1. LCD Soundsystem – This is Happening (DFA/Virgin)
2. Yellow Swans – Going Places (Type)
3. Jóhann Jóhannsson – And in the Endless Pause There Came the Sound of Bees (Type)
4. Robyn – Body Talk Pt. 1 (Konichiwa/Interscope)
5. Titus Andronicus – The Monitor (XL)
6. Standard Fare – The Noyelle Beat (Bar None)
7. V/A – Welcome Home (Diggin’ the Universe): A Woodsist Compilation (Woodsist)
8. The Velvet Teen – No Star (Self-Released)
9. Jack Attack – My Rights Have Been Violated (Self-Released)
10. Jason Moran – Ten (Blue Note/EMI)
11. Nicki Minaj – Pink Friday (Young Money/Universal)
12. Goodriddler – The Strength of Weak Ties (Sell the Heart)
13. Grouper / Roy Montgomery – Vessel (Self-Released)
14. RVIVR – S/T (Rumbletowne)
15. Marco Benevento – Between the Needles and Nightfall (Royal Potato)
16. Hanalei – One Big Night (Big Scary Monsters/Brick Gun)
17. Superchunk – Majesty Shredding (Merge)
18. Hearse – Diagnosed (Self-Released)
19. Sam Amidon – I See the Sign (Bedroom Community)
20. M.I.A. – Maya (Interscope)
21. Evan Parker & John Weise – C-Section (PAN)
22. Daniel Bjarnason – Processions (Bedroom Community)
23. Flying Lotus – Cosmogramma (Warp)
24. Joseph Hammer – I Love You, Please Love Me Too (PAN)
25. Best Coast – Crazy for You (Mexican Summer)
I’ve got a theory and the theory is this: No matter how early you try to arrive at the ballpark to catch the shuttle to Treasure Island, you will always get to the festival three seconds after the band you’d sell your left kidney to see takes the stage. Bridge traffic, shuttle lines and unexpected delays crop up every year. That’s a better scenario than missing your favorite band entirely, but it’s nonetheless sweat-inducing—even in the type of bone-chilling weather which this year finally decided, after three Treasure Island Music Festivals benevolently spared the San Francisco cold, to rear its oceanic head.
Yes, it was cold. And yes, two of the must-see acts of 2010, Die Antwoord and Superchunk, played at relatively early time slots, which surely was a strategic move on the festival organizers’ part, I imagine, to beef up the crowd in the early hours. Both acts could have more played a few slots up on the bill, and that’s not accounting for taste—just demand. Likewise, Deadmau5 probably should have headlined Saturday, because a gigantic sea of neon-clad pacifier-wearers with goosebumped bare midriffs bailed for the warmth of the shuttles before LCD Soundsystem.
For having been debunked as the Borat of all viral hip-hop jokes in 2010, Die Antwoord is insistently entertaining. Not too many rappers quote Cypress Hill and Ren & Stimpy in one breath while in the next, freestyling a couple lines about wiping his ass with a shirt someone threw on stage while actually wiping his ass with a shirt someone threw on stage. Juvenilia reigns, with stagediving, mooning the crowd and false appendages. Both Ninja and Yo-Landi really need to eat some food, but the fact that I still have their hooks in my head three days later tells you something about the success of their gimmick.
Nic Offer, singer of !!!, sings with his fly open! I am thrilled to finally see this band after too many missed opportunities. “You know where we played last night?” Offer offers. “Tokyo! That’s right! Friday night Tokyo, Saturday San Francisco. Three hours sleep, baby!” With LCD Soundsystem here too, the spirit of Jerry Fuchs lingers. Thanks for “Heart of Hearts” and “Must Be the Moon,” guys.
During Four Tet’s set, I finally have my brush with fame: The two guys handing out the “Thank You” stickers. Every fourth person I see has one stuck to their clothes, foreheads or breasts. Mid-dancing, they speak to me in body language which asks, “Hey man, do you want a ‘Thank You’ sticker too?” I respond with body language that says, “Yeah, here, lemme peel one off your roll there.” They both wag their fingers as if to say, “No way,” then one of them peels off a sticker and slaps it on my sweatshirt himself. They continue dancing. There is a man in a full-body green suit crowdsurfing. The sun is setting. Four Tet is a little less pastichey and more fluid than when I saw him last, four years ago, after Everything Ecstatic. This is not all that bad.
Somewhere in there between Kruder & Dorfmeister and Deadmau5, the news comes in: The Giants had beaten the Phillies in Game 1 of the NLCS. This fact is incredible to the point that stray fans shout things like “Cody Motherfucking Ross!” and random strangers jump up and high-five. Entire portions of the crowd chant “Let’s Go Giants!” The timing is good. I find a Fountaingrove Round Barn T-shirt on a hipster vintage rack in one of the clothing booths. Back near the port-a-potties I watch a gate-crasher hop the fence and sprint into anonymity. My best friend gets engaged. Okay, okay, that actually happened the night before. But still. Love is in the air.
“Deadmau5 Suck5,” my newly-engaged friend texts, but it’s not true. Deadmau5 is just there, the neo-house flavor of the year with an overboard, impressive light show owing buckets to Daft Punk. This happened two years ago, and it was called Justice. Where is Justice now? Replaced, it seems, by a DJ who hates DJs in a mouse helmet who lifts Chris Isaak’s “Wicked Game.” I’m not on the right drugs, but for 45 minutes, Treasure Island is a solid, teeming, unified mass.
Watching Miike Snow is a nice change of pace from the phenomenon of Deadmau5. They’re shrouded in blue lights and a constant billow of fake fog (when, honestly, real San Francisco Bay fog could very nearly fill the role just fine). They’re from Sweden. This fact is helpful for copy editors when cursing their name, but doesn’t solve the whole puzzle. I suspect Miike Snow likes it that way. “Animal” sounds perfect in the dark.
To answer your question, yes, LCD Soundsystem does open their set with “Dance Yrself Clean”! Along with “Drunk Girls,” “I Can Change,” “You Wanted a Hit” and “Home,” This is Happening is well-represented. “All My Friends” is the hands-down jam. “Yeah.” Admirably, every sound on their recordings is replicated by one live instrument or another, and James Murphy can absolutely sing those falsettos live. Honestly, they could play all night, but when 10:50pm rolls around it’s time to pull the plug. “We don’t make the rules,” explains Murphy. “We’re not the cops.”
Superchunk rules Sunday. I resist the phrase “showin’ ‘em how it’s done,” but in Superchunk’s case it truly applies. No band at the festival is as punchy and energetic, but punchy and energetic are only tips of the equation: Vitally, Superchunk actually plays as if their music is important. Almost every other band playing today glosses over with that same lame rock-guy detachment that ruined the 1970s. In fact, with the rain, everything seems downright gloomy on Sunday after Supserchunk. They have every right to rest on their laurels, but instead they flail, pounce and thrash through such a damn fine set. Starting with “Kicked In”? BOLD. “Water Wings,” “Throwing Things,” “Detroit has a Skyline,” “Hyper Enough,” “Precision Auto,” it’s all in there.
It’s sad that Zooey Deschanel reminds me of Taylor Swift, but the facts are that like Swift, she’s cute and she doesn’t always sing on key. No one cared when Kurt Cobain didn’t sing on key, but Deschanel is going for an altogether different, which is to say retro, thing. She & Him’s 50s girl-group-by-way-of-Patsy-Cline schtick, female backup singers and all, relies on polish and technique, neither of which Deschanel has in spades. If it weren’t for the indie cred of M. Ward, who once made wonderfully strong, eloquent records before hopping on this confusing side project, I doubt many people would take the band seriously.
Monotonix: Bringing the DIY basement show to music festivals since 2008.
Two temper tantrums into Broken Social Scene’s set, a friend compares Kevin Drew to Axl Rose and chuckles; said friend loves Axl Rose and all his shortcomings. But I can’t digest it, not since seeing Drew and the rest of the band in much better, triumphant, E-Street-Band-like spirits just a year ago. It’s not just the weather, which is gloomy enough. Brendan Canning violently throws his guitar to the ground. Drew makes a pissy comment about how when you play as many shows as he does, you get accustomed to the sound being perfect. Wrapped in leather and shades and heroin-like detachment, he drops his own guitar mid-song to wander around the stage, invading other people’s instruments. They play “Almost Crimes” and “Anthem for a 17-Year-Old Girl” from You Forgot It in People; “7/4” and “Ibi Dreams of Pavement” from S/T; and the rest is from their new record, but they’re not feeling it, and neither is the crowd. Just an off day, I hope. The cold wind and cold vibes take their toll, and we head out.
More photos below – All photos by Elizabeth Seward.
Treasure Island 2010: LCD Soudsystem, Belle & Sebastian, Broken Social Scene, Die Antwoord, Hella More
The lineup for this year’s wingding at Treasure Island has been announced. Lest I sound like a broken record, writing about previous year’s fests here and here and here and here and here and here and here, I think Treasure Island is really the perfect festival for people who hate festivals—it’s small, it’s manageable, it’s scenic as hell and the only corporate sponsor is Heineken. Historically, it’s also boasted a lineup usually way more impressive than other festivals, catching bands on the ascendant wax instead of the sad wane.
That’s mostly the case again in 2010. Here’s who’s playing:
Saturday, October 16
LCD Soundsystem, Deadmau5, Kruder & Dorfmeister, Miike Snow, !!!, Die Antwoord, Little Dragon, Four Tet, Holy Fuck, Phantogram, Jamaica, Wallpaper, Maus Haus
Sunday, October 17
Belle & Sebastian, The National, Broken Social Scene, She & Him, Superchunk, Rogue Wave, Surfer Blood, Ra Ra Riot, Monotonix, The Sea & Cake, Phosphorescent, Papercuts, The Mumlers
LCD Soundsystem has put out one of this year’s best records, so they’ll make a memorable headliner. Kruder & Dorfmeister, who are billed specifically as “Kruder & Dorfmeister (LIVE),” should probably just play all of K&D Sessions. Expect Jerry Fuchs shout-outs from !!!. Weirdly, Die Antwoord is way down on the schedule even though their show at the Rickshaw Stop was fetching $150 for tix; expect the stage to be mobbed.
I really feel like the bombastic, festival-perfect Broken Social Scene should be headlining Sunday instead of Belle & Sebastian. M. Ward makes a festival reappearance with She & Him, Monotonix is going to wind up banging on drums while hanging from the motherfucking Ferris wheel, and Superchunk really should have booked a club date instead of playing a truncated festival set, but what can you do?
Two-day tickets are available now for $120; single-day tickets go on sale on Friday, July 16. All da deets over at the offish fest site.
1. Dirty Projectors – Bitte Orca (Domino)
2. The-Dream – Love vs. Money (Def Jam)
3. K’naan – Troubadour (A&M / Octone)
4. Nellie McKay – Normal as Blueberry Pie (Verve)
5. Thorns of Life – Live at 924 Gilman (Torrent)
6. Sunn o))) – Monoliths and Dimensions (Southern Lord)
7. Tyondai Braxton – Central Market (Warp)
8. Nomo – Invisible Cities (Ubiquity)
9. P.O.S. – Never Better (Rhymesayers)
10. Litany for the Whale – Dolores (Molsook / PMM)
11. Grizzly Bear – Veckatimest (Warp)
12. Superchunk – Crossed Wires (Merge)
13. Not to Reason Why – Would You Hug Fire? (Pandacide / 1912)
14. Vijay Iyer Trio – Historicity (ACT)
15. Passion Pit – Manners (Frenchkiss / Columbia)
16. Adam Theis & the Jazz Mafia – Brass, Bows & Beats (Jazz Mafia)
17. Souls of Mischief – Montezuma’s Revenge (Heiro)
18. The Full Blast – Black Hole (Atavistic)
19. Finale – T.I.M.E. (River City)
20. Green Day – 21st Century Breakdown (Reprise)
Nomo – Invisible Cities: Dean played this for me on the way home from seeing Ornette Coleman in San Francisco, and it was one of those moments when everything made sense. Nomo take the Fela Kuti thing many steps further than most of Fela’s acolytes who frustratingly seem stuck in tribute mode, and use a funk-based template for exciting arrangements. A thoroughly enjoyable Moondog cover, “Bumbo,” is everything good about this group: thumb pianos, a steady groove, and a horn section that stretches out and snaps back like elastic.
Neurosis – Times of Grace: I swore off Neurosis in 1993 with Enemy of the Sun, and even slept through one of their shows at Gilman around the same time. It takes love to retract such shunning, and upon reconsideration, Enemy of the Sun, though no Souls at Zero, is a fine album. Better yet is this 1999 Steve Albini-produced record, which does away with the tribal drumming and whatever weird effect Dave Ed used to have on his bass, and sticks to the true live sound of a band unafraid to mentally fornicate with the dark side.
Girls – Album: I allowed myself to be hoodwinked into this crap by Rob, who stated thus: “It’s like early, angry Elvis Costello backed by some cheesy ’60s LA pop band. It sounds about as unhip as possible, yet it totally rules. I love it when someone does something so well, you just can’t deny it – even if it seems like the wrong thing at the wrong time.” I trusted him until yesterday, when upon the fifth listening I just got sick of it and took it off. People are into its simple songs, with melodies and choruses, because that stuff hasn’t been popular for a while. That doesn’t make it good.
Up Tight! – Soundtrack: Jules Dassin is famous for The Naked City and Never on Sunday, but I’ve gotta say, there’s nothing like Rififi, which I saw once at the Rialto while Tom Waits sat behind me. The local angle on Dassin gets deeper when you factor in Thieves’ Highway, partially filmed in rural Sebastopol and which features the most gripping tire-changing scene in the history of cinema. This film, written, produced and directed by Dassin, has never been available on VHS or DVD. I’m dying to see it. Booker T. & the MGs play a soulful score, with an interesting re-recording of “Time is Tight.”
Not to Reason Why – Would You Hug Fire?: I’ve heard that the title was suggested by a developmentally disabled person, so cut it some slack. I’ll write more about the amazing packaging later, for the paper, but for now just know that it’s finally out. It’s been an exciting few years watching this band get better and better, and everything good about them comes together on this album. It used to be easy to lump them in with Explosions in the Sky but that’s no longer appropriate, especially with the strings and horns on this densely produced outing.
Elvin Jones / Jimmy Garrison Sextet – Illumination!: The last time Elvin Jones played at Yoshi’s, he was accompanied by an oxygen tank. Played up until the end. When I talked to John Handy, he echoed a story going around—even told by Ted Curson (scroll to “July 21st”)—that Elvin Jones once pulled a gun on Charles Mingus. This record is essentially Coltrane’s Impulse quartet without Coltrane, plus clarinet, flute, English horn and baritone sax. On it, Elvin plays remarkably. This is a good time to let you know that McCoy Tyner is playing at Yoshi’s on New Year’s Eve and surrounding dates, with Esperanza Spalding, Francisco Mela and Ravi Coltrane. Go.
Richard Harris – Slides: So I guess there was this thing going on for a while in the 1970s where it was okay to be unemployed and wasted all day as long as you gave off the vibe that love and nature were the most important things in the world. Rod McKuen, embroidered denim shirts, EST, all that kinda Sausalito-y post-cocaine stuff. It really has been 37 years since this album came out. Harris is sometimes atrocious in the best way and sometimes great in the most atrocious way, and telling which from which depends on your mood / glasses of wine you’ve had. I appreciate the challenge.
D’Angelo – Voodoo: You ever see a vat of tar on those asphalt trucks that smell? I know you’ve smelled it, but if you look up close, it’s incredible to see. Huge, round bubbles that slowly rise to the surface and dissipate rather than pop. That’s what this record is like: steamy, yet incapable of a rolling boil. It took me years to realize that it was more than rhythm and blurts. Perhaps I gravitate to the chicken on the back cover, and the fact that it is most likely about to be killed. A sleeper-wave album.
Superchunk – No Pocky for Kitty: In 1993, I thought for sure I had to be the only person listening to this album everyday twice. As such, like a Superchunk ambassador, I told everyone about it. When I met Kid Dynamo, and they had heard of this album, I freaked. The new book about Merge Records called Our Noise: The Story of Merge Records is excellent, and is a good reminder of the days when indie rock had no internet presence. I love being blown away when someone else has heard of some wonderful discovery. It happens more infrequently these days.
Reggie Workman – The Works of Workman: When one thinks of exemplary double-bass albums, one often thinks of Dragonetti Lives!, a wonderful 1975 recording on John Fahey’s Takoma label by Bertram Turetzky. (Listen to some of it here.) Turetzky plays with a lone piano backing, but on The Works of Workman it’s just the master bassist, his bulbous tone, and some fantastic Japanese engineering. Workman throws in a little bit of his dominant bass line from Olé Coltrane here, and weaves through compositions by Paul Chambers, Duke Ellington, Stanley Cowell and Luiz Bonfa. Recommended.