Titus Andronicus

Pitchfork Music Festival is always one of my favorite weekends of the year and it’s the place to be if you’re into indie rock. Over 45,000 music fans attended the Chicago festival which featured performances from hugely successful artists like Modest Mouse, Big Boi, and LCD Soundsystem, upcoming acts like Local Natives, Sleigh Bells and Free Energy, plus a headlining spot by reunited indie rock gods, Pavement. The bands endured scorching 90+ degree heat to play for the sold-out crowd and there was plenty of fantastic performances.

Friday was dominated by Swedish electro-pop artist, Robyn who wouldn’t have been high on my list of anticipated acts going into the weekend yet absolutely blew me (and judging by crowd reaction, everyone else at Union Park) away with her spectacular performance. She took the stage in her cut-out grey mini-skirt and over-sized leather shoulder pads and commenced the non-stop dance party with her single “Fembot”. Robyn bombarded the crowd with big synths and even bigger hooks all while putting on a vigorous dance clinic that dwarfed any attempts I’ve seen from most mainstream pop artists. I may have started the day as a Robyn newcomer but I left a full-fledged enthusiast.

The best set I saw on Saturday was from New Jersey bar-rock band Titus Andronicus who put on a face-melting, life affirming performance that was perhaps the most talked about set of the weekend. When lead singer / guitarist Patrick Stickles wasn’t diving head-first into the crowd to scream out the anthemic choruses while the crowd fist-pumped in unison, he was delivering sharp quips. He mused to crowd about the post-modernism of society while observing his face on one of the jumbotrons before telling us “he’s sweating like a pregnant nun meeting the pope”. Basically he’s the awesomest of dudes.

Hip hop troupe Major Lazer wasn’t my favorite music from Sunday (that honor would probably go to Local Natives who absolutely killed it) but as far as visual stimuli go I don’t they could possibly be topped. DJ / producer Diplo brought out an assortment of performers including men in dragon costumes, booty-shaking girls, sexy ballerinas, and Skerrit Bwoy who is possibly the most ridiculously insane hype man I’ve ever seen. I don’t know if some of the stuff he was doing on stage is safe to print but let’s just say he taught the whole crowd what daggering is, frequently sprayed the crowd with Champagne, and at one point let one of the dancer girls climb a ladder and body slam him all while yelling to the audience “Are you entertained?” (to which the obvious answer was “Hell yes!”).

Altogether it was a phenomenal weekend and I can’t wait to see what Pitchfork has in store for next year. I’ve selected some of my favorite pictures I took from the festival which you can see in the slideshow below and you can read some more coverage of the event at my blog, Music For Ants. Enjoy!

Pavement

Pitchfork Festival is going down later this week (July 16-18 to be exact) in Chicago and for those lucky enough to have scored tickets, it looks like it’s going to be an awesome weekend of music and hipster watching. Here’s a look at 10 bands that are playing the fest that are worth checking out even if you can’t make it to Chi-town for the weekend.
 
 
 
 
 
 
 
 
 
 

LCD Soundsystem

Where you’ve heard of them: “All My Friends” was named the #1 track of 2007 by both MTV and Pitchfork. “North American Scum” was featured in the film / trailer of Step Brothers.

Why they’re worth checking out: Not only does LCD Soundsystem’s dance-rock beats make exceptional party music, but frontman James Murphy is also known for his accomplished songwriting and potent lyrics.

Recommended tracks: “All My Friends” and “Daft Punk Is Playing At My House”

Big Boi

Where you’ve heard of them: He’s one half of the most successful rap group ever (Outkast) and has done guest spots on UGK’s “Intl Players Anthem” and Janelle Monae’s “Tightrope”.

Why he’s worth checking out: Although Speakerboxx was technically his first solo album, he’s releasing his debut Sir Luscious Leftfoot: The Son of Chicago Dusty and from the tracks we’ve heard so far it sounds very promising.

Recommended tracks: “Shutterbugg” and “General Patton”

Modest Mouse

Where you’ve heard of them: MTV, Guitar Hero, countless TV / film soundtracks, everywhere you went in 2004, Kidz Bop.

Why they’re worth checking out: They’re of one of indie rocks longest lasting (their first album was in 1996) and successful bands. The Moon and Antarctica and Good News For Those Who Like Bad News are both considered modern classics.

