Full. Chill. Mode. Three words that could describe Sun Seeker’s afternoon Shaky Knees set, our hang with these guys, their time enjoying the fest, and (last but not least) their music. Alex Benick (Vocals/Guitar), Asher Horton (Bass), Ben Parks (Drums), and Rodrigo Avenda (Keyboard) took some time to have a chat with us about what they have coming up this summer. Read all the details below and check out Sun Seeker’s Tour Diary from when they took one of our disposable cameras for a wild behind the scenes ride.
Vinyl Mag: Hey guys, so this is your first time at Shaky Knees?
Sun Seeker: It is! We love it. And to me it’s the best festival lineup of the summer.
VM: We definitely can agree on that. You guys just played today and had an awesome afternoon set. Is there anyone in particular you’re looking forward to seeing?
SS: We really enjoyed Courtney Barnett, David Byrne, Fleet Foxes yesterday. We’re excited about Parquet Courts, War on Drugs, we like Alvvays a lot. There’s just so much to remember…Also Post Animal tonight late night.
VM: I know you are about to start working on a new album…
SS: We are recording it in our hometown. I don’t know all the details I can share at this moment, but we can say that yes we are starting to record this summer.
VM: Do you have any other summer plans?
SS: That is all we’re really wanting to do and focus on that. We have some scattered festivals but it’s really that. We’ve been demoing a lot, Alex has been composing songs, and we have all been getting together a lot to write parts and figuring stuff out. That’s a really good head space for us to be in so we’re just going to be focusing for awhile.
VM: Well, we are looking forward to hearing what comes next from you guys. When it comes to your sound as a band, I’ve read quite a few times your music being called “Cosmic Americanna.” I did recently also read that you never stated that your music be labeled as such. So, in three words or less how would you describe your music to someone who has never heard it before?
SS: Chill, pretty, music. I’ll use music as one of the words to avoid any sort of confusion. It is music. Or at least what we know to be. You can get really conceptual about it. It could be spoken word.
Self aware earnestness.
We came for the whole weekend to just play the day. We are in full chill mode. Just like our music: Full. Chill. Mode.
Click through to see Sun Seeker’s disposable camera tour diary below!
The Orange Constant has become somewhat of a hidden gem in Georgia since their start in Statesboro, GA in 2012. Now residing in Athens, GA, the Southern-rock-meets-jam-meets-funk quintet has worked hard to garner the attention of local fans. From headlining a packed show at the Georgia Theatre to playing at Atlanta’s Sweetwater 420 Fest, the Orange Constant is picking up speed and making a serious name for themselves. I had the chance to chat founding member and vocalist/guitarist, Andrew Brantley, and drummer Sam Groveman before their show at the 40 Watt Club in Athens to talk about their growth as a band and their approach to van life on the road.
VM: What initially caused you guys to move your band from Statesboro to Athens?
Andrew Brantley: Me and Nickalous [Benson]…he’s the other founder of the band…we just kind of wanted to leave Statesboro. We were kind of feeling like, you know, we had graduated. We were kind of done with that circuit and whatever. We wanted to be in Athens to be closer to Atlanta and closer to our families, and being in a bigger city. In a better music city. So, really three factors.
VM: Do you feel like The Orange Constant’s music is influenced by being in Georgia, and being in Statesboro and Athens?
AB: Georgia absolutely has influenced our styles. You know, my style is pretty influenced by like, Widespread Panic and Zac Brown. Nickalous…he grew up around the guys in Drivin’ n Cryin’. We definitely have a southern rock aspect to our music that’s just because, you know, we’re from the South.
Sam Groveman: It’s constantly changing too ‘cause we have five guys in the band now that all come from different musical tastes, and they bring new songs, and we’re always kind of adapting to their musical styles. Which also helps us as musicians, you know, to learn those new styles, and kind of developing that new sound with this new generation of musicians.
AB: Yeah, for sure. We’ve got that Southern influence, but we don’t adhere to it always.
VM: Do you guys feel like you’re going to be sticking around in Athens for awhile, or do you have any moves on the horizon?
AB: Well, I think for now we’re going to be an Athens band. You know, we like it here; we’ve had success here. We’ve grown in this city. We’ve thrown around the idea of going out west and trying to establish out there as well, but I think for the next, you know, three to five year plan we’re going to be here. And even so, I think we’ll always be a Georgia band. All of us are from Georgia so, you know, no matter how many times or places we might move, this or there, we’re a Georgia band.
VM: Your last album, Point of Reference, came out in 2017, so I know it’s been a little bit, but with five guys in your band, what’s the songwriting process like? Do you guys all collaborate?
AB: So that album was written predominantly by The Orange Constant, like the previous lineup. Which was a different drummer and a different bass player. But we did have our new bass player, Tyler [Walker], record on that album. And Chris [Freiberg], our keyboard player, he recorded on it too. But the material wasn’t necessarily written much by them. A lot of it was written by myself and Nickalous and Lee [Guentert] who was the other drummer, and Will who was the other drummer. Me and Nickalous are the predominant lyrical writers of what you can listen to on Spotify, but it’s still a mixed bag…everyone has their influence.
VM: Do you guys have any new albums coming up, or are you working on any new music? Has the songwriting process changed as the band lineup has changed?
AB: The songwriting process is still pretty similar in the sense that we don’t stick to any kind of formula, or formulated plan, it’s like, “we got a song, you wanna throw something in? You got an idea?” We really try to make it pretty democratic, like, everybody’s got some input. But yeah, we’re hoping to get in the studio October, November, December and release another album next year. But yeah, we have plenty of material.
SG: We’re trying to get with John Keane, who worked with Widespread Panic. We recorded our first album with him as the producer.
AB: Yeah, so hopefully we can get in the studio at the end of this year.
VM: And in the meantime, y’all have been touring a lot. Sam was telling me earlier that it’s been every weekend in a different place. You’ve been mostly in the southeast though, so do you have any plans to expand outward, or are you just kind of waiting to grow your fanbase here and then expand from there?
AB: We’re trying to expand the tour to the greater southeast, you know, trying to get more into Virginia, Kentucky, Texas, Louisiana, Mississippi, all those. Still, it’s a nice trek. It’s not necessarily South Carolina and Georgia.
SG: It’s nice actually honing in on the southeast, because a lot of bands that we know, they always go to Colorado, and if you only go back there once a year it’s really hard to build a fanbase. And you wear on your van, and you don’t make as much money to live off of, so really working on this market down here is really helping us.
AB: ‘Cause there’s so many big cities, you know? Like, you can sell 200 tickets in Atlanta and Athens, but if you just start going to these places that are really far away, you haven’t capitalized on Charleston, Columbia, Tallahassee and Birmingham. You know, that’s kind of what we’re focusing on now is to really make sure that our southeast market is as good as it can be. Because we’re just a few hours away from markets that don’t know who we are as well as Athens or Atlanta does.
VM: It makes sense. I feel like you guys have done a really solid job of developing a fanbase here. But when you’re touring and constantly in a van with five guys, does it get old? Are you guys sick of it, or are you planning on touring even more often now?
AB: I mean it’s gonna increase.
SG: That’s the goal.
VM: That’s a good thing, right?
AB: I mean, it’s work. It’s definitely hard. It takes a lot of work, but so does everything.
SG: Waking up next to Andrew and then going to sleep next to him for a couple of days in a row gets a little old, but you know, you realize when to let the man be by himself. You figure each other out after awhile.
AB: Yeah, you do. You kind of learn each other’s personalities. I mean, it’s just the way the game is played, I guess. It’s an adventure, you know. It’s fun if you can kind of take yourself out of it and be like, “man, this is a cool story,” no matter how crappy of a situation it might be. And luckily, we do have a nice, reliable van. It’s not like we’re in a little, tiny Volkswagen or something.
SB: A lot of times when you have a bad weekend, you just look back and laugh.
The future is bright for the guys of the Orange Constant. While working towards recording new music, they plan on amping up their already intense touring schedule, with a summer tour from June to July. They never repeat a set and always try to keep their shows interesting, feeding off of each others’ jams and improvising new sounds as they go. Athens fans can catch them at local grassroots festival, Sigh in July, on July 20.
It’s widely believed that keeping something wild in captivity will only cause it to wither. Frankie Rose might be the exception that rule.
A veteran songwriter who forged her rightful place in indie rock history with bands like Dum Dum Girls, Crystal Stilts and Vivian Girls, she now enjoys the artistic freedom that comes along with making music under her name alone. But despite having created no less than three full length albums on her own, Rose’s triumph over her own isolation is what’s fueling her most recent work.
After surviving personal difficulties that caused her to take a hiatus from music altogether, she was able to crawl her way back through the slow and deliberate reconstruction of her creativity. She set about creating something new from the closet of her cramped L.A. apartment, an endeavor she refers to as an “act of faith.” With careful reflection and a little help from the late paranormal radio host Art Bell, she was able to turn feelings of claustrophobia and insomnia into the inspiration for her latest record. Aptly named Cage Tropical, the album chronicles confinement in California to her journey home, both literally and artistically.
Rose is proudly back in her element these days, feeling inspired from touring and writing new music from her true home in Brooklyn. We caught up with her at Shaky Knees Music Festival to talk about homecomings, new beginning and breaking out of the cage.
Vinyl Mag: I know you’ve only just arrived to Shaky Knees, but is there anyone you’re excited to see?
Frankie Rose: I would love to have been here on Friday. Friday would have been the night for me because of Franz Ferdinand. I got to tour with them, and they’re my favorite people in the world. If I could have one job, it would be opening for Franz Ferdinand for the rest of my life.
VM: There are some constant themes in Cage Tropical about feeling trapped, running away and coming home. Was that your original concept for the album from the start?
FR: I started the album in LA, and I was feeling very trapped and claustrophobic there. When you start an album you can’t really see the end of the line; it’s just an act of faith. That’s how it started in my apartment in LA. I turned my closet into a vocal booth and was just acting on faith. I didn’t want to be in LA at all; I just wanted to be back in New York. I ended up finishing the album in New York, so it was kind of this journey back to my home. I feel like I had to go through a lot to realize what a home Brooklyn is for me.
VM:I think your story really resonates with most people. Sometimes you have to put dreams on pause because life happens. What advice would you give someone trying to step back into the music world after a hiatus?
FR: My mother says, “everyone gets a tumble in the dryer.” It can happen to anyone, I don’t care how rich you are or how poor you are. Life is hard and bad things happen sometimes. I really did have to step away from music for a while and I didn’t know if I was going to return it or not. Slowly, I tried to feed my creative side with other things like going to art museums or nature hikes. Just anything to sort of stimulate that part of yourself that encourages you want to make art. And I think as long as that’s your main motivation, it doesn’t matter what you’re doing. For me it’s music, and that’s what I’ve come to learn through that experience. I just want to make music regardless of what the outcome will be.
VM: How has the song writing process changed for you over the years from being in groups to going solo?
FR: I like it better, but I still collaborate. I can do it all myself, but I do love having someone to bounce ideas off of. It’s totally different from being in a band. When you’re in a band, you’re married and constantly making compromises. So the fact that I don’t have to do that is quite nice. It can also be bittersweet, because at the end of the day you are solely responsible for what you put out. It’s my name on that product. Actually, I think that’s my only regret, that I didn’t come up with some awesome pseudonym.
VM: We heard that science fiction was a big influence on this record?
FR: When I was making Cage Tropical, I became a bit of an insomniac, so I started listening to a lot of Art Bell at night to go to sleep. It just sort of subconsciously started to influence the album.
VM: What are your plans after tour?
FR: I’m writing a new album. Every record is like a time capsule for me. I just want to write a record where every song could be a single. I’m striving for perfection right now, and I feel inspired, which is great! Often times after tour that’s not the case, but it really is right now.
Emerging from hibernation annually each Memorial Day Weekend, Sasquatch! Music Festival opens the gates of The Gorge Amphitheater in George, WA and welcomes festival-goers to a scenic splendor that no possible combination of words could ever do justice. It is indisputable that Sasquatch! has an unfair advantage against competing festivals due to the fact that it is hosted in what I can only assume was a runner-up for Seventh Wonder of the World.
Alas, beauty is only skin deep, and looks can only take you so far. This sentiment rings painfully true for The Squatch as it has experienced the music festival equivalent of a midlife-crisis in recent years, neglecting the folk/rock centric bands that have proliferated the festival’s profile within the independent scene and opting for the flashy bells and whistles that win the affection of a Top 40 demographic. Notable makeover mishaps include 2014’s failed attempt at one-upping Coachella with the addition (and cancelation) of a second weekend featuring an entirely separate lineup, last year’s gag-inducing top billed slot of Twenty One Pilots, as well as a never-ending plague of EDM DJs that all share a common disdain for vowels. With the inevitable infiltration of Chad and his bros and the increasing mediocrity of recent lineups, it’s no wonder that Sasquatch! veterans have opted out of attendance. You can’t sit with us, indeed.
Fortunately, word must have gotten back to Sasquatch! founder Adam Zacks about unfavorable reception in recent years, because the right steps were taken to bring justice to a venue that deserves nothing less than inimitable talent to showcase. Sasquatch! Music Festival came out swinging in the 2018 season boasting one of the most stacked lineups that money can buy, setting itself apart from what has become a diluted market of traveling-band lineups that tend to become indistinguishable from one another. Recruiting counter-culture big dogs the likes of Bon Iver, Modest Mouse, Neko Case, David Byrne, Spoon, and Grizzly Bear was enough to rope in the wandering eye of any unsuspecting inquisitor. Upon further examination of the bill, the lineup yielded no signs of wavering quality, landing up-and-coming marvels such as Julien Baker, Big Thief, Japanese Breakfast, (Sandy) Alex G, Whitney, Phoebe Bridgers and Charly Bliss. The reputable names seemed to go on and on, leaving previously salty Sasquatch! naysayers such as myself at a complete loss for words, only able to exude frantic whimpers of delectation. Once the hysteria subsided and I was able to pick myself up off of the floor, I came to the realization that it was time for me to swallow my pride, rip up my cool-guy card and venture back into The Gorge to a festival that once again emitted a potent magical lure.
Day One
Bon Iver. Photo by Matthew Lamb.
The journey to Sasquatch! is in and of itself a privilege not to be overlooked. The scenery shifts and the landscape evolves more times than the hands of the clock turn during the drive, which checks in at just over two hours from Seattle. Dense, lush walls of green are complemented by snowcapped mountains as you ascend the Snoqualmie Pass, only to find yourself met by endless rolling brown plains and towering white wind turbines, waving you in the direction of The Gorge Amphitheater.
Following the herd of automobiles onto the campground, I ultimately landed at my designated plot of grass for the weekend, conveniently located next to Chad, his buds and their self-proclaimed “Babe Cave” tent (awaiting confirmation). The festival grounds are located about a half-mile from the campsites, presenting festival-goers with the dilemma of packing for an entire day (extreme daytime heat, extreme nighttime cold) or stacking some serious foot mileage in addition to the usual festival runaround. (Has anyone ever utilized a pedometer at this festival? How many calories am I burning? Please tell me I look Channing Tatum toned by this point.)
Julien Baker. Photo by Matthew Lamb.
Not a moment was spared as we beelined directly towards the main stage for a healthy serving of midday heartbreak from immensely talented and poignant solo artist, Julien Baker, who gifted the audience with offerings from her fantastic 2017 release Turn Out the Lights. Those unfamiliar with the unparalleled talent of Baker were left speechless as her powerful vocals encompassed the amphitheater, piercing through the souls of unsuspecting bystanders. The soft-spoken singer charmingly utilized moments between songs to lighten the mood by joking with the audience, a routine she’s surely integrated into her sets in order to pull her audience out of complete despair.At one point, the Memphis songwriter turned her back to the crowd, cheekily asking us, “have you guys seen this thing?” as if we had somehow missed the monumental canyon taking on the role of unbeatable backdrop. The audience’s gaze remained fixated on Julien as she careened us through emotional rollercoasters “Appointments” and “Shadowboxing,” finally closing with “Something” off of 2015’s Sprained Ankle.
As soon as eyes were dried, we made the short trek up the hill to the Yeti Stage where Orange County duo and twin brothers Wyatt and Fletcher Shears—better known as The Garden—were slated to perform. This is a band that piqued my interest early on, as they are known for coining their own genre called “Vada Vada,” described by Wyatt as “an idea that represents pure creative expression, that disregards all previously made genres and ideals.” The brothers took to the stage looking like what can only be described as a saucy hybrid of “ATL Twins-meets-Twin Peaks-band.” Utterly perplexing the crowd with what appeared to be some form of interpretive karaoke, the twins donned the personas and attire of Derelicte model, rapper and pirate, respectively. The charade was soon abandoned, and the band effortlessly fired up the crowd by performing experimental thrash ballads “No Destination” and “Stallion” off of Mirror Might Steal Your Charm, which arrived March of this year. The energy this band exuded was infectious, inspiring what was easily one of the more aggressive pits of the weekend, purging victims as mutilated clothing flew violently through the sky.
The Garden. Photo Matthew Lamb.
Up next, beloved Canadian indie legends Wolf Parade made a triumphant return to the Sasquatch! main stage, where they performed what tragically became their last public show seven years prior before announcing an indefinite hiatus. This left Wolf Parade superfans (who will remain unnamed) utterly broken. Luckily the stars aligned, and Wolf Parade are back and bolder than ever, promoting their eclectic 2017 album Cry Cry Cry. The set was christened by taking the audience back to the beginning with the opening track off of the seminal debut album, Apologies to the Queen Mary, led by co-frontman Spencer Krug in a beautifully frantic manner. The band continued to treat loyal fans to archival treasures such as “Fancy Claps,” “Soldiers Grin,” “This Heart’s on Fire” and “I’ll Believe in Anything,” while simultaneously showcasing the brilliance of their more recent contributions “Valley Boy,” “Weaponized” and “Baby Blue.” The new songs are structured with strong percussion from Arlen Thompson and expose multi-instrumentalist Dante Decaro as the glue of the entire operation. (Seriously, Dante is a fucking wizard.) The set came to a close with 10-minute epic “Kissing the Beehive,” one of few songs that utilizes alternating vocals from both Boeckner and Krug whose voices uniquely complement each other; a key component that makes Wolf Parade so special. A fully packed midday attendance on the main stage in addition to the band performing at their highest capacity further reinforce the notion that Wolf Parade are here to stay.
A brief and necessary recess between sets allowed us to hydrate and peruse the strip of vendors in search of a meal that tasted something close to edible and didn’t hit the wallet too hard. Mission: Failed. Fourteen dollars for a Fisher Price sized burrito? Piss off, no thank you. *End pity party*
After our completely satisfying and reasonably priced dinners were consumed, we eagerly took flight to the cascading hill at the main stage where David Byrne, iconic weirdo and brilliant centerpiece of the Talking Heads, was preparing to deliver an unforgettable experience to fans, both old and new. The group wowed the audience as they gallivanted about the stage in a choreographed manner resembling that of a marching band, all clad in matching flint grey suits. Touring his most recent solo endeavor, American Utopia, Byrne ultimately and graciously delivered to the fans who deep down showed up anticipating a chance to hear some classic Heads hits. Byrne and co. shifted the mood from nostalgia to relevance by covering Janelle Monae’s “Hell You Talmbout,” a politically charged protest number which shouts the names of African Americans killed by police or other racial altercations.
Opening night of Sasquatch! was closed out by fellow music festival founder and ever-evolving electro-folk Renaissance man Justin Vernon (better known by moniker Bon Iver), who probably wishes his Eaux Claires Festival could stake claim to a home as alluring as The Gorge. Vernon interestingly chose to open his set with the track “Woods” off of the 2009 EP Blood Bank which first hinted at increasing experiments with auto-tuning; a technique highly utilized in his most recent album, 22, A Million. The meat of Bon Iver’s packed show featured his newer material full of cryptic song titles I won’t even attempt to type, matched by an equally perplexing journey of tonal obscurity. Love it or hate it, Bon Iver’s bold experimentation and dynamic harmonies provide listeners a truly unique experience. Vernon opted out of playing fan favorite “Skinny Love,” which was a total letdown for Chad who has been attempting to learn it on guitar since its 2008 debut.
Day Two
Modest Mouse. Photo Matthew Lamb.
Having gone to sleep shivering, I was surprised to wake up in a pool of sweat, gasping for air and ripping the layers of clothes from my body. As I mentioned before, the weather in The Gorge is always one extreme or another. After escaping my nylon oven, I stepped outside and consumed no less than an entire gallon of water before looking onward to another full day of music.
Pacific Northwest locals Mimicking Birds took to the Yeti Stage at 3:00 p.m., just as the day was reaching peak heat. The band had barely made it through their first few songs before vocalist/lead guitarist Nate Lacy’s effects pedal began to overheat and malfunction due to the scorching temperatures. This resulted in a dramatic fit from Lacy, who ultimately stormed off stage, leaving his bandmates to tend to an eager crowd who were more than willing to wait out a resolution to the technical difficulties. Luckily, the remaining band members came through with quick-witted interactions with the audience and counseling for Lacy, and the band was able to salvage the set, performing tracks from this year’s Layers of Us before ending with the ethereal and reflective “Blood Lines” off of 2014’s Eons.
Taking note from the mechanical victims of the sun’s relentless rays, I noticed that my initial SPF 20 line of defense was lacking in proficiency, so I decided to bust out the big guns and lather myself in SPF 50 (a choice that should have been made hours prior).
Grizzly Bear. Photo Matthew Lamb.
Once completion of thorough sunscreen application had been achieved, I eagerly headed for the pit of the main stage where Grizzly Bear were set to make their first appearance at Sasquatch! in nearly a decade. Having attended a club show earlier this year, I was confident that the band was packing an earth-shattering setlist that toured their expansive catalogue with taste and craft, selecting tracks that best exemplify their diverse and complex songwriting abilities. The band temporarily established a means of time travel for longtime fans as they performed hits such as “Yet Again” and “Sleeping Ute” from 2012’s Shields before digging even further back with gems “While You Wait for the Others” and “Ready, Able” from the 2009 masterpiece Veckatimist. Also included in the set were more recent sounds from their fifth studio album Painted Ruins, which fans and critics alike received positively. Spotting a saxophone on stage early on, I eagerly anticipated the execution of “Sun in Your Eyes,” an indomitable set-ender that I hope any fan of the band will be fortunate enough to experience live. In a truly magical moment, Ed Droste belted the lyrics in the title in a climactic explosion just as the glowing sun descended beneath the horizon, silhouetting the mountainous ridges of the sprawling gorge in the distance. I’m not crying; you’re crying.
Saturday headliner and Washington State natives Modest Mouse walked onto stage to a thunderous applause from fanatic fans crossing all of their fingers and toes for an “on” night for constantly fluctuating star asshole, Isaac Brock. A unified sigh of relief could be felt throughout the crowd as Brock appeared to be playing mostly in tune and accurately landing the lyrics of his own songs. Brock, a known sass-master, surprisingly treated the audience rather kindly as he led the band through a string of crowd-pleasers, including the dreamy “3rd Planet,” the catchy commercial success “Float On” and gentle lullaby “The World at Large;” each from the band’s mainstream breakthrough albums The Moon & Antarctica and Good News for People Who Love Bad News. Additionally, the band performed an exhausting number of tracks from their most recent effort Strangers toOurselves,which was met with mixed reviews at best. The overcrowded band treated longtime fans to a taste of relief with the title track off of the 1996 EP Interstate 8 as Brock belted lyrics, “I drove around for months and years and never went no place,” which is ultimately the same route this set took. Aside from a dazzling display of fireworks, Modest Mouse performed a yawn-inducing mix of radio hits that anyone surely could have experienced just the same by merely walking into their local department store.
Explosions in The Sky closed out day two with a late-night performance on the Bigfoot stage, for those bold enough to stick around into the twilight hours. Feeling rather defeated by the heat and struggling to muster the energy to persevere the way I once could, I decided to call it quits and begin the long journey back to camp halfway through. To my delight, the band’s wailing guitars remained audible throughout the entirety of my trek, providing just enough distraction to successfully complete the hike without exclaiming any dissatisfaction with the arduousness whatsoever. Maybe. Kind of.
Day Three
Phoebe Bridgers. Photo Matthew Lamb.
I found myself once again cursing developers of the amphitheater for designating the campgrounds so far away from the venue, completely devoid of any toleration achieved the prior evening. For the last time, I impatiently stomped my way into the final day of Sasquatch!, racing to catch the last few minutes of Soccer Mommy’s set on the main stage.
Navigating upward and outward to the Yeti Stage, I eagerly stood shoulder to shoulder awaiting the US festival premiere from unprecedented artist Phoebe Bridgers, whose deeply personal lyrics allow a glimpse into toxic relationships of her past and spotlight the all-too-common mistreatment of women in our society. Promoting her 2017 debut Stranger in the Alps, Bridgers was accompanied by a backing band donned in elegant black attire. Passion-fueled youngsters bounced up and down to folk-pop songs such as “Motion Sickness” with upbeat tempos, enjoying the craft of the music while possibly losing sight of the greater message at hand. Bridgers relieved her band for a handful of songs, offering the audience an organic exposure to the rawness of soul-crushing“Smoke Signals” and “Funeral,” and bringing out Seattle songwriter Noah Gundersen for a duet of “Killer,” which slowed the pace of dance moves into a gentle, contemplative sway.
Lingering around the emerging artist stage, I awaited a widely anticipated performance from experimental pop band Japanese Breakfast, fronted by Eugene, OR native Michelle Zauner. The band erupted onto the stage with “In Heaven,” the opening tune from 2016’s Psychopomp smoothly interluding into the album’s following track and hit song “The Woman That Loves You.” They then turned to newer material from 2017’s Soft Sounds from Another Planet, slicing into the peppy “Machinist” and the melodic fantasies of “Road Head.” Zauner is a natural when it comes to showmanship, proudly dancing her way across every inch of the stage before protruding beyond the stage, smashing her face into the cameras of photographers and fans alike. Zauner’s charm and unquenchable desire to win the devotion of an audience, matched with the bands unique dream-scape sound, ensures that they will remain an important contributor to the scene in the foreseeable future.
(Sandy) Alex G. Photo Matthew Lamb.
After a quick shuffle over to the Big Foot stage, I found myself standing in place smirking at the prospect of finally observing my first show from Philly bedroom songwriter (Sandy) Alex G, a.k.a. Alex G, a.k.a. Alexander Giannascoli; easily the show I most looked forward to out of the entire Sasquatch! bill. Alex’s versatility allows him to cross-pollinate his way through a sonic landscape without subscribing to any specific genre, curating a catalogue so diverse that you wouldn’t believe the differentiating tunes were tailored from the same artist. Although I am a huge fan of his recordings, I was somewhat wary of how certain tracks would translate into a live setting. Fortunately, that doubt was immediately squashed as Alex and his band flawlessly jammed to guitar forward lo-fi ballads such as “Kicker” and “Bug” from album Beach Music. Immediately after knocking out a mellowed rendition of folkish hit “Bobby,” Alex faced the floor while addressing the audience: “Alright, now we’re gonna play some really good songs!” This declaration, along with other humbled exclamations, stripped the band of any perception of “rock star” status and spotlighted Alex’s lack of agenda to meet the usual demands and expectations of the music industry.Furthermore, this warmly invited the crowd to feel as if we were just watching a group of buddies play some music, making the songs that much more approachable.
A short hiatus from music called for an opportunity to grab some beer, which was exclusively and dangerously sold in 24-oz. cans for $15, instigating a #BudLightUpForWhateverChallenge of “which will break first, my bank or my body?”
As I settled into the natural reclining throne of the main stage hill, I got googly-eyed over that spectacular view for one final picturesque sunset, failing to capture its beauty via iPhone photos. My final spectacle of the main stage happened to be none other than PNW indie beacon and all around badass woman Neko Case, who has performed at Sasquatch! more than any other artist. Soothing a sea of weary weekenders, Case’s angelic voice serenaded those of us who were running on fumes, exhausted from a weekend of relentless stimulation. The Tacoma hometown hero kindly dedicated the song “Curse of the I-5 Corridor” off of her forthcoming album to the nearby city. In addition to teasers from Hell On, Case made sure to pull out favorites from her back catalogue such as emphatic soother “This Tornado Loves You” off of 2009’s Middle Cyclone. Still buzzing on feelings, I stumbled back in silence relishing in a pool of utter bliss.
Monday morning was met with the same suffocating heat that had become humorous by this point. Emerging from the tent, my first sight was that of the “Babe Cave” inexplicably thrashed and flipped atop Chad’s dad’s Suburban. I promptly packed up the car and embarked upon the pilgrimage back to the chaos of city-life, sitting in disbelief that the holiday weekend had come to a close so abruptly.
Be it a “limited time offer” or a giant step in the direction of salvation, Sasquatch! Music Festival was able to generate and facilitate a truly celestial experience that most promoters and festival-goers only dream of. An intimidating lineup sequencing a contrast of beloved acts with a liberal offering of emerging talent, combined with one of the most unique and picturesque venues, is absolutely unbeatable.
Here’s to hoping that the return of the beloved Sasquatch! is here to stay.
In its third edition, Shaky Beats earns its place as one of this year’s EDM destinations. Over three days, the festival shook up Atlanta’s Central Park with artists including Kygo, Marshmello, Zedd, Excision, Dillion Francis, Seven Lions, and hometown favorite Ludacris.
The move to Central Park took the festival out of concrete midtown Atlanta and provided a more lush festival feel. With a more expansive landscape, the park provided enough room for two main stages that were never in competition with one another, a tented space, and additional shaded smaller stage on the other end of the grounds.
Shaky Knees provided much to see off of the stacked lineup, and much to do with all off the interactive activations spread around the festival. While we were kept entertained from the moment we walked through the gates, there are a few performances that top our highlight list of the weekend.
Kygo is many things – world-renowned producer, songwriter, DJ, music marvel, international sensation, and the best performance of Shaky Beats 2018. At festivals some artists have typical “festival sets.” Others just perform. But then you have those acts that put on a show. Kygo’s festival close out was exactly that. His set combined live performances, collaborative singers and live string section, with his electronic prowess. Shaky Beats was Kygo’s last stop on his Kids In Love Tour.
It seems like everything that Zedd touches turns to gold, or shall we say platinum. Saturday’s closing headliner brought the dance party Saturday night with mashups of his major hits and drops of sing-a-long classic favorites. The musical variety within his performance stays true to Zedd’s theme and history of experimenting with and having an appreciation for different musical styles.
Inspired by the sounds of Chicago house, Shiba San takes his production experience in the French hip-hop scene and infuses it with the essence of house. Best known for his tracks “Okay” and “Burn Like Fire,” Shiba San his far from a two hit club wonder. He lets his music and sets do the talking for him and that was evident when he packed out the shaded smaller stage at Shaky Beats.
Other notables from the weekend included Dillon Francis, TroyBoi, Seven Lions, Excision, and Louis the Child.
Over the past three years, Shaky Beats has built up a favorable reputation. Not only has the festival begun to fill the electronic void of those Georgia EDM festivals that have come and gone, but it has quickly become a fan favorite. Already counting down to Shaky Beats 2019.
Photo credit: Courtesy of aLIVE Coverage for ShakyBeats Music Festival
It’s time for the 17th annual Sasquatch! Music Festival, running this Memorial Day Weekend from May 25-27. The Pacific Northwest-based camping festival takes place at the Gorge Amphitheatre in George, Washington and boasts a truly incredible and diverse lineup from top to bottom.
This year marks a return to the festival’s original form, boasting a lineup rich with emerging indie artists as well as heroes of the genre such as Bon Iver, The National, David Byrne, and Modest Mouse. Other notable acts include Tyler, The Creator, Spoon, Anderson .Paak, Grizzly Bear, TV On The Radio, Vince Staples, Neko Case, Explosions In The Sky, Slowdive, Thundercat, Wolf Parade, Perfume Genius, Noname, Margo Price, Julien Baker, Whitney, PUP, Pond, Big Thief, Japanese Breakfast, (Sandy) Alex G, Phoebe Bridgers, Chastity Belt, White Reaper, Alex Lahey, Charly Bliss, The Weather Station, Mimicking Birds…honestly, if we listed everyone on the lineup that we were stoked about, we’d just end up listing the entire thing. And look. It’s right there in the image above.
This is genuinely one of the best lineups of the year (in, obviously, one of the most outrageously beautiful locations), and there really aren’t any misses. With that in mind, we made an epic Sasquatch 2018 playlist for you to bone up on these artists, old and new. So just sit back, shuffle play, and we’ll see you at the gorge.
The start of Courtney Barnett’s sophomore album, Tell Me How You Really Feel, sets the scene for the chaotic, emotional turmoil to come with the words, “Take your broken heart / turn it into art.” While this first track, “Hopefulessness,” seems to drone on upon first listen, with its slow rhythm and monotonous vocals, it later becomes evident that each layer of the album serves a unique, intentional purpose. While “Hopefulessness” certainly doesn’t shine as a standalone track, it succeeds in easing the listener into the ups-and-downs that come throughout the collection.
In many ways, Tell Me How You Really Feel shows a maturation of Barnett in all aspects. Although the album is contradictory, uncertain and self-conscious throughout, her unflinching dedication to expressing her fears and vulnerabilities continually sets her apart as a daring, introspective artist. Her anger and frustration get the best of her in “Nameless, Faceless,” with the track serving as a nod to Kurt Cobain and a simultaneous jab at double standards in gender roles with the lyrics, “I wanna walk through the park in the dark, men are scared that women will laugh at them / I wanna walk through the park in the dark, women are scared that men will kill them.” Her anger reaches its peak in the explosive “I’m Not Your Mother, I’m Not Your Bitch,” with impassioned, infuriated screeching vocals. This frenzied, aggression-ridden track is uncharacteristic of Barnett’s typical style, but displays a unique versatility reminiscent of the White Stripes.
But it’s not all anger and aggression; Barnett continuously illustrates herself as both poignant and empathetic. In “Need a Little Time,” she’s apologetic, level-headed and self-reflective. Her exasperation with both herself and those around her is a refreshingly relatable contemplation. She continues peeling back her layers, up until the tender final track, “Sunday Roast.” Ending the chaos of Tell Me How You Really Feel with a softer, more loving piece leaves the listener with a welcome sense of calm after the myriad of emotions expressed.
Overall, the unexpected irrationality, self contradictions, and internal battles found in Tell Me How You Really Feel are what make the album so appealing. While Barnett shows her self-conscious side throughout, her creative arrangements, hard-hitting vocals, and fearlessness in self-expression portray a confident, unapologetic artist. The track “Crippling Self Doubt and a General Lack of Self-Confidence” puts it all out there, displaying an unwavering vulnerability largely uncommon in today’s world ridden with Instagram likes and filtered selfies. And it doesn’t stop there. Like most of the tracks on her newest album, “Crippling Self Doubt and a General Lack of Self-Confidence” switches its tune. Just as you think Barnett is full of self-loathing and despair, she lifts the mirror and quickly points out the faults of whoever hurt her (and by the looks of it, someone hurt her). Lesson to be learned from all of this? Don’t f**k with Courtney Barnett. Nobody’s perfect, even her, but if she’s a woman confident enough to put her insecurities on display for the entire world to see and come across this strong, then there’s no telling what else she’s capable of.
Having spent the last four years as the lead guitarist of indie rock quartet Big Thief, co-founder Buck Meek’s solo aspirations were put on hold while he devoted most of his time to hitting the ground hard, building the band’s momentum. Now that Big Thief has taken off, Meek stands ready to bestow his own finely-crafted song cache upon the world.
A front porch troubadour, the Texas-born songwriter weaves a tapestry of simple and intimate folk tales on his self-titled debut. The record feels like a winding country road and introduces listeners to the myriad of charmingly real characters they might meet wandering down it, from honorable mechanics to runaways to gamblers. Many of these characters are admittedly fairytale versions inspired by the people in Meek’s life. “I’m most inspired by my friends, I’d say,” he explains. “As a creative person, it gives me more seed for exaggeration in my own mind and for developing archetypes and characters that can go far beyond the reality of their personality.”
While the people around him help personify Meek’s thematic ideals, there is a common thread in what he finds most exciting about the stage of players. “One of the most inspiring things for me in humanity is the heroism in the smallest of details in people’s character,” says Meek. “Like in the persistence and the subtle elegance that I find in everyone really, and just trying to find that gives me hope.”
Buck Meek is out now on Keeled Scales. I sat down with Meek at Willie Nelson’s Luck Reunion this year to talk about the record. Check out our conversation below.
Vinyl Mag: [The first single “Cannonball!” premiered on NPR.] Can you tell me a little bit about the concept and what that’s about?
Buck Meek: It’s a feeling of when what we perceive as linear time of our life seems to fold over itself. And for me, like in this song…like the moment of experiencing the bittersweetness of the feeling of relationship as a living thing, but as a memory—feeling the relationship and the power of it, the weight of it in memory—while also experiencing the pain of whatever loss. Like how that can just become this web of feeling. That’s what I was trying to get at with the song.
VM: So this is about a relationship. I feel like when I look back at past relationships, it’s like I’m watching a movie. It almost feels like it happened to someone else, in a very emotionally disconnected way. But this song is also partly mourning. Can you talk a little bit more about the actual emotions that you’re expressing?
BM: Yeah, I guess it’s that dichotomy of celebrating the eternal quality of that relationship while also mourning its loss. Facing the loss of it almost intensifies the power of it at the same time, which is probably why loss is so hard for us. Suddenly we’re faced with how meaningful something was to us when we don’t have it anymore, I suppose. I wrote it almost as a medicine and a mourning process, celebrating and letting go…it’s probably healthy to callous and move forward, and I guess for me, writing songs like this helps me celebrate what was while also externalizing it to the point where I can let go.
VM: Do you reopen it every time you hear it or play it, or does the writing of it give you complete catharsis?
BM: I do re-experience it, but because it’s in a form outside of myself—even if I’m singing it—something about it being in song form helps me not fall prey to the emotions as much.
VM: What was the timeline of writing these songs between Big Thief and touring; when did that line up?
BM: This collection has been falling together over the last four years. “Cannonball!” I probably wrote three or four years ago. My writing process is generally pretty slow and arduous. I’ll often write the first verse of a song as a response to something that happens to me, or a connection that I would make, or a character that I would observe in passing. I’ll often come up with the initial idea there, and I feel like maybe the first verse and chorus will come to me in 30 seconds, and then it’ll take me six months to finish the song, almost as if I’m reflecting upon that initial experience.
VM: Once you get the first nugget, how does the process unfold? Are you waiting for the rest to come to you, or do you set time to sit down and work it out?
BM: I think that initial burst comes at me randomly. That first source comes unplanned. Like, it’ll come to me sometimes while I’m playing a show with Big Thief, or while I’m on a bicycle or in mid-conversation with someone, and I’ll just scramble to write it down and play it as soon as I can. But the finalizing process of really hammering out the song is more deliberate and often very private. Like when I find a moment of peace, which is rare on tour. I’ll often wait until I get home to finish a handful of ideas that have come to me on tour.
Although on this record, there are maybe three or four songs that came as part of this song-a-week project that I did with a really inspiring group of artists in New York. With Adrianne from Big Thief and Mat Davidson from Twain and Mikey Buishas from Really Big Pinecone…and a couple of other people. I’ll leave it somewhat anonymous. We had a song-a-week project for two months, and it was really hard to have that. We each had to write one song individually per week, and it was really difficult to be limited like that, but also I feel like it really pushed me to rely more on my instincts and less on my intellect. Because often I would wait until the last minute, like Sunday night.
VM: Like songwriting bootcamp. Do you feel like that’s still affecting the way that you write now?
BM: It’s taught me a lot about relying on my instincts, which I feel has been really helpful for me, because I often will get in these cycles in my head where I start taking it too seriously or overthinking it, and that forced me to just rely on…basically not judge myself and to rely on my initial impulses in the creative process, and at least not judge myself in the process. A lot of these songs came from that project initially, and then later on I would go back and edit them maybe after some time had passed and I had some space to reflect on them. But it’s been really helpful for me to dig into that impulse from a more confident place.
VM: Why do you think now is the time to be bringing these songs forward?
BM: I spent the last four years devoting almost all of my time on the road to Big Thief, because we started touring maybe three and a half year ago…playing 250 shows a year or something, and that really didn’t leave much space for my solo project…I’ve been aching to bring these songs to people for the last four years, really. It’s been more of a decision to devote myself to Big Thief, because it needed that intention to come to the place where it is now. I’m really excited to finally have the opportunity to have a more balanced schedule with that.
VM: You said you’ve been aching to get them out. So you’ve been sitting on them for awhile. Because you’ve had them for so long, were they constantly changing from start to now, or do you know when you’re done?
