation. The resulting indie smorgasbord is alive with ethereal tones and charging rhythms that expose impressive craft for a young debut. Simply masterful harmonies reflect on lost family members and European excursions from an almost Keatsian perspective. Gorilla Manor reveals a group so talented and thoughtful, you’ll wish you’d spent time in the house of the title, waxing poetic about past loves and future possibilities. -Ben Kaye

50. Hans Zimmer & Johnny Marr – Inception: Original Motion Picture Score

Equal parts Bernard Hermann and Elliot Goldenthal, Hans Zimmer and Johnny Marr‘s encapsulating score to this summer’s strongest film, Inception, echoes of sleek, silver-lined decadence. From the strictly lucid start (“Half Remembered Dream”) to the heart-thudding finale (“Time”), it’s easy to understand why the film lingers in people’s minds, even five months later. In a recent episode of South Park which parodied Christopher Nolan’s film, one of the characters starts mimicking the score in the corner of a room. It’s an incredibly coarse imitation, but the score’s become so iconic and memorable that it’s impossible to be lost on the joke. That says something. It also means South Park‘s reaching pretty far these days. Sheesh. -Michael Roffman

49. Mavis Staples – You Are Not Alone

Mavis Staples‘ album You Are Not Alone, recorded with Jeff Tweedy, is everything it should be — an amazing showcase of both talents. The title track is a gorgeous ballad written by Tweedy and expertly sung by the soul legend. The disc also includes a series of amazing gospel tunes. This is the roots album cure for “too much T-Bone Burnett”-itis, and it’s a pure delight to listen to from front to back. -Evan Minsker

48. Jukebox The Ghost – Everything Under the Sun

Prog rock is a wasteland of complicated musical creations built for boys. However, thanks to the infusion of happy, piano-powered rock and lyrical sentiments about life as a 20-something on Everything Under the Sun, Jukebox the Ghost found an oasis in the grandiose sound for anyone to come and drink of the sweet water of frenetic, overjoyed pop rock. And, oh, how sweet it tasted. -Chris Coplan

47. Frog Eyes – Paul’s Tomb: A Triumph

Paul’s Tomb is the definition of the word epic. Carey Mercer’s already acrobatic, wild voice has an added growl to it, another trick to add to his repertoire. The fuzzed out, clanging guitar that opens the album on “Flower in a Glove” is the standard-bearer of the pomp and destruction within. Drummer Melanie Campbell’s maniacal thumping and guitarist Ryan Beattie’s lightning-bolt stabs lend tracks like the concussive “The Sensitive Girls” and the expansive title track a conquering air. Mercer’s songwriting just keeps getting stronger, tighter, more insular, and more powerful. -Adam Kivel

46. Foals – Total Life Forever

Foals‘ 2008 release, Antidotes, revealed a debut full of rapid percussion, rhythmic guitars, melancholy, and, interestingly enough, an undeniable urge to dance. Two years later, Foals have returned with Total Life Forever, grown and matured. Vocals receive more of a focus in this second outing, and as opposed to competing with entrancing rhythms and guitar, they work together superbly. Furthermore, instead of giving us the beat up front, “Spanish Sahara” and “Blue Blood” make us earn it — and we love every second of it. Sporadic touches of funk bring to life tracks such as “Miami”, the juxtaposition of styles truly allowing both to shine. Each song is markedly different, yet Total Life Forever fits together seamlessly to create a thoroughly engaging, enjoyable record; hopefully this is indicative of future releases from this young band. -Caitlin Meyer

45. Linkin Park – A Thousand Suns

Before its release, Mike Shinoda described A Thousand Suns as genre-busting. It doesn’t quite reach that level, but it does blow away any restraints on what Linkin Park could be. This is not the same band that showed up 10 years ago as part of the nu-metal movement. Instead, A Thousand Suns features a more mature, experimental Linkin Park, one that took the best parts of their first three albums and threw them into a blender with Pro Tools. After two and a half albums of screaming lyrics about his own life, singer Chester Bennington has joined Shinoda in looking outwards. The band really stepped up their game for this one, making a statement loud and clear — they’re going to make the music they want and they’re here to stay. -Joe Marvilli

44. Warpaint – The Fool

Warpaint was subject to some sudden focus this year thanks to the band’s live performances of tracks from its still unreleased debut full-length album, The Fool, so its October release elicited unfounded worries of sucktitude. Needless to say, it did not suck; In fact, it’s safe to say this was the best debut album by an all-female indie rock quartet this year. Heh, kidding. But while Emily Kokal’s voice borders on whiny at times, The Fool is every bit the brooding art rock gem that tourmates The xx’s debut was in 2009, and Warpaint will likely have similar overbearing pressure to follow it up. -Harry Painter

43. Laura Marling - I Speak Because I Can

I Speak Because I Can is a record that impacts immediately, yet has such depth that you grow fonder of it over time. It marks a true coming of age as Laura Marling goes beyond cataloging the trials of young love and speaks maturely as she explores the roles and responsibilities of full womanhood. The quality of the songwriting is astonishing, as traditional folk sensibilities are seamlessly worked into a modern thesis. Musically, the songs are subtly embellished, yet space is left for Marling’s exceptional vocals to rule. -Tony Hardy

42. Wolf Parade – Expo 86

Recently, Wolf Parade concluded a Toronto performance with the announcement of the group’s indefinite hiatus. With the sheer energy and masterful avant-pop of Expo 86, I doubt many people saw it coming. On their latest — and potentially last — outing, Krug, Boeckner, and the rest of the pack have created yet another collection of songs bursting at the seams with the coked out, danceable gloss of glam, the intricate song structures of prog, the quickfire licking of math, and the catchy synths of electro. If they are indeed signing off, they bow out with the utmost grace. -Drew Litowitz

41. Kylesa – Spiral Shadow

To consider an intersection between mathcore, punk, and metal is to define the very essence of “heavy.” Kylesa is a pulsating breed of sophisticated, a haunting juggernaut on the verge of scaring you senseless, and 2010′s Spiral Shadow fleshes them out completely. Think you’ve heard everything? Give standouts like “Drop Out” and the title track a try, and whisper, “There’s no place like home.” -David Buchanan

