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(08/02/13 3:45am)
It’s been a few years since I’ve stopped by Lollapalooza as distance and compounding prices have proved a more woeful deterrent than I’d expected, but this year, armed with my press pass, I’ve been mulling over all my fond memories of festivals past to get myself excited again. To get everyone else out there equally riled up, here’s a short list of the five primary reasons I’m getting antsy all over again for the Midwest’s biggest and showiest music festival.
(07/27/13 6:41am)
We entered Saturday with renewed spirits. We’d dried off and so had the world; nothing but blue skies and slightly less health-endangering heats awaited us. The plan was to get to Pitchfork at around 1 p.m. and catch White Lung and Pissed Jeans for a notably punk afternoon, but underestimating both Chicago traffic and the lunch rush threw us off and we arrived too late to do either. Instead we headed over towards the blue stage, our consistently shady bastion, to see Julia Holter.
(07/26/13 5:08am)
Every festival during the summer is obligated to some sort of inclement weather, generally either scorching heat or rain. The first day of Pitchfork 2013 unfortunately suffered from an overabundance of both to almost comical, God-rebuking degrees. There’s nothing more disheartening than walking down the road toward Union Park and reading a bank sign’s proud declaration that it’s 104 outside.
(07/17/13 7:34pm)
As much as Pitchfork gets a bad rap these days (I recently asked a “too-cool” friend of mine if he wanted to go see Pharmakon and Wolf Eyes, making the mistake of mentioning it was a Pitchfork sponsored event. He loves both acts, but responded, “that sounds like the worst thing ever,”) it’s hard to doubt the staff’s intentions and love of music. Even with all the ugly talk of “politics,” “agendas” and “taste making” surrounding their buzz band-birthing empire, you have to give them credit for building a truly devoted monument to the artists they cover. They do it all; interviews, music videos, cover stories, in-house sessions and more. Best of all, they put on the Pitchfork Music Festival every July at Union Park in Chicago.
(06/03/13 6:53am)
So you’re coming to The University of Wisconsin, huh? Well, if you want to play ball with the big leaguers, you’re going to have to update your iPod with all the hippest, most sitcom-approved musical representations of collegiate life. For your listening pleasure, here’s a list of the most essential albums for any incoming freshman.
(06/03/13 6:31am)
So here we are, seven years later, and our Bluths have finally been saved. If you haven’t been keeping up with “Arrested Development” (which likely means you aren’t part of the show’s frothing and obsessive fanbase in the first place), here’s the deal: “Arrested Development,” frequently lauded as one of the funniest shows on television for its intelligent, rapid fire and frequently painfully subtle humor was cancelled back in 2006 as it’s constant deluge of critical praise and fervent cult following failed to keep the ratings buoyed for a show that, admittedly, benefitted better from the repeat viewings of DVDs than weekly airing.
(05/03/13 6:03am)
In light of this whole Mifflin-versus-Revelry fiasco—and I think it is, at this point, fair to objectively refer to it as a fiasco—I’ve never more been distraught over the status of the Madison community. I’ve been hearing left and right, “It’s an essential part of Madison! Mifflin’s part of our culture!” And it’s just been burning my ears. This is our culture? This is what we base our identity as a school around?
(04/10/13 5:02am)
Like a terrible, blood drenched disco ball ascending from the stygian bowls of the earth, The Knife have finally returned to us.
(03/08/13 4:56am)
I’ll preface this with a disclaimer: I’m far from an authority on hip-hop. To contextualize—I’m currently sitting at my desk listening to my dad’s copy of U2’s War on vinyl with Kenneth Branagh’s 1996 “Hamlet” adaptation playing in the background. In the reductive language of stereotypes and essentialism, I am currently the whitest man alive.
(02/22/13 6:54am)
Passion Pit has had, by all measures, a stellar few years. Their first EP, Chunk of Change, was a love letter to a doomed romance, given as a gift by singer Michael Angelakos in 2008 and never meant to be heard by the general public. Since then they’ve released two albums of stadium-crushing pop, both topping their predecessors’ ever growing repute: 2009’s hit debut LP Manners and 2012’s darkly triumphant Gossamer. Their latest album’s success eschews the traditional pitfall of the sophomore slump, eclipsing the already impressive accomplishments of Manners.
(02/18/13 5:54am)
Watching the evolution of Nick Cave is a bit like watching the evolution of man.
(02/14/13 4:26am)
I’m not saying anything is definite, but statistically speaking you’re more than likely going to have an awful Valentine’s Day that will probably destroy your current relationship and also any prospects of future happines with the person you’re with.
(02/06/13 6:00am)
The first time I heard and saw Liz Harris perform under her Grouper moniker was in 2009, when she opened for Animal Collective after their meteoric rise to relative fame with Merriweather Post Pavilion. The crowd, a robust and remarkably enthused group of largely teenagers and college students, were all hot and bothered at the prospect of Animal Collective playing a presumed hour and a half rendition of “My Girls” and bobbing their heads manically until their collective necks ripped at the tendons.
(12/07/12 6:07am)
Bish Bosch, as has now been clarified countless times in promotional media, isn’t quite as nonsensical a title as it might first appear. It seems playful at first glance; a childish euphemism, a demure statement of sloppiness out of apathy, a generally silly phrase. The alternate spelling of Bosch, however, recalls Hieronymus Bosch, classical master of all things bizarre, and Bish, well, it just means bitch. So Scott Walker’s massive 14th album is perhaps a slovenly, hastily assembled mess (it’s only been six years since The Drift, versus the 11 years between that and Tilt and another 11 between Tilt and Climate of Hunter), but it’s also, in the artist’s own words, a towering hodgepodge representation of the universal woman artist. That’s the thing about Walker’s latest work: It’s clever on the surface, but it’s absolutely brilliant underneath.
(11/16/12 7:15am)
If you could assign a sound to sloppy, starry midnights in the big city with all your best friends (omitting all the cheesy bar-rock and the club bangers), it would probably sound something a little like Birmingham-based Johnny Foreigner. What that actually means, however, is a bit difficult to pin down.
(11/09/12 4:57am)
I love Skrillex.
(10/18/12 1:31am)
Time has solidified Dinosaur Jr. as the (relatively) unsung paragons of ’80s and ’90s underground rock, whether you know it or not. Their second album and opus, You’re Living All Over Me, which just happens to be turning 25 next month, worked as an invisible hand to the very apparent one of Nirvana’s Nevermind, guiding the alternative scene and shaping it into the zeitgeist that defined an entire generation.
(10/16/12 4:22am)
Let’s talk about Nick Cave for a moment.
(09/18/12 12:00pm)
In the year 2012 emo has become a pejorative term, a scathing ball of spit to lob at the mascara-fouled MySpace refugees and the kitschy bands of our middle school years.
(09/11/12 5:04am)
Despite what NPR and your resident barista-pseudo-snob seem to think, The xx are no longer a small band.