Pitchfork Music Festival 2011

This post contains my complete running coverage of this annual festival ...
© Chicago Sun-Times

Q&A with Hodgy Beats from MellowHype, Odd Future
By Thomas Conner on July 12, 2011 1:00 PM
 
Hodgy Beats and Left Brain, members of hotly debated rap group Odd Future — appearing Sunday afternoon at the Pitchfork Music Festival in Chicago's Union Park — also work together under the name MellowHype. The duo's self-released 2010 album "Blackendwhite" was reissued this week by Fat Possum Records with extra tracks, and a new album, "Numbers," is expected later this year.

We caught up with Hodgy Beats last week following Odd Future's performance at the T in the Park festival in Scotland, the last of a string of dates for the group across Europe. When we weren't rehashing the controversy about the group's violent lyrics, there was other stuff to talk about ...

Q: How have the shows been in Europe this month?
Hodgy Beats: Europe is pretty wild, yo. The festival shows have been very, very intense. The crowds are really in love with Odd Future. Musically, people out here are more into it.

Q: How did you and Left Brain meet?
HB: We've known each other, sh—, probably since the second semester of 10th grade. So, 2007-ish.

Q: What clicked between you?
HB: I was just waiting for someone else to come along to make music with.

Q: You work together as MellowHype; within Odd Future, do you also work as a unit?
HB: We work together and with other people. He makes a lot of beats. Left Brain drops a beat and it's, there you go.

Q: With up to 10 people onstage at Odd Future gigs, how do you keep it from getting too confusing?
HB: Before shows we remind each other, hey, everybody's excited and into it and everybody wants to be on stage, but let's try to keep it minimal. It's three people max at all times. That doesn't work out all the time.

Q: What should we expect at this show?
HB: A bunch of niggers rocking the f—- out.

Q: Will there be some MellowHype shows in the future?
HB: Actually, there will be. When "Numbers" comes out, we'll do our own tours.

Q: How will they differ from the whole group's shows?
HB: It'll be more personal, more hands-on. We'll actually pull a different crowd.

Q: Why do you think that?
HB: We're just different, dude. We're just different.

Q: Is there going to be an Odd Future album?
HB: Definitely.

(Someone in the background then shouted "No, tell him no, Hodgy!" and laughed.)

Q: Who's that?
HB: That's my counselor.

Q: How was it lying in a coffin full of snakes for the "64" video?
HB: It was crazy. Actually, it was cool. I never thought I'd be doing something like that.

Q: That video has some dark imagery. How much of that is your idea and how much is the vision of the director (Matt Alonzo)?
HB: It's all my decision. It just looks cool. It's not dark to me.

Q: You and Left Brain are cranking out a lot of music. What inspires you to be so creative and so fast?
HB: It's just what we do. It's a living. We're getting paid for it now, not that it matters. But music is our passion and our joy. We enjoy doing it, that's why we make a lot of it.

Q: "Not that it matters"? You could take or leave the money?
HB: I'd still be doing it, trying to get where I am, with or without someone's money.

Q: You have plans for a solo album, too?
HB: Yeah, called "Damien." There's no set date or any stress on it.
 
 
Odd Future's strange present: Local advocates seek to balance lyrics of rape, violence, homophobia
By Thomas Conner on July 12, 2011 1:30 PM
 
I'm not a f—-in' role model
I'm a 19-year-old f—-ing emotional roller coaster with pipe dreams
These motherf—-ers think I'm supposed to live up to something?
— Tyler the Creator in "Goblin"

They've been called "the future of the music business" for their freewheeling, Internet-based approach to recording and distribution. They've also been called "inexcusable," "reprehensible" and "dangerous" for lyrics that are frequently violent, misogynist, anti-gay and anti-police. They're called OFWGKTA (Odd Future Wolf Gang Kill Them All), and they're a large, young hip-hop collective that's become one of the most divisive topics in music.

Odd Future, scheduled to perform July 17 at the annual Pitchfork Music Festival, has turned heads with some of the freshest sounds in hip-hop, heard mostly in tracks given away free online and on myriad solo projects by the group's members. (Odd Future, a sprawling bunch with 10 regular members, like a baby Wu-Tang Clan, performs together live but has only assembled tracks for two mixtapes.) Their songs are wildly aggressive and boundlessly creative, the wordplay crazy-clever and surprisingly sharp.

But it's those rhymes — peppered as they are with rape, kidnapping, murder and torture fantasies, blasphemy, homophobia, you name it — that's fixated the press and helped elevate this cult rap collective to the level of a Billboard magazine cover in March and last month's in-depth New Yorker feature, and it's the casual, matter-of-fact delivery of them that makes parents and activists apoplectic.

Some examples:

— "Kill people, burn sh—, f—- school / Odd Future here to steer you to what the f—-'s cool / F—- rules, skate life, rape, write, repeat twice" ("Pidgeons")

— In the song "Splatter," Odd Future's biggest breakout star Tyler the Creator boasts of having sex with "your teen daughter ... always against her will" followed by the same with "this grandmother named Jill."

— In "French" a business plan is hatched that, for some reason, includes a sexual act with the Virgin Mary.
Hodgy Beats, at 20 he and Tyler are the oldest of the mostly teenage group, spoke to the Sun-Times last week from a tour stop in London. As he and other members have maintained, Odd Future's lyrics, he said, are preposterous artistic expressions rather than reportage or incitement to action.

"Nothing is really serious," the laconic rapper said. "It's just like all the things in our music. It's in the atmosphere, it's in the world, and it's in our lyrics. ... I think it's funny that people flip out about sh— like that."

For some, it's not enough to write off songs that mention rape and murder to being humorous or simply "not serious." Several Chicago advocates for gay and women's rights in recent weeks promised to protest before the group's afternoon performance at Chicago's Union Park. But the festival announced Thursday that local organizations, including Between Friends and Rape Victim Advocates, will have "an onsite presence at the festival" in the form of an informational booth in the park.

"When we didn't have a booth at the festival, we were going to stand at the entrance to the Pitchfork festival and hand out 6,000 fans that have messages on them — one side lists resources for women who might be involved in domestic violence or a violent relationship, the other side a message about violence against women," says Kathy Doherty, executive director of Between Friends, a 25-year-old domestic violence agency. "Now we have a booth and can still give out the fans as well as information there. ... It's not a protest, it's an awareness-raising event."

Odd Future certainly isn't the first music act to terrify the predominately white media with tales of violence and gore, nor will they be the last. The once-hot controversies of N.W.A., Ice-T, 2 Live Crew, even Eminem are now so distant in pop cultural memory as to seem quaint. These Odd Future kids count the social pathologies of the Geto Boys (late-'80s pioneers of a subgenre called "horrorcore") among their inspirations, as well as shock-rock groups from Black Sabbath to Slipknot.

"When I was 15, my tape collection consisted of Geto Boys, N.W.A., 2 Live Crew," Mike Reed, a local music promoter and musician who co-owns the Pitchfork festival and oversees its booking, wrote in an e-mail to the Sun-Times. "At the time I thought it to be fun. I'm 37 now and have the maturity to see how silly it is/was. I'm not really offended by Odd Future, but can see why people are.

"I think the factor that they are so young is also very shocking for most white media members. Not sure how much this is an issue in more African-American music press."

In May, a writer for the Gay & Lesbian Alliance Against Defamation, another organization denouncing the group, said youth is no excuse: "Tyler has said in interviews that he is not homophobic, yet his Twitter feed and rhymes are rampant with anti-gay slurs and references. His defense that 'people take things too seriously' or that he's 'just a kid' is inexcusable."

Hodgy Beats, born Gerard Damien Long (not in Chicago, as many online rumors suggest) and raised in New Jersey, answered our questions (more Q&A here) in few words and fragments, clearly young, inexperienced and more comfortable slinging rhymes than speaking to the media. "It's hard being interviewed," he muttered. "I don't like being asked a lot of questions." Reacting to the flurry of attention the group has received, he said, "The media is stupid. Niggers should ignore it." He paused, perhaps considering the context of his statement, and added, "I'm honestly not mad at the media. They help sell records, I guess."

He chalked up the gross-out element of the songs to boyish competition and bravado in the recording studio. "Sometimes it's us seeing who comes up with the sickest sh—, the most disgusting thing they can throw in," he said.

Hodgy Beats and another Odd Future member, Left Brain, also work together under the name MellowHype. The duo's self-released 2010 album "Blackendwhite" will be reissued July 12 by Fat Possum Records with extra tracks, and a new album, "Numbers," is expected later this year.

Asked what's the coolest musical sound the duo created for "Numbers," Hodgy Beats said, "A bitch moaning. We got some sounds like a bunch of whores just moaning. It's the most perfect sound you could use. It's crazy. Imagine bobbing your head to bitches moaning. That's what 'Numbers' sounds like."

Near the end of our conversation, Hodgy Beats attempted to explain Odd Future's lyrics in the context of street slang and evolving language. "There's gays running around and sh—, but when you call someone a faggot people think you're talking about a gay person," he said. When I asked for clarification as to how else he might define and employ the word "faggot," the phone went dead. We either lost the overseas connection or he hung up.

Odd Future has one female member, Syd Tha Kid, a lesbian who also seems baffled by any controversy around the group's lyrics. "People just choose to be offended by stuff," she told Billboard. "If they are, then that sucks and I'm sorry, but they don't have to keep listening. Words are words. They don't act out what they say, they just say it."

In an MTV interview, Syd tha Kid recalled a confrontation with her father, who said that her involvement in Odd Future was "slapping a lot of other females in the face." She replied, "That's what I do. I slap bitches, Dad."

The group's members have not made news for any actual violent acts. Tyler the Creator, a k a Tyler Okonma, was arrested in May in Los Angeles on a charge disturbing the peace, then quickly released. Frank Ocean, the group's R&B crooner and most likely crossover star, ranted online in April about being arrested in L.A. for unspecified charges.

Odd Future concert tickets have sold well in recent months as their live shows remain popular. (Though last weekend, the group's set at Scotland's T in the Park festival ended approximately 20 minutes early when fans began throwing bottles at them.) In March, Billboard reported that the group's actual record sales have been "modest," though Tyler the Creator's second solo album, "Goblin," debuted at No. 5 on the magazine's albums chart in mid-May based on first-week sales of 45,000.

Doherty at Between Friends says she simply wants her group's message to have the chance to compete with Odd Future's at the festival. "We certainly believe in free speech, and with that in mind Odd Future has the right to sing and use the lyrics they do. But the rest of us in Chicago have the right to balance that point of view with powerful messages of our own about violence again women," she says.

"We work with kids in schools who often get caught up in lyrics but don't think about what they say. So when we talk about that, then they begin to realize that other people using derogatory language — calling women and girls 'bitches' and language against gays and lesbians — can be presented as fun and not serious, but it really has a domino effect ... and doesn't send the right message about how we like to see people talk about each other."

Further reading:
• NPR: "Why You Should Listen to the Rap Group Odd Future, Even Though It's Hard"
• Village Voice: "On Odd Future, Rape and Murder, and Why We Sometimes Like the Things That Repel Us"
• New Yorker: long-read about Odd Future and the whereabouts of Earl Sweatshirt and their follow-up
• Complex: More on the mystery of Earl Sweatshirt here and here
• Irish Times: Last week's Tyler the Creator interview
• Pitchfork: Hodgy Beats interview from June

PITCHFORK MUSIC FESTIVAL
• 3-10 p.m. July 15, noon-10 p.m. July 16-17
• Union Park, 1501 W. Randolph
• Three-day passes are sold out. Individual tickets for July 17 are sold out, but remain for July 15 and 16: $45, (866) 777-8932, pitchforkmusicfestival.com.
 
 
Pitchfork Music Festival opens: Gatekeeper, EMA, early-bird fans
By Thomas Conner on July 15, 2011 5:52 PM
 
Oh, is this the way they say the future's meant to feel,
Or just 20,000 people standing in a field?
— Jarvis Cocker

The first band scheduled to play the 2011 Pitchfork Music Festival was, of course, Gatekeeper. The electronic duo kicked off just after, of course, the gates opened at 3 p.m. sharp for this seventh annual indie-rock-and-more event at Union Park in Chicago's West Loop.

Nearly 50 bands will perform on three stages here in Union Park during the next three days, and more than 50,000 fans are expected to attend. Tickets (surprisingly) remain for tonight's acts and Saturday's bill. Sunday is sold out.

The first kids through the gate Friday afternoon began sprinting toward the main stage. The park was virtually empty; why in such a hurry? "If I didn't get a spot up close for Animal Collective, then the night would be a complete disaster," said Jimmy Chang, 17, from his blanket near the lip of the Green Stage. "I am NOT MOVING!"

P4k2011's first sounds were very yin and yang. As Gatekeeper's light, blissful tunes fluttered over the trees, EMA (Erika M. Anderson) squinted into the hazy afternoon sun and began grinding out some dark, menacing music. Supported by a guitarist, her little sister on drums and Leif Shackelford on violin and keyboards, Anderson, 28, took her sweet time building up some twisting, twisted alt-rock. Flipping her bleached bangs in and out of her eyes, Anderson seemed to struggle to restrain herself — at one point joking about "breaking things" but keeping a cool head as she lead her band through these slow, brooding songs.

"I wish that every time he touched me he left a mark," she snarled in "Marked," a song that began with Shackelford strumming his violin like a ukulele. Elsewhere, Shackelford sawed at that poor thing like John Cale on his Velvet Underground cello. The band frequently collapsed into VU-like noise breaks, on the foreboding "Butterfly Knife" and again (with two violins now!) on "Breakfast," but without the drone. Anderson gurgles and groans like a Patti Smith hopeful, but she's got more panache. "I did not bring the whiskey on stage," she said. "I don't know why."
 
 
Pitchfork Music Festival: James Blake interview and set
By Thomas Conner on July 15, 2011 8:00 PM | No Comments | No TrackBacks

We caught just a few minutes to sit down with soft-spoken London dubstep musician James Blake before his performance this evening at the Pitchfork Music Festival:

MY VIDEO INTERVIEW

Fey young Londoner James Blake not only proved himself, following his curious debut album released in February, he proved to be the night's most transcendent performance.

Influenced by American R&B — and vocally often a dead ringer for Aaron Neville — the 22-year-old Blake made cold beats and fragmented samples come alive Friday evening on the festival's smallest stage under the trees. Seemingly shy behind his keyboard, Blake played and set both graceful and grandiose, reaching surprising heights often with just two or three ingredients.

In the interview before the show, I asked Blake if he felt confident as a singer. His firm affirmative belies the amount of heavy, thickening effects he heaps on his vocals, which alternately slunk around his melody soulfully or swelled above the clipped dubstep beats laid down by both a programmer and a tenacious live drummer. Dub is not a genre that warms easily, but Blake's spectral approach — transmitting his vocals from the ether, often introducing songs with churchy organ and haunting the arrangements with ghostly piano — brings spirit to it and even results in some very human moments. "CMYK" builds on a cheerful, eager rhythm, humming snyths and two R&B samples fractured beyond recognition (they're rhythmic elements, they're not supposed to be understood) — plus another very effect-drenched vocal howl from Blake — and eventually bursts into a jubilant, hopping dancefloor rhythm that had the packed crowd under the tress really jumping. Surprising and superb.
 
 
Pitchfork Music Festival: tUnE-yArDs, Animal Collective
By Thomas Conner on July 16, 2011 12:00 AM
 
The intrepid Merrill Garbus, the central figure of tUnE-yArDs, won for best soundcheck of the day. Portents of what was to come, Garbus called out various wails and "day-oh's" into the microphone, which then looped back through the speakers in endless arrays to make a choir of one. The crowd gathered at the small Blue Stage cheered wildly, and the show hadn't even begun yet.

Garbus' proper set leapt to life with "Party Can (Do You Want to Live?)" on the strength of those looped vocals, a lynchpin of the tUnE-yArDs' engaging, exciting set. Singing, re-singing and playing her own abbreviated drum kit, Garbus, her face streaked with colorful war paint, wailed and cooed and hollered through a set bristling with punkish spirit — at least in the defiant creativity of the electronically enhanced arrangements, amended here and there by two saxophone players — and bracing composition, from the "wah-ooh-wah" vocal round and bleating jazz climax of "Gangsta" to the occasional instances of barking and guitar scraping.

Each song found dissonance and harmony tugging at war, never finding an easy truce but always a workable and tuneful solution. By "Powa," another track from this year's "W H O K I L L" album, Garbus was singing more naturally — and soulfully — her powerful pipes stretching out a bit as more than mere fodder for the sequencers. The tech never diluted the songs, the songs never lost their spirit of celebration and joy. "You're a wonderful sight to see out there," she said, catching her breath. "You're a massive bundle of love." Back at ya, m'dear.

Animal Collective closed out the night, making a God-awful racket of their unfocused, rambling electronic jams. On a stage full of flashing lights and papery backdrops, the individual members of the band — longtime friends and collaborators Avey Tare (David Porter), Panda Bear (Noah Lennox), Deakin (Josh Dibb) and Geologist (Brian Weitz) — were lost as they cranked out a lot of music fans hadn't yet heard, since the band's last album was 2009's "Merriweather Post Pavilion" and they've since been working on film scores and other projects.

Industrial clanking, monotonous rhythms and lengthy, noodling transitions between songs made for a noisy, messy performance. Only a few moments came close to gelling — a frenetic calypso waltz early in the show with wild static noises sliding up and down the scale, and an easygoing "A Long Time Ago" — but most of the music was scattered. I know the Guggenheim has bestowed some overvalued art-rock cred on them, but while their drifting, shiftless sounds may constitute art it doesn't constitute a good time.

"Were you here for Panda Bear last year?" asked the woman next to me. Alas, yes I was. She joined me in rolling eyes. "My friend and I were rolling on the ground in the fetal position begging God to make it stop." Lather, rinse, repeat.
 
 
Pitchfork Music Festival: Battles interview and set
By Thomas Conner on July 16, 2011 12:11 AM
 
A chat with the members of Battles (about two of the three's Chicago days) shortly after their Friday evening show:

MY VIDEO INTERVIEW

Somewhere between the knob twiddlers and the hardcore rockers is Battles, a New York trio (down from a quartet) whose members are not averse to describing their music as "math rock." Their cacophony was established so quickly and loudly that it interfered with the sometimes more delicate music of tUnE-yArDs clear across the park.

Mixing loops and ferocious live drumming from former Helmet basher John Stanier, Battles ably re-crated the tunes from their new and acclaimed "Gloss Drop"; that album employed various vocalists, none of whom were on stage Friday evening, though a few showed up on video screens. Sometimes the crushing beats reverberated across the park like the live/looped signal sent by the aliens in "Contact," with former Chicago guitarists Ian Williams and Dave Konopka working sometimes together, sometimes at cross-purposes on, under and around them.

There were moments the music was both punishing and pretty, a strange but exciting experience.
 
 
Pitchfork Music Festival: Guided by Voices and Neko Case
By Thomas Conner on July 16, 2011 12:14 AM
 
Stubbornly prolific band Guided by Voices returned to Chicago for the fest, still going with its reunited "classic" '93-'96 lineup last seen here at the Riviera Theatre last October (the band's "final" show was New Year's Eve 2004 at Chicago's Metro). But the longer this rascally band trundles on, the more fun they get. Lead singer Robert Pollard is growing into his natural curmudgeoness, and Friday evening's set was 45 minutes of pure kicky, catchy rock.

Pollard took the stage with a confident "1, 2, 3, kick it!" and opened with "Echos Myron," joined by Neko Case singing harmony and shaking a tambourine. Clutching a tequila bottle ("He's probably pretty hammered," one fan noted mid-set) and dangling a cigarette, Pollard and his jittery leg led the band — with the rip-roaring twin-guitar attack of Tobin Sprout and Charles Mitchell — careening through an oldies but very good set. It was the kind of rock and roll that actually sounds bettered by the off-key, absurdist warblings and occasional feedback from the PA. Not much was going to slow these guys down.

Alt-country queen Case seemed in a relaxed, cozy mood Friday night, playing a set of mostly ballads and slow belters. You know, the stuff that best showcases That Voice — songs like "The Pharaohs" with its long, patient phrases about being "your blue, blue baby," or her tiger empathy in "People Got a Lot of Nerve." With accordion, banjo and frequent brushes on the drums, Case commanded a steady set and reminded Chicagoans how much we miss her being a resident.
 
 
Pitchfork Music Festival: Cold Cave on a hot day
By Thomas Conner on July 16, 2011 4:42 PM
 
One thing I never thought I'd get at a Cold Cave show: a sunburn.

There was the New York darkwave trio, all pale and wrapped in black leather (pleather?), defiant in the fierce Saturday afternoon sun early on day two of the 2011 Pitchfork Music Festival. I would have welcomed an environmental catastrophe that would've blacked out the sun and plunged these moody bastards into the dark where they belong, but the contrast emboldened their presentation.

At heart, Cold Wave takes mid-'80s synth pop (New Order, OMD) and moves it forward — just beyond the reach of nostalgia. Their most successful tactic for doing so: scratching it up, getting it dirty, just around the edges. Nearly every song started with a wall of harsh sound — a piercing electronic whine, blaring white noise, glitchy static — from which would suddenly spring bouncy, flouncy keyboards, courtesy Dominick Fernow (Prurient from Madison, Wis.), and pounding beats. Before launching into "I've Seen the Future and It's No Place for Me," singer Wesley Eisold simply hissed into the microphone at length, satisfying a compulsion to begin every song with amelodic clatter of some sort. Like Cold Cave's album, "Cherish the Light Years," it was noise vs. melody, brashness vs. shyness, a singer using the word "outside" a lot when he probably didn't intend it so literally today.

Eisold hangs on the microphone and pouts (very Ian McCulloch), blurts out in his tuneless baritone (very Peter Murphy), sometimes pulling the neck of his T-shirt off his shoulder to show off his ink; during "Confetti," he pointed to a large "23" on his left shoulder. Meanwhile, Fernow could barely contain himself behind his decks, occasionally breaking free during a loop to dance about the stage with the most inspiring and embarrassing moves.
 
 
Pitchfork Music Festival: No Age, Off!
By Thomas Conner on July 16, 2011 6:11 PM
 
Los Angeles drum-and-guitar duo No Age bashed out punkish songs on Saturday's Red Stage in a set that just got more chaotic as it went. Drummer Dean Spunt is also the duo's singer, and watching him flail at his kit and still try to keep his mouth on the mike is entertainment alone. Meanwhile, guitarist Randy Randall ping-ponged back and forth on the stage, nearly toppling over during oldie "Neck Escaper."

Throughout the No Age set, water — and water bottles (empty, the ones I saw, thank goodness) — flew everywhere, in impressive fountains shooting straight up from the crowd or in thrown spray. Later, at the Blue Stage, Keith Morris of the punk band Off! advised his similarly inclined crowd: "Don't throw stuff around! That's not cool. DRINK the water. Stay hydrated."

After an opening homily — in which Morris warned, in the understatement of the day, "We're gonna bring a different flavor to the party today" — Morris and his band, a supergroup offshoot of the Circle Jerks, bashed out a ferocious set of hardcore and speed metal. Rare was the song that passed the two-minute mark, propelled down the fast lane by riffy guitarist Dimitri Coats (Burning Brides) and bassist Steven Shane McDonald (Redd Kross). The particular flavor added by Morris was his occasional off-the-cuff homilies ("F—- people" from a guy who actually seems so nice ...) and unearthly caterwauling.
 
 
Pitchfork Music Festival: Dismemberment Plan, Twin Shadow
By Thomas Conner on July 16, 2011 8:17 PM
 
I'm not sure I've ever seen Travis Morrison this giddy.

Always a self-satisfied performer — and a wicked-nerdy dancer — Morrison's shows at the helm of the still-reunited Dismemberment Plan are never stiff, but Saturday he seemed exceptionally loose and free-spirited. We last saw D-Plan in February at the Metro; the band ceased activity in 2003 but reunited late last year to tour in support of a classy vinyl reissue of their 1999 masterpiece "Emergency & I." The tour finished, this was the only remaining show on the band's books. It's last? Again?

Maybe that's why Morrison was riding high even as he squinted into the late-day sun. The band certainly sounded crisp — throughout this tour they've been sharper than ever, with bassist Eric Axelson and drummer Joe Easley strutting as one of rock's sharpest rhythm sections — and dished out more wordy, jerky faves, still heavy on the "Emergency & I" tracks. In the outdoor summer heat, they hilariously started into their most anthemic song, "The Ice of Boston," a tale of cold New Year's Eve loneliness that in concert traditionally finds Morrison inviting fans to join him on stage during the song. "No, you can't come up on stage," Morrison said Saturday, noting the impossibility of crowd access to the festival stage, "and, frankly, I'm relieved. I don't need the microphone in the teeth, as usual."

After a troubled and delayed sound check — a frequent occurrence all day today on the Blue Stage — Twin Shadow finally got under way, playing its lush, moody 1980s-inspired pop.

George Lewis Jr., the Domincan-born, Florida-raised, motorcycle-loving enigma leading this group, is a born crooner and plays guitar as if he learned it directly from Hall & Oates records. The '80s shtick laid on pretty heavily, though, and sometimes — unlike the records — leaned more toward hotel-lounge Spandau Ballet than anything justifying the band's acclaim thus far. Lewis announced that the band's fifth song, the title track to the new album, "Forget," would be their last, so perhaps the sound check delay robbed them of the momentum of a full set.
 
 
Pitchfork Music Festival: DJ Shadow, Fleet Foxes
By Thomas Conner on July 16, 2011 11:02 PM
 

It's pretty funny watching a field full of people all staring at the same thing — nothing.

DJ Shadow, the highly influential mixmaster Josh Davis, performed his turntable set from inside a large white globe. On the Red Stage on Saturday evening sat the globe, with various psychedelic projections hitting its surface (not the full array he's given to other crowds in the dark, however), and inside — allegedly, at first — was Davis, knitting together his breakbeats and samples. The crowd cheered, and stared at the white globe. On a video screen to the east, cameras within the sphere showed Davis hard at work spinning his tables, toggling switches, cradling headphones to one ear and syncing up the next sound, beat or piece of music.

His mixes are exciting, no doubt — the thumping bass must have vibrated windows in Lakeview — pushing funk, rock, slow jams, jazz, ambient music, whatever works through the stacks. But the gimmick was a strange gambit in a penultimate slot before nearly 20,000 people. Midway through the show, the back hemisphere of the globe spins around, revealing an opening and showing Davis to the crowd for the rest of the set. (A good thing, too, otherwise you couldn't help but wonder if Davis wasn't lying on a beach in Brazil, sending just the globe, a reel-to-reel of the music and that synced video out on tour.) The fourth DJ Shadow record in 15 years, "The Less You Know, the Better," will be out this fall, and here's hoping we next see him indoors and in the dark.

The transition from DJ Shadow's club atmosphere to the sweet, earthy folk of Saturday night headliner Fleet Foxes was a radical shift, emblematic of the catholic tastes of Pitchfork fans ...

Fleet Foxes leader Robin Pecknold joked early in his band's set about playing the Pitchfork festival three years ago, saying it was "super fun" and they followed rapper Dizzee Rascal, who handed off the set by saying, "F—- that folk sh—!" Pecknold chuckled, then straightened up. "I hope he'll be making a return appearance, too," he said.

The fact that Fleet Foxes not only returned to Pitchfork this year but held down the Saturday night headliner slot — mightily successfully — says much about how they've come along as a band. When they played here in 2008, they were still linked musically and lyrically to the "Blue Ridge Mountains," but the follow-up — the dense and tightly woven "Helplessness Blues" — is more worldly, with a greater diversity (and proficiency) of instruments. That mass of music, as opposed to just a set of pretty harmonies, made for a rich and rewarding set that employed mostly acoustic instruments for repeated crescendos and thundering.

Those trademark harmonies were a lynchpin to the show, of course, but now the band frames them within each song — using them to open a song ("Drops in the River") or to spotlight a heartfelt moment in the middle (the breathtaking pause in "Bedouin Dress"). But even the signature vocal rounds of "White Winter Hymnal" gave away the band's newfound confidence as players — of acoustic guitars, mandolins, upright bass, some organ — as well as singers; the song on Saturday stepped out with a stride not heard before, a new eagerness to strum harder and chug faster and get where it was going — which was, of course, a similarly urgent "Ragged Wood." In "The Protector," they again started softly, carefully, with their traditional and subtly churchy singing, but by the time Pecknold sang, "You run with the devil," they'd clearly abandoned their hymnal for the excitement of that ragged wood. Hallelujah.
 
 
Want more Pitchfork fest? Fly to Paris this fall
By Thomas Conner on July 17, 2011 7:00 AM
 
Lollapalooza expanded internationally this year, launching Lollapalooza Chile in April. Now Chicago's own Pitchfork Music Festival has announced it's also going abroad.

Pichfork Music Festival Paris will premiere Oct. 28 and 29 in that city's Parc de la Villette. The lineup thus far includes Bon Iver — who not only plays Oct. 29 but also selects the other bands on the bill — as well as Wild Beasts, Cut Copy, Kathleen Edwards and more.

Tickets are 79.90 Euros (roughly $115), available via digitick.com.

Pitchfork has previously collaborated on performances at Britain's All Tomorrow's Parties festival and the Primavera Sound Festival in Barcelona, Spain.
 
 
Pitchfork Music Festival: The heat is on
By Thomas Conner on July 17, 2011 8:00 AM
 
Beginning Sunday, a mass of hot air arrives in Chicago — and we don't mean all the pundits debating the worth of Odd Future.

It's going to be hot, hot, hot — the start of possibly the biggest heat wave here since 2006. The National Weather Service calls the impending heat "massive."

The forecast highs on Sunday are in the mid- to low-90s, but with humidity the heat index will make it feel near or over 100 degrees.

The heat will be around all week, but right now we care about Sunday in Union Park (and other festivals around town).

At the Pitchfork Music Festival ...
— There is at least one CTA cooling bus on the grounds, parked at the end of Flatstock, and if needed, there will be an additional cooling bus at Ashland and Washington.
— The first 6,000 attendees through the gate each day will get a free bottle of water.
— On Saturday, the festival hooked up some free water fountains, the better for you to keep your water bottle filled. Hydrate, hydrate, hydrate.

Another rock writer and festival veteran taught me a nifty trick for these things: a wet washcloth in a Ziploc bag. Add a little cool water here and there, wring it out, wipe your face, neck, arms. Or, as one of the Pitchfork publicists was doing Saturday, simply wear it on your head.
 
 
Pitchfork Music Festival: Odd Future
By Thomas Conner on July 17, 2011 2:42 PM
 
For controversial rap group Odd Future, Sunday afternoon at the 2011 Pitchfork Music Festival began with a little damage control.

Less than an hour before taking the stage in Chicago's Union Park, members of the group delivered boxes of cupcakes to the anti-violence organizations on site — the same organizations manning booths and handing out paper fans containing domestic violence resource information specifically to counter what they saw as dangerous expressions of hate, violence and homophobia in Odd Future's music.

"They took some of the fans, too," said Amanda Wapiennik with Family Shelter Service. "One of them said, 'See we're nice.' I said, 'We never said you weren't.' ... That's exactly the kind of dialogue and exchange we're looking for."

It was nice while it lasted.

Odd Future's set, at the height of Sunday's swelter, was rife with the usual foul language and appalling exhortations to violence and misogyny — lots of "smack you, bitch," "f—- the police," "f—-in' ho," happy tales of "punches to the stomach" and advice to "shoot that f—-in' nigga, aim for the head," and I lost count of the number of times someone shouted "f—-in' bitch!" — even while they gave lip service to opposing voices. Group leader and breakout solo star Tyler the Creator, his left leg in a cast for a broken foot, said, "A big shout out to the domestic violence groups out here." This came as the echo of the latest "f—-in' bitch!" died away and right before the next song, "I Got a Gun (You Better Run)."

Shock tactics simply are in the young group's DNA and their 15-song set was thick with the confrontation that's caused such a fuss all year around their mostly free online recordings and raucous live shows. Problem is, the shock and awe is all they brought. Odd Future knows how to engage a crowd with nasty talk, stage diving (even Tyler, in his cast) and the mystical bond between crowd and performer created by the middle finger, but musically the 45-minute set was a very average hip-hop show. (Big Boi, on this same stage and nearly same slot last year, brought so much more.)

Members Left Brain and Hodgy Beats opened the show, dishing up a song from their reissued MellowHype album "Blackendwhite." DJ Syd Tha Kid provided most of the beats and musical backing, thin as it usually was; Odd Future's recordings sound much more inventive. At times, five members were prancing back and forth at the lip of the stage or diving over it. The whole thing was like watching a "Chinese fire drill," but the often monotonous beats and hate speech was more like listening to Oi! (a punk subgenre) without guitars.

In the end, though, Odd Future wanted us to know, as they repeated over and over, that they don't care what you, me or anyone thinks of them. Before launching into "Pidgeons," with its refrain of "Kill people, burn sh—, f—- school," Tyler dedicated "this beautiful song to everyone who don't like me, every protestor ... everyone writing a faggot-ass review of this show." There was extra, unprintable advice for the latter, even though reviews like this one and other articles about the group's controversy are likely the chief reason Odd Future has seen a spike in sales. Even Hodgy Beats, a member of Odd Future and half of MellowHype, in our interview last week, admitted: "I'm honestly not mad at the media. They help sell records, I guess."

But of all the hot air, the most absurd thing the group shouted during that song may have been this: "I'm radical! I'm f—-in' radical!" There's really nothing radical about their potty mouths and juvenile gross-out humor. If anything, it's old.

If Odd Future's doing anything noteworthy, it's forcing another occasional re-evaluation of language. I've seen much high-minded discussion of how Odd Future is determined to soften if not break down the sharpness of certain language and how they cleverly define their particular audience with prescient knowledge of who will get the joke and who won't. I think this ascribes way too much forethought to teenage kids who are cranking out hip-hop with incredible speed and spontaneity, but that doesn't mean they're not achieving a result. If there's anything academic in Odd Future, it's the simple fact that they're a bellwether to a generation that's absorbed some slightly different cultural standards, mainly from video games (which sell nearly four times as much as music) — many of them violent and all of them, thanks to a recent Supreme Court decision, freely available to all ages — that does not necessarily see the same gravity in words or depictions of rape, murder and violence.

At the end of my chat with Hodgy Beats he said, "There's gays running around and sh—, but when you call someone a faggot people think you're talking about a gay person." It could be simply a matter for the linguists. Faggot used to mean a bundle of sticks, a meatball, and in today's slang it's still a common pejorative for a gay man. But what does it mean to the youth of Odd Future? By the time I asked for clarification as to how else he might define and employ the word "faggot," he'd hung up.
 
 
Pitchfork Music Festival: Yuck, How to Dress Well, Kurt Vile
By Thomas Conner on July 17, 2011 10:48 PM
 
London quartet Yuck has been one of the biggest hypes this year — the lines to see each of several showcases last spring at SXSW were long and futile — and while they couldn't hope to live up to it, their '90s Shoegaze Fanclub shtick is growing on me.

Curly-haired Daniel Blumberg plays guitar and sings with a permanent crick in his neck, often stooped as he grinds out Lush swells on guitar. His longtime mate and fellow guitarist Max Bloom fills whatever spaces Blumberg doesn't — he added a great slide solo to "Suicide Policeman" — and the parts make for a pleasant whole. They were more laid back Sunday, swinging between the riffy fun of "The Wall" and a few songs so easygoing and with melodies so loping I half expected Jackson Browne to join them. In March I said "it should make for a harmless summer '90s revival," and voila.

How to Dress Well, aka Tom Krell, was the latest casualty Sunday afternoon of sound check delays at the Blue Stage. Leading the group as singer only, just a drummer/keyboardist and a string section (complete with conductor), Krell didn't quite gel. HTDW's music has lit up blogs based on its ephemeral nature, the ghostly ways he weaves his R&B-inflected vocals underneath subtle samples and gossamer synth sounds. At Pitchfork, the soft strings and simplistic drums weren't enough to support Krell's ambitious, quivering falsetto. His so-far signature tune "Ready for the World" came on too strong, and "Decisions" didn't make enough. "We're still working out the kinks," Krell said midway through.

Philadelphia singer-songwriter Kurt Vile — he of the shaggy long hair, like almost everyone in the band — returned to Pitchfork with a bigger, bolder sound. Vile was at this festival last year, when he was still getting the Nick Drake comparisons. Sunday's set, full of muscled guitar and songs about trains, strove for Springsteen, complete with a sax solo on "Freak Train."
 
 
Pitchfork Music Festival: Cut Copy, TV on the Radio, Deerhunter
By Thomas Conner on July 17, 2011 11:21 PM
 
Cut Copy was the hit of the Pitchfork Music Festival's third night, delivering a set of its '80s-inspired dance-rock that had Union Park jammed and jumping.

They're just four clean-cut Australian blokes in nice shirts. But in the middle of "Saturdays," just as the sun was fading out a broiling afternoon, Dan Whitford called out a simple arena-rock, crowd-juicing trick — "On the count of three, I want you to go crazy! One, two, three, go!" — and craziness ensued. It is a beautiful, beautiful thing to watch a crowd of nearly 18,000 people jumping and waving hands in time, freaking the frack out, throwing inflatable things around and spraying water, with wide eyes and smiles from ear to ear.

The crowd was putty in Whitford's hand, a dynamic performer who makes up in audience engagement what he lacks in his pinched voice. Whitford commands the stage with a kind of authority that produces results; when he sings about something "in the sky" and points toward it, you look up.

Cut Copy is not a complicated band — this is basic pop with disco grooves and lyrics about reaching for the stars, holding onto your dream and trying to get you on the phone — and the crowd was full of fans, people who knew when to "ooh," when to "yeah!" and who cheered the songs they recognized just from the first synthesizer note. The band pulled from its whole catalog, including tracks from the latest album, "Zonoscope," and the new single "Blink and You'll Miss a Revolution" (a song from 2010, though it gained some note during the Arab Spring, so now it's a new single out July 25, packaged alongside a remix by fellow Pitchfork performer Toro Y Moi). When they started "Lights and Music," a propulsive tune with dissonant synths and the bassline from the Pretenders' "Mystery Achievement," the park went crazy without being told. Even Whitford was taken aback by the crowd's enthusiasm, blurting a "Wow!" when the song ceased.

As acts compete to fill the void left by LCD Soundsystem, the Oprah of indie dance-rock, Cut Copy might have a chance for a breakthrough.

Before Cut Copy was Deerhunter, Atlanta's wall of noise rock band. Deerhunter recently covered a band that gets to its root influences, fellow Georgians Pylon, and their Sunday set was an irresistible and daring mix of the same dance rhythms and guitar drone. The quartet opened with several minutes of guitar wash and cymbals before collapsing into "Desire Lines," a song of tightly controlled jangle, an evolving rhythm and several showcases for guitar scrapes within guitarscapes — towering leader Bradford Cox ringing one chord for what seemed like days, while guitarist Lockett Pundt worked up and down scales. Reverb drenched the instruments and the vocals, so eventually everything was ringing, ringing, ringing. The band let layers of sound pile up, and often left them there — buzzing on for several minutes, while the rhythm section kept it afloat, until the tension was almost too much. "Little Kids" crumbled into waves of feedback. "Nothing Ever Happened" snaked through its verses before stretching itself to the breaking point. Occasionally they dabbled in barroom stomps and slow, Red House Painters narcotics, but mostly it was walls and walls of sound.

After Cut Copy was Brooklyn's revived funky bunch, TV on the Radio. The band released the acclaimed "Nine Types of Light" on April 12, eight days before bassist Gerard Smith died of lung cancer. Sunday night they were just as eclectic as ever, mixing up Southern boogie, post-punk, electronica, blues and balladry, sometimes in the same song. Their headlining set seemed extra funky, at least at first, tripping explosives in "New Cannonball Blues" before going slow jam for a few tunes. "The Wrong Way," however, was a hot soul stomp utilizing the competitive vocals of both Tunde Adebimpe and Kyp Malone to conjure the revelatory dream the song's poetry describes. Such a swampy mix of music: they're indie-rock's Little Feat.
 

Pitchfork and Odd Future: At least we talked about it
By Thomas Conner on July 20, 2011 4:32 PM
 
One of the first things you learn to do in journalism school is rewrite press releases, but when they come along as eloquently written as this one that arrived today — from Between Friends, the Chicago domestic violence preventative organization that was one among several advocacy groups at the Pitchfork Music Festival last weekend trying to counter the frequently hateful message in the lyrics of rap group Odd Future and their Sunday performance — I say run the thing verbatim.

It's a fine coda to an odd moment in a great festival ...

CREATING THE DIALOGUE FOR A SAFE FUTURE NOT AN ODD FUTURE

CHICAGO (7/20/11) — The odd choice of Pitchfork Music Festival organizers to include Odd Future, known for their misogynistic lyrics, provided the perfect platform for creating a dialogue that was heard around the world about violence against women and the LGBTQ community. Colleen Norton, Prevention & Education Manager at Between Friends, where we focus on building a community free from violence against women, enlisted the help of several other organizations - Rape Victim Advocates, the YWCA of Metropolitan Chicago, Center on Halsted, Chicago Alliance Against Sexual Exploitation and others, and created a successful campaign to raise awareness about how such violence is often glorified, minimized or ignored.

This campaign generated a huge response from the local, national and international community. One woman wrote: "I'm from Australia and I've been very concerned about Odd Future's lyrics and performances. Even if they're meant to be 'ironic or protesting in some way against all the toxic rubbish in the media, I absolutely oppose their approach...so I just wanted to send a message of support to you for your awareness-raising campaign at Pitchfork. If I was in Chicago that day I would definitely join you!" Back in Chicago, as we ran out of the 7,000 fans passed out to concertgoers. A young woman, who took one, came back after reading it and told us, "It really means a lot. Thank you for being here." More telling are the numbers of concertgoers that came to us after Odd Future's performance, voicing their discomfort with the lyrics and asking for the fans we used to decorate our booth!

Others completely missed the objective of the campaign by questioning the "lack of protest". Maybe we are watching too much reality TV to understand the art of generating real conversations that lead to a shared understanding? Media regarding Odd Future being booked at Pitchfork was indeed a catalyst for us to seek a presence at the festival. However, picketing Odd Future's performance would have been shortsighted and distracting from our real goals. Instead, our fans were in the hands of 7,000 supporters waving the message: Cool it! Don't be a fan of violence.

So what did we accomplish? We mobilized others to: 1) Think critically about how violence against women and the LGBTQ community is portrayed in their community through music, art, and the media,
2) Talk about ways to end such violence, and 3) Seek help from the resources provided. The conversation spread quickly with every online article, blog, picture, and comment posted engaging everyone in the dialogue both locally and around the world!

Between Friends and our partners thank the thousands of you who supported this campaign and helped us achieve our goals! Now we encourage you to continue the dialogue - wherever that takes you! Hear more online at our Facebook page - http://www.facebook.com/BetweenFriendsChicago.

About Between Friends
Between Friends is a 501(c) (3) non-profit organization dedicated to breaking the cycles of domestic violence throughout Chicagoland. Between Friends offers domestic violence survivors resources and support to help them rebuild their lives and move into safer and healthier situations. In addition, Between Friends addresses domestic violence as a community issue and offers extensive education and training programs for groups throughout the Chicago area to help prevent domestic violence before it begins. For more information visit www.betweenfriendschicago.org.