Live Music Spotlight ::: Vampire Weekend at The Fox Theatre

Vampire Weekend

w. Jacuzzi Boys

Monday 05/05/14

Fox Theatre

Atlanta, GA

One thing is certain, Vampire Weekend fans know their lyrics. This entire sold out show was singalong 4,700 concert goers strong. This made for a great atmosphere that felt like a full on party. The mood was set from the beginning as the Brooklyn quartet came out to Drake's 'Worst Behavior'. In late 2013 Ezra Koenig reviewed the Canadian hip hop artist's latest release Nothing Was the Same for The Talkhouse. 

One song Koenig did listen to though was “Worst Behaviour” and was particularly taken by a specific line: the “motherf*****s never loved us” one.

“It really struck a chord,” Koenig explains. “There are SO many motherf*****s out there. I’ve been making music since I was seven years old (started with piano) so I’ve been betrayed more times than I can count. You know how many people talk s*** behind your back and then try to be your best friend over the course of 22 years in the industry?? Drake only got into music like five years ago, so if you see how angry he is — IMAGINE HOW I FEEL.” 

The overall review made headlines on music blogs, becoming more of a story than it was. It's awesome and laughable that they come out to this song, as it is a great mood setter, the band has had many questions as they took a meteoric rise, and it's a kind of wink and nod at the whole thing. 

After taking the stage and a quick lap around, the group quickly broke into their first single, 'Diane Young',  off their latest critically acclaimed album Modern Vampires of the City, which received 2013's best album of the year from multiple publications including Rolling Stone, Pitchfork, and Slant Magazine. This was a song, as well traveled and rehearsed as they are, we wondered how well it would come across live with the voice inflections and modulations. That turned out to be a silly question as it blew the roof off and set the night into a furious dance party. 

As they did for most of the night, the baroque rock group jumped  between their three albums with White Sky coming next off their sophomore release Contra. This song had more energy live thank comes across your home speakers. You didn't have to wait for the first lyrics, "As a young girl" to come from Ezra's lips to get a feverish response from the crowd, as many of their songs do, the opening guitar riff sets about a chain reaction. This was the case for 'Cape Cod Kwassa Kwassa'. Returning to their newer material with 'Unbelievers' (video below). The theme heavy song was a fan favorite. As lead singer Ezra Koenig told NME: "Even though that song has some heavy themes about trying to figure out your place in the world and what you believe in and how your beliefs affect your relationships to other people, we don't mind goofing off a little bit." 

Follow us after the jump to see more from Vampire Weekend's Atlanta show, setlist, and future US tour dates!

Live Music Spotlight ::: Arcade Fire at Aaron's Amphitheatre at Lakewood

Arcade Fire
w. tUnE-yArDs & Kid Koala
Friday, 05/02/14
Aaron's Amphitheater at Lakewood
Atlanta, GA
6:30 doors open
7:30 tune yards
8:10 kid koala
8:45 Arcade Fire

We don't like to pump up a single show or album too much, because we understand music, as much as anything is very opinion driven.  A song can be listened to many times, but when it is heard that one time in the right setting, at the right time, or with the right people it can click instantaneously.  With only one of us having seen Arcade Fire, it was easy to believe in their talent, reputation, and work ethic to know this was a 'can't miss concert' in Atlanta.

To fully discuss this show the first thing that needs to be discussed is expectations and hype.  Arcade Fire is largely regarded throughout the music scene as the best live act on the road today.  Some of our group had been waiting nearly five years to see Arcade Fire due to various complications.  You were always told how incredible they are live and it builds into something in your mind is larger than life.  But there is that tiny doubt in the back of your head that whispers, “You love Arcade Fire, but can they really live up to these outlandish expectations that you have created?” The answer to that question was destroyed in the first 3 seconds on the show with a resounding “YES.” You can watch their live shows on TV or the internet, listen to countless audio recordings from shows, but nothing prepares you for what is to come. 

From the onset of listening to sound check you can tell how much not only Win Butler, but the entire ensemble puts in to each second of each song. The times retaking and practicing a song from the beginning during at the end of a US tour was impressive. They also worked on their cover of 'Tequila' into 'Normal Person' numerous times. In the actual show they only played about 10 seconds of 'Tequila' (aka Zima) and Win seemed less than thrilled with it, just because it wasn't completely perfect. This wasn't a bad thing, just a snapshot of how much they care and want to make everything perfect for the audience.  Very few artists of this caliber strive to not only give the fans a perfect show, but make each show a different memorable experience.  Too many bands these days write up one setlist for a tour and it doesn’t change for the rest of the year.

The set up of the concert was perfect with the openers to make quick transitions and leave very little downtime between sets. We found it a little weird that Aaron's parking did not open until 5:30p, with gates opening at 6:30p. It might be that we're use to seeing people tailgating for hours at Lakewood and Verizon around shows like Phish, Widespread Panic, and Dave Matthews that all have their own following and the parking lot turns into it's own event.

tUnE-yArDs came on promptly at 7:30p, but to very little fanfare as it was a late arriving crowd. We're sure many people were coming from work or studying for exams and had to fight rush hour traffic along with a home Braves game, just two exits away. Tune-Yards is the music project of New England native Merrill Garbus. When performing live, Garbus creates drum loops on the spot, and layers these with ukulele, and vocals, in addition to electric bass played by Nate Brenner. She mentioned and thanked her new touring band with included two high energy wood drummers/dancers, a talented, percussionist Dani Markham who also added vocals. Merrill's setup and display is impressive, but her yodeling can easily be lost on the audience. The highlight of the set was probably the beginning when Arcade Fire’s own Sarah Neufield came on stage to play her violin along to the opening song. This was the last stop on her tour with Arcade Fire, as she mentioned multiple times how thankful she was for being asked to join them. Between having been on tour for some time, the impending release of her new album Nikki Nack (available this Tueday), and the seemingly small crowd you could tell she was exhausted, though she gave it her all.

The quick transition between tUnE-yArDs and Kid Koala was mere minutes as the Montreal native's DJ booth setup was off to one corner of the stage. This was a perfect setup as it allowed for the breakdown of Tune-yards and the production that is setting out the ten plus instrumental arrangements for the night's headliner. Kid Koala put on a great show as a throw back to the original DJs who spin multiple vinyls and even works without headphones and did so flawlessly. With mixes of our own Outkast and Roy Orbinson tributes for Mother's Day, he was on top of his game.

Check out what Arcade Fire did to bring the house down after the jump

New Music Spotlight ::: A Review of Beck - Morning Phase

BECK – MORNING PHASE

Born in Los Angeles, Beck discovered hip-hop at an early age and it influenced his musical career in a dramatic way adding to one of the most diverse musical bags of his generation. In the late eighties he began playing clubs and coffee shops and moved to New York City in 1989. After years of devoting himself to his craft he hesitantly released ‘Loser’. The single went mainstream overnight and became the theme of the slacker crowd of the mid-nineties despite Beck’s unmatched hustle. With overnight notoriety came the typical backlash that haunted many rock acts during that time, even being dubbed a one-hit wonder. These unfounded critics only created more heat and pressure that helped form his Grammy winning rebuttal Odely. Over the years he has continued to produce highly acclaimed album reinventing his sound time and time again.

Beck’s 2014 return gives us his twelfth studio album, Morning Phase. ‘Cycle’, the opening track on his first studio release since 2008’s Modern Guild, is the sunrise of the Morning Phase. With daybreak comes, ‘Morning’ with its whispering lyrics blended with slow kick drum percussions, delicately fingered piano, and lightly strummed guitar. ‘Say Goodbye’ puts an end to the morning of the album and gets out the doors accompanied a smooth nineties bass line.

‘Blue Moon’, the first single off the album was released in late-January as an appetizer to the upcoming feast many critics expected. The cheery lyrics, folky guitar play and hint of Q Lazzarus’ ‘Goodbye Horses’ backing vocals plays with the heavy keys.  Beck also performed ‘Wave’ on Saturday Night Live, a beautiful hypnotic ballet of soft echoing vocals, an eloquently arranged sting orchestra; a refreshing afternoon nap if you will. The soft picking of his guitar, on ‘Don’t Let it Go’ reawakens the listener with its motivating nature, and builds into piano before fading into violins that usher the track out. In late 2012 Beck released a 20 track Song Reader of sheet music, hoping to inspire musicians to record their own versions. This process seemed to have had a major influence across this record including, the lyricless ‘Phase’. ‘Turn Away’ brings a Simon and Garfunkel-esque tone.  The final two songs wrap Morning Phase in a country twang with the help of rolling lyrics, rhythmic guitar, and additions of harmonica and piano.

The process of recording Morning Phase was more active than its predecessor and companion album, Modern Guild, as he was limited physically due to a serious spinal injury. The time off allowed him to develop more vocal range. A more mellowed release than his 2008 return, Morning Phase is the perfect spring awakening album. There has been a slight resurgence in concept albums lately, but this album brings on a new role of an evolutionary album taking album sequencing a step further as every song seems not only feed into the next, but build upon what came before it.

Top Tracks

Blue Moon

Morning

Heart is a Drum

Wave

B Rating: 81

R Rating: 84

Overall: 82.5

Local Dates: Bonnaroo, FireFly Festivals

Like this album? Try….from 2013

Father John Misty – Fear Fun

Dr. John – B-Room

New Music Spotlight ::: Review of Lost in the Trees - Past Life

LOST IN THE TREES – PAST LIFE

The Tar Heel state has seen its fair share of talented artists over the years and this orchestral folk four-piece is no different. Started by Ari Picker (Vocals, guitar, lyrics) in 2007 as a form to create a more orchestral group, they began working on the EP Time Taunts Me. The former B-Sides member recruited local artists from the University of North Carolina’s orchestral program along with artists associated with Trekky Records. The result was a weaving of multifarious instrumentals to complement

Ari’s hauntingly beautiful vocals. The band’s leader cited a diverse list of influences such as Beethoven, Radiohead, Vivaldi, Neutral Milk Hotel, Saint-Saëns, and OutKast, among others.

Lost in the Trees returns after their 2012 release, ‘A Church That Fits Our Needs’ drew some of the highest praise that year. Esquire magazine referred to it as “a luxuriantly orchestrated remembrance that ping-pongs between introspection and celebration.” The group has since transformed from a six piece ensemble to a more streamlined, minimalistic collection of four. Shedding many of the bulbous instruments from their original set up, producer Nicolas Vernhes created more with less on Past Life.

The instrumental lineup has changed, but their latest release is littered with everything that makes Lost in the Trees unique. As the album begins, ‘Excos’ floats through a melodic piano flight with heartbeat percussions and horns underlining Picker’ vocals. The albums namesake track is an upbeat guitar driven ballad of resolve.  ‘Wake’ is backed by piano work reminiscent of a suspenseful horror flick under an optimistic violin to mix with lyrics that mind the middle. The album closes with ‘Upstairs’ a track that bleeds with the aforementioned influences of Radiohead. The rhythmic guitar play and haunting lyrics would make Thom Yorke proud.

Despite the reoccurring theme of death and afterlife, Past Life brings an overall feeling of buoyant resiliency compared to previous releases. As a whole the albums proves that sometimes less is more. Despite the reduced band overall the album combines the sounds used to create a more complete and efficient sound.

Top Tracks

Past Life

Upstairs

Wake

Rites

B Rating: 90

R Rating: 84

Overall: 87

Local Dates: Thursday, May 1^st at the Earl

Like this album? Try….from 2013

Typhoon – White Lighter

Breathe Owl Breathe – Passage of Pegasus

Hey Marseilles – Lines We Trace

Connect

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New Music Spotlight ::: Album Review of St. Vincent - St. Vincent

ST. VINCENT – ST VINCENT

If a modern day Mount Rushmore for the women of indie music was erected (not a bad idea for a posting…stay tuned) there’s no doubt Annie Clark would garner her fair share of the discussion. Better known to the masses as St. Vincent, she has created a sound all her own by cultivating various elements into a wild chamber of pop-rock explosion. Raised in Dallas, Texas she learned to play guitar at twelve before working through her teens as the tour manager for her uncle’s band. She had a three year stint at Boston’s Berklee College of Music before returning to the lone star state. Shortly after her homecoming she joined the rock army that is the Polyphonic Spree. In 2006 Clark left TPS to tour as part of musical mastermind, Sufjan Stevens’ band.

After nearly a year on the road Annie began her transition to St. Vincent. Originating from Saint Vincent Catholic Medical Center where poet Dylan Thomas died in 1953. Deciding a place where ‘poetry goes to die’ fit her persona perfectly. She took the moniker after hearing it in Nick Cave’s ‘There She Goes My Beautiful World’. In July of 2007 she released her debut Marry Me (yes, it’s an homage to the Arrested Development line) to rave reviews. Since her beginning she shared the attention commanding sounds shared by her former associated acts, but with her own added flair. She has since recorded and released 2009’s Actor, Strange Mercy two years later, and collaborated with former Talking Heads’ lead singer David Bryne on Love This Giant in 2012.

In St. Vincent’s opening song ‘Rattlesnake’ it’s easy to picture the violet-tinged curls bouncing along to “sweatin, sweatin” in a Walking Dead-esque summer heat. The guitar sliding track delivers her voice and brings the scene to life. On December 9^th, 2013 St. Vincent announced the upcoming album release and immediately uploaded “Birth in Reverse” for free download. The track is a manic mashing of 80s dance party meets raw Sublime-like lyrics that create a get up and go energy that won’t be ignored on any set list during her upcoming tour.  Annie’s lingering voice carries the Pinocchio-like fairytale driven track, ‘Prince Johnny’ channeling early works from the First Lady of Pop, Madonna. The Disney theme isn’t new to St. Vincent as she has stated that her sophomore album Actor was inspired by many of their films.

Beginning with the fifth track, Digital Witness, the album really becomes magical. The second single off her self-titled album came in mid-January.  The horn rich track demands “give me all of your mind, I want all of your mind” and there’s no negotiation. Movement invoking instruments leave the listener spellbound, with no choice but to nod along to beat. Not ready to release her captive audience, St. V serenades on ‘I Prefer Your Love’ over simple drums and strings. The song discusses her closeness with her mother, written when her mom was ill (she has since recovered). What is left is a sigh of relief and a beautiful account of their bond. ‘Bring Me Your Loves’ channels tUnE-yArDs like afro-beat looping reverbs into one of the more electronic selections on the album. The electric feel continues of the remaining three songs.  Throughout the album, St. Vincent shows off her amazing musical range and leaves the listener in an entranced fog. The only negative would be St. Vincent could have been better tracked.  The different sounds often come one after another and can come away as choppy.

It’s no coincidence that Miss Clark is sitting on a futuristic throne of the cover of St. Vincent. It’s a royal seat she’s commanded time and time again with each new venture. It may be time to crown the new queen of indie pop-rock.

Top Tracks

Digital Witness

I Prefer Your Love

Regret

Rattlesnake

Psychopath

B Rating:  86

R Rating: 89

Overall:  87.5

Local Dates: Saturday 03/08/14 w. Noveller at The Tabernacle

Like this album? Try….from 2013

Born Ruffians – Birthmarks

Glasser – Interiors

Bats for Lashes – The Haunted Man

Au Revoir Simone – Move in Spectrums

The Polyphonic Spree – Yes, It’s True 

Artist Spotlight ::: An Interview w. Old Man Canyon

My influences are really all artists that reach for something beyond themselves, ones that have vision and desire to bring something real to a world of falsity.

Photo Courtesy of Old Man Canyon Facebook

You Ought To Hear This gets up close and personal with a band that is sure to be one of the breakout artists of 2014, Old Man Canyon.  Jett Pace, the founder and driving force behind Old Man Canyon, was kind enough to answer our questions. Please read along and be sure to check out their phenomenal EP Phantoms & Friends.

You Ought To Hear This: Give us some backstory to the band and your journey.

Old Man Canyon: In early 2011, the band I was in at the time ended up having a pretty bad falling out, as bands often do. It really shook me up and confused me as to what direction I was going to take, and how I really wanted to continue as an artist and a musician.

The next several months were spent in my basement writing and experimenting with sounds. After about 8 months I had a group of songs I was really happy with that I felt fit well together. So I contacted a friend and local producer, Dave Meszaros, to begin working on what would become the Phantoms & Friends EP.  The next 6 months was spent recording and really just trying everything that came to our minds, not holding back creatively at all. At the end we were left with something we were really proud of. 

 YOTHT: Tell us about the members of the band and what is your instrument set up?

OMC: The band now consists of 5 of us, its gone through several incarnations, but with everything sonically I am going for 5 of us are needed. Especially with the new music that will be on the next record, it’s quite a bit different and requires more hands! The band members consist of myself, on Guitar and vocals, Josh Contant on drums, Alex Dobson on bass, Malcolm Dow on Keys/synths and Dave Meszaros on guitar, who also was the producer on the EP.

  

YOTHT: Is everyone from the same area, how did everyone meet?

OMC: It’s been a gradual formation, it all began really with me just writing songs, and after I had recorded the EP is when I really began focussing on constructing the dynamic of the band. Some of the members are old childhood friends, and others we met through friends in and around Vancouver. It wasn’t a quick process, it’s taken around a year to find the right people to fit the vision I had artistically and sonically for the band.

YOTHT: Are you guys signed to a label? If so, how was that process?

OMC: We are in the process of signing, we’re talking to several different labels right now, I won’t name them quite yet. But we should be making a decision here pretty soon. The process was quite fluid actually, at least for us, the right people took interest right off the bat and have been keeping an eye on us since the beginning, so I think that helped to get the right exposure off the get-go and make the right connections.

YOTHT: What are some of your individual influences?

OMC: I always find that a really hard question to answer. My influences are really all artists that reach for something beyond themselves, ones that have vision and desire to bring something real to a world of falsity. To name a few, The Beatles, Michael Jackson, 2pac, Prince, Bob Marley, I could go on forever.

  

YOTHT: Describe your sound and how you decided on that direction?

OMC: I still haven’t really chosen a direction, I think as soon as you box yourself into a certain format, you stop yourself from evolving as an artist. I just write what it is I’m feeling, and that usually works. My new music is a lot different from the EP, and I couldn’t more excited for it, it’s everything I think I’ve always wanted to incorporate, it just took some time to really find it.

YOTHT: What is your writing and recording process like?

OMC: I spend a lot of time in my cold basement writing and recording. I don’t really have a set way songs come about, they always come in different ways. Some start from a guitar riff, some start from a beat, and some start from a bass line or sometime a melody will just pop in my head and I record it on my iPhone quickly to come back to later. I try to always switch it up to give deferent feels to the structure of the song.  But the process really is not up to me, there are forces at work sometimes when I’m creating [that] I can’t really take credit for. 

YOTHT: Where do you typically find inspiration for writing?

OMC: I couldn’t tell you, It’s such a random process, you never know when something amazing will pop into your head. Thank god for the iPhone recorder, that thing has saved my butt so many times when I need to remember something. 

YOTHT: How did the connection and relationship to have multiple recordings on Showtime’s Shameless? Describe the recognition increase since that time and growth via social media and fans reaching out?

OMC: Right after my EP was released I signed with a great Licensing agent out of Los Angeles, and it’s been truly awesome to see the placements he has got me. It’s helped me gain a lot of exposure and has allowed me financially to keep going with music without having to get side tracked on a side-job. 

It’s always an amazing feeling seeing your work reach the world, and hearing what people have to say and how it has affected them or helped them through something, I think when that sort of thing happens to an artist, it really helps build inspiration, because you see firsthand how it is your work is affecting the ones that hear it.  

YOTHT: Your tracks seem to fit the show so perfectly? When you are writing/recording do you visualize the music being a part of a scene/video?

OMC: Sometimes when a song comes, there is a strong visual side to it for me, and sometimes not. I love film and do a lot of visual arts in my spare time, so I guess that side of it is always in my mind. As soon as one art form is created, be it music or film, I usually see the ways the other parts can fit in to it pretty quick. Some songs just seem to fit the atmosphere of something visual more than others.

YOTHT: How do you feel about social media these days and your ability to connect with fans worldwide and vica versa.

OMC: I think it’s great, it has allowed for artists to manage parts of one’s career that usually took 30 different people. Its put a lot of power back into the musicians hands, and you can see the effects of it as labels aren’t always needed in the same ways they were back in the day.

YOTHT: Are you a fan of the resurgence of vinyl records and the return of people to local record stores?

OMC: Yes I love vinyl. I think there is something in it that portrays sound how it’s meant to be heard. I have a little bit of a vintage Synth obsession, and anything analogue really, so the vinyl definitely allows for that vibe to come across easier.

YOTHT: Do you find music outlets like Spotify, Beats Music, and bandcamp are good for music as a whole and help smaller artists?

OMC: Ya, they’re great if they are used right, and you don’t depend on them solely to get your stuff heard and out there. They are just tools and the real work has to be done other ways.

  

YOTHT: Do you have any plans to tour/expand the tour? Plans for a record?

OMC: Yes, this next year is going to be a big one. We will be heading out on a U.S. tour in April, and then aiming to do a larger U.S. tour in June along with a tour throughout Canada sometime in the summer.

YOTHT: The EP is fantastic, what are your plans for a new record?

OMC: As for new music, there is a lot coming. This past year I’ve written enough for several albums, so let’s just say I am very eager to get more material out there, especially because this new music is just so much fun to perform live and I feel captures the vibe I really want to be giving off more than the acoustic guitar driven folk tunes.  

YOTHT: Do you all as a band have set goals? If so, what are they? What are your dreams for the future?

OMC: My dreams are to create something that allows people to get inspired to create their own dreams. And while doing this I want to collaborate with as many incredible people as I can and build a real community around this. 

  

YOTHT: What do you listen to in order to clear your musical palate?

OMC: I go for a walk and listen to the birds!

Connect with Old Man Canyon

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Website

Festival Spotlight ::: Bonnaroo & Party in the Park Additions

Bonnaroo Music and Arts Festival
June 13-16
Great Stage Park ::: Manchester, TN

Namely the additions of The Mowgli's, ON AN ON, Wake Owl, Capital Cities and He's My Brother, She's My Sister are amazing additions toward the bottom of the lineup.
Also, this will mark the first year of an exclusive EDM tent. One of the three (This, That, or Other tent will now be an EDM tent.

Updated Bonnaroo Playlist

Party in the Park

May 19
Centennial Olympic Park ::: Atlanta, GA

Yeasayer is a great addition, on par with the level of act anticipated, but a better choice than I expected.

Live Spotlight ::: Chappo with Dynasty Electric

Chappo
w. Dynasty Electric 
Monday 4/15/13
Vinyl 
Atlanta, GA

Other than a few quick listens at the house before heading to Vinyl, I wasn't sure what to expect from opening act Dynasty Electric. The Brooklyn Duo is best described as an psychedelic new wave bass heavy creation made for dance. The group consists of Seth Misterka (guitar, synth, and sax) who started the band and Jenny Electrik (vocals, theremin, and synth) whose manic vocals is a perfect blending of Stevie Nicks and Robyn with the stage presence of Aleix Krauss and Janis Joplin. Pounding out hits including 'Just Like That', 'Golden Arrow', 'Automatic Ecstatic', and 'Electric Love' their dolphin-sonar, fathomless beats, space sounds mixed with the insane lungs of Jenny created quite the show for the small crowd. 

Also hailing from Brooklyn Chappo returned to Vinyl having played there last year, this time donning war paint. The band got it's name from the last name of frontman Alex Chappo, whose voice shows signs of early Ozzy mixed with the vocals that created The Wall and Dark Side of the Moon. Wielding a megaphone for added effects, the various echoed lyrics and diatribes had a distinct Pink Floyd feel as he graced the stage in a smoking jacket laced with a wolf's head. 
Opening with the emotion packed "Shots Fired" off their 2012 Moonwater release build excitement with the addition of confetti guns. Not holding back the foursome powered through their biggest hit, "Come Home" early and sounded great live. The concert continued mixing songs from their latest album Petite Plastique (Moonwater B-Sides), Plastique Universe II: Pisces Princess, and Moonwater. Perfectly placed midway through their show the band laid down a fabulous cover of Mickey Newbury's "Just Dropped In" of Big Lebowski fame. Maybe it was the repetitiveness that I've played Daft Punk's new single "Get Lucky", but the opening riffs of "Nomads" seemed eerily similar.  Chappo closed out their set with the story of 'a love song being a shapeshifter' portrayed in "Bodies Coasting".

Chappo Setlist

1. Shots Fired

2. New Song

3. Come Home

4. 5-0

5. New Song

6. Seance

7. Just Dropped In -to see what condition my condition was in(Mickey Newbury cover)

8. Golden Lights

9. Hell No

10. Explode

11. Nomads

12. M.O.O.N. Water

13. Bodies Coasting

Live Spotlight ::: ON AN ON with Savoir Adore

ON AN ON
w. Savoir Adore
Tuesday 4/09/13
Drunken Unicorn
Atlanta, GA

Savoir Adore

Coming out in all white the Brooklyn duo, for touring purposes they're a five-piece band, had the look of a hip painting crew looking to make some money while home from college for the summer.  Opening with 'Regalia' it's was easy to see why they classify themselves as "fantasy rock". With it's dream pop feel and building melody that peaks crowns into a group 'caw' it makes for a great set opener to get the crowd prepared for an all around entertaining show.  From there they took us to likely their second biggest hit "Bodies" (the video which can be seen here, looks like it was shot by stringing together 100 vine videos).  I'm a sucker for group sings sprinkled in songs and this made them 2 for 2 in that department.  During the show Paul Hammer, vocal and guitar among other things, informed they crowd they had recently signed with Nettwerk Music Group leading to their latest release Our Nature being pulled and reworked.  The album is available on their tour so be sure to pick it up if you catch them on the road.  Otherwise it will be available June 4th for purchase so be on the look out.

The group had one of the best minimalistic light shows I have seen, consisting of multicolored lights circling under a white sheet laid atop a table hosting Paul and Deidre's key and synboards.  With the additions of strobe lights and a fog machine it gave the Drunken Unicorn the smokey atmosphere we've grown to love, with out the cigarette layer (this was thankfully a smoke free show).  Another well known song, 'Loveliest Creature' had many in attendance singing along as Deidre belted lulling words.  Hands down my favorite song performed by Savoir Adore was 'Transylvania Candy Patrol' off their 2009 release In the Wooded Forest.  One of their more melancholy tunes, 'TCP' has the feel of an Arcade Fire/Pixies collaboration, chronicling what appears to be a kidnapping.  To finish up the band played two dance inducing songs, the first of which 'Dreamers' is the title track of the EP released last Tuesday with two remixes and 'Hold it Down'.  To end the their set the group gave Prince's synthy hit 'I Would Die 4 U' every bit of energy they had left.

Savoir Adore Setlist

1. Regalia

2. Bodies

3. Sea of Gold

4. New Song

5. Loveliest Creature

6. Translyvania Candy Patrol

7. Dreamers

8. I Would Die for You (Prince cover)

ON AN ON

It was far from an easy transition for ON AN ON as what looked to only be 25 minute intermission lengthened to nearly an hour with what looked to be pedal board issues.  With the amount of tweeking and tuning done to the pedal board during the show it was clear the additional time was well served as it appeared to be an integral part of their show.No harm, no foul on the wait these things are bound to happen packing, unloading, and setting up day in and day out on the road.
After apologizes were issued, the band took no time leading off with one of their well know songs 'The Hunter'.

Like their tour mates, OAO had a very simplistic setup that made an impact with two projectors on either corner of the stage shining illuminating visuals on the band and stage ground reminiscent of this scene from Jurassic Park where the lead raptor has genetic coding projected on him.


Two songs that I had listened to many times, but hadn't given their due 'Bad Mythology' and 'Cops' grabbed my attention and quickly jumped up the ranks of their songs.  The heavier 'Bad Mythology' had a very How to Destroy Angels-lite feel to it.  'Cops' mixes sleepy lyrics and busy dream-like instrumentals perfectly.  As frontman Nate Eiesland put it, "We've only have a 45-minute album, so we have to sprinkle in some covers".  Mixing in covers of Hot Chip and Bjork fit very well with their sound. Sandwiched between the aforementioned covers was 'Panic' and their biggest hit 'Ghosts'. When I first heard 'Ghosts' last September I immediately fell in  love and wanted more from the group created from the ashes of Scattered Trees. The song was actually one of the first featured on YouOughtToHearThis. All in all ON AN ON was well worth the delay and I would recommend you like their facebook page and follow them (as well as Savoir Adore) to stay up to date with their tour, news, and video releases.

ON AN ON Setlist

1. The Hunter

2. War is Gone

3. American Dream

4. All the Horses

5. Bad Mythology

6. Cops

7. (Hot Chip cover)

8. Panic

9. Ghosts

10. (Bjork cover)

11. Every Song