Band of Horses - "NW Apt"

Band Of Horses | MySpace Music Videos

Album Review: The Hold Steady - Heaven Is Whenever

Artist: The Hold Steady
Album: Heaven is Whenever
Record Label: Vagrant Records
Release Date: 5/4/2010
Rating: 5.5/10


It pains me to ask this question—but what happened to the Positive Jam?

The Hold Steady—a rare modern act that arose from the seemingly romantic notion of making good music for the sake of itself—seem to have lost their way as their polished, lackluster fourth album Heaven Is Whenever places the band farther away from their original mindset than ever before. The new record finds them with their most calculated effort, something that in itself opposes the exact ethos that the group was founded upon.

Maybe it’s the loss of the eccentric energy of keyboardist Franz Nicolay’s, who left The Hold Steady in late 2009. Whether Nicolay himself possessed that much of his former band’s creative impetus, or if he preemptively left knowing of the nature of things to come remains uncertain. But in his wake remains a band regurgitating musical ideas that are blander, softer shells of their past work.

Long gone are the sprawling edges that ‘almost killed me’ and the fictitious, compelling tales of singer Craig Finn’s aged and beaten characters. And while there are notable moments throughout Heaven is Whenever, they seem to fall into the ubiquitous trap of relying on a constant musical formula, while leaving much of their unadulterated energy and attitude at the wayside. “Weekenders” has the druggy themes, big riffs and anthemic harmonies inherent in the band’s repertoire, but just feels flat when compared with similar songs like “Hot Soft Light, “Banging Camp” and “Your Little Hoodrat Friend.”

The Hold Steady has even produced boring tracks (“Smidge,” “Our Whole Lives”)—something rare for an outfit that has released some of the most complete and cohesive albums of the past decade. Heaven Is Whenever is not completely devoid of the band’s older self, nor is the album unlistenable. “Hurricane J” displays moments of the bands infectious nature, while “Sweet Part of the City” adds some twang in its mid-tempo beauty. And the band continues their long tradition of compelling closing tracks, this time with the eerily warm “Slight Discomfort”—a seven minute journey that ends the otherwise mediocre album on a good note.

Although Craig Finn admits on the album’s closer that “Our struggle still feels wonderful most days”, that statement does not resonate on Heaven is Whenever. Listenable? Certainly. Mildly Enjoyable? I’ll give you that as well. But as a fan who revels in the Hold Steady’s unbridled energy and passion, Heaven Is Whenever stands as the group’s most disappointing album to date.

Repeat Offenders #16: 4/27/10

The premise for "Repeat Offenders" is simple--take 7 songs that I have played continuously over the course of the past week, and share them with you. Classics, new tracks, hits, rarities--anything goes, as long as I couldn't get it out of my head! Now to the songs, in no particular order.














Islands - "Vapours"
A recent study revealed that Canada's best export remains indie-rock bands

Titus Andronicus- "A More Perfect Union"
Seven-plus anthemic minutes of sprawling noise-rock in the vein of Bruce Springsteen, Dinosaur Jr. and The Hold Steady

The Daktaris - "Quiet Man Is Dead"
This Afro-beat revivalist piece predates the emergence of Daptone Records as the predecessor to the current throwback funk outfit Antibalas

Common - "I Used To Love H.E.R."
Chicago Hip-Hop legend Common on his first, and arguably finest hit to date--pure lyrical gold

Beck - "Lost Cause"
Sea Change is a highly underrated album, and tracks like this one demonstrate that point

Dinosaur Jr. - "Plans"
While J Mascis is most known for his guitar prowess, he's nearly as great as a songwriter--something that gets overlooked far too often

Mew - "Comforting Sounds"
Here lies one of the most epic, drawn out and dynamic build-ups

M.I.A. - "Born Free" Video (NSFW)

With M.I.A.'s upcoming album scheduled to be released at the end of June (6/29 via N.E.E.T./Interscope), she has released a video for a new single “Born Free” that will possibly appear on this record. Due to its intense violence, the 8+ minute video probably should be watched at home, or not in public. Check it out below.

Mix Mondays: Volume 33

Welcome to the War on Pop's Mix Mondays--a weekly 8 song playlist for your own enjoyment! Enjoy the mix below or at http://8tracks.com/waronpop/war-on-pop-mix-mondays-33. Each week's playlist will also be available on the top right column.



Volume 33: 4/26/2010

1. Beck - The Golden Age
2. Wilco - What's The World Got in Store
3. Rilo Kiley - Silver Lining
4. Drive-By Truckers - Home Field Advantage
5. Neko Case - Middle Cyclone
6. The Black Keys - You're The One
7. The Hold Steady - Lord I'm Discouraged
8. Band of Horses - Window Blues

The National stream upcoming album 'High Violet'

The National are on a short list of bands that I can safely say that I have been obsessed with in my life. And I don't like to throw the label 'obsessive' around lightly. As I wrote a few months ago about their last album Boxer, this band has a rare ability to not only allure fans with their compelling energy, but also unveil their work through newfound subtleties with each passing listen.

It's also safe to say that I'm not the only one who is cognizant of the quintet's greatness. Over the course of the past decade, The National have built up a tremendous following between their four studio albums and stunning live performances. With their fifth studio album High Violet on the horizon (out May 11th via 4AD), fans can get an early preview of the album. Compliments of the New York Times, you can now hear High Violet streaming in its entirety. Check it out on out here. 

 

The Antlers share free two-song EP, "Sylvia" Video

I was a little late to jump on The Antlers' bandwagon, but it was better late than never. The band emerged out of relative obscurity with their 2009 masterpiece Hospice, becoming beloved by critics and fans alike. Hopsice's cathartic nature draws much similarity to Bon Iver's For Emma, Forever Ago (if you like Bon Iver, but have not heard of The Antlers prior to this post, then skip the rest of this post and go straight to this link now).

Last week, The Antlers decided to release a free two-song EP, which can be download through the embed image below. In addition, the band also released their video for "Sylvia" (check it out here).

Album Review: Caribou - Swim

Artist: Caribou
Album: Swim
Record Label: Merge
Release Date: 4/20/2010
Rating: 6.5/10


Dan Snaith is a man of many talents—a mathematical scholar, producer, composer and multi-instrumentalist. Despite his notable flair for creating music, the Caribou mastermind unexpectedly caught critics and fans by surprise in 2007 with Andorra--a fantastic record that derived its greatness in part from its amiable and catchy 60’s pop aesthetic. After winning the Polaris Music Prize, Snaith could have easily continued to pursue the formula, and Caribou fans would have been ecstatic to hear what could have easily been ‘Andorra, Part 2’. Instead, however, Snaith opted to move away and explore other sounds.

As a result, Swim is not Andorra by any means. His desire to refuse on his laurels is admirable, and the sign of an artist comfortable in his own shoes. Unlike that of its predecessor, Swim is a spacious IDM-centered album, one that at its best moments reaches the greatness of Andorra. The opener “Odessa” kicks off the record with its smart, tight and captivating pop grooves that remain on par with the best tracks of Snaith’s career. Between the synth-heavy dashes of “Kaili” and the Hot Chip-meets-Thom Yorke hybrid on “Hannibal,” Swim paints a compelling, cerebral work—one that impresses through its precisely placed sonic details. While Caribou’s approach to dance pop can be refreshingly original due to Snaith’s production, it also at times leads to what can become a mundane repetition, an occurrence happening a little too much at times over the course of Swim.

In the end, Swim does not match its Polaris-winning precursor, but manages to stay afloat throughout Snaith’s exploring endeavors. Although the album occasionally gets lost in its own sounds and subsequently feels bland at times, Swim’s shining moments rank among Caribou’s best work. So even with its notable flaws, Caribou’s valiant effort in search of new innovation and reinvention deserves significant attention, let alone be applauded for approaching the creative process the right way.

Band of Horses - "Factory"

Yet again, Band of Horses have made another song off their upcoming album Infinite Arms (out May 18th) available for a free download. This time, the Southern indie-rockers have decided to share with us the album's opening track "Factory." All you have to do to get it is provide them with an email address, which they will send a download link to.

"Factory" is the third track that the band has shared from Infinite Arms. Check out the track list below for links to the other two songs.

Infinite Arms Tracklist:
01. Factory
02. Compliments
03. Laredo
04. Blue Beard
05. On My Way Back Home
06. Infinite Arms
07. Dilly
08. Evening Kitchen
09. Older
10. For Annabelle
11. NW Apt.
12. Neighbor

Infinite Arms out May 18th via Columbia

Repeat Offenders #15: 4/21/10

The premise for "Repeat Offenders" is simple--take 7 songs that I have played continuously over the course of the past week, and share them with you. Classics, new tracks, hits, rarities--anything goes, as long as I couldn't get it out of my head! Now to the songs, in no particular order.














The Terror Pigeon Dance Revolt - "Iotdwykirthbr"
Revolving collective of New York musicians embodies the provocative emotion of artists like Broken Social Scene and Dan Deacon

The Tallest Man on Earth- "King of Spain"
Swedish Folk-guitarist Kristian Mattson's voice is so simple, yet so powerful

Architecture in Helsinki - "Heart It Races"
I originally became familiar with Dr. Dog's rendition of this song, but this one has grown on me--they sound here like a warmer, more pop-derived version of the The Knife

Caribou - "Melody Day"
With Dan Snaith's Caribou coming off their recent release Swim, they have carved out a solid niche in IDM for themselves. However, the brilliant pop of "Melody Day" still remains his best track to date

Dr. Dog - "Alaska"
An older track by the 60's revivalists, this time sounding more like The Band, rather than The Beatles or Beach Boys

Spiritualized - "All Of My Thoughts"
Jason Pierce's composition shines through as the dynamic of this song are amazing

My Bloody Valentine - "When You Sleep"
Even with the credit this band has received in recent years, Kevin Shields is one of the more underrated great musicians, with his Shoegaze masterpiece Loveless exhibiting why

Album Review: Roky Erickson w/Okkervil River - True Love Cast Out All Evil

Artist: Roky Erickson w/Okkervil River
Album: True Love Cast Out All Evil
Record Label: ANTI-
Release Date: 4/20/2010
Rating: 8.0/10


At first glance, True Love Cast Out All Evil appears to simply be another addition to the long lineage of one-off collaborations between talented artists. In this instance, Roky Erickson returns with his first record in 14 years, accompanied by the poised support of fellow Austin natives Okkervil River. Although this project in itself brings two acts together for an expectantly solid, albeit unspectacular collaboration placing a lifelong legendary songwriter next to his younger counterparts, True Love Cast Out All Evil cannot be fully understood and appreciated without some familiarity with Roky Erickson’s tumultuous narrative.

The tale of Roky Erickson stands as an epitome of the late 1960’s Psychedelic experience as well as a subsequent fallout comparable with other Rock greats such as Brian Wilson and Syd Barrett. While most recognized for his 1966 Proto-Punk classic “You’re Gonna Miss Me” with the 13th Floor Elevators, Erickson’s promising career with the band ended prematurely, as his habitual hard drug use eventually landed him in trouble with the law in 1969. In order to circumvent an impending ten-year jail sentence, Erickson opted to plead guilty by insanity and was committed to an insane asylum—a life-altering experience that resulted not only in rooming with the other more malicious criminally insane inmates but also in regular involuntary electro-shock treatment. After being released in 1972, Erickson sustained his downward spiral, one marked by his derailed career, continued drug addiction, distorted perception of reality, and overall squalid living conditions.

Given this context, True Love Cast Out All Evil is not just remarkable for its display of a once-promising musician coming full circle against all odds. What makes this release so fascinating remains the fact that most of these previously unreleased songs were originally written at various points throughout Erickson’s career, including from his time with the 13th Floor Elevators, his institutionalized years and his lost years out of the spotlight. As a result, this album encompasses an earnest and stirring snapshot of an extremely talented songwriter in his best times, worst periods and everything between.

From the wary melancholy of “Goodbye Sweet Dreams” to the full-bodied attack on “John Lawman,” Erickson provides listeners with some insight to his darker experiences as well as occasional glimmers of his old self. The combined partnership feels effortless as Okkervil River backs Erickson’s efforts while both invigorating the album as well as subtly accentuating his traveled voice in all the right moments. Although this album is undoubtedly focused Roky Erickson, True Love Cast Out All Evil has its most brilliant moments when the collaboration is in full force, particularly as is the case with the haunting minimalism within “Please, Judge” and mid-tempo Americana ballad “Forever.”

In the end, Roky Erikson and Okkervil River deliver a record as heartfelt and honest as Erikson’s own face looks on the album’s cover. Half of his face submerged in the shadows, the other half lighting up his seemingly weary stare, this album feels like a part of Roky Erikson. And with some help from his fellow Austin neighbors, True Love Cast Out All Evil speaks as if the title is something that has occurred for Erickson—that his demons have been kept at bay with the help of some friends, allowing him to focus again on the music that has defined his life.

LCD Soundsystem release video for "Drunk Girls"

Last week, LCD Soundsystem provided fans with an early listen of their upcoming album This Is Happening (out May 18th). To start off this week, the band has released a brand new video for their single "Drunk Girls," directed by Spike Jonze. Check it out below.

"Drunk Girls" now available for purchase.

Mix Mondays: Volume 32

Welcome to the War on Pop's Mix Mondays--a weekly 8 song playlist for your own enjoyment! Enjoy the mix below or at http://8tracks.com/waronpop/war-on-pop-mix-mondays-32. Each week's playlist will also be available on the top right column.



Volume 32: 4/19/2010

1. Of Montreal - Requiem for O.M.M.2
2. Miles Kurosky - I Can't Swim
3. Dr. Dog - Worst Trip
4. The Essex Green - This Isn't Farm Life
5. Stephen Malkmus & the Jicks - Gardenia
6. Beulah - A Good Man Is Easy To Kill
7. Happy Birthday - Girls FM
8. Apples in Stereo - Can You Feel It?

Quarterly Report: Catching Up with My Favorite New Records of 2010

I listen to a lot of music, and as much as I would like to write about nearly all of the new music I hear, the reality is that I unfortunately do not have time to review all the albums I listen to. So I have decided take a moment to catch up, and share with you a couple 'mini-reviews' about my favorite new records that came out in 2010, which I did not initially review. Better late than never, right?

Artist: Surfer Blood
Album: Astro Coast
Record Label: Kanine
Release Date: 1/19/2010



This year so far has partially been defined by a growing trend in warm guitar-laden rock, and Surfer Blood stand among the leaders of this rising group of bands. What the band lacks in particular innovation on their debut Astro Coast, more than make up for with its catchy, driving reinvention of good-old guitar rock. "Swim" and "Floating Vibes" are powerful from their onset, doused in a gleamingly hazy, reverb-heavy timbre. Mixed that with the tropic syncopations on tracks like "Take It Easy" and "Twin Peaks," and Astro Coast prevails as infectious as it is solid.

Artist: Besnard Lakes
Album: The Besnard Lakes Are The Roaring Night
Record Label: Jagjaguwar
Release Date: 3/9/2010


Atmospheric and Epic. The Besnard Lakes' third album The Besnard Lakes Are The Roaring Nights is as simple as those two words. In the realm of Post-Rockers Sigur Ros and Explosions in the Sky, the quartet's sound approaches the majestic through their beautiful use of dynamic and buildup. While this persists throughout The Besnard Lakes Are The Roaring Nights, "Albatross" awes as a stunning standout, adding horns and a climax that fellow Canadians Broken Social Scene would love to claim, and easily emerging as one of the front-runners for this year's best track.

Artist: The Morning Benders
Album: Big Echo
Record Label: Rough Trade
Release Date: 3/9/2010



If you like Grizzly Bear, then say hello to your new friend The Morning Benders. With the former's bassist Chris Taylor producing Big Echo, the indie-rock chameleons transform from Blind Pilot to Grizzly Bear on their sophomore release. Just listen to tracks such as "Promise" or "Mason Jar," and you will quickly see what I mean. Yet, The Morning Benders still possess enough of their folk-rock prevalence from their first album to avoid a complete conversion. "Cold War (Nice Clean Fight)" and "All Day Daylight" show that they're not just a one-trick pony, but rather a nice little, well-rounded act.

Artist: Titus Andronicus
Album: The Monitor
Record Label: XL Recordings
Release Date: 3/9/2010



Falling somewhere in the middle of Bruce Springsteen, Dinosaur Jr., Flogging Molly and The Hold Steady, The Monitor remains raw and energetic throughout its hour-plus length. This is a love or hate album, especially given its sprawling nature and triumph, dissonant noise. With all but two tracks clocking in at over five minutes, Titus Andronicus gloriously traverses between their historical tales and gritty, distorted sound. Does the album overreach at times? Perhaps, but the finer moments on The Monitor more than overpower its weaker portions.

Honorable Mentions:
Zola Jesus - Stridulum EP
Harlem - Hippies
Jonsi - Go
Dr. Dog - Shame, Shame

Best Coast - "When I'm With You"

One of my favorite new bands from 2009, California-natives Best Coast have been one of the best bands to emerge among the rise of warm, surf-rock and Beach Boys-influenced lo-fi pop groups, alongside Girls and the Smith Westerns. Check out their video for their song "When I'm With You" below.

Beach House - "The Arrangement"

2010 has been a busy year for the Baltimore-based duo Beach House. Between releasing the highly acclaimed (and personal favorite) Teen Dream and a nationwide tour, the group has decided to keep themselves in the news with more new music. In honor of this year's Record Store Day (April 17th), Beach House will be releasing a new 12", featuring a new song titled "The Arrangement." Check it out below.












Beach House - The Arrangement by subpop

LCD Soundsystem's upcoming album 'This is Happening' streaming online

With their 3rd (and potentially final) album This is Happening scheduled to be released May 18th (via DFA), LCD Soundsystem has decided to stream their album on their website in its entirely. You can check the album out  by clicking on the image below (note: not an actual embed, but just a screen shot of the player from their website).

















This stream comes not too long after James Murphy asked fans to not leak the album early, saying:

“We spent two years making this record and we want to put it out when we want to put it out. I don’t care about money – after it comes out, give it to whoever you want for free but until then, keep it to yourself.”

Perhaps to avoid leaking against their will, the band went forward and made it available to everybody on their own terms. Either way, be sure to check it the album.

Repeat Offenders #14: 4/14/10

The premise for "Repeat Offenders" is simple--take 7 songs that I have played continuously over the course of the past week, and share them with you. Classics, new tracks, hits, rarities--anything goes, as long as I couldn't get it out of my head! Now to the songs, in no particular order.














LCD Soundsystem - "Drunk Girls"
And James Murphy and Co. are back at it, bringing their disco-punk back for another album

Harlem - "Someday Soon"
Simple enough. My new favorite garage rock act

The Rural Alberta Advantage - "Edmonton"
Falling somewhere between Okkervil River, the Avett Brothers and Blind Pilot, these Canadians show promise as one of the next breakout folk-rock acts

Jonsi - "Animal Arithmetic"
While Sigur Ros is on hiatus, frontman Jón Birgisson shines in his solo debut

Belle and Sebastian - "If She Wants Me"
Twee-pop at its finest

Stars - "Your Ex-Lover is Dead"
Broken Social Scene offshoot, featuring Amy Milan, rivals its predecessors

Fela Kuti - "Gentleman"
The 14-minute epic demonstrates the genius of the late Afro-Beat mastermind

Band of Horses - "Laredo"

As Band of Horses' upcoming album Infinite Arms approaches its release date (May 18th), the group has now released "Laredo," their second single off their soon-to-be third album, and can be heard below. This song follows "Compliments"--the first preview off of Infinite Arms. Enjoy!

Infinite Arms out May 18th via Columbia

Venue Profile: 529

Found in the middle of the Atlanta neighborhood East Atlanta Village near the main intersection of Flat Shoals and Glenwood Avenues, 529 does not necessarily stand out unless you are particularly looking for it. But step inside into this dive bar, and you’ll find a small, intimate venue that plays host to both Atlanta’s finest local acts as well as some of indie-rock’s finest emerging acts. From the Black Lips to Titus Andronicus, Japandroids to King Khan & the Shines, this personal venue provides a perfect atmosphere for upward moving artists and their enthusiastic fans to connect.

529 opened in November 2008, filling a long-standing vacancy left by the former local establishment Village Sports Bar. What emerged in its place was not just another bar, but what has become one of the up and coming concert venues in the Atlanta area over the past year. Upon entrance, 529 may appear to be just another local bar among the plethora of taverns throughout East Atlanta Village, yet it is the back room which holds the heart of 529. Despite its size—holding only approximately 100 people—the venue has all the essential bells and whistles of its older neighbor The Earl, while packing its smoked-filled environment with a similar crowd.

After seeing the Philadelphia-based sextet Grandchildren perform at 529 a few months ago, the tightly-packed, less-than-pretentious hipster patronage provided a settling refuge from many of Atlanta’s other live arenas. Although both its size and legacy do not necessarily attract the artists of The Earl, 529 comes pretty close to its counterpart—an impressive feat given the fact that the venue has only been open for less than two years.

Mix Mondays: Volume 31

Welcome to the War on Pop's Mix Mondays--a weekly 8 song playlist for your own enjoyment! Enjoy the mix below or at http://8tracks.com/waronpop/war-on-pop-mix-mondays-31. Each week's playlist will also be available on the top right column.



Volume 31: 4/12/2010

1. Fanfarlo - Harold T. Wilkins, or How to Wait for a Very Long Time
2. Camera Obscura - The Sweetest Things
3. Jens Lekman - Black Cab
4. Beirut - Postcards From Italy
5. Arcade Fire - Crown of Love
6. Sufjan Stevens - Decatur, Or, Round of Applause for Your Stepmother!
7. Andrew Bird - Scythian Empires
8. Plants and Animals - New Kind of Love

Yeasayer: 4/6/10 at the Masquerade (Atlanta, GA)

At the Masquerade on Tuesday, Brooklyn-based indie-rockers Yeasayer propelled their already fantastic repertoire into something even greater, striking a fine balance between earnest sincerity and playful gratification. With both vocalists dressed in jumpsuits—Chris Keating in monochrome, Anand Wilder in multicolor—and a backdrop of large vividly colored cubes of ever-shifting light, the band’s fun-filled vibes had the sold-out crowd keyed up and eating out of the palms of their hands throughout their short but powerful set. Case in point: the guy next to me who kept chanting, “this is THE BEST show I’ve EVER SEEN.” There was more than one moment when the floor was literally shaking so hard I thought it was going to cave in, and I probably would have gone down cheering if it had.















With a particularly funky rendition of wonderfully murky and plodding opener “The Children,” Yeasayer quickly set into motion an energetic sequence of feel-good sonic confection, including upbeat and unsinkable crowd favorite “Ambling Alp” (word of wisdom: check out the music video, it’s insane and filled with nudity). The guys played the entirety of 2010’s synth-heavy, dance-friendly sophomore gem Odd Blood, smoothly interspersed with hits from their first album, the gorgeous, genre-bending masterpiece All Hour Cymbals, as well as their winning Dark Was the Night contribution “Tightrope.”

Yeasayer reached that utopian middle-ground that few live acts master, staying faithful to their quirky recordings while bringing a special kind of freshness to the show that makes concertgoers feel like their experience is unique. There was nothing contrived in each band member’s motley form of infectious enthusiasm—Keating jolted and swayed and smiled and closed his eyes as he crooned into the microphone; Luke Fasano seemed ready to get up and dance as he beat away at the drum set; Wilder and bassist Ira Wolf Tuton played their instruments as extensions of themselves, entirely focused and completely at ease in the stratifications of sound they were producing. The guys did not need to resort to any kind of gimmicks or over-the-top stage antics—they had nothing to prove but everything to show why they’re a band worth following.

The set concluded with a short and sweet two song encore featuring the buoyant, synth-drenched Odd Blood closer “Grizelda,” followed by the haunting percolations of All Hour Cymbals’ more organic-sounding “Sunrise.” The pair of tracks stood well together, both layering sinuous vocally-driven melodies over snappy polyrhythmic syncopations.

Like that of many bands, Yeasayer’s compositions have evolved into a decidedly more synthesized realm—sometimes to the point where you miss their more tribally-minded beginnings—and yet the artful progression and sheer exuberance of the band’s live performance proved that they are not only aware but in control of their own transitions, and far from selling out. The passion exhibited by every individual onstage coalesced nicely into an overall sense of mutual respect, both between band members and the audience. Further proving their down-to-earth charm, the guys actually came down and hung out with fans at the Masquerade’s modest little bar after the show. Through earnest encounters like this adding to their already genuine performance, Yeasayer continues to pile on more and more reasons for their unconditional love.

-Written by Hilary Cadigan

Ted Leo and the Pharmacists: 4/4/10 at the Masquerade (Atlanta, GA)

As he approaches his forties, career rocker Ted Leo has slowly carved out a nice little spot within indie-punk circles over the past decade. Between him and the rotating lineup comprising his backing band The Pharmacists, the group has maintained a remarkable level of consistency since their formation in 1999. Between six studio albums –including their recently released album The Brutalist Bricks—the band has managed to garner a large following that stands as enthusiastic as the veteran indie-punk leader Ted Leo himself. Amidst a month-long tour in support of their latest release, Ted Leo and the Pharmacists showcased their eclectically catchy punk rock throughout their Easter night performance at Atlanta’s Masquerade.