40. Grinderman – Grinderman 2

Nick Cave has always been a badass. For years now, he has been pumping out dark and terrifying rock, and his new outfit, Grinderman, has continued the assault with reckless abandon. Their sophomore album, Grinderman 2, took a bit of a more psychedelic turn, but still was able to creep you out and make you want to thrash all over the damn place. With strong lead singles “Heathen Child” and “Mickey Mouse and The Good-bye Man”, Grinderman 2 punched you in the throat, picked you up, did it again, and then you still came back and asked for more. As elder statesmen, Cave and his bandmates continue to push forward and keep consistent, where bands half their age falter and stumble under the pressure. -Nick Freed

39. Dr. Dog – Shame, Shame

Dr. Dog is part of the modern cache of bands that have spent quite some time perfecting its craft. What once was a band of dual personalities finally came together on Shame, Shame. Combining the styles of Scott McMicken and Toby Leaman, the album gives the band one sound meshing McMicken’s Beatles style pop rock with Leaman’s bluesy growl. The harmonies are flawless, and the song writing certainly has its moments of genius. This isn’t anything new for Dr. Dog however, this is just how they’ve always make records. -E.N. May

38. Broken Social Scene – Forgiveness Rock Record

Nary a moment of bloat during its 63 minutes, Broken Social Scene’s fourth album is a joyfully poignant, slow-burning collection of indie pop and post-rock anthems. More cohesive and less chaotic than in the past, the Canadian supergroup continues to epitomize the indie rock collective ideal with the special guest-laden Forgiveness Rock Record. It may have been five long years since their last album, but Forgiveness Rock Record was worth the wait. -Frank Mojica

37. No Age – Everything in Between

The duo that is No Age made one of the most sonically interesting records of the year with their third album, Everything in Between. The drumming builds and builds throughout every song, while the guitar work sounds totally unique. The opener, “Life Prowler”, is a fine example, with guitar loops building upon and crushing one another, all as the drums set the mood. There’s also plenty of punk shredding, with tracks like “Fever Dreaming”, “Shred and Transcend” (which comes complete with whaling feedback), and the despair of “Valley Hump Crash”. But at the same time, there is plenty of artistic instrumental work with tracks like the longing “Positive Amputation”, the choppy “Dusted”, and the constant aural change of “Chem Trails”, a finale that will keep this album on your stereo for weeks to come. -Ted Maider

36. Eminem – Recovery

After a couple of confusing and aggravating releases, Eminem returned this year to release Recovery, and the title could not be more fitting. He kicked his drug addictions, ditched the annoying voice impersonations, and put his focus back on creating witty, quick, and hilarious rhymes, all while producing his best album since 2002’s The Eminem Show. The inspiring single “Not Afraid” and the Rihanna featuring “Love the Way You Lie” both spent multiple weeks at number one. Not only did this release bring Marshall Mathers back into the spotlight, it also revitalized a gifted artist who had lost his ways for years. It’s safe to say, Eminem has truly recovered. -Kevin Barber

35. Free Energy - Stuck on Nothing

In the opening moments of Stuck On Nothing, lead singer Paul Sprangers optimistically affirms “we’re gonna start a new life, see how it goes.” It’s a fitting allusion to a new musical beginning for a band that formed out of the ashes of Minneapolis rockers Hockey Night. But if Free Energy is an attempt at rock and roll redemption, it appears, then, that this Philadelphia-based quintet has grabbed their second chance by the horns. Stuck on Nothing offers ten throwback songs of freewheeling 70’s-influenced rock seemingly posed to force its way into the ranks of today’s great bar-rock bands. -Max Blau

34. Owen Pallett – Heartland

Trading the Final Fantasy moniker for his birth name, Owen Pallett has fully come into his own with Heartland. Incredibly intricate string arrangements, dynamic and compelling in their own right, nicely complement Pallett’s vocals, syncopated rhythms and synths bouncing between headphones. All of these result in a beautifully complete, complex album, perhaps Pallett’s most accessible work to date. The album is a story, but also a study in song construction and pop perfection. The masterful “Lewis Takes Off His Shirt” epitomizes the strengths of Heartland, with upbeat percussion, full orchestral crescendoing, and a triumphant repetition of “I’m never gonna give it to you”, which, like the rest of the album, keeps toes tapping and humming going for hours after listening. -Caitlin Meyer

33. Jason Boesel – Hustler’s Son

As the drummer for indie rock darling Rilo Kiley, Jason Boesel has spent his time making albums that flirted with a kind of country, folk-y feel. For his debut solo effort, though, Boesel dives head first into the heartache like a modern day Kris Kristofferson or Don Henley, living life in the desert and recounting every painful scar on his acoustic guitar. Jenny Lewis had Johnny, but Boesel’s debut shows there’s life outside RK. -Chris Coplan

32. Ted Leo & The Pharmacists – The Brutalist Bricks

It’s easy to forget that Ted Leo was once a mainstay of hardcore music. The energy on The Brutalist Bricks reminds us of Leo’s punk past while maintaining the diverse style that’s made him legendary. On the opening track, “The Mighty Sparrow”, Leo declares that he’s “coming to” and, although this track is classic Leo, that is how the remainder of the album feels, like a reawakening. Lately, the vocalist has expressed his frustration with the music industry and, more specifically, his own career. Perhaps that’s where the sense of urgency heard in this album comes from. Regardless of its source, it is certainly welcome. -Michael Cromwell

31. Sufjan Stevens - The Age of Adz

Fuck the 50 States. The Age of Adz, while not as consistent or unanimously life-altering as 2005′s obvious opus Illinois, is an even more important album for Sufjan Stevens. Side-stepping a musical identity crisis (in which he questioned the entire point of releasing another album), Stevens does the long player another service, indulging up to his eyeballs in auto-tune, analog synths, and a boatload of brass and woodwinds. “Fucking around” never sounded so good. -Ryan Reed

30. OK Go – Of The Blue Colour Of The Sky

With Of the Blue Colour of the Sky, OK Go have become something so much more than Internet video darlings. True, they’re still pulling out all the stops with their visual accompaniment, but musically, they’ve evolved into so much more. Of the Blue Colour of the Sky is pure art rock – fun, soulful, funky, with just enough cynicism to keep things raw. Their matured sound is built on the backs of greats like The Pixies, Talking Heads, and Prince, but ultimately the sound is their own, and OK Go have now joined their ranks. Between the album, the videos, forming their own label, and endless hi-jinks both on the road and at cutting-edge arts festivals, 2010 has proven that OK Go are true musical artists. -Cap Blackard

29. Deerhunter – Halcyon Digest

Halcyon Digest isn’t the album Deerhunter will be remembered for—that award goes to 2008′s Microcastle, which immediately usurped its widespread acclaim with bold, surprisingly direct soundscapes and a handful of hooky anthems, downplaying the raw experimentation of their previous work. Halcyon Digest is ultimately more of the same: focused instrumental textures, headphone engulfing production, and occasionally accessible melodies. So while it doesn’t arrive with such a resounding jolt as Microcastle, the quality of the songs proves it to be well more than a step sideways. Working with producer Ben Allen (who helped introduce Animal Collective to this pesky thing called “bass” on Merriweather Post Pavilion), Deerhunter creates a slightly more reserved album, casually revealing its gently crafted charms over time. From the crawling, minimalist psychedelia of opener “Earthquake” to the collage of borderline tribal rhythms in the euphoric closer “He Would Have Laughed” (a dedication to recently deceased comrade Jay Reatard), Halcyon Digest is built for the long haul, their most consistently compelling collection yet. -Ryan Reed

28. The Black Keys – Brothers

Thanks to Brothers, it’s obvious now how much working with Danger Mouse has had an effect on The Black Keys‘ songwriting. Their debut record, The Big Come Up, rose straight from the wax of Junior Kimbrough, weathered and distorted as Dan Auerbach piped his delta blues revival through a beat up bass amp. It’s been a long time since the blues sounded that heavy. That was 2002, and over the past eight years the duo that is The Black Keys have evolved from a two man blues band into a pop rock band with soul. Brothers is the culmination of that evolution, taking what they started with on Attack and Release and finishing it. Now they are as far removed from the garage rock scene as it gets, yet The Black Keys remain exactly who they were from the beginning: a couple of guys obsessed with the blues. From the start, “Everlasting Light” is full of that dug up soul sound, doo-wop back up singers and all. The crunchy guitar and heavy blues riffs remain constant. Added instruments on “The Only One” and “Never Gunna Give You Up” turn The Keys into an R&B band. This move to broaden their sound was exactly what the band needed, and Brothers makes it sound effortless. That’s what made this record great, and it’s what will keep The Black Keys that way into the future. -E.N. May

27. Best Coast – Crazy for You

I saw posters for this album long before I ever heard it, and the artwork made me assume it to be silly. But it’s not silly; It’s sort of joyful in that little kid way that makes you want to color outside the lines. Best Coast combined Kim Deal’s voice and the Beach Boys’ musical chops to create Crazy for You, one of the best half-hours/catchiest indie records of the year. Tracks like “Boyfriend”, “Goodbye”, “Happy”, and “When the Sun Don’t Shine” stick in your brain on repeat with their catchy chords and simple lyrics. It’s fun when it’s easy to sing along. Meanwhile, there are more mood altering numbers, like the longing “Summer Mood”, the grungy snarl of “Bratty B”, and the despair of “Honey”, the longest track on the album, which barely cracks three minutes. If you’re lucky, you got the bonus track, “When I’m With You”, a catchy 50s style tune that will play in your stereo for days. Basically, this album was an enjoyable and simplistic breeze; It lasted a second, but left a positive impression. -Ted Maider

26. Les Savy Fav – Root For Ruin

With labels like post-hardcore and art rock attached, you’d expect something loud and stuffy from the likes of Les Savy Fav. However, for the band’s fifth studio album, and the first since 2007′s Let’s Stay Friends, the NYC-based indie rock outfit takes itself less than serious, crafting an album full of sarcasm and a sense of humor. Doing away with a lot of their previous effort’s aims to expand musically, the group have opted instead to make a straight-forward rock album. The record’s comfortable feel stems from the act finally reaching a happy place regarding their sound, free of the demands of innovation and able to truly take advantage of that frenetic, sweaty vibe that hangs over a lot of its live shows. The ragged sensibilities that the band had held on to for much of its existence also seemingly soften, without coming off as the band giving up or losing their edge. And that ain’t no joke. -Chris Coplan

25. Neil Young – Le Noise

In the past 20 years, Neil Young has done work that’s been less than thrilling. There were some total jams on Fork In The Road, but come on, an entire album about an electric car? That’s why Le Noise, Neil’s atmospheric opus helmed by Daniel Lanois, was such a delight. “Walk With Me” and “Hitchhiker” anchor the album with boisterous, barking autobiography. “Angry World” gets into that whole political thing, but this time, it’s not as preachy as it was on Living With War, or in his documentary CSNY: Deja Vu. And to top it all off, Lanois adds this sonic atmosphere that’s absolutely entrancing. It’s one of Young’s best in recent memory and it competes with some of his best from his heyday. -Evan Minsker

24. Joanna Newsom - Have One On Me

A good portion of listeners who have given Have One on Me a spin have surely given up mid-rotation. A member of this group might be a guy who normally listens to, you know, all the stuff other hip dudes listen to these days — The National, Arcade Fire, LCD Soundsystem, Kanyizzle. So, as our imaginary hip listener browses the tubes for music news throughout the year, he undoubtedly comes across Joanna Newsom enough times to pique his curiosity — Who the hell is she and what’s so good about her? And what the fuck has she done to deserve a tribute album? Our friend hits up Grooveshark, finds Newsom’s new album, assuming he’ll love it, and after three or four songs, is confused, angry, bored out of his mind, or all three.

It’s not easy music, and there are no easy answers to our hero’s questions. We’re talking about a dolphin-voiced harpist from an inconsequential town in Northern California who has put out three albums of sleepy, almost nauseatingly pretty harp tunes, and this time around she’s given us two hours and 18 tracks that often clock in around 10 minutes (and this is supposed to be her accessible album!). Not exactly a recipe for popular approval, but we’re largely not talking about a work of pop music; We’re talking about a work of anti-pop that makes Björk sound like Britney. This is no criticism of Björk, of course; It’s simply to say that in a still rock-dominated world, Newsom has made it (sort of) big ignoring everything that goes into the conventional rock formula. The result is not something to bob your head to as much as gape in awe at. If Have One on Me is the peak of her creativity, she should not feel shame. -Harry Painter

23. Wavves – King of the Beach

While Astro Coast may have the upperhand thanks to less gimmickry, there’s no denying the fact that the super baked music of Wavves belongs toward the top of the list thanks to one simple fact: it isn’t Wavvves. Unlike the previous LP, and thanks to the inclusion of the former backing band of Jay Reatard, the project of Nathan Williams became more than just a stoner in his basement making the most unrefined, nihilistic fuzz rock; It became a real band. The album saw the addition of more complicated musical constructions, songs with more subtlety, chord progressions, melody, varied speeds, and a range of influences from ska to punk to doo wop, all without losing Wavves’ sense of dread and stripped-to-the-core sound. As a lyricist, in front of new band members Stephen Pope and Billy Hayes, Williams grew by leaps and bounds, leaving behind some of the trademark anti-social tendencies to talk about love and growing up, once again without losing the minimalism the band was known for. No other follow-up album from a band was so vastly different and yet so unbelievably familiar than Wavves’ third offering. Not bad for a guy who was probably stoned out of his gourd 90% of the time. -Chris Coplan

22. Deftones – Diamond Eyes

In 2008, the Deftones had been in the middle of writing Eros, their highly-anticipated follow-up to the underrated experimental album Saturday Night Wrist, when bassist Chi Cheng was involved in a tragic car accident. Eros was halted indefinitely while the band had the difficult decision of what to do next – disband in honor of the critically injured Cheng, or continue doing what they do best: making music. The Deftones ended up soldiering on and recorded Diamond Eyes, and we’re glad they did. The result is one of the best rock albums of the year. From the crunchy, melodic waves of the opening title track and the angry, demanding ride of “Cmnd/Ctrl”, to the intense urgency of “Rocket Skates” and the beautifully written push and pull of “Risk”, there isn’t a weak track to be found. The haunting notes and Chino Moreno’s stirring vocals on the last track “This Place is Death” is the perfect closer to an emotional ride. This album is what the Deftones are all about. It may not be too brave in the sense of musical deviation, but the fact that the Deftones were able to put out such an undeniably solid album in the wake of tragedy shows the band’s braveness in a different way. Cheng would be proud. -Karina Halle

21. Janelle Monáe – The ArchAndroid

Following up on her initial plans to create a comprehensive piece of work based on her alter ego in a science fiction universe, Janelle Monáe celebrate 2010 with one of the year’s quirkiest and most listen-able albums. Utilizing the friendships she’d made over the past few years (namely Big Boi, Diddy, and of Montreal), Monáe dropped her much anticipated debut, The ArchAndroid, to universal critical praise. Her album sits at the number three position for the year on critical aggregating website metacritic, behind only Bruce Springsteen and Kanye West. Not bad for a debut. But all things considered, it makes absolute sense. Her off-the-wall themes, impressive lyricism, tight musicianship, and even more impressive vocal capability all exceed the mark on this release. What’s more, to do it all on an R&B concept album (very few of those, historically) that can be performed live is more than noteworthy. Her live show (which opened for of Montreal this summer/fall) may be the only thing that exceeds the glory of the studio recording itself. Monáe has always sworn by the free-thinking mentality, and given her successes thus far, the only way up for Miss Monáe is up. It’s a career that we’ll all have our eyes on closely, and we advise you do the same. -Winston Robbins

20. Hot Chip – One Life Stand

Live energy is a powerful ally, but when you can harness that into studio form, it speaks volumes. Hot Chip remains wildly present here on One Life Stand, a record that feels louder, cleaner, and sharper than anything I’ve heard from the band previously. Whether it’s on the discotheque-inspired “We Have Love”, “I Feel Better” meets evangelical “Brothers”, the tongue-in-cheek malaise of “Thieves In The Night”, or the classy jangle of “Hand Me Down Your Love”,  One Life Stand‘s final product feels ready to take on every nightclub in the 50 states, and then some (not to mention the band’s creative lead in music videos to rival OK Go).

Having a lead singer who looks like Wayne Coyne on a techno beat with the classiest lounge/electro band at his side doesn’t hurt, either. -David Buchanan

19. Robyn - Body Talk

It’s easy to give pop music nowadays a bad rap. A lot of it is watered down and derivative, produced as if it were processed by a mainstream Hits Factory. That doesn’t mean, however, that pop music has to be ignored, and we’re not talking about poppy indie music. Yes, uber saccharine, top 40 music can be just as important and vital as any Arcade Fire LP. That is, of course, if and only if it comes from Swedish songbird Robyn. With two releases toward the beginning of the year, the aptly-titled Body Talk Pt. 1 and Body Talk Pt. 2 combined to make Body Talk toward the end of the year, Robyn has made pop music light and airy, full of nymphomaniacal sex appeal, loneliness, and devastation, all with a beat that demands to be moved to. Unlike other pop vixens, the transition from heart-wrenching ballads crying out for a lost love to hyper-sexualized gimmicks involving ripped pantyhose don’t feel quite as artificial. Robyn has mastered the art of being seemingly invulnerable, a disco valkyrie, still damaged and open, picking and choosing moments of depth as she pleases, readily tossing them aside for frivolity at a moment’s notice. There’s a lot, emotionally, throughout the course of the collected songs, but one thing’s for sure: it’s all fucking real. -Chris Coplan

18. Big Boi – Sir Lucious Leftfoot

A lot of things could have happened with Sir Lucious Left Foot:The Son of Chico Dusty. Big Boi could have fallen into the trap of unnecessary, lackluster collaborations with every name in the game. He could have ended up with the auto-tuned, kick drummed, drug-ridden monotony that plagues today’s generic rap. He could have eulogized the Outkast days. None of these scenarios knows Big Boi.

Instead, we’re given “one half of the Outkast return like ghost of Christmas past”, 80′s synths, stellar guest appearances, and an album that is, seriously, so fresh and so clean. His clever verses paired alongside excellent production make you want to put it on repeat for hours at a time. Each song offers something different, keeping Sir Lucious a constantly engaging listening experience. Dancing to “Shutterbugg”, driving to “General Patton” with full bass, going out to “Tangerine” — there’s a little bit of everything and it’s all executed masterfully. Even the questionable components of the album, such as Vonnegutt’s chorus on “Follow Me” or Yelawolf’s appearance on “You Ain’t No DJ” are quickly countered, respectively, by layered, irresistible synths and Big Boi’s refrain and killer beat. For a man who has been in the game for so long, with Sir Lucious Left Foot, Big Boi has once again seduced us with something new and potent. -Caitlin Meyer

17. LCD Soundsystem - This is Happening

While it will be extremely difficult, if not impossible, for James Murphy to top “All My Friends” on any given individual track, he doesn’t have to on This Is Happening. If cohesive albums are the measure, then the third time’s a charm for LCD Soundsystem. The group has demonstrated their versatility throughout their career, ranging from disco-punk to sprawling anthems and everything in between. But This Is Happening brings it all together into one fluid masterpiece. “Dance Yrself Clean” blows the doors open with a dynamic nine-minute entrance, while “Drunk Girls” brashly maintains their sardonic perspective. “I Can Change” showcases LCD Soundsystem at the most sentimental, and “Home” closes shop with Murphy’s nod to The Talking Heads’ “This Must Be The Place (Naïve Melody)”. LCD Soundsystem has visited all these places at one point or another, but This Is Happening brings it together like never before. -Max Blau

16. Yeasayer – Odd Blood

2010 was a big year for a lot of bands. It was the year to put up or shut up, and for Yeasayer, well, it was us that shut up. Odd Blood is a new beginning for the band, one that scrapped any notion of who they were and shifted the focus to who they could be. It was exciting and very fresh; Peter Gabriel should be proud. They switched from a loser jammy bohemian sound to tightly constructed electro-jams, ditching most of the traditional instruments for computer programs and other electronics. It worked so well, but only because they kept their original essence found on their debut All Hour Cymbals that got them noticed in the first place: a free form feel that, no matter how carefully constructed the song actually may be, the ideas still feel natural and freaky. Chris Keating and Anand Wilder sound amazing on the bohemian disco track “O.N.E”, with Keating, at four and a half minutes in, providing the band’s first big dance hook. The Prince style funk of “Mondegreen” is an energized, sexualized romp with its horn section and sleazy guitar solo. All the tracks are exercises in vocal gymnastics as well, and as we hear on “Madder Red”, they nail every move. It was one of the first hyped records, and now at year’s end, it has more than proven itself worthy of a year’s worth of spins with many more to come. -E.N. May

15. The Dead Weather – Sea of Cowards

The Dead Weather‘s followup to their 2009 debut, Horehound, took Jack White and Allison Mosshart’s “Evil Twin” relationship and ramped it up a few notches. If they were a playful duo before, in Sea of Cowards they’re skirting the edges of madness together, egging each other on in a slinky showdown that’s dramatized by the album’s schizophrenic mix of blues, soul, and psychedelic rock. The album kicks off with the throbbing grooves and twang of “Blue Blood Blues”, while White sings “shake your hips like battleships”. The album moves on to the dark and vibrating single “The Difference Between Us” and the disorienting thump of the psychotically-tinged “I’m Mad”, where Mosshart gets to show off her convincing cackle. The dizzying showdown culminates with the quickly rattled fuzz of “Jawbreaker” and the haunting “Old Mary”, a track that closes the album with a sense of unease and claustrophobia. At times during Cowards you can’t even tell which one of the two is singing (or yelping or snarling), which makes you wonder if they are indeed mirrors of each other or perhaps two people in one, battling to rise above the fury. If anyone walks away a winner though, it’s the listener, for having heard one of the most interesting and defiant rock albums of 2010. -Karina Halle

14. The Tallest Man on Earth – The Wild Hunt

Inherently, achieving notable differentiation within folk music is pretty difficult. The idea is that this music is for the folk by the folk, so, virtually anybody can play it. Thus, while a lot of the genre’s sounds are beautiful, passionate, and authentic, innovation–especially aesthetic in nature–tends to contradict the genre’s very basis. That’s where wailing Swede Kristian Matsson, better known as The Tallest Man on Earth, comes in. His innovation shines through his stunning songcraft, a style that feels at once familiarly folked-up and almost entirely novel. Over frenetically masterful acoustic fingerpick/strum combinations, Matsson’s hair-raising vocals borrow from Dylan as much as they do contemporary pop, R&B, and pretty much everything else. On The Wild Hunt, his voice soars even higher and cuts even further into his impeccable fingerwork. The record comes off like a collection of brilliant, but undiscovered pop songs, found and reworked by an incredibly gifted folk singer so that they suit the genre. As the record progresses, Matsson’s gravelly voice gallops through vivid metaphorical imagery, expressing some of the most complex of human emotions beautifully, passionately, and, of course, authentically. -Drew Litowitz

13. Surfer Blood – Astro Coast

I’ve said it before and I’ll say it again: 2010 is the year of surf rock. No other sub-genre had as much impact and appeal within the indie rock community than the uber sweet lyrics and jangly guitar sound of surf rock. Countless acts took the lo-fi blast of sonic destruction that was so big in 2009 and infused within it the feel-good vibes of youthful abandonment and heartache. But while Wavves was busy blowing people’s minds with noise and melodies, and Best Coast was making us sullen with her Sixteen Candles-esque feelings of girly forlorn, Surfer Blood was one of the first acts of the year to show the power of the genreitself. Done without quite as many gimmicks and substantially less sunshine, Astro Coast is the angry, witty brainchild of a group of lads reared on the Pixies, pop culture, and a love of the very basic framework of surf rock, adorned with the trappings of worldly influences, lyrical maturity without losing the heartache, and a dash of much-needed oomph. With the band recently signed to Warner Bros., it’s clear that their kind of music was the big kahuna in an ocean of seemingly-identical competitors. -Chris Coplan

12. Devo – Something for Everybody

It’s hard to believe that Devo had not released an album since 1990’s Smooth Noodle Maps, a mediocre album at best that left a bleh taste in the mouths of Devo fans around the world, leaving us longing for another Freedom of Choice. When word came down that the boys had recorded a new album, needless to say, I was not thrilled. I half expected some regurgitated retro mess of new wave synthesizer sounds buzzing chaotically, or, at best, a once great band trying to re-capture some element of its previous grandeur. I was wrong. Completely and totally wrong. The album begins with a hard driving synth-drum combo and, immediately Devo takes off as if 1986-2009 never happened (or hadn’t happened yet). The opener, “Fresh”, and the following number “What We Do” are somewhat autobiographical with lines like “So fresh, it’s giving me a second life” and “What we do, is what we do, it’s all the same, there’s nothing new.” As the album plays out, it becomes pretty obvious that Devo are being Devo. They haven’t changed anything of what they do, other than perhaps using a more contemporary means of production and recording. Devo looked at what worked for them, went back and created an album that could fit perfectly within the frames of Freedom of Choice and New Traditionalists, all while maintaining a relevance to today’s audience. In a decade marked by a resurgence of sounds from the 80s and the new wave movement in particular, I find it most appropriate that the decade ends with a release from a band that was in part responsible for the stereotypical sounds of the era. -Len Comaratta

11. Sleigh Bells – Treats

A lot of bands broke new ground 2010, but Treats was the golden shovel. How can this album sound like everything you’ve ever heard and alternately like nothing you’ve ever heard? It’s a noisy, hooky, abrasive 35-minute ride fit for everything from impressing your metal friends to en bloc blackout nights at the club. So many bands make their two-person rock duo sound broken and cheap, but Sleigh Bells carve their sound from the richest and purest of elements, creating perfect gems. Opener “Tell ‘Em” is their ubiquitous standard-bearer, “Rill Rill” shows they can craft a pop hook fit for tween television, and “Infinity Guitars” may contain the most rocking moment of the year in its final verse. Alexis Krauss and Derick Miller find success with their vulgar production and copious use of lyrical repetition, blurring the line between dance and metal. Krauss’ vocals are just as unpredictable as Miller’s guitar work. Will she be cooing, rapping, or letting out a banshee scream? Will he be shredding, synth-ing, or letting out a banshee scream? And did I mention all of the hooks? -Jeremy Larson

10. The Roots - How I Got Over

In a year of gigantic hip-hop releases from the likes of newcomers Drake and Nicki Minaj and heavyweights Big Boi and Eminem, The Roots‘ ninth LP is easily the one that came in under the radar of many fans and industry insiders. Despite the lack of comparative buzz, the album easily out-punches its competitors. Full of technical skill thanks to ?uestlove and the band, the rhymes of Black Thought and guest MCs like Dice Raw get a high-energy, live feel that adds a bright sheen to the dreary rhymes about everything from religious experiences to life in the street and on the grind. With heavy, heavy influences of soul (especially with the addition of John Legend), blues, and even funk, the album hits the standard benchmarks of black music while experimenting with indie elements, thanks to cameos by Jim James and Joanna Newsom. No other hip-hop release had as much sonic diversity, production value, innovation, lyrical depth, or catchiness as How I Got Over. Plus, it wasn’t even the band’s only release of the year. Apparently, hard work is the answer for getting over. -Chris Coplan

09. Jónsi – Go

What’s gotten into Jónsi over the past few years? As frontman for critically lauded Icelandic art-rock giants Sigur Rós, he’s layered his angelic falsetto into some of the most majestic, transportive tunes of the decade. But for all the weeping audiences and descriptions like “god weeping tears of gold in heaven,” Jónsi and company have never exactly been known for their good humor. That is, until 2008′s Með suð í eyrum við spilum endalaust, their most accessible, upbeat release to date, with a handful of legitimate pop songs (and even one minor toe-dip into English lyrics).

Go marks Jónsi’s first adventure into solo material, and it’s an actual adventure. The last Sigur Rós record was just a preview of the sonic carpe diem explosion that weaves its wondrous way throughout these nine tracks. Working with arranger extraordinaire Nico Muhly, boyfriend/multi-instrumentalist Alex Somers, and Swedish percussionist Samuli Kosminen (aka unexpected God of Drums), Jónsi creates a musical landscape of truly unlimited possibilities. In the sort-of title track “Go Do”, he sounds positively enthralled in the sounds and feelings, his childlike plea surging over a flurry of woodwinds and tidal wave percussion: “We should always know that we can do anything!” On his excellent debut, he pretty much does. -Ryan Reed

08. Flying Lotus – Cosmogramma

According to Steve Ellison, or Flying Lotus, cosmogramma is the relationship between the universe and the hereafter– heaven and hell. It’s a cosmic drama. It’s something he learned from his great aunt, Alice Coltrane, and his relationship with the space-jazz queen comes across on Cosmogramma, which, as he says, sounds like a cosmic drama. It’s a mostly-instrumental album with a pointed soundscape, but with a lot of different sounds– glitches, clicks, drums, weird voice samples, scat, horns, and beats, to name a few. Cosmogramma sounds like an adventure, a love story, a drama– an epic. Sure, it could be called “trippy,” but it’s so much more than that. It’s an album that creates its own universe without needing to bother telling a story.

The supporting cast of the album only adds to the drama: the jazz tinges of Ravi Coltrane’s horns, Thundercat’s bass, Laura Darlington’s smokey vocals, and Thom Yorke’s album-stealing guest shot on “…And The World Laughs With You”. But the star here is obviously Ellison, whose work hearkens back to those “Space Is the Place” jazz days of the ’70s (there are songs on here called “Arkestry”, “Satelllliiiiiteee”, and “Galaxy in Janaki”) while maintaining its own post-Dilla vibe. This isn’t an album to be used as incidental music at a gallery or in the kitchen– this is an album to really get lost in. -Evan Minsker

07. Beach House – Teen Dream

Look at how far Beach House has come between over the past two years. Devotion was bleak, lonely and mysteriously beautiful, hazily drifting from song to song. Melancholic? No question. Beautiful? Definitely. But it lacked purpose. On their third record, Teen Dream, lead singer Victoria Legrand and guitarist Alex Scally found the resolve that was lacking throughout Devotion on both a lyrical and musical level. This time around, Beach House finally peaked outside the constraining doors of their bedroom dream-pop, awakening from the demons haunting them throughout their earlier work. In doing this, Teen Dream makes a subtle, yet pivotal progression.

Legrand’s serene voice has always remained the focal point of Beach House. That’s still the case on Teen Dream, but the pieces have come together around her to round everything out. Scally’s layered guitars no longer exist as background accompaniments, instead providing prominent staples of their wearily drifting warmth. The slide guitar acts as an equal counterpart to Legrand’s heartrending croon on “Silver Soul”, while Scally also places his musical fingerprints all over “Norway”. More importantly, acoustic percussion has largely replaced the lo-fi drum machines of Beach House’s past, a change evident from the first moments of the album opener “Zebra, a track laced with shimmering, crashing cymbals and timely syncopation. All the pieces come together gloriously on “10 Mile Stereo”, as Beach House awakens from its customary dreaminess, ascending into an astounding climax that stands as their finest work to date. For a band previously known for their minimal, lo-fi dream pop, Teen Dream represents one gigantic step forward. -Max Blau

06. The National – High Violet

Perfection is a dangerous word to use when it comes to something as subjective as music. When you say an album or song is perfect, you’re just asking for a fight. Well, you know what? Bring it on. To me, High Violet is a perfect album from beginning to end. The National have been building towards this moment for a long time, ever since they broke through with Alligator. While both that record and Boxer are incredible, their latest effort distills the band’s formula into its most essential state. The 11 tracks within use every trick the group has shown us before, plus some new ones thrown in for good measure. For one thing, it gains so much power in its restraint. There’s nothing as aggressive as “Abel” or as straight-forward as the chorus of “Fake Empire”. Instead, all the emotion is barely kept hidden behind the curtain, until those moments when the band does cut loose, when it floors you.

Most people have probably heard the big songs like “Terrible Love” and “Bloodbuzz Ohio”, but the deeper cuts are what hold the album together. Listen to the grinding guitar in “Little Faith”. Hear how Matt Berninger gradually loses control as he coughs out the ending of “Afraid of Everyone”. The piano from “England” takes you down the Thames on a gentle, rainy day. As for “Conversation 16”, hell, just take in everything that the track has to offer. You’ll be hard-pressed to find many other albums that are as strong from front to back as High Violet. It’s beautifully fragile, lyrically haunting, and musically ambitious throughout every second. There’s only one word that comes to mind for an album like this. Perfect. -Joe Marvilli

05. Titus Andronicus – The Monitor

An important thing: this album isn’t about The American Civil War. I mean, no more than Julius Caesar is about The Liberators civil war in 42 B.C. Rome. Shakespeare wrote Julius Caesar in anticipation of the growing Protestant/Catholic tensions arising from Queen Elizabeth’s frequent capping of Protestants. Titus Andronicus and their poet laureate Patrick Stickles aren’t interested in telling you the tale of the famous ship the album gets its title after. There are more important matters at hand, both micro and macro. There are binary relationships and post-modern nihilist philosophy, Bret Easton Ellis and Bruce Springsteen, whiskey and cigarettes, punk and rock & roll, and the pursuit of the American dream in a place so absurd as America.

What The Monitor is is a kind of punk manifesto. At its most extroverted, there are rallies around the flag, cries of unity against “them,” and two warnings as to the ubiquity of the enemy. Conversely, the album revels in public solitude, as Stickles continually airs his personal grievances. But even at its most introverted, the album reaches out to the listener by ripping pages out of music’s greatest books. A chapter from The Boss, a little Pogues, and some Minor Threat all build the pretense that The Monitor is just one shout chorus after another, but underneath it’s a meticulous and existential look at our/his bleak and irrational world, perfectly couched in punk anthems. Stickles leads by example, putting his heart, mind, and country into the abyss of self-analysis. And while it ain’t always a pretty site, it’s what our forefathers fought for, and it’s what we should continue to fight for in 2010 and beyond. -Jeremy Larson

04. Gorillaz – Plastic Beach

It took five years for the Gorillaz to return to our stereos, the charts, and concert venues with a new album, but it was obviously worth the wait, as Plastic Beach went on to be one of the finest pop/rock records of the year. Damon Albarn’s songs were some of the sharpest his animated side project has ever been accounted for, showing that his craftsmanship is only improving with time. And Jamie Hewlett provided a new Gorillaz aesthetic to their videos, their album art, and their live show display. But it was the tunes on Plastic Beach that made this disc so memorable.

Snoop Dogg joined the brigade for the first time, a match made in heaven, for the track “Welcome to the World of Plastic Beach”. The Gorillaz stocked their band up with a little celebrity status by adding members of the Clash on the title track, and on their tour. Lou Reed even made a vocal appearance on the acclaimed track “Some Kind of Nature”. Albarn composed a few gems with his memorable vocal style, including the ever-catchy “Rhinestone Eyes”, and the serene “On Melancholy Hill”. The Gorillaz kept the dance and hip-hop elements at an all-time high with bizarre numbers with De La Soul (“Superfast Jellyfish”), Michael Jackson-esque grooves and high pitched vocals (“Empire Ants”) and, of course, a super poppy, rap gem that everyone could bump in their stereos. This obviously refers to the Mos Def and Bobby Womack featured song, “Stylo”.

“All we are is dust,” the cartoon band sang on one of this year’s finest records. We all may be dust, but this record is solid musical gold. Cheers. -Ted Maider

03. Arcade Fire – The Suburbs

Every so often, an album comes along that speaks from the collective consciousness of a generation. The Suburbs was made specifically for this moment in time, for the twenty-somethings of 2010. The world as we know it is changing. The Suburbs isn’t just a portrait of restless former suburbanites and the listless teenagers they used to be, but of the world that this generation was the last to know, and what’s already been left behind. The digital age has come. Everything is instantaneous, no one is truly lost anymore, and it’s easy to feel lost in memories for a pre-Internet existence that seems like a lifetime ago.

The Suburbs marks the efforts of Arcade Fire’s previous albums combined – the darkness and rich musical layering of Neon Bible, and Funeral’s dream-like hopefulness in spite of the world. It doesn’t place suburban sprawl and teen angst on a pedestal, nor does it condemn them. As a concept album, it embraces the full scope of angles and emotions, keeping the songs from choking on their own sentimentality. What makes The Suburbs stand out amidst other teenage snap-shots is that it’s not just a simple photo, it’s a panorama. And it belongs to us. -Cap Blackard

02. Kanye West – My Beautiful Dark Twisted Fantasy

At this point, all there is to be said about Kanye West‘s My Beautiful Dark Twisted Fantasy has been said, and then some. We’ve seen praise and hate, album reviews that all but declare him as the second coming of Christ, and college essays explaining how he is actually the real-life incarnation of the devil. Some, like our Mike Denslow, declare West’s fifth LP “hands-down the most ambitious mainstream rap album ever made.” Others say you can’t review it without taking into context West’s well-publicized meltdowns and, for that, can we truly bestow him with such praise?

At the end of the day, however, I think the most insightful thing I read regarding My Beautiful Dark Twisted Fantasy came during a late night troll on a message board dedicated to the rapper, as I awaited one of those G.O.O.D. Friday tracks to drop. Someone wrote that the album is great because it’s a culmination of West’s previous four studio albums, taking each of their strengths — the soul of College Dropout, the pop of Late Registration, the electronics of Graduation, and the art of 808s & Heartbreak — and making a greatest hits album of sorts, only the content is entirely new. While The College Dropout may forever be known as West’s best album, My Beautiful Dark Twisted Fantasy is the one which will likely best reflect his self and his ideals when it’s all said and done. It’s innovative, it’s risk-taking, it’s charming, it’s frustrating (people still complain about the mix), and, most of all, it’s plentiful, which I think might be the word that best describes Kanye West. Just as Kanye never stops, this album never stops. Even on the 15th or 25th listen, there’s something new to discover between the time Nicki Minaj’s fake British accent introduces us to “Dark Fantasy” and Gil Scott-Heron’s spoken-word “Who Will Survive in America” leaves us as confused as Kanye is.

No, Kanye is not the greatest ever and, yes, he still needs to work on his manners, but if My Beautiful Dark Twisted Fantasy proves anything, it’s that one can be innovative while still being accessible. “Runaway” and “All of the Lights” are two of West’s most ambitious feats to date, but they’re also two of the album’s biggest hits. “Power” is as exposing as it is appropriate for Monday Night Football, and “Blame Game” is smart beyond its years, while still leaving us with room to laugh. Regardless of your perception of him, if you think he’s only an average lyricist or that the album is overhyped, there’s no denying how beautifully put together this album is, how much work went into it, and how at the end of the day it will likely influence generations to come. The only question now is what he’ll do next. -Alex Young

Buy: My Beautiful Dark Twisted Fantasy

01. Vampire Weekend – Contra

Leave it to Vampire Weekend to release the year’s best album. Wait! What? Believe us, we were surprised, too. When we first sat down to hammer out this list, most of us came to the table with arguments supporting the latest from Kanye West or Arcade Fire or even the Gorillaz. But, then we started to think. You see, once you start playing the Devil’s advocate, it’s hard to return to your original argument. It’s sort of like that episode of Seinfeld, where Costanza buys a cashmere sweater for Elaine, and it looks beautiful and quite a bargain…until someone points out the glaring, red dot to him. Throughout the episode, naturally, the running gag is that every time Costanza attempts to pass the sweater off as a gift, someone notices the dot. And once it’s seen, the whole thing’s fucked. ANYWAY, after four hours of debating, none of us felt comfortable with our choices. That is, until someone muttered two words:

Vampire. Weekend.

People respect redemption tales. They cherish epics. But, above all, they love success stories. Now, it’d be ridiculous to assume that Vampire Weekend is indie rock’s Rocky Balboa, or Coach Gordon Bombay (depending on your preference of fictional sports characters with remarkable comebacks), but turn the clock back a year and you’ll find the band in a very unfavorable position. They weren’t underdogs per se – after all, they were roping in thousands of fans per festival gig – but they were sailing on some rough wake of hype. What would happen with their sophomore record? Just about every indie blog from here to Australia pegged ‘em for disappointment. In certain respects, everyone waiting for the sophomore slump preceded the actual music that would end up on Contra.

But all that went away. Instead of a jarring, forgettable, or even taxing listen, Contra added up to be, well, one of the better sophomore albums in recent memory (The Strokes’ Room on Fire comes to mind). What started with their self-titled debut sure enough continued here. The sunny Afro-pop still intact, frontman Ezra Koenig vacationed within his perspicacious lyrics, digressing on subjects that, at the time, felt typical of his background. Only now, some 12 months later, they come off just downright smart…fitting even.

Music is all about escape. It should take you places. With Contra, Koenig plays the part of a “friend with access” more than the chic aristocrat that so many make him out to be (myself included). He makes sure there’s room in the backseat, so you can hear about “how the other private schools had no Hapa Club” or realize “there’s nowhere else to go.” Some might argue most of his stories are irrelevant, one-sided, or even pretentious. But, at face value, this band makes no secret about either its identity or its influences. You don’t walk in expecting to relate to these guys, you walk in surprised at how much you do relate to them. Also, who doesn’t love a pop song with references to Futura font?

By far the most appealing aspect to Vampire Weekend, and something that’s evolved greatly since the band’s debut, is how cognizant and well versed they are in terms of instrumentation. This isn’t the sound of your typical “indie band.” It’s the result of a real band, who has fully realized its potential and continues to expand. Anyone still tossing out the Paul Simon comparisons aren’t truly listening. This goes far beyond Graceland. A song like the genre-spanning “Diplomat’s Son” sounds nothing like the driving indie rock of “Giving Up the Gun”, yet they blend seamlessly into one another. And, as if to throw the finger at those that felt they only had “A-Punk”, they did one better and issued even stronger singles with “Cousins” and “Holiday”, two songs that perfectly capture how witty and musically sincere this band can be.

In their review of Contra, NME called Vampire Weekend “one of the most unique bands on the planet.” We don’t necessarily agree with them all the time, but they’re absolutely on the money there. In a year that’s seen the market flooded with buzz band after buzz band, it’s important to acknowledge the New York scholars. They removed themselves from the muck (an agreeable and enjoyable muck at times, sure, but, nevertheless, still a muck). Instead, they braved the storm, nullified all odds, surged ahead, and issued not only a stellar sophomore album, but this year’s most solid release. If we’re to assume there’s a holy brethren of releases this year, then for us, we can’t think of any other leader than Contra. -Michael Roffman