laura lotti – AmeliasMagazine

Amelia’s Magazine | Primavera Sound 2011 Review: Tennis, Pere Ubu, Deerhunter, Pulp and more! (Day 2)

Jarvis Cocker of Pulp by Sam Parr.

After una copa de tinto de verano, about it I’m ready for another night of music overdose. First on my list is Julian Lynch, side effects the etnomusicologist from Winsconsin that conquered my heart with 2010’s LP Mare, a dreamy collage of folksy pop tunes with a shade of drone that seriously make you feel as if you were floating in a mare (which means “sea”, in Italian – I’m not sure that was his purpose in titling his album that way, but it gives a pretty damn good idea of what his songs sound like).

To be honest, I expected something quite different from his set. Strangely enough, his unhinged harmonies, between prog, metal, jazz, indie and psych, though verging cacophony, mingle in a perfect way and make extreme sense, creating a hypnotizing ensemble of notes and echoing vocals.

Julian Lynch by Laura Lotti

Music video: Julian Lynch – Garden 2

After his performance, I rush to see The Monochrome Set the avant gard post-punk outfit whose original formation featured nonetheless than Adam Ant. Although guitarist Lester Square is still rocking as hard as far back in 1978, the band seems to have lost his idiosyncratic verve, and their performance feels quite cheesy.

Tennis by Laura Lotti

On the other hand, one of the contemporary bands I’ve always regarded as ‘cheesy’, Tennis, surprise me on the ATP stage. I’ve had mixed feelings towards this husband-and-wife duo since first hearing Marathon last year. Despite the song being a perfect ear candy of 1960s bubbluegum pop, they seemed to be one of those music blogs darlings, with too much buzz about them and too little to prove. However, their debut album Cape Dory sounded immediately so catchy when it came out a few months ago – a collection of simple, shiny, sticky-sweet pop melodies – that now I feel compelled to check them out. And this the best thing I’ve done today! In fact, they are so good live, I almost want to cry. Their gig reminds me of another great band I saw exactly on this same stage last year, Beach House. The melodies are kept to basic – only keyboard, drums and guitar, played by hubby Patrick Riley – and Alaina Moore’s eerie voice is the protagonist. I can’t help but squeaking “ohmygawd they are so sweeet” while jumping around every 3 seconds, stars in my eyes as teenagers in love do (ermm, maybe, given the times we are in, used to do when I was a teenager) – that’s the effect of their music – to the point that I’m afraid my friend wants to punch me in the face.

Music video: Tennis – Cape Dory

Thank god at the end of their set my face is still unscathed and, charged up by the positive vibes assimilated at Tennis’ gig, we all happily stroll (or shall I say, run?) to see James Blake. The Pitchfork stage is already jam-packed to welcome him and his band (a drummer and a guitarist, to translate in a live dimension his qualities as producer) and since the first beats everybody is humming and moving their heads to his music. How to define his sound remains a mystery to me. Would something like dubstep-cum-singer-songwriter-skills-cum-free-jazz-hints give an idea of his idiosyncratic style? I don’t know and I don’t care. He’s good as hell, that’s all that matters, and his elaborated melodies provide the perfect soundtrack to the rapidly falling dusk. Again as for Tennis, the voice plays a fundamental role here, but this time is smudged over the melodies in electronic effects to become integral part of the whole sound.

JAMES BLAKE by Laura Lotti
Audience at James Blake’s Set by Laura Lotti

If I’m usually concerned about music that (largely) avails of digital technology, I have to say that James Blake is a good example of how to use it, and explore new spaces between liveness and reproduction. Despite my original wariness towards this 22-year-old artist, seemingly too young to be actually so good as popular press and industry people depict him, I must admit I’m glad I’ve been proved wrong. Unfortunately his performance is spoilt by the reverber of the sea surrounding half of the stage (very pictoresque, thank you. What about sound quality, though?) and the echoes coming from the other stages. But hey this is a festival. You can’t have it all, can you?

Music video: James Blake – The Wilhelm Scream

So far I’ve seen two new bands that have managed to put up with the hype pumped up by the media: Tennis and James Blake. I’m already satisfied, and with this new hope towards the future of music, I head to see another kind of genius, an innovator of the very concept of music, who’s inventiveness hasn’t stopped since the 1970s. I’m talking about Pere Ubu, that on stage is still as charismatic as ever and plays a jarring, spirited set of new and old songs – coyly alluding to his “old girlfriends” every now and then and drawing from his flask one too many times – accompanied by a whole ensemble of awesome musicians, especially drummer Steve Mehlman.

Pere Ubu by Sam Parr.

This bleach-blonde giant is a proper drum-machine himself. Got to this point I could go and see Ariel Pink’s Haunted Graffiti but
a) he’s playing bloody far away
b) Pere Ubu is a magnet.
I’ve literally got no chances of moving away from here (or better to stop moving) hypnotised by David Thomas & co’s syncopated rhythms and funny jokes.

Pere Ubu2 by Laura Lotti
Pere Ubu by Laura Lotti

No Joy are another welcomed surprise. The Canadian band fronted by blonde grrrls Jasmine White-Glutz and Laura Lloyd, praised by the likes of Best Coast’ Bethany Cosentino and Pitchfork for their recent release Ghost Blonde, are so powerful on stage that I cannot stop dancing and staring at them: two blonde full manes shaking constantly to the melodies created by their same guitars and otherworldly voices that intertwine with each other and and with the kicks and snares of bass and drums in a perfect entente. They are grunge, they are rock, they are cool as hell. I want to be blonde and I want to be them. They close their set with a never-ending droned-up hazy cover of Del Shannon’s ‘She Said’ that puts everybody in a hypnotic trance for the following 15 minutes.

Music video: Del Shannon – She Said

Now it’s time for slowcore Low, that play an atmospheric, almost whispered set. Although the stage is packed, it feels as intimate as if they were playing in my living room. The festival stage itself though, flattens a bit their magic.

Low by Laura Lotti

And now it’s the band I, like probably most of my Generation Y mates, am most dying to see tonight: Deerhunter. Bradford Cox & co play and achingly haunting array of songs from ‘Halcyon Digest’ and their previous releases, building walls of melodies as overwhelming as they are perfectly balanced with each other and with Cox ‘s voice. They create dense atmospheres, delicate but strong, textured, complex but fluid. Deerhunter is a band that will stay. I can picture Deerhunter being one of the bands that my nephews will come and see in one of their reunion maybe here, exactly on this same stage, in 40 years time.

Deerhunter by Laura Lotti

And if Deerhunter were one of the must-see bands of the night in my personal list, Pulp’s reunion is a universal must-see! It seems like all the Primavera Sound attendees have gathered under the San Miguel stage to witness this glorious comeback.

Music video: Pulp – Common People

Now, I am one of those people that, if everybody says ‘white’, have to scream ‘blaaack’ with all the energy in my lungs, and always swim against the current. So, don’t take it personally, this is not an attack to Britpop nor to one of the most brilliant contemporary British icons that have made the history of music. However, I must admit, I’m quite disappointed by this concert. Jarvis was one of us, wasn’t he? So what about all this Lady Gaga-esque stage design and bright neon visuals, that dangerously make of Pulp the caricature of themselves? It feels like a mammoth money-driven pop reunion. That’s what it is, after all, I bitterly sigh to myself. I cannot feel much energy in the air, though Jarvis is still in enviable shape and jumps around like a cricket from the beginning to the end. However, towards the end of Pulp’s gig he regains my interest, when, as in the best pop fairy tales, he doesn’t forget to get political, and declares himself indignado for the shameful events happened in Plaza Catalunya the previous night, delivering a memorable performance of ‘Common People’ dedicated to the struggling protestants.

Written by Laura Lotti on Wednesday June 8th, 2011 3:16 pm

Categories ,Adam Ant, ,Amelia’s Magazine, ,Ariel Pink, ,Ariel Pink’s Haunted Graffiti, ,Atlas Sound, ,Avant Gard, ,barcelona, ,Beach House, ,beer, ,Bradford Cox, ,Common People, ,deerhunter, ,Disco 2000, ,electronic, ,festivals, ,James Blake, ,Jarvis Cocker, ,Julian Lynch, ,laura lotti, ,low, ,Music Festivals, ,No Joy, ,Parc del Forum, ,Pere Ubu, ,Post Punk, ,Primavera Sound, ,psychedelia, ,pulp, ,Queuing, ,Rebecca Elves, ,Rock and Roll, ,Sam Parr, ,spain, ,summer, ,Tennis, ,The Monochrome Set

Amelia’s Magazine | SXSW – Tips for 2010

The latest in a series of events from Bad Idea Magazine, illness ‘Future Human’ explores a new topic each month and hosts an evening of discussion and debate at The Book Club in Shoreditch.

This month’s topic ‘Fashion’s Microchic Shake-Up’ pondered on the impact of the internet on the global fashion market we see today. Prior to the invention of the internet, cheapest origins of fashion trends could be pinpointed to say, dosage a specific youth culture, a political movement, or a new music trend. Times have changed; the way we see fashion has changed. The serge of information made accessible to us via the internet has created a new breed of consumer, a fashionista in his or her own right. Hello Microchic.

The term Microchic is used to describe fashion today – fashion derived from a variety of new, and inspirational sources. A style influenced by social networking sites, trend blogs and small cult labels adopted by highstreet clothing lines. A Microchic consumer knows about fashion and demands individuality, quality, innovation and fashion-forward appeal.
Ben Beaumont-Thomas began the evening with ‘The Great Microchic Shake-Up: A Primer’, in which he defined microchic as a ‘hyper-personal multi-faceted look’. The internet allows us to cherry pick fashions, it’s no longer about subcultures showcasing specific looks but about a consumer being able to choose a look for that day without the commitment. London’s fashion-forward hubs like Shoreditch accommodate many a microchic fashionista and, it seems what used to be ironic now just ‘is’. In order to track cult fashion movements on the streets of London, Paris, Milan, New York and Tokyo big brands subscribe to online global think tanks and trend forecasting services such as WGSN. These think tanks track fashion movements all over the world. Data is collected to give information on a global scale. Sales figures, market research, on-the-street trend spotters, and research into new manufacturing techniques all form a hub of information essential to any brand that wants to survive. It seems clear; the Internet has played a huge part in turning the way we think about fashion around.

So began the evenings debate; “Can the British High Street compete with Microchic?” The audience were able to upload thoughts in real-time via a live twitter feed which was displayed on stage for debate interaction. Guests Iris Ben David, CEO of Styleshake, Helen Brown, founder of Catwalk Genius and Ruth Marshall-Johnson, senior editor of WGSN Think Tank also shared their thoughts, prompting further debate. A particularly interesting point made by @cushefootwear via twitter was “Internet is to clothes what microwaves are to food”, prompting us to question the importance of ‘experience’ and ‘sensation’ when buying fashion.
Alterations in consumer shopping patterns have led to many interesting technological developments. Innovative systems are being designed to meet new sets of consumer demands.

www.styleshake.com

Styleshake allows a user to build a look within an online interface. The idea is, the user can create the garment they have in their head (you know, that absolutely perfect dress you wonder if you’ll ever find) through the selection of various characteristics, such as fabrics, necklines, and detailing. After you’ve designed the garment you can have it made at very reasonable prices.

Catwalk Genius is an innovative creative platform in which unestablished and up-and-coming fashion designers can sell their ranges. It’s a great resource for those looking for something ‘not on the High Street’. Users can also invest in emerging talent by buying shares in a designer’s next collection.

Perhaps a more extreme example of innovation is Augmented-Reality Shopping in which tools such as 3D scanners are used to replicate the body shape and look of a user, allowing him or her to see what they would look like in any chosen garment.
Emerging trends are all about the involvement of the consumer. The consumer is part of the process. Innovative systems like these are designed to combat consumer frustrations such as differentiation in sizing between brands or inability to find a specific item or size, while offering an alternative consumer experience. Many consumers would be happy to do away with the days of long queues, sweaty changing rooms, rude salespeople and traipsing round shops all afternoon. By adopting an online shopping sphere, however, we lose out on the interactivity, the social nature and the tactility of shopping the High Street. Retail brands will need to facilitate technical developments such as 3D scanners (eliminating the need for changing rooms) to compete.

H&M Garden Collection

The competitive nature of the High Street has resulted in a cycle of mass production of fast-fashion garments and large amounts of waste. In contributing to our throw-away society the highstreet fails to represent the ethical edge that can be found in Microchic. However the High Street favourites H&M’s Garden Collection made up of organic cotton and recycled polyester represents a change in attitudes from big brands.

So what does the future hold for the British High Street? Join the Debate!

We Have Band could be the most interesting group I have ever interviewed for the sole reason that every question results in the three members talking over each other, rx telling jokes and generally launching into their own internal debate. This is hardly surprising when you consider that two of the members of the band are married to each other and the third member has unwittingly become part of that relationship. Regardless, the London-based three piece are always hilarious and charming in equal measure.

The group has already been tipped by numerous music critics as the band to watch in 2010 and have their songs have been remixed by Bloc Party, Carl Craig and DJ Mujava. It seems inevitable that We Have Band’s debut album, WHB, will thrust them into the limelight with the same feverish hysteria that surrounded Hot Chip’s The Warning, as their dance floor friendly electro pop is already getting some heavy rotation by some of the world’s biggest DJs.

Amelia’s sat down with Darren, Thomas and Dede to find out more about their debut album and the unlikely way the band came together.

Howdy, guys. How was the band formed?
Dede: Thomas was making music and he wasn’t feeling very inspired so I offered to make music with him. I came up with a concept name for the band and mentioned it to Darren. He liked the name and asked if he could join. He came round for dinner and then we formed the band.
Darren: Thomas and Dede are married so I am like the third member of the marriage. It’s quite weird because we don’t really know each other but we just experimented. On the first night we wrote WHB and that’s why we called the album WHB.

How long have you been together?
Dede: Just over two years. That first dinner was in late 2007 and then we spent about 6 or 7 months writing songs. Then everything just went crazy.

Why did you choose to work with producer Gareth Jones (Grizzly Bear, Interpol) on this album?
Thomas: He actually just did additional production and mixing. We had done most of the production ourselves so we just needed someone to help us take it to that next level. We didn’t want to stray too far from what we had originally done but we wanted to give it that shine. He understood that. We wanted someone who would tailor themselves to the band rather than try to change things. We basically tried to capture the energy of the live shows.

You seem very polite and welcoming on stage. How true is this in real life?
Darren: It’s all a huge lie!
Thomas: Dede gets excited.
Dede: If everyone is enjoying themselves then you start enjoying yourself and you start getting excited by the atmosphere. We are quite relaxed.
Thomas: We all have our quirks but we are quite happy in each other’s company. As Darren mentioned, Dede and I are married so there is always something bigger than the band.
Dede: We all just go and have a cup of tea and a bag of crisps after a show.

-Painting by John Lee Bird-

What are you noticing about each other as you tour together and immerse yourselves in each other’s company?
Thomas: Darren has a laptop addiction.
Dede: He is also addicted to eggs…

That can’t be very pleasant on a tour bus!
Darren: No, it isn’t! I tend to avoid Thomas and Dede until they have had a coffee in the morning.
Thomas: We can all be a bit short with each other but that’s fine. For the first hour of each day we just don’t speak and then after that we are fine!

You have been referred to as “part Hot Chip, part Talking Heads”. What do you think about this?
Thomas: Dede is banned from reading reviews but we’re fine with that.
Dede: That’s fine. It’s just not what we are.
Thomas: Yeah, it’s not what we are. Talking Heads were obviously an amazing band and we have only released a couple of singles so far but we will let them just say that and take it.

Piano is a very misleading first song on the album as it is nothing like the rest of the record. Did you have a theme or is the album just a bunch of songs that you were happy with?
Thomas: We were aware that they were quite stylistically diverse but they are all us. They are all produced in the same way with the same equipment. Plus, lots of bands have one, maybe two songwriters but all three of us contribute equally to the songs. We didn’t want to hide Piano at the end of the album just because it was a little different.

2010 salutes the return of the 60s, discount but forget the bubblegum pop of The Shangri-Las & co – I’m talking about the deeper and more sophisticated psychedelic sounds of Cream and The 13th Floor Elevators. If the noughties have been characterised by a great come back of punk, sildenafil post-punk and no wave sounds, then my personal forecasts for the new decade see a return to more psychedelic and drone-y atmospheres. The ‘nu-psychedelia’ I saw at SXSW, however, is intertwined with lots of different influences, from the rawness of garage rock and surf music, to the fuzziness of shoegaze-y guitars and 80’s synths, and the complexity of noise.

Turn on, tune in, drop out! Hopefully this will be a new Summer of Love.

Bet on these as real gold for 2010 and beyond:

These Are Powers – finally over the “ghost punk” definition they’ve dubbed themselves with, their hypercharged electro tunes, brightened up with sirens, samples and the best bassline I’ve heard in a while. They will make us dance all the summer.

Small Black – the East Coast is living the cosmic age. Small Black and fellow musicians Washed Out, Neon Indian, Memory Cassette among others take electropop to another dimension with fuzzy dreamy synth-y melodies and textured vocals. This band, in particular, is just great. And it’s making its way to the heart of the hipsters all over the world.

Pearl Harbor – the West Coast, on the contrary, is living the Summer of Love. And Pearl Harbor, together with extraordinaire Best Coast, are major exponents of the trend. Peace and love.

Male Bonding – despite coming from Dalston, Male Bonding don’t even sound British. They explosive mix of noise, shoegaze and rock and roll sounds closer to the Los Angeles bands gathered around The Smell than the anorexic depressed goths that meet at Catch. There’s some hope for British music. God save Male Bonding.

Best Coast – Bethany Cosentino & co are one of the most blogged about bands of the past few months and their broken-hearted twee gaze-y tunes will be pop anthems of the new decade. Someone compared them to the Ramones’ 45s played at 33 revolutions per minute. Listen to them and you’ll see why.

A Sunny Day In Glasgow – this 6-piece band from Philly has been one of the most underrated bands of the past few years. Hopefully this SXSW will help them to rise to the well-deserved heights of glory. Their haunting, dreamy, almost pastoral music reminds of Beach House and Grizzly Bear in a way, but they’re as unique as the former are.

Harlem – brilliant post-surf (if you can call it that way) with a Bowie-esque touch.

Tanlines – here’s another example of the new Brooklyn sound. Tanlines mix urban rhythms with tropical beats and space-y vocals. The mix of these elements seems weird but it’s actually a winner.

—

Once again, it seems like the American music scene is beating the UK for new, interesting production. People seem to want to dance, to dream, to trip into outer spaces – and US musicians, with their home productions and collective efforts, seem to give the best answer to these new needs. The thought process seems to be: The times have never been so shit. So what? Let’s drop acid and dance in the woods!

It’s a shame UK and European bands can’t keep up with the change, considering the great music tradition we’ve got here. The industry is stuck, 90% of British musicians are either on the dole or working 7 shifts a week in shitty pubs in order not to starve (or doing too much mephedrone so they don’t feel the hunger) and what suffers is the music.

Hopefully this wave of positivism will reach the Old World soon and we’ll see brilliant more UK bands at SXSW next year.

Written by Laura Lotti on Wednesday March 31st, 2010 5:22 pm

Categories ,13th Floor Elevators, ,2010, ,A Sunny Day In Glasgow, ,austin, ,Best Coast, ,Cream, ,Diary, ,festival, ,Harlem, ,laura lotti, ,Male Bonding, ,pearl harbour, ,small black, ,South By South West, ,sxsw, ,tanlines, ,texas, ,The Shangri-Las, ,these are powers, ,Tips, ,Videos

Amelia’s Magazine | SXSW – Diary of a Festival Attendee

Photographs by Laura Lotti

The South-by-Southwest Festival (or SXSW, in the shorthand) is perhaps the world’s most infamous record company picnic. Every year, hundreds of bands turn up from around the world to play shows after show to rooms filled with A&R suits in the hope of securing a record contract and advance sizeable enough to be able to afford the gasoline for the ride home. We’ve been lucky enough to have had a pair of eyes on the ground for this year’s shenanigans, in the shape of Laura Lotti – she kept a diary of her blitz through four days of gigs and free parties, which we present to you here today. Tomorrow, she’ll be talking some more about some of the more noteworthy performances she caught over the week.

—-

Prologue

When I got to Austin, I didn’t know what to expect to be honest. I imagined a kind of musical wonderland, but I didn’t think I was going to actually be THE music wonderland I’ve always dreamt of. After all, Texas, apart from Dallas (I’m talking about the 80s soap opera) and cowboys, is mainly known for being home to one of the biggest dumb-asses/suckers on the globe, Mr. George W. Bush, so I had mixed expectations towards this adventure.

I didn’t think Austin was a little liberal hippie centre in the middle of such a conservative environment. I didn’t expect bearded tattoed gringos smoking weed on the streets, and I didn’t think I would have lived one of the best (actually, definitely THE best) festival experiences in my entire life. Forget Glasto or even Bestival, where people are more excited about swimming in the mud and about the amount of MDMA and pills they can fill themselves with (which can be quite entertaining when you’re 15) than the actual music performances.

Now I know why SXSW is still considered the best and biggest showcase for rising bands. The atmosphere is simply joyful and laid back, and for the first time ever I didn’t get that feeling of being at a stresstival that always assails me when it comes to decide which band to see, what to wear for the weather, and how to get to meet your favourite band.

At SXSW you simply breathe music: downtown is taken over by the biggest names in the music industry and you find yourself sharing beers with nice smiling people that turn out being members of brilliant bands like The Death Set and Yacht, or at house parties with the editor of Spin magazine.

It only happens there. It only happens once a year. Like Christmas, but better.

Anyway, what I understood after the first 24 hours is that it’s pointless to make plans. Letting yourself be guided by the music and the odd encounters you make in the streets is the best strategy to discover great acts you maybe have never heard of and to get surprised by the secrets this city has to offer.

As soon as we got there, my Austinian friend Lydia warned me about the few rules for surviving this 4-days of musical overdose. First rule: there are no rules.

Other rules are:
• Everyone for themselves
• Never pay for venues (there’s lots of free parties too – which are the best)
• Never queue for bands (they’re probably going to play somewhere else in a couple of hours)
• Start to RSVP for free-drinks parties one month in advance
• Be ready to walk a lot
• And be nice to everyone, ‘cos everyone here is nice!

This following journal is a collection of the first impressions I took of the festival. Some parts might not make much sense, and that’s because I was stoned all the time (I embraced the local habits pretty fast). I’ve deleted the most embarrassing bits, but I wanted to preserve the enthusiasm that was gleaming through those notes, what I was feeling in those moments. So bear with me.

People are actually so nice and friendly down there that for the first 36 hours I was properly puzzled, being, as I am, used to the detached British politeness. And apart from difficulties in food hunting (I’ve been vegan for a while, but it’s difficult to resist to those deliciously smelly BBQ and breakfast tacos, and at some point I had to surrender to the pizza and free vodka in the artist lounge – it was a matter of survival, for real), this is the heaven on earth I was looking for. Now I just need to start a band and be decent enough to be able to play there next year. Or maybe I could just become a professional groupie…

Wed 17th (First Night)

Maybe it’s because of all the ‘Badass Purple’ they’ve got in here, but I love everything about this city.

We arrive in Austin around 9pm after a 6-hour road trip from Mexico, and we get straight into the Texan groove. We start from Cheer Up Charlie’s, that I would later realize is something of a cool hangout for first-hand hipsters and trend setters. All the gigs put up here are actually NOT part of the official SXSW fest. Instead, they’ve been put together, totally for free and without age limits, by the legendary New York based promoter Todd P, the brain behind the other big festival that will take over Monterrey, Mexico, just on the other side of the border, one week after SXSW. A guarantee of quality, basically.

In fact, we start the night rocking with These Are Powers, preceded by our very own Male Bonding, which are doing pretty well in Austin (I see their name everywhere on the bills of the best venues next to all the up-and-coming bands for 2010-2011). These Are Powers play a supercharged set where the bass (played by ex-Liars member Pat Noecker) mixes with samples and drums – and Anna Barie’s incredibile voice – to create an explosive yet dark atmosphere in between acid house and urban music.

Following, are Javelin, whose style has been cleverly defined (after several Lone Star beers) by the illustrious music expert Atti as, “very 90s, with a bit of the Shamen.” I find them more tropical than ‘shamanic’. On stage the percussions play a primary role, accompanied by fuzzy guitars, samples and distorted vocals.

Glad to see that finally bands are finding the key to put together electronic music with a satisfying visual show on stage. I’m glad to see that people dance at gigs in this country! Yeah!

We move to the indoor stage where Vivian Girls are causing a riot. It’s fun to see a whole army of big boys going nuts for these three fairies from New York.

Thurs 18th

We start the music day at the Insound day party at Club De Ville. Small Black, exponents of the hip chillwave genre that’s bursting out of Brooklyn, are pretty awesome. We’ll hear a lot of them in the next few months. I suddenly realise I haven’t had any food for the last 20 hours, and I haven’t had any water because, “sorry ma’am, we don’t care about water,” but I’m fine! The sun and the music feed me for now!

Vivian Girls are playing again. I think I’m becoming they’re biggest fan. They seem they’ve just come out from a Sofia Coppola movie. They’re fairy but powerful, feminine but tough. And their music reflects all the different angles of their being young women in the 21st century. Liars follow and they’re amazing! Raw and powerful as always, but with the sun shining on me and a cold Lone Star in my hand make them sound even better.

It’s getting dark and we decide to make a move and check out London’s Crystal Fighters at Barbarella. Despite the venue being not literally packed, they are doing a surprisingly good show. Definitely the best I’ve seen of theirs. Their music reminds me of the choruses that hooligans sing at football matches, but with an allure of coolness. And it works. Their beats are very masculine, almost primordial, no wonders the majority of the audience is made by over-excited pogoing guys.

We then move to Cheer Up Charlie’s again, where the gritty surf punk grunge of the losangelenos Shannon and The Clams is rocking hard. At the Iron Gate we manage to see Maluca, the last discovery of the Mad Decent crew, kind of M.I.A. meets Santigold. She looks good on stage, but do we really need another urban princess?

And then we go *back* to Charlie’s for The Morning Bender. They’re considered one of the up and coming bands for 2010 but to me the look like a bunch of 18 year old kids with the attitude of an old crooner. I find their performance a bit flat. Fans of Coldplay and Frank Sinatra might like them (I know someone would kill me for this comparison). I personally don’t.

Then it’s the turn of Tanlines, another Brooklyn band. They’re another electro pop outfit in the guise of Memory Tapes and Neon Indian. Maybe it’s this amazing loveful weed but I really dig them! There’s something powerful in their tunes and I’m totally moved by them. Their use of percussions is great. I personally like percussions. I like seeing people banging on the drums. I find it sexy. Primordial.

Lemonade follow. I’ve seen them already back in London when opening for Aliens and to be sure, I think this was not one of their best performances, but they do good. Their psych-droney pop is catchy and loud. Delorean, from Barcelona, are better than expected. Their noisy acid electronic sound is pretty good, but I’m not 100% sure about the performance.

Fri 19th

Enough live music. Today I decide to hang out with Brick Lane glory The Coolness. They’re a band people love to hate and hate to love, but they’re doing well in the States. Their glam cock rock camouflaged in Shoreditchian outfits is well received at Emo’s Annex, one of the best stages to play. After finally succeeding in dragging the boys out of the artists’ village – indulging in free massage, free food and drinks require time, you know – we get to Mohawk Patio for These Are Powers and – finally! – SALEM.

Brooklyn’s These Are Powers confirm the first impression I had of them at Charlie’s: singer Anna Barie is tough and cool and funny and she’s a great performer, too! She’s probably one of the new acts that would deserve to be compared to Grace Jones. SALEM just get on stage and they are already visually amazing: a mix of metro-hippie grunge with a touch of Marc Jacobs allure. But yeah, the visual impact is much better than the aural one. Theirs is a show built as a dialogue between airy melodies and junkie white rap. Still, in my opinion they sound much better recorded than live.

After leaving Mohawk, I manage to grab a bit of Neon Indian’s set from the street. He’s playing at Club De Ville, but I can’t be bothered to queue to get in (after all, that’s one of the main rules of SXSW!). The sound quality is awful (still better than certain London venues). The band is good though. I think I’m rediscovering my faith in electronic music.

So I’m standing here outside the venue with other tons of people and a suspect-looking guy comes to me: “Hey do you wanna get in?” I DO want to get in, I’m ready to prostitute my time to talk to this dude in front of a beer (which I don’t like, anyway) even if he looks weird and sleazy: “Yeah”. So I follow him, he whispers something to the bouncer and we’re inside! He then turns towards me, makes a big smile and: “Have fun!” – he says goodbye and leaves! Welcome to Texas, the friendly State for real!! Nice people do exist in the world!

From this new perspective I can see that Alan Palomo is an great performer and he’s got a full band – American Apparel girl included – helping him to translate his bedroom synth-pop in live music. His tunes are weird, quirky but sophisticated enough (the guitarist is pretty good) and the band in itself is visually appealing. Catchy. Pop. But not dangerous. They remind me of Cut Copy – which I used to love 2 or 3 years ago. I look around and suddenly realise I’m surrounded by second and third class hipsters, moms and industry people. And I want to leave straight away. Sorry Neon Indian, I believed in you.

Pit stop at Papparazzi Pizza – pretty healthy by American standards (I had to surrender to cheese, again – sorry, but I can’t live on peanuts and tortilla chips forever).
There’s a party going on in there, kids dancing to Human League and Madonna. Great vibe. In exchange of the sticker I’m wearing (someone stuck it to my jacket the night before – I think) I get to sign their wall (And get a half price pizza!) I love Austin more and more.

Time to catch up with the crew. After seeing electronic dandy Daedalus giving a great performance at Independent – though not on his best ones – we leave, drunk stoned and knackered, but fulfilled by this music overdose.

Sat 20th

After a late breakfast (can a meal at 4pm be called breakfast if it’s the first thing you manage to get into your stomach since the night before?) at Magnolias’s – massive list of tex-mex, the food is clearly unhealthy and damaging, but it’s so colourful and cartooney that put us all of us in the best mood for the last day of our stay at SXSW -and listening to Talking Heads, we down our tacos and get ready for the evening!

It’s fucking freezing today, but we don’t care (we will do later) and head to Cheer Up Charlie’s, where I finally manage to see Toro Y Moi. It’s a semi-acoustic set: he, his Fender and his voice create beautiful airy atmospheres. It feels good and helps bearing the cold. Following is a psychotic performance from Canadian Duchess Says. Singer Annie-C is a sort of Kap Bambino on speed, and the band uses real instruments, which is always better. During their set a spontaneous mayhem explodes and everybody dances among hay bales, sheets and (mic) wire jumping.

The cold is almost as bad as in London, I need something hot to hold in my hands, so we head off to Progress, an ethical coffee shop frequented by the fixed-gear crowd not far from Charlie’s. It works. All warmed up we head back to see Cloud Nothings. It’s always strange seeing a band performing live after listening to their tracks online. Giving a body and a look to someone you’ve heard maybe just online could be misleading. It’s easier when you see someone first: you get excited if they’re good, you start searching information on the internet and then buy records and stuff. But it’s harder for blog bands to keep up with the expectations. And if they do, they’re good for real! Cloud Nothings is actually the solo project of Dylan Baldi, the lead singer, but the band manages to convey the same carefree summer-y vibe given by the recorded version. This is pure surf garage rock. It’s quite relieving after all these bleeps and glitches. They still lacks of the rockstar self-confidence to put up a properly involving show. But maybe they don’t care about that. These are kids happy to make noises with fuzzy guitars and banging drums. Their raw, drunken, lo-fi sound is pure joy after all this electro.

To follow, more surf rock from Beach Fossils. The reverb plays a big role for them as well (like for most of the bands I’ve seen these days) giving to their music that 60s lo-fi vibe that’s so hot right now. After them, one of my favourite rising stars: Pearl Harbor, an almost all-girls band from Los Angeles who make beautiful drone-y psychedelic music. I can see that the 60s are back in full force. Lots of bands show clear psychedelic and surf influences but updated with shoegaze-y guitars and 80’s synths. It’s a winning recipe for new decade’s music.

More psychedelia with a noisy touch from Texan Indian Jewelry: they’re one of the hotly tipped bands for 2010-2011. Someone compared them to Led Zeppelin. Not sure about this, but they are brilliant anyway. Change of atmosphere (and temperature) at Stubb’s where we dine listening to Scissor Sisters playing in the backyard stage (embarrassing, I know – I’m stoned and cold, every place is good as long as its warm and close – and serves food. I’m so starving I could actually eat a roast!).

The venue is packed and at the bar we hang out with Mischa Barton (well, we’re standing next to each other waiting for drinks). Today is such a surreal day. This freezing wind has nothing to do with the summery weather we had yesterday. We give up and go back home, dreaming of a hot cup of English tea as soon as we get there.

Sun 21st

I can’t believe it’s over. Austin, I’ll definitely see you next year.

Written by Laura Lotti on Tuesday March 30th, 2010 9:03 am

Categories ,austin, ,bands, ,beach fossils, ,cloud nothings, ,crystal fighters, ,daedalus, ,delorean, ,Diary, ,duchess says, ,festival, ,hipster, ,indian jewelry, ,javelin, ,laura lotti, ,lemonade, ,liars, ,maluca, ,neon indian, ,notes, ,pearl harbour, ,SALEM, ,scenester, ,shannon and the clams, ,small black, ,south by southwest, ,sxsw, ,tanline, ,texas, ,the coolness, ,these are powers, ,toto y moi, ,Vivian Girls

Amelia’s Magazine | Primavera Sound 2011 Review: Moon Duo, PiL, The Glenn Branca Ensemble, Suicide and more… (Day 1)

Ambiente_01_Chus_Sanchez
Photo by Chus Sanchez (Courtesy of Primavera Sound)

Primavera Sound 2011 opened in a delicate climate this year, check full of antithetical feelings and tensions. On the one hand, healing bitterness, for sale for the current political situation of Spain that translated in protests in Plaza Catalunya (one of the main squares of the city) and culminated in a shameful event on Friday 27th ; on the other hand, excitement for the gran finale of the Champions League that saw the mighty Barça winning against our ManUn. Now, I’m definitely not a football fan, nor am I that politically engaged. However, that edgy atmosphere, so in contrast with the sunny weather and the slow-paced life of the Catalan coast, had a strong impact on me. And definitely on the festival, too, that this year felt more aware of and integrated into the current affairs happening outside its fences.

San Miguel Stage by Laura Lotti
Photo by Laura Lotti

For this 11th edition, the festival counted 276 concerts spread out in a über-programme taking over the entire ciudad for a week of music, party and movida. And, figures speak, it hosted 140 thousand attendees, only for the 3-day music marathon at the Parc del Forum – no wonder the queues at the bar were the longest I’ve ever seen. Not to mention that on Wednesday night, Pobre Espanyol was so packed for the official opening night of Primavera Sound 2011 that I couldn’t even get in for Caribou’s performance!

Anyway, this is, starting from Thursday 26th May, how the most intense and tiring (but all in all, extremely enjoyable) three days of the year went.

Thursday

My personal festival experience kicks off in style with Moon Duo, the San Fran real life couple formed by Wooden Shjips’ Ripley Johnson and partner Sanae Yamada. They deliver a stroboscopic performance that would be truly mind-blowing if it took place in a small dark room enlightened only by flashes of lights. Shame it is only 7 in the afternoon (I should say evening, I know, but, boy, the sun is still burning at this time in Barna!)

Moon Duo by Laura Lotti

Anyway, Moon Duo was my must-see band for the beginning of the night, and after that the Clash of the Titans start. Some more rock-psychedelia from The Fresh & Onlys or Ducktails’ dreampop? It’s hard to make decisions when you’ve got so many good bands on the bill. While lost into these options, I stop by the San Miguel stage, strategically positioned at the centre of the festival site to catch some of the colourful performance of queer-pop Of Montreal that, next to the new more electronic tracks, play some good ol’ hits like ‘Suffer for Fashion’ and ‘The Party is Crushing Us’.

Music Video: Of Montreal – Suffer For Fashion

Time to get a flat beer (ha, this taste! I’ve craved for this for the whole year!) and I realize I’ve missed both The Fresh & Onlys and Ducktails.
The thing is, this year Primavera Sound is so big, not only in terms of the lineup but also as in “geographically spread out” that not only the stage times of some of the most exciting bands of the moment are overlapping with each other, but also that some of the most exciting stages where the aforementioned bands are playing (namely, Llevant, Pitchfork and ATP) are miles away from each other. Therefore, one needs to plan properly every move. And RUN, if required. And always remember that even going to the toilet or stopping to refuel might mean missing an entire gig.
Screw that. Note to myself: next year arm yourself with a pair of Heelys (might not be as cute as a pair of Menorca sandals, but at least you’re sure not to miss one thing).

Running by Laura Lotti
Photo by Laura Lotti

(Also, note to the organisators: DO NOT try to create an alternative festival currency, especially if you cannot provide an adequate number of tills actually able to take payments with it. Because, if queuing is already an annoying practice that makes people generally angry, queuing and having your money refused because the bar only takes Primavera Sound cards, or on the other hand, having all your pennies virtually enclosed in a piece of plastic and finding out that is worth nothing, makes people become potential killers.)

PiL by Laura Lotti

My handmade personal time table tells me that Public Image Ltd are playing now. Johnny Lydon is a controversial character indeed. Either you love him or you love to hate him. Though, you have to admit he is a freaky kind of genius. Despite last year’s reunion with Sex Pistols was something classifiable between lame and shameful, with PiL he’s giving the best of himself. His voice is the as grimly sharp as it was 30 years ago, and Lu Edmonds’s guitar is a distillate of pure syncopated virtuosism. Though übercool Connan Mockasin is on at the same time on the not far away Vice stage, I can’t help but be stuck (though dancing like crazy) under the stage. “Fuck’s sake, man, we are PiL. We’re the only friends you have in the music industry” – so Mr Lydon, clad in Burberry’s trench, salutes the ocean of enthusiasts under the stage. The sentence per se could be debatable. Though, quote: “fuck’s sake, man”, they ARE PiL indeed!

Johnny Lydon by Laura Lotti

Dripping sweat and beer, at the end of PiL performance, I move to the ATP stage for another of the highlights of the night: The Glenn Branca Ensemble. Watching this concert (calling it ‘gig’ diminishes the majesty of it) makes me understand what it means to be able to make music. Glenn Branca certainly knows well the most hidden secrets of this fascinating practice to be able to convey such a powerful performance. The stage and the whole area around is filled with delicate but strong harmonies, drones and basses. Again, at some point, most of the people in my position would have gone to check out Grinderman (who doesn’t love Nick Cave?!), but as the Guide To Summer Music Festival suggests, let’s not be too angsty when it comes to music. Better stick to what sounds good your ear at the moment than rushing around to try bits and pieces of everything, risking not to enjoy any of the choices and ending up with a massive feet-ache that may prevent you from dancing till the wee hours. Yeah, eventually I’m very glad I stay for the whole gig.

Glenn Branca by Laura Lotti

Now it’s time for Suicide. I’ve always been a massive fan of Alan Vega and Martin Rev, but their performance of their debut album leaves me puzzled. There’s something very perverse in loving old bands and listening to old music, because when the time comes to see them live, chances are that if they cannot keep up with the time passing (and with your personal expectations – and yours, and yours and yours, too), you’ll be doubly disappointed. In fact, it breaks my heart seeing a very worn out, almost voiceless, Alan Vega attempting sensual moves on the notes of ‘Ghost Rider’. Seeing such an influential band, that threw the foundations of most of today’s electronic music, acting like the poor apology for themselves is too much.

Suicide by Laura Lotti

But instead of breaking into tears, I decide to move towards the young and cool Jägermeister-Vice stage, where the sound of today is on. Time for Ty Segall, the Californian multi-instrumentalist, rock ‘n roll wonder-child that performs a tight set of supercharged rockabilly party tunes accompanied by a full band of cool dudes and rock chicks.

Ty Segall by Laura Lotti

After their show, I’m tired as if I have just run a marathon. So I happily leave the festival site, satisfied with having witnessed one of the greatest comeback of the year, PiL, and promising to myself I’ll go see Baths and Factory Floor, that are going to play later in this never ending night, next time they play in London (that is, certainly soon).

Ty Segall by Laura Lotti

Written by Laura Lotti on Monday June 6th, 2011 10:53 pm

Categories ,Alan Vega, ,Amelia’s Magazine, ,Animal Collective, ,Avant Gard, ,barcelona, ,baths, ,beer, ,Connan Mockasin, ,Ducktails, ,electronic, ,Factory Floor, ,festivals, ