Tag Archives: pitchfork

The New Age of Fluid Musical Identities

This past summer, I had the privilege of enjoying a major music festival that took place a stone throw (and three stops on the Blue Line) away from my Chicago suburb, Elmhurst, Ill. I was overflowing with excitement as I prepared myself for my first experience with Chicago’s Pitchfork Music Festival, a festival known for guaranteeing a lineup of diversity so strong it would put the original organizers of the ‘60s Monterey Pop and Woodstock Festival into a fit of shock.

I had a list of 16 different artists I hoped to catch glimpses at, some deserving a simple sitting and watching-glimpse while others were given hours of pre-show wait time. Interestingly enough, the many different friends and old high school classmates I saw at the festival also had hopes to make bizarre show transitions similar to my own, going from a punk-rock set to a vocal-focused, more synth-heaving experimental pop.

Saturday led me to hop from boisterous hip-hop MC Danny Brown, where crowd-surfing and mobs of sweaty teens shouting obscenities back and forth lasted the entire performance, to art-rock mqueen St. Vincent, where flocks of fans would be heard crying through smiles and song at the musician’s delectable, and then end with the legendary indie-rock group Neutral Milk Hotel.

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…And Star Power yields most experimentation for Foxygen yet

The Hound gives this album 3.5 out of 5 stars

I’m going to go out on a limb and say I’m a fan of challenging music.

Something that takes a few listens to get into is one thing, but something that takes a few listens to even decipher what could possibly be going on (or wrong) in the musicians brain is another. I’m not proclaiming every seemingly “complex” record to be a hidden masterpiece because of its “deep take on the deepness of being deep.” But I am saying that if you put your noggin it, taking in a strange and exciting album can be a rewarding task.

This was my feeling towards psychedelic duo Foxygen’s latest album/rock opera/whirlwind of jams oozing with weirdness, …And Star Power. After bursting onto the Pitchfork scene of indie-lovers with 2013’s deliciously retro-rock We Are the 21st Century Ambassadors of Peace and Magic (Jagjaguwar), seductively wild lead singer Sam France and multi-instrumentalist Jonathan Rado brought their ‘60s style left-of-the-dial, obscure pop to audiences, moving from opening for fellow experimental-pop troupe Of Montreal to becoming the most talked about set from 2013’s Pitchfork Music Festival.

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Twin Peak’s sophomore effort shows diversity and maturity while still rocking hard

The Hound gives this album 3.5 out of 5 stars

For anyone familiar with the millennial epidemic of a house party massacred by overcrowding due to a performing band’s hype, they understand the mentality of Chicago’s buzz-band of choice, Twin Peaks. A group groomed in the unforgiving yet unforgettable streets of the Windy City, these partying teens have been friends for as long as they could ride a skateboard and worship at the alter of classic-rock titans and fuzz-fueled modern punk groups.

Alongside fellow babies on the rock circuit The Orwells, Twin Peaks have taken their lo-fi garage pop blend from cramped apartments to much larger venues, highlighted best by their rowdy, sweat-drenched Pitchfork Music Festival set on July 19th (which involved singer and guitarist Cadien Lake James playing in a wheelchair due to a broken leg—the commitment was praised by attendees, to say the least).

Continue reading Twin Peak’s sophomore effort shows diversity and maturity while still rocking hard

Love’s Crushing Diamond full of melodic breeze and bliss

Beauty is an adjective placed upon music that touches a fan. With that in mind, any challenged fanatic can make the argument that Lana Del Rey and Led Zeppelin hold equal levels of loveliness. However, some music thrown at a listener just has a certain sound that just screams beauty. Continue reading Love’s Crushing Diamond full of melodic breeze and bliss