BM: Some of them have changed completely. One thing that’s kept it fresh was that I’ve had some of these songs for four years, but the band that I’ve put together for this record was in flux until like the last year really it really came together. I’m so happy with these players, and we really made this record in the last year together pretty quickly, really. We recorded it really fast, so that breathed a lot of new life into these songs.
VM: Where do you go from here?
BM: Hopefully going to Europe with my band probably in the fall, realistically. Trying to play as much as possible. I really want to hit the road with this band and get to that point of instinctual mesh with them.
Buck Meek is out now on Keeled Scales. Grab a copy of the record here, and be sure to catch Meek on his upcoming tour (dates below).
Buck Meek Tour:
May 30 | Kerrville, TX at Kerrville Folk Festival
June 07 | Allston, MA at Great Scott
June 08 | Brooklyn, NY at Rough Trade
June 09 | Washington, DC at Songbyrd
June 10 | Durham, NC at The Pinhook
June 12 | Nashville, TN at The High Watt
June 13 | Bloomington, IN at The Bishop
June 14 | Chicago, IL at Schuba’s
June 15 | Millvale, PA at The Funhouse
June 16 | Philadelphia, PA at Johnny Brenda’s
June 7-16 with Sam Evian
June 7 & 8 also with Katie Von Schleicher
It’s about that time of year where we find ourselves on the beaches of Gulf Shores soaking in every minute of Hangout. This year’s festival, once again, boasts a varietal lineup. From heavy hitters Kendrick Lamar and The Killers to the up and coming, this beach party has a little bit of everything for everyone. Here’s a shoutout to a few artists we’ve been keeping an eye on and look forward to seeing this weekend at Hangout ’18.
ALEX LAHEY
The 24-year-old Australian musician takes her rise up the ranks from music student to ‘an artist with one of the most highly anticipated debut albums of 2017. A founding member of avant poppers Animaux, multi-instrumentalist Lahey has now gone solo and pared down her sound, embracing a simple, home-spun story-telling style that’s often underlined by her second love, the fuzz pedal.
BAHAMAS
Afie Jurvanen is Bahamas. And (self stated) his new album Earthtones is his best yet. In his own words, Jurvanen shares that his latest work is a very positive album about having a joie de vivre for the joys of life.
GRETA VAN FLEET
No that isn’t quite Led Zeppelin you’re hearing. With an eerily close resemblance to those English rockers, Greta Van Fleet has been making it known that rock-n-roll is alive and well. With inspiration drawn from the likes of Cream, the Yardbirds, The Who and other 60s British favorites, this young and ambitious rock quartet (three of which are brothers) are quickly on their way to achieve greatness and creativity far reaching beyond their ages. Greta Van Fleet’s debut EP Black Smoke Rising, sees the band straddling the line between timeless and future, sounding at once like many things you’ve heard before and also something you’ve never heard before. Their sound is anthemic, loud, and captivating – you don’t want to miss them on Sunday at Hangout.
NONAME
Chicago rapper and poet Noname (formerly Noname Gypsy) brings an observant eye and quiet patience to a soulful R&B-meets-hip-hop style influenced by Lauryn Hill, Andre 3000, and Buddy Guy. Born Fatimah Warner in Chicago’s Bronzeville neighborhood, Noname frequented open-mike nights and slam poetry competitions when she wasn’t volunteering with the local YOUMedia arts program. Befriending fellow Chicagoan Chance the Rapper proved fortuitous: she appeared on “Lost” from Chance’s Acid Rap mixtape in 2013, helping her gain a wider audience. Before her debut, she contributed to Mont Jake’s Shadow EP and “Finish Line/Drown” on Chance’s 2016 hit Coloring Book. Three years in the making, her first album, Telefone, arrived in the summer of 2016. The coming-of-age blend of soul vocals, atmospheric textures, and Noname’s spoken-word featured production by Chance associate Cam O’bi, Phoelix, Saba, Monte Booker, and Them People.
SHALLOU Maryland-born producer shallou catapulted from relative obscurity to prominence by way of his debut All Becomes Okay EP (2017). Since 2014 Joe Boston has been writing/producing bright yet melancholy electro pop under the name shallou. With his new Souls EP out last month, shallou explores the cycle of love through summery yet solemn vibes, focusing on two people as they come together and break apart again.
SUNFLOWER BEAN
With a guitar core, classic rock-inspired roots, Brooklyn’s indie rock trio Sunflower Bean has earned much deserved attention over the past few years for their alternately rock-edge and dreamy sound. The band was formed in early 2013 by Nick Kivlen (guitar/vocals) and Jacob Faber (drums) while they were still in high school. Julia Cumming’s (bass/vocals) addition later in August 2013 would further expand and complete the band’s lineup. The release of Twentytwo in Blue this past March showcases how far the band has come since playing together in their high school days, but also how the band is still evolving and creating their sound.
TANK AND THE BANGAS
Their name is familiar and it’s familiar for a very good reason. We were first introduced to Tank And The Bangas in early 2017 when video of their victorious performance at NPR’s headquarters (after their unanimous win of this year’s Tiny Desk Contest) went viral. Rummaging through their sound like a thrift store hippie, you’ll find the Bangas to provoke a musical reference of Rhythmic Soul and Spoken word among other genres such as Rock, Gospel, Funk, and Folk. Combining the various musical technique among the Bangas, coupled with the instilling play on lyrics from the lead vocalist; Tank and The Bangas have quilted a unique sound that singles them as one of the most distinctive groups to come out of New Orleans.
Last weekend, we handed off a disposable camera to Charly Bliss in order for them to document their full day at Atlanta’s beloved Shaky Knees Music Festival. The power pop quartet played Saturday afternoon at the Criminal Records Stage to a packed and mega-enthusiastic crowd. The setlist was comprised of mainly tracks from their 2017 debut triumph Guppy, though we were treated to a couple of new gems and one throwback from their 2014 Soft Serve EP. Takeaway: this band is a genuine joy to witness live, and we’re eager to hear and see more from them ASAP.
Check out the CB’s tour diary below, and be sure to catch them on tour. You won’t regret it.
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In our most natural state….watching Vanderpump Rules in the green room.