As the fierce opening guitar riff of “The Mighty Sparrow” kicked off the show in swift fashion, the punk outfit exhibited their endless energy and bravado over the course their show. The band efficiently made their way through a many of the tracks songs off The Brutalist Bricks, including the driving attack of “Where Was My Brain?” and the harmonious chorus on “Even Heroes Have to Die.” Juxtaposed with older anthemic favorites like “Me and Mia” and “Where Have All the Rude Boys Gone?,” the brand new tracks impressed in their own right.

While the Pharmacists served as the formidable backbone driving the show, Leo was in the spotlight throughout the night, emanating a persistent combination of his dexterous guitar work, authentic punk ethos, and genuine passion. His witty banter with the crowd pierced through between songs, as he commented about his Catholic upbringing and apparent disillusion with it, as he jokingly wished the crowd a “Happy Day” (as opposed to “Happy Easter”). Upon a member of the crowd asking him if he had called his mom yet to wish her a Happy Easter, he poignantly snapped back, “you’re not one of the Pitchfork people, are you now?”

As their set neared its end, Ted Leo and the Pharmacists sustained their intensity, playing a variety of tracks such as the punk-ska hybrid “Counting Down the Hours” and the jaunty “Colleen,” before closing their set with “Gimme the Wire”—an unheralded gem of a track hidden with the latter portions of their latest record. As impressive and underrated as this song is on record, “Gimme the Wire” quickly cemented its place among the best of the band’s work within the live arena.

Ted Leo returned to the stage for two encore songs, featuring a solo rendition of “Bleeding Powers”, before being joined by his cohorts to conclude with “Last Days”—the final song off The Brutalist Bricks—concluding the group’s impressive return to Atlanta. And if their cohesive demonstration on both their latest recording and performance is an indication of anything, it’s that Ted Leo and the Pharmacists seem determined not to fade away, as they continue to bring their undying fervor and grit at each and every moment of their work.

Repeat Offenders #13: 4/7/10

The premise for "Repeat Offenders" is simple--take 7 songs that I have played continuously over the course of the past week, and share them with you. Classics, new tracks, hits, rarities--anything goes, as long as I couldn't get it out of my head! Now to the songs, in no particular order.














Ted Leo & the Pharmacists- "Gimme The Wire"
Thirty-somethings punk rocker Ted Leo has stayed true to his career's remarkably consistent body of work--this hidden gem off his latest album shows him in his element

White Rabbits - "Percussion Gun"
This NYC indie-sextet is, well, percussive to say to the least

The Antlers - "Sylvia"
Following up my love of Bon Iver, Peter Silberman and Co. created a cathartic masterpiece with their 2009 masterpiece Hospice

Ariel Pink's Haunted Graffiti - "I Wanna Be Young"
Avant-garde musician loosely associated freak-folk scene shines on this track

Lightning Dust - "Antonia June"
Amber Webber and Joshua Wells' side-project from Vancouver stoner-rock group Black Mountain exploring their haunting minimal beauty

Wye Oak - "For Prayer"
Following up my love of Beach House, this duo's 2009 album The Knot should definitely be heard by all fans of their Baltimore counterparts

Dennis Wilson - "Holy Man (Instrumental)"
Off his only solo album, this track has all the signs of the aged former-Beach Boy through its warmth and beauty

Official 2010 Lollapalooza lineup announced!

After roughly a week or so of playing Wheel of Fortune with the 2010 Lollapalooza lineup, we finally have the official lineup at our hands--take a look!

Lineup

Soundgarden, Green Day, Lady Gaga, Arcade Fire, The Strokes, Phoenix, Social Distortion, MGMT, Jimmy Cliff, Hot Chip, The Black Keys, The National, Spoon, Devo, Cypress Hill, Cut Copy, The New Pornographers, Erykah Badu, Slightly Stoopid, Grizzly Bear, Gogol Bordello, Chromeo, Wolfmother, Yeasayer, X Japan, MUTEMATH, Metric, Dirty Projectors, AFI, Mavis Staples, Matt & Kim, The xx, Drive-By Truckers, Blues Traveler, Edward Sharpe & The Magnetic Zeros, The Temper Trap, Jamie Lidell, Frightened Rabbit, F**k Buttons, Deer Tick, Blitzen Trapper, Stars, Raphael Saadiq, The Cribs

Minus the Bear, Switchfoot, The Walkmen, Mumford & Sons, Wild Beasts, Rogue Wave, Los Amigos Invisibles, The Big Pink, The Dodos, Hockey, Cymbals Eat Guitars, B.o.B, Dawes, Warpaint, The Antlers, The Soft Pack, Rebelution, Balkan Beat Box, Wavves, American Bang, The Ike Reilly Assassination, Company of Thieves, Nneka, Harlem, The Constellations, Miniature Tigers, Mimicking Birds, The Kissaway Trail, HEALTH, Javelin, The Morning Benders, Foxy Shazam, Violent Soho, Royal Bangs, Freelance Whales, Semi Precious Weapons, Dan Black, The Band of Heathens, Dragonette, My Dear Disco, Shawn Fisher, Neon Hitch, Skybox, The Ettes, Jukebox the Ghost, These United States, MyNameIsJohnMichael

Spinning at Perry's

2ManyDJs, Empire of the Sun, Digitalism, Perry Farrell, Tiga, Felix Da Housecat, Rusko, Erol Alkan, Kaskade, Wolfgang Gartner, Flosstradamus, Joachim Garraud, Mexican Institute of Sound

Caspa, Peanut Butter Wolf, Dirty South, NERVO, Cut Copy (DJ Set), Beats Antique, Steve Porter, Didi Gutman of Brazilian Girls, Ancient Astronauts, Ana Sia, Team Bayside High, Dani Deahl, FreeSol, DJ Mel, BBU, Vonnegutt, Only Children, Lance Herbstrong

Gentleman Jesse and His Men: Hook-heavy revivalism from a punk's eye view

From the moment you look at the album cover of Gentleman Jesse's eponymous release, there is a certain sense of familiarity to it. Something subtle about it that just seems right. The same phenomenon occurs seconds within the album's beginning notes. Those chords, that beat - these harmonies! It may not be perfectly polished, but that sound, that energy is so...

Can't put your finger on the exact influences or styles embodying Atlanta's Gentleman Jesse and His Men? Don't even try. That would be like pinpointing a soul sample on a DJ Shadow record without any assistance. Replace DJ Shadow's use of soul with a long lineage of punk rock dating back to early '60s proto-punk, and meet Jesse Smith - the founder, lead singer and lead guitarist of Gentleman Jesse and His Men. "I'm a huge record collector; I listen to all kinds of stuff," Smith says. "The basic idea for the band is just to have a hook. It doesn't matter what it is, if it's fast or slow or aggressive. Just as long as it has a hook."













After years playing in the punk band Carbonas, Smith finally has a new voice with which to showcase his own brand of melodic power-pop. "I usually say that it's kind of got a British Invasion vibe filtered through punk rock as if the Ramones were trying to play the Beatles," he aptly describes it. While his music draws from that wide of a range - as well as everything in between - he seamlessly samples it all into a collage of raw, rock 'n' roll excellence.

Smith is an unassuming leader who guides his fellow band members with a quiet confidence - that is until he takes the stage. Donning a vintage army button-down shirt labeled "Smith" on the front pocket, Smith nonchalantly positioned himself front-and-center as he took the helm during a recent show. His bravado irreverently stood out as he encouraged the crowd to drink and offhandedly asked the audience, "It's a Tuesday, what the fuck do you have to do tomorrow?" And on cue, he and His Men hastily jumped into "Xmas Song," where Smith wails in the song's chorus, "I'll be getting over my hangover on Christmas morn / That's the way I celebrate the day Jesus was born!"























Displays of no-frills raucousness like this, in addition to constant channeling of the past, comprise the major forces behind the band. "On an energy level, the first song ["Highland Crawler"] on our LP is a fun song to play," says Smith. "It's got that slashing Who guitar thing - it's a good 'get people pumped' song." The track would feel right at home as part of the High Fidelity soundtrack. Falling right beside the open riffs of the 13th Floor Elevators' "You're Gonna Miss Me" and Nick Lowe's "So it Goes," Smith pays homage with his powerfully brash riffs, while taking the song to a whole other level of power-pop perfection.

Even that all-too-familiar, yet not so recognizable, album cover pays homage - this time to the cover of Elvis Costello's This Year's Model. "We just brought a bunch of different background colors, and I knew I wanted it to be just a picture of me and the band with a background color, and for it not to say anything on the front," Smith says. "There was a bunch of different things I had thought of, like the Nick Lowe - Jesus of Cool record; Dave Edmunds - Repeat When Necessary; and that one [Costello's This Year's Model] all came out around the same time and all had a similar look to it - and the Wreckless Eric LP too. So we took all different pictures of me with a guitar...and that one came out the best."

















Smith unveils himself gradually over time, but not in the lineage of Elvis Costello per se - or any other individual artist for that matter. Rather, his aesthetic represents the summation of artists he respects, music he adores, and records he collects. As simple as that sounds, it's no easy task - yet he has convincingly mastered it. Ultimately, Smith prevails as a musician simply making music for its own sake, celebrating his years of digging through the crates by creating timeless punk rock that both honors his countless influences and trails its own unique path.

For someone whose music is so entwined with that of the past, Smith is curiously intrigued by how his work is viewed alongside his contemporaries after gaining popularity since his new record. "I always look at people who ask us to be friends on MySpace and it used to be that [these] people liked the Oblivion and Carbonas and stuff I expected from people who sit in the same genre," he says. "Now it's like, 'We like Wilco' and stuff like that."














While most musicians would be enamored about being mentioned in the same sentence as Wilco or any other band of that caliber and notoriety, it simply doesn't concern Smith. "The press? I take it or leave it, as long as people are listening," he says.

http://www.myspace.com/gentlemanjesse

-Written by Max Blau, Photos by Leili Kasraie, Feature Story for Performer Magazine (April 2010--Online Edition)

The Black Keys - "Tighten Up"

The Black Keys have released their first single "Tighten Up" off their upcoming album Brothers, out May 18th. Check out their video for this awesome new track below, featuring Frank the funkasaurus rex (see video captions for more on Frank!).

Mix Mondays: Volume 30

Welcome to the War on Pop's Mix Mondays--a weekly 8 song playlist for your own enjoyment! Enjoy the mix below or at http://8tracks.com/waronpop/war-on-pop-mix-mondays-30. Each week's playlist will also be available on the top right column.



Volume 30: 4/5/2010

1. Billy Bragg & Wilco - Airline to Heaven
2. Ryan Adams - To Be Young (Is to Be Sad, Is to Be High)
3. The Avett Brothers - Slight Figure of Speech
4. Drive-By Truckers - Drag the Lake Charlie
5. Okkervil River - Singer Songwriter
6. Blitzen Trapper - Stolen Shoes + a Rifle
7. The Low Anthem - Champion Angel
8. My Morning Jacket - Lay Low

Ultra Music Festival: Day 2 delivers dance grooves for sold-out crowd

Day 2 began at noon, displaying another sunny portrait of meteorological perfection. We arrived at Bicentennial to find a sold-out venue—apparently the 100,000-person capacity had actually been reached. Scalpers were selling Saturday-only tickets for up to $400 (originally a 2-day past cost only $140). Planning ahead never felt so good.

Our first stop of the day was Diplo at the Bayfront Live Stage. One half of Major Lazer, which had a separate set later in the day, Diplo aka Wesley Pentz is clearly a man who knows his craft. Dressed in a Major Lazer t-shirt, the unflappable Pentz mixed and mashed a variety of different samples and syncopations, including the absurdly infectious hook from Major Lazer’s “Pon de Floor,” while infusing it all with his characteristically bouncy Floridian vibes.

















In the process of mobilizing for the Damian Marley/Nas set over at Main Stage after Diplo’s set, I was suddenly struck motionless as the opening vocals of the song blaring over DJ Steve Aoki’s speakers: it was “Circle of Life,” as in that marvelous opening song from The Lion King where Rafiki holds baby Simba up in the sky at the tip of Pride Rock and all the lions cheer (I was thus inspired to look up the lyrics—apparently they are “Nants ingonyama bagithi baba, sithi uhhmm ingonyama” which means “There comes a lion, oh yes, it’s a lion.” You learn something new every day). The Circle continued with a charming remix stratified with jungle beats that had the crowd going wild, but my troops were on a Marley mission, so I had to bid farewell just as the Kid Millionaire was launching into a spontaneous head-banging dance and screaming in a sinister way over a pre-mixed track—a good time to move on.

At the Marley/Nas show, I was most delighted to find that the unrelenting flag-waver I remembered from Damian’s concert circa 2007 was still waving in full force. If you’ve ever seen a Damian Marley performance, you know what I’m talking about. Marley’s affable mix of Jamaican charm and scintillating rhymes effortlessly arranged over reggae and hip-hop harmonies provide the perfect soundtrack for a sunny day in Miami. Nas’s hard-hitting urban eloquence adds another pleasing layer to the Marley marvel—the comrades’ musical and cultural solidarity shined brightly throughout their performance, inciting further anticipation for their long-awaited collaborative album Distant Relatives, due for release later this month.

The next stop of our meandering musical journey was the tiny Day-Glo Arena, which advertised the world’s largest paint party. Clearly, I needed to get involved. We spent the next half hour dancing madly to the house beats of various smaller-name DJs as armed performers in plasticine suits sprayed us with neon paint. It doesn’t get much better than that.

Once we were thoroughly doused in Day-Glo, we headed back over to the main stage to check out neo-electro dance DJ Benny Benassi, where it was easy to see why he is such a sensation. The epileptic revelry of throbbing beats and screeching synthesizers—particularly in hit single “Satisfaction,” with its “Fitter Happier”-inspired computer voiceovers—really epitomized Ultra’s overall atmosphere.

I spent the next few hours over at my beloved Biscayne stage, where a series of back-to-back dubstep sets was already in full-force. A London-based offshoot of U.K. garage that employs elements of drum'n'bass, techno, and dub, dubstep offers a dark but thrilling intensity that really cuts to the heart of EDM greatness. The line-up progressed from Benga to Caspa to Glitch Mob to Skream! to Rusko, and while I tended to drift in and out of these performances, there was something special about the cohesion of the crowds that gathered for these sets. From the hill next to the stage, I had a perfect view of all the tightly-packed bodies jumping in unison with their hands in the air as the Miami sun began to set, flooding the sky with rose gold.

Next on the Main Stage was progressive trance DJ Armin Van Buuren, another Netherlands native with worldwide acclaim, whose sprawling compositions and breathtaking lightshow seamlessly carried the frenzied masses from day to night. Van Buuren and Tiesto share a number of similarities, and collaborated in the past with the hit “Eternity"–a connection in full force throughout the course of his performance.

Soon it was back to Biscayne for more back-to-back goodness. First up, Bassnectar, self-described as “A free-form project that merges music, art, new media, social involvement, and community values; dedicated to a constantly evolving ethos of collaborative creation, self reinvention, and boundary-pushing experimentation." That statement may contain some bullshit, but with his trademark waist-length dreads and exuberant head bobbing, Bassnectar is a force to be reckoned with and a personal favorite of mine. His quirky mix of tripped-out ambience and hard-rocking techno beats stands out even in this sea of other talented electronic music-makers.

Ultra’s quick turnaround between artists was both consistent and admirable. Accordingly, as soon as Bassnectar shuffled off the stage, a bunch of new people jumped on. This motley crew of costumed dancers came to start the all-out dance party featured on Major Lazer’s set. This newly established digital reggae/dancehall project has received much critical acclaim and indie cred since their 2009 release Guns Don’t Kill People… Lazers Do. Comprised of DJs Diplo and Switch, Major Lazer features Gorillaz-esque cartoon characters complete with an absurd back story (something involving limbs lost in the secret Zombie War of 1984), and mixes a range of Jamaican musical elements with tight beats, catchy refrains, and a slew of guest vocalists, from Santigold to Mr. Lexxx. Their set was a paradigm of pure fun, with vocalist Skerrit Bwoy and a troop of female dancers infusing an extra layer of personality. Oh, and the snappy hook featured in “Pon de Floor” is still stuck in my head.

Finally, we entered Ultra’s final hour featuring Deadmau5, Paul Oakenfold, Ghostland Observatory and Carl Cox, who were all performing at the same time on different stages. Tough decisions had to be made. I started out with Deadmau5 on Main Stage, where the entire area was so packed that oxygen seemed like a luxury. So, I took the lack of oxygen and the Mau5’s underwhelming intro as an excuse to round out my trifecta of Ghostland Observatory experiences and headed over to the far more breathable Bayfront Live Stage at the other end of the park. Ghostland Observatory did not disappoint, despite a seemingly brief set (no sign of “Silver City,” a personal favorite). Roguish frontman Aaron Behrens lived up to his Freddy Mercury/Prince associations as he shrieked and gyrated amidst the smoky technicolor of a laser light show spectacular enough to rival those featured on much larger and infinitely more populated stages. The layered perfection of thumping bass, crunchy guitar riffs, and silky synth hooks featured in “Midnight Voyage” extended into a full-on electo-jam session, held down by producer/drummer Thomas Turner in his requisite floor-length cape ensemble. Ghostland’s vivacious performance was a perfect amalgamation of all the various subgenres that Ultra promotes and a preview of the places EDM can and will go as it continues to develop. In other words, their set was a perfect way to end an incredible weekend.

-Written by Hilary Cadigan

Ultra Music Festival: Day 1 Brings EDM Artists, Fans Together

Ultra Music Festival: a two-day extravaganza made up almost entirely of Electronic Dance Music. Take a moment and think about that, two days—20 hours total—of dancing. And I’m not talking about your grandma’s foxtrot here, people, nor am I referring to the typical head-bobbing concert fare of yore. I speak of sweaty, fist-pumping, hip-shaking, foot-stomping, neck-dislocating, all-out absurdity. To be sure, one does not and should not come to Ultra unless they are ready to get extreme.

Unlike more typical music festivals (and I use the word typical very loosely here), the Ultra lineup does not cater to the general music-loving public. Rather, it is very specific in its aim, and that aim is EDM. Ultra-goers came in all kinds of kooky outfits, from rainbow tutus to Green-Man-inspired bodysuits to banana costumes. Anything neon or glowing was the norm. The clientele bore a refreshing lack of pretension—there were the usual groups of friendly festival folks, crunchy kids, electro nuts, clubbers, ravers, rollers, and even a ferociously fist-pumping but otherwise harmless faction of guidos, yet everyone seemed strangely at peace with each other. Such is the magic of truly successful festivals, which Ultra certainly embodied. No matter who we might have been individually, together we were all the kind of people who’d actually pay to subject ourselves to a 2-day marathon of nonstop basslines and booty shaking, and there’s definitely a sense of solidarity in that. Here’s my attempt at sharing that solidarity with you: a play-by-play account of my Ultra 2010 Experience.













FRIDAY:

Due to the combined forces of rush hour gridlock, a long wait at the press tent, an inexplicably early set time, and the potentially ill-advised decision to run all the way back up ten flights of hotel stairs to retrieve my collection of glowsticks, I tragically and shamefully missed the show I was most looking forward to: Pretty Lights. As such, my Ultra arrival was slightly marred by frustration, but as I crossed into Bicentennial Park’s electronic wonderland of sound, I recovered pretty quickly and began focusing on what was yet to come. Entering to the right of the main stage, my friend and I were immediately surrounded in Passion Pit’s giddy crowd-pleaser “Better Things,” but determined to check out the scene, we managed to tear ourselves away from Michael Angelakos’ dizzying falsetto to take a look around.

Directly in front of the sparsely populated main stage, the Ibiza Arena was already packed to the brim with punctual festival-goers pumping along to the pulsations of DJ Laidback Luke. It was overwhelming at first. We dithered from one stage to the other, trying to assemble our troops, before finally plunging into the Ibiza tent as Black Eyed Peas frontman Will.i.am took the stage.

Let me be clear: I despise the Black Eyed Peas. Just looking at Fergie makes me want to punch a baby in the face. However, due to the welcome exclusion of Peas abominations like “Big Girls Don’t Cry,” Will.i.am’s set quickly developed into a high-energy albeit rather typical affair of samples and remixes, including a “Don’t Stop Believing”/“Sweet Child O’ Mine”/“Thriller” sequence that got the crowd riled up enough to start climbing the suspension poles. Pole-climbing became a common occurrence throughout the festival, and as each daring idiot clambered up and beamed down at the crowd as though he were the first person in history to reach such clever heights, I was actually reminded of how much I cherish the laissez faire nature of these types of events. At Ultra, you don’t get punished for doing something stupid like climbing up a pole. If you fall, it’s your own damn fault. Ultra, and other events like it, create a time and place where the typical and often arbitrary rules of society go out the window, and the crazy kids get to come out and play without fear. In the end, this sense of jubilant anarchy in the midst of established order may be what I love about music festivals most of all.

Anyway, my friends and I ducked out of Will.i.am’s set early to grab some soggy, overpriced festival food, before heading over to watch London dance duo Groove Armada’s scheduled live performance on the Main Stage. But wait, this isn’t… who is this? It was LMFAO, inexplicably coming on early and punishing our ears with a worse-than-usual rendition of “I’m In Miami Bitch”–a phrase which became a kind of all-too-obvious theme for the festival, sampled in several other sets and plastered in Day-Glo on what appears to be this year’s most popular tourist t-shirt. The performance carried on exactly as you might expect that of the people responsible for the Jersey Shore theme song as well as every other miserably catchy vocal hook on the frat party circuit these days (personal favorite: “SHOTS! SHOTS! SHOTS! SHA-SHA-SHA-SHOTS!”).

When they finally emerged, electro-pop outfit Groove Armada provided a welcome reprieve with a healthy dose of estrogen amidst all the male energy dominating Ultra’s stages. While Tom Findlay and Andy Cato have been grooving since the mid-90’s, their most recent album, this year’s Black Light, debuted fearless female vocalist Saintsaviour, who carried the group’s performance, marching onto the stage in a suit of sparkly armor and rocking out like some kind of alien empress.

We left Groove Armada heading vaguely in the direction of Infected Mushroom, until I suddenly heard some seriously sick beats coming from the direction of what would soon prove to be my favorite area of the festival—the comparatively small but ideally situated Biscayne Stage, stationed in the very corner of the park and framed by a cluster of skyscrapers and Miami’s mini monorail track. Plunging into the small crowd gathered in front of the stage, we were immediately sucked into the spellbinding throb of a DJ none of us had ever heard of before—Fake Blood aka DJ Touché. Remixing samples from Little Boots’ “Stuck on Repeat” and The Kills’ “Cheap and Cheerful,” along with original tracks such as “I Think I Like It,” Fake Blood adeptly blended fidgety synth stabs and pitched-up vocal bits built to the brink of torment before surrendering to pounding baselines that got the whole crowd jumping. It turned out to be one of my favorite sets of the weekend.

Due to the utter overabundance of Ultra’s lineup (given the chance I’d see every single act individually, but that would take months), we would typically stick around for a few songs of each set, before quickly moving over to the next stage to check out a new scene. We spent the 9:00-10:00 slot flip-flopping between two masters of house music: David Guetta and Kaskade. French DJ Guetta is a perennial favorite of the club scene with boatloads of mainstream appeal, probably due to collaborations with radio rappers Kid Cudi, Akon, and Will.i.am (the latter, not surprisingly, stuck around for a guest appearance on Guetta’s stage). Guetta put on a show that revolved just as much if not more around visual spectacle as it did around music: the first in a series of late-night Main Stage headliners featuring mind-blowing collaborations of colored lights, long-range lasers, multi-screen visuals, and massive flame-throwers that sent waves of heat all the way to the very back of the crowd. Kaskade, on the other hand, while certainly not lacking in the lights and lasers department, spun out dreamy pulsations that could’ve retained their allure in a cement prison cell.

After working up a sweat in Kaskade’s tent, my crew and I decided to settle down for a welcome period of relaxed listening on a grassy hill next to one of the majestic white Heineken domes in the center of the park. From there we watched as the masses gathered around Main Stage for the highly anticipated Tiesto set that would close out the evening. While just as danceable as that of Guetta or Kaskade, Netherlands-born DJ Tiesto’s music is rooted in trance, and despite the progressive nature of his eclectic samplings and collaborations, his mesmerizing ability to put audiences into a mobile yet trance-like state is worth mentioning. Tiesto’s set got better as it went on, and eventually had us off the grass and into the fray, dancing wildly to the symphonic percolations of “Adiago For Strings” and the chill-inducing splendor of tranced-out Tegan and Sara collaboration “Feel It In My Bones.” The two guys gallivanting around the stage in stilts and full-body light-up suits with guns emitting billowing clouds of fog just added to the surrealism of the whole affair.

-Written by Hilary Cadigan

Check back tomorrow for our report of Day 2 of Ultra.

Band of Horses release video for new single "Compliments"

With Band of Horses' upcoming third album Infinite Arms less than two months away from being released (May 18th), the band has made its first single "Compliments" available today. Check out the video below to hear this brand new song.

Infinite Arms out May 18th via Columbia