Recommended tracks: “Gravity Rides Everything” and “Float On”

Local Natives

Where you’ve heard of them: Lindsay has covered them on mtvU’s Music Blog.

Why they’re worth checking out: These L.A. indie rockers, known for their 3-part harmonies and frenetic drumming, seem destined to be 2010’s Fleet Foxes or Grizzly Bear. They’ve made what might be the best debut of the year and have received a number of rave reviews for their live show.

Recommended tracks: “Wide Eyes” and “Camera Talk”

Pavement

Where you’ve heard of them: Your older brother who’s also really into Pixies and Dinosaur Jr., band interviews when they talk about their biggest influences.

Why they’re worth checking out: They’re considered the godfathers of indie rock. SPIN named Slanted & Enchanted the most important indie album of all time. They’re currently on a reunion tour that includes headlining spots at Coachella, Sasquatch and Pitchfork.

Recommended Tracks: “Summer Babe (Winter Version)” and “Range Life”

Free Energy

Where you’ve heard of them: They’re still a very new band but “Dream City” is featured in Flip Video Camcorders and played on David Letterman.

Why they’re worth checking out: This Philly quintet make Seventies-style arena glam pop with outrageous guitar riffs and addictive hooks. It’s perfect for blasting out of the car on a July day.

Recommended tracks: “Dream City” and “Free Energy”

Broken Social Scene

Where you’ve heard of them: If you haven’t heard of Broken Social Scene, you at least probably know one of their members, Feist. Their band is also featured in a number of film soundtracks including Half Nelson, Wicker Park, and the upcoming Scott Pilgrim vs the World. They were previously featured on mtvU’s Ahead of the Curve.

Why they’re worth checking out: This Canadian rock collective which hosts anywhere from 9 to 17 members at any given time is one of indie’s biggest success stories. The band has amassed a cult following for their anthemic baroque-pop which features big symphonic arrangements and even bigger melodies.

Recommended tracks: “Cause = Time” and “Ibi Dreams of Pavement”

Best Coast

Where you’ve heard of them: Right here! mtvU premiered the music video to “When I’m With You” earlier this summer.

Why they’re worth checking out: The band has yet to release their debut album and they’re already building a huge amount of buzz online. Their songs filled with fuzzy guitars and surf-pop melodies and are breezy and sun-soaked enough to transport you immediately to the coast.

Recommended tracks: “When I’m With You” and “Our Deal”

Titus Andronicus

Where you’ve heard of them: They seem to be pretty big with the drunken poets that are into rowdy bar-bands like The Hold Steady, Gaslight Anthem, and Drive-By Truckers. They were also one of mtvU’s Ahead of the Curve artists.

Why they’re worth checking out: If you’re into epic guitar shredding, passionate vocals and anthemic, sing-a-long choruses you’ll love these guys.

Recommended tracks: “A More Perfect Union” and “Upon Viewing Brueghel’s “Landscape With The Fall Of Icarus”

Wolf Parade

Where you’ve heard of them: From that guy you know with a shaggy beard and thrift store clothing who claims that “I’ll Believe In Anything” is the greatest song of the last decade. They’re also touring buddies with Modest Mouse and Arcade Fire.

Why they’re worth checking out: Ever since the release of their highly acclaimed debut album, Apologies of Queen Mary, Wolf Parade have been one of the premiere bands of indie rock. The band makes rambunctious new-wavey rock music with big guitar solos and yelpy vocals and they do it damn well.

Recommended tracks: “I’ll Believe In Anything” and “Yulia”

Waaves at the Knitting Factory

I have always asked people who are highly critical of Wavves, and Nathan Williams’ behavior in particular, “What do you expect of a 21 year old kid who made a mix tape in his bedroom, only to be thrust into major hype by Pitchfork, and then shoved on stage in front of huge crowds when he’d barely performed in public?” It’s not so much that I mean to defend the incident at the Primavera Sound Festival last summer… or the fighting… it’s that I do not understand how others can’t see all of these events as being somewhat inevitable.

What’s always captured my interest is how the hype and Wavves’ music are two separate entities and yet, Williams himself always seem to be subject of scrutiny for both. He controls one but not the other, and somehow takes flack for the entire machine. If nothing else, whether you care for the music or not, I think Wavves manages to raise some interesting questions about why certain music is praised, why certain artists succeed, and how much public taste is dictated by music critics.

Personally, I’ve always enjoyed Wavves because the group contains all the brash arrogance of youth. I revel in the songs’ disenchanted laziness and I admire the way Williams continues to make music despite the amount of negative press he has received. Last night at The Knitting Factory, he performed with new drummer Billy Hayes and bassist Stephen Pope as part of Brooklyn’s Northside Festival.

I noticed as I scanned the crowd, that I was at least a good 6-8 years older than the majority of the other attendees. And this ultimately played a part in my perception of the show and the band. When they came onstage to perform, Pitchfork and the hype and the criticism, none of that was apparent in the obvious enjoyment Williams got out of being in front of an audience, the dedication with which he played his music, and his delight in seeing everyone respond so warmly to the set. As a mosh pit formed and the stage diving began, I couldn’t help but think, “Am I too old to be here? Am I too old to understand this music?” Everything I have been reading about Wavves over the past year, all the back and forth debates over whether or not the praise is deserved, clearly didn’t matter to the band and it certainly didn’t matter to the audience. There was more genuine, frantic energy during the hour Wavves played than at any other show I’ve been to in a good long while. And ultimately, there was an element lost in translation for me. I can’t think of anything else to attribute it to but the fact that I am a generation older than the lead singer and his audience.

This is not to say I didn’t enjoy myself, because I did. I liked Wavves before and I like them more now after seeing them play live. It’s simply that I had viewed the group in a different way, as a vehicle for argument and the discussion of music criticism, and I was prepared for an audience that felt the same way, when the audience could not have cared less. They weren’t there to potentially witness a public debacle and confirm or dispel any rumors. They were there for the sole intention of seeing a band they liked. And to blow off some steam.

It was really Hayes who stole the show last night with his constant bantering and continuous dialogue between songs from behind the drum kit. “I liked you better when you were a naïve college grad,” he joked in Williams’ direction and, “This song is called Mountain Dew,” he claimed before the band launched into “Post Acid,” the single released on Green Label Sound.

The group also played the title track off the upcoming album King of the Beach, in addition to a host of forthcoming songs including “Idiot.” I have to be honest and say that I was still more excited to hear “So Bored” and “No Hope Kids,” but I haven’t had much time to spend with the new tracks as of yet. This will change as the summer goes on and I rely more and more on hazy lo-fi crescendos to articulate the feel of the season.

Nathan Williams. The kid has got guts and bravado and a need to put the music he has created out there whatever others say. And in the face of such conflicting opinions, and whatever persona he has cultivated for himself, these are admirable qualities. King of the Beach will be out on Fat Possum August 3rd. Listen with my recommendation.

Download “Post Acid” for free from Green Label Sound here.

Band of Horses

Yesterday the Open Space Alliance kicked off their summer concert series in North Brooklyn with a line-up that featured Karen Elson, Grizzly Bear, and southern rockers Band of Horses. Since it was about 90 degrees out, I anticipated having to deal with severely disgruntled attendees and a rowdy crowd. But to my immense delight and surprise, with the help of a cool breeze off the water and a near perfect lay-out, the five hours I spent at the show were the best of the weekend. There was a separate area roped off near the stage where alcohol was not allowed, food tents from The Meat Hook and Roberto’s Pizza, and plenty of space for all.

Karen Elson and her band kicked off the festivities. In addition to being absolutely gorgeous, Elson does have a lovely voice. But I feel that her music career inevitably faces a bit of an uphill battle, considering that she is married to Jack White who not only produced her album The Ghost Who Walks, but released it on his label Third Man Records. Unfortunately while she is on stage, I think the focus tends to rely more on the fact that we’re all watching a supermodel rather than her songs. None the less, her set was an enjoyable start to the afternoon, she was pleasant and comfortable in front of the crowd, and she displayed a strong set of skills on the guitar. Her situation is not an easy one, so I admire her bravery in creating the album and pushing forward despite the inevitable insinuations she must have known would follow after making this music.

Grizzly Bear took the stage after Elson and played the majority of their hit album Veckatimest. Starting off with “Fine for Now,” the set included both singles “Two Weeks” and “While You Wait for the Others.” A personal highlight was a glowing rendition of “Ready, Able” that was so pitch perfect I would never have been able to tell the difference between the recorded and live versions with my eyes closed. I’ve had the pleasure of seeing Grizzly Bear live prior to this performance, and it is shocking how much talent these musicians have between them. Ed Droste playfully joked about his colorful swim trunks and flip-flops, commented on the nice view, and thanked OSA and the crowd for allowing the Brooklyn band to play an “at-home” show.

By the time Band of Horses were set to begin, the sunset was in full effect. As much as I love this group, I’m not a terribly huge fan of their latest release Infinite Arms. While I did enjoy “Factory” and “Laredo,” I was happier to hear tracks off Everything All the Time and I could see this reaction reflected in the crowd as well. There was a great deal more cheering, singing-along, and dancing for classic anthems such as “The Funeral” and “Weed Party” than for any of their newer material.

The funniest moments of the evening arose from the interaction between lead singer Ben Bridwell and one of his “super fans.” It’s always been my theory that there is one person in every crowd who seems to be enjoying the show approximately 100 times more than anyone else. This certainly held true for Andrew, a concert-goer in the front who remained shirtless for the entire set and seemed enthusiastically hell-bent on capturing Bridwell’s attention by shouting song suggestions. Bridwell finally conceded with a smile, asked his name and eventually worked it into the lyrics for both “The Great Salt Lake” and “No One’s Gonna Love You.” In fact, the fan’s name was mentioned so many times that it prompted the apartment owners located directly behind the stage to hang a sign from their window that merely said, “ANDREW” much to the delight of the band and the crowd. Needless to say, in addition to being a great show in a great venue, it was undoubtedly one of the best night’s of Andrew’s life.

Below is the group’s latest video for “Compliments” off Band of Horses’ Infinite Arms.

The National

I won’t tell a lie: There is no objective way for me to discuss The National, as they are (and doubtlessly will remain) one of my favorite bands. Ever since the release of their fifth studio album High Violet last month, I have foregone the typically endless search of new artists to stop and listen to The National’s tracks again and again. Immersed in the multi-layered instrumentation of the songs and the deep baritone of Matt Berninger’s vocals, I often find myself unable to articulate just why I love this band so much. But of course, I will try.

Although The National was formed over 10 years ago, High Violet represents the group’s breakout from indie to mainstream. On the heels of a detailed write-up, The New York Times also chose to stream the album a week before its release on May 11th. Boxer had managed to perk the general public’s interest and by the time High Violet began to draw press, everyone was paying attention.

With an increasing amount of focus placed on indie music these days, there is always the constant debate over whether such acclaim will make or a break a band. Will the music suffer? Will the band forgo or drastically alter their sound now that they have acquired a wider audience? Part of what keeps drawing me back to High Violet is the fact that it is still the same band I have come to know and love. The National remain as endearing, melancholic, and fraught with anxiety as ever.

If that doesn’t sound appealing to you, I suggest you set aside assumptions for a moment. The National tend to make music for quiet moments, articulating feelings that can often be difficult to reflect upon. Listening to one of their albums is often as cathartic as it is taxing; an experience both pleasurable and gut-wrenching. Therein lies the inherent dichotomy that makes the band so fascinating.

They themselves alluded to this last night on stage at Radio City Music Hall when halfway through their set, they launched into “Available” off Sad Songs for Dirty Lovers. “We know you guys come to listen to the pop hits,” joked Aaron Dessner, “But we wanted to play you a sad song.” On stage, the group is much more comical, and also a great deal more aggressive, than the persona of their albums. Berninger was often hunched over his mic, screaming lyrics out into the crowd. He turned the end of “England,” a slow plaintive song off the new album, into a desperate cry by howling, “Cause we’re desperate to entertain!” instead of merely singing the lyric. The culmination of his performance was when the band encored with “Mr. November.” Their lead singer preceded to climb up one side of Radio City Music Hall into the mezzanine, where members of the audience joined him in the expletive chorus, and then back down the other side, before returning to the stage.

But Berninger’s rousing showmanship was not the only great surprise of the night. Suddenly he turned to stage left and asked the audience, “Who’s that girl?” Annie Clark (who plays under the moniker St. Vincent and just happened to make Actor, my favorite album of 2009) walked out and joined The National on the piano for “Vanderlylle Crybaby Geeks.”  Just when I thought I could not get any more ecstatic, Sufjan Stevens came onstage to stand beside Ms. Clark and proceeded to sing back-up on “Afraid of Everyone.” Once the song was over, the two performers waved to the crowd as Berninger lovingly stated, “I hope those kids are gonna make it.”

With a show that started off with “Mistaken for Strangers” and ended with one of the newest singles “Terrible Love,” the set list was fairly heavy on tracks off Boxer (standard favorites “Brainy,” “Slow Show,” “Apartment Story,” and “Fake Empire” were all included last night) and High Violet, but that was to be anticipated. None the less, the inclusion of “Secret Meeting,” “Daughters of the Soho Riots,” and “Abel” off Alligator were wonderful to hear. Especially for the long-time fans.

High Violet is out on 4AD and I cannot give it a strong enough recommendation. Please enjoy the video for The National’s latest single “Bloodbuzz Ohio” below.

The Wailing Wall

Last summer when mtvU discovered Jesse Rifkin of The Wailing Wall, he had released his debut album Hospital Blossoms and was in the process of plotting out future tracks and trips to the studio. A year later on the cusp of his sophomore release, I sat down to catch-up with Jesse to discuss his new album The Low Hanging Fruit.

mtvU: I understand that Tim Fite produced the album for you. How did this collaboration end up happening?

Rifkin: Tim’s manager, Jacob Harris, also works with JDub Records [The Wailing Wall's label]. Tim made a record called Fair Ain’t Fair and, at the time, I was listening to it and it seemed to really articulate a lot of things I had been thinking and feeling. I was starting to write the songs for The Low Hanging Fruit and when we were figuring out the process of where we were going to make this record and who was going to contribute to it, Tim was one of the names that came up. So the three of us all went to dinner together.

mtvU: And how did you know that Tim should be the one to produce the record?

Rifkin: He gave me really honest feedback in terms of Hospital Blossoms. He agreed with the strengths and weaknesses that I thought the record contained. He was able to say, “This is what you do great, this is what you should do differently this time around.”

mtvU: And what did you focus on in terms of what could be approached differently?

Rifkin: Very, very nerdy things. Like focusing on certain particular sounds and figuring out how we could get instruments to make the exact sound we were looking for. I wanted this album to feel more natural. We recorded Hospital Blossoms with very limited means so a lot of songs sound more digital than I would have liked. And we recorded in a lot of places but none of them were exactly acoustically desirable spaces.

mtvU: How did working with Tim change your idea of creating an album?

Rifkin: I had only worked with peers and to have Tim around… we knew each other because we were going to be doing work together. It was more of a professional relationship. He was willing to point out aspects of the work where friends might not be willing to do so. The way that a good take could be an excellent take. Being able to consider every single note. I came out of my experience with Tim far more conscious of what I’m doing musically.

mtvU: When I listen to both albums, the biggest difference I see between Hospital Blossoms and The Low Hanging Fruit is that the narrative seems to come from a much more personal place this time around. On Hospital Blossoms, you seem to be drawing on other stories. But The Low Hanging Fruit seems to come from your own.

Rifkin: There wasn’t necessarily a deliberate decision to go one way or another. I have not really sat down and put the records next to one another in terms of their content. Songs kind of show up when they show up. It’s always been the same process for me, which is to say that it’s not very specific. Lyrics will show up in clumps and chords will show up in clumps and every once in a while, a verse I wrote two years ago matches up to a verse I wrote two weeks ago.

mtvU: How did you come up with the title of the record? Do you want to tell us what it means?

Rifkin: I don’t know if that is necessarily a good idea. I think that it may be better to leave it up to individual interpretation. I will say that it relates to a bunch of different things about the record. I keep finding new ways that it seems to make sense.

mtvU: Fair enough. Did you have that title in mind when you started the album though?

Rifkin: Not at all. The whole time we were making it, we kept saying, “What are we going to call this?” We actually had five or six different names for it and my Dad suggested this one.

mtvU: Another major distinction I see coming out of your work now is the way your voice is really coming to the forefront and taking precedence on this album. It’s interesting that you’re a multi-instrumentalist, it’s something that you get a lot of press for, and here all I can think about is what a strong vocalist you’re becoming.

Rifkin: That was actually a very conscious decision. That is one of the first changes Tim decided to make. He told me, “Your voice needs to be louder.” As far as the instruments go, obviously there’s a ton of them on the record. But I tried to be very careful and make sure nothing is there just for the sake of being there. It would be very easy to have a glockenspiel and a banjo and a saw on every track. But every part of the arrangement is really there to serve the song.

The Low Hanging Fruit will be out June 8th on JDub Records. Check The Wailing Wall’s MySpace page for upcoming tour dates as Jesse joins his producer Tim Fite on the road. Below is an exclusive performance of the second single off The Low Hanging Fruit, “Dandelion,” that Jesse filmed for mtvU in New York’s Central Park. You can hear the single in its entirety today, and download courtesy of JDub, by clicking here.

Local Natives

When Los Angeles group Local Natives released a charming cover of “Cecilia” last year, they caught my attention. It turns out that they actually filmed the video at the house which would go on to become the title of their debut LP, Gorilla Manor. Using multi-part harmonies as the forefront of their work, they have gathered many comparisons to both Fleet Foxes and Grizzly Bear. But I find that Local Natives actually embody a sense of eagerness and fun that the other groups occasionally lack and was very excited to check out their live show last Friday at The Bowery Ballroom.

The group opened with a favorite track “Camera Talk,” the perfect upbeat choice to win over all those there to watch the show. A quick word about the audience on Friday night. New York City is well-known for its less than enthusiastic audiences; crowds who have perfected the ability to stand with their arms folded/heads bobbing ever so slightly. But this was nowhere in sight once Local Natives took the stage. They have an ability to bring out the best in the viewer. People were dancing wildly, singing out the choruses, and smiles abounded. As someone who is used to the former example, I was delighted to be able to take part in all of this.

Throughout the night, the person who steadily impressed me over and over was Kelcey Ayer. Although the entire band is beyond dedicated to their performance, I found myself time and again watching Ayer; riveted by his passion and willingness to throw himself into a song. (This is not to say that Taylor Rice’s mustache was anything other than extraordinary. And if you think I’m kidding, think again.) Also interesting to note is the group’s peculiar set-up. While drummer Matt Frazer took the traditional spot towards the back, parts of a kit were also scattered across the front of the stage so Ayer and fellow bandmate Ryan Hahn could occasionally join in with additional percussion. Bassist Andy Hamm would also join Frazer from time to time, rattling the house.

“Sun Hands” was the encore for the night, but the track that garnered the most attention actually turned out to be “Wide Eyes.” There was, of course, the Talking Heads’ cover “Warning Sign” as well. Local Natives dedicated the song to their predecessors, shouting out David Byrne in particular. (According to their Twitter account, Byrne was there at the Bowery but very sadly I did not spot him.)

I highly recommend checking out Gorilla Manor on Frenchkiss, as it’s sure to end-up on many year end lists. If you haven’t been fully convinced yet, then watch the video for “World News” released just this morning on Pitchfork.

Javelin

2010 is shaping up to be quite the year for music releases and as we approach the warmer months, I’ve been searching for the perfect sound to fit on a summer mix tape. Luckily, Brooklyn duo Javelin just released their new album No Mas at the beginning of April. (Javelin is signed to Luaka Bop, which happens to be the label of Talking Heads frontman David Byrne.) Comprised of cousins Tom Van Buskirk and George Langford, the duo manually chops samples to create their tracks, interspersing them with a mixture of original work and crazy lyrics. I had a chance to speak with Langford about how Javelin makes music, quality vs. quantity, and what’s been catching his ear lately.
 
 

mtvU: How would you describe your music to someone who has never heard it before?

Javelin: I would tell them to imagine flipping through the radio. It kind of sounds like that. I would say that it’s party music. But it’s also mellow.

mtvU: You and Tom are cousins so there’s obviously no question about how you met, but how did you decide to start making music together?

Javelin: Well, it was sort of a no-brainer. We were making music separately. I was making it for commercials and Tom was still in school. We were unfocused by ourselves. We were better when we joined forces.

mtvU: Tell us a little bit about how you start to create a song. Does it start with a particular sample or some of your original work?

Javelin: I’d say we really start with a mood, a feeling you want to make with the music. You’re immersed in the sound of the environment you’re making so you have to decide how you want to feel for a couple of hours. We can go anywhere from there. We’re pretty versatile.

mtvU: What I enjoy so much about No Mas is that every track stands very strongly on its own. Was that your intention?

Javelin: Well this album is the result of years of work. And the songs actually weren’t made to sit together on this album. That was the task of creating the album. A) How do we choose what songs to put on? And B) how do we make them fit nicely together?

mtvU: So how many songs would you say you were originally working with?

Javelin: We have a lot of music… I would say we have about 100 tracks lying in wait.

mtvU: Based on the amount of music you have then, do you think that you’ll be putting out a new album fairly soon? Or do you think that is something that the two of you will decide to wait on?

Javelin: I think there is something to be said for quality-control. Obviously, I want us to be prolific artists but I also hesitate to just keep on adding to the pile of crappy music that is out there in the world.

mtvU: It’s been mentioned that you and Tom actually play a lot of instruments. Name some for me.

Javelin: I’ve been playing guitar since 5th grade. I also play drums and base and mandolin. Tom started off on cello and he plays piano.

mtvU: I ask because I wonder if in the future you’ll go in a completely different direction. Is it possible that one day we’ll see Javelin walk on stage with acoustic guitars?

Javelin: (laughs) Probably. We do like to zigzag.

mtvU: I managed to catch you guys when you opened for Yeasayer, what was that tour like?

Javelin: All the guys from Yeasayer are fun and sweet. We ended up hanging out a lot, so it was an easy match. I was surprised by how easy of a match it was because I’d actually never heard their music before we agreed to go on tour them. Then I listened and I thought, “This is nothing like us, this is big arena performance rock…”

mtvU: (interrupts) But you two have a flair for performance no? With all the boom boxes on stage and the shows at the MoMA? [Previously, Javelin would stack boom boxes on stage and then broadcast through an FM transmitter.]

Javelin: Really? You think so? I think we’re making it all up as we go along. We’re studio guys. We’re still learning how to be up on stage.

mtvU: Are you uncomfortable on stage?

Javelin: No, not at all.

mtvU: What sort of music do you listen to while you’re out on tour?

Javelin: We’ve exhausted most of music at the moment, but we were just down in Houston at DJ Screw’s and I now have a lot of chopped “unscrewed” mix tapes that I’ve been listening to.

To learn more about the band, check out the group’s website and MySpace page, and then watch this awesome fan-made video for Javelin’s “Soda Popinski”

Los Campesinos! On Stage At Irving Plaza

Grounded in Europe by a stream of volcanic ash, Los Campesinos! was forced to reschedule many of the shows that kicked off their North American tour for the group’s newest album Romance is Boring. Before going to see the show at Irving Plaza in NYC yesterday evening, I had a chance to talk with lead singer Gareth Campesinos!

mtvU: Los Campesinos! Has produced a great deal of material in a short amount of time – 3 albums in 2 years. So tell us a little bit about this process.

Gareth: Well, we approached Romance is Boring as an album. We knew we wanted to make a full-length. I think, as a group, we’re still reluctant to call We Are Beautiful, We Are Doomed an album because we intended for it to be an EP. Artistically, we never approached it as an album. We went in to record 5 songs and ended up recording 10. But with Romance is Boring, we knew how we wanted the songs to pan-out, how we wanted them to peak and mellow. The album as an art form is in a difficult place now, what with the ability to download songs one at a time, so the main focus for us was to make something cohesive as an album.

mtvU: Do you find that is the main difference between We Are Beautiful, We Are Doomed and Romance is Boring then? That one was suppose to be an EP and the other an album?

Gareth: I actually think the main difference is how long they took to record. Hold On Now Youngster… was recorded in 5 or 6 weeks. We Are Beautiful, We Are Doomed was recorded in 10 days. But Romance is Boring was recorded over a period of months so there was time for us to listen to it with fresh ears. Also, it has been four years since the band really got started and I think those have been four very formative years for me. So lyrically there has been a natural progression.

mtvU: As to your lyrics, they are so incredibly personal. Is there ever a moment where you are up on stage and you stop and think, “Wow, this is a lot to put out there”?

Gareth: As cheesy as it may sound, I try to get into the songs as much as possible so I feel them as much as I felt while I was writing. I think that contributes to the intensity of the performance. I tend to feel more self-conscious during sound checks. I’ll neglect to sing some lyrics and feel a bit more stupid singing in front of the tech guys and the people setting up the venue.

mtvU: Occasionally Los Campesinos! has even been criticized for their energy. Some have claimed that it is too intense for the listener. Do you read what critics say about your work or do you tend not to pay attention?

Gareth: I used to religiously read everything that was written about the band and I had Google alerts set up. But those things tend to be so hyperbolic and hard to believe, whether they are positive or negative, that I’ve stopped now. And honestly, we took those criticisms into account while making the latest album. We wanted to make something that had these moments where you catch your breath and take a step back. But even if you read the positive stuff.. I feel that you have to give equal attention to the negative. So they just end up canceling each other out anyways, don’t they?

mtvU: How is the group dynamic between all of you? That’s a lot of opinions to handle in one room.

Gareth: Well Tom [lead guitarist] writes the music and I write the lyrics. That’s always been pretty straight-forward and there’s not many arguments because of that I guess. As for being an eight-piece, that’s all we’ve ever known. I suppose if you’re in a three-piece or something it would be a lot easier to irritate and annoy one another. But with eight of us, if someone’s annoying you, there’s six other people to hang out with. And it’s nice to have a lot of friends and a real crew about.

mtvU: What are you listening to right now while you’re out on tour?

Gareth: I’ve been revisiting a lot of Nick Cave’s stuff. I want to start writing lyrics for the next record and he’s an amazing lyricist. On tour, I do have a tendency to return to old staples like Dexy’s Midnight Runners and OMD. Also, we have a bus this tour so at night to sleep I’ll put on a lot of atmospheric, return-to-the-womb type of music. I’ve been listening to William Basinski.

mtvU: So you’re ALREADY at work on a new album?

Gareth: Well, Tom is constantly writing, constantly demoing. I’d say as soon as the touring slows up, we’ll look to start working on something new. We don’t want too much time on our hands.

Los Campesinos! kicked off the show last night with the rambunctious “Death to Los Campesinos!” off of Hold On Now Youngster… before moving onto tracks from the later albums. Gareth thanked the crowd several times for still coming out despite the rescheduling and said, “To celebrate, here’s a song about how we’re all going to die!,” before the group launched into “Miserabilia.”

There were two surprising aspects to the show. First, despite the relative anger in the lyrics, there is still something downright polite about the group’s performance. While there is an unquestionable high volume of energy, most of the members dance quietly in place with their instruments. Kim occasionally retreats quietly to the edge of the stage to sway and Gareth clasps his hands behind his back with restrained regard for the audience. This is, of course, interspersed with moments where three of the band members will all bang on the drum kit simultaneously. But as Gareth mentioned, the band is aware that their energy is explosive and moments of quiet are necessary.

Second, the audience was just as, if not more, excited for all the work off Romance is Boring; even going so far as to have memorized all the song lyrics, which they then chanted back towards the stage. I was particularly excited to hear “Straight in at 101″ in addition to the title track.

The band ended the night by jumping into the crowd for an encore of “Broken Heartbeats Sound Like Breakbeats.”

Once the solo-project of Ethan Fawn before Alice Glass hopped aboard, this controversial duo played The Fillmore in NYC last night. I had the pleasure of seeing them prior to this event, back at All Tomorrow’s Parties New York in the fall. It was the day The Flaming Lips curated the festival and they chose Crystal Castles to open for their set.

I have to admit that before I saw them live, I wasn’t sure what to expect from these two. I had listened to their self-titled debut, liked it and appreciated it for its genre-defying approach, but didn’t count myself as a hardcore fan. Until I saw them in person. It was an experience I got to re-live last night and it was pretty amazing.

For one, I have never seen an artist dedicate themselves so fully to their performance as Alice Glass does. She never speaks to the audience, never breaks character, but spends the entire 90 minutes in her frenzied, occasionally epileptic, state. She dances like a bizarre, disjointed doll only pausing to hop straight into the crowd while her security guards try to keep a hold on her. The audience themselves push and shove to get as close as possible, reaching out in almost worshipful reverence. It’s a sight to see.

On the completely opposite end of the spectrum is Ethan Fawn, barely visible behind the lights with his hood up; an almost perfect representation of the album cover, pounding on the keyboards. It’s easy to understand why these two are splendid counterparts after their live performance. Together, their stage presence creates the ultimate symmetrical balance.

As they played through most of the album, “Courtship Dating” as the opener was definitely still the highlight for me, in addition to “Knights” and “Alice Practice.” But honestly, their shows are less about following a set list then being absorbed by the spectacle.

Tuesday the group announced that a second album is due in June, self-titled just like the first.

To learn more about this group, watch mtvU’s Backstage Pass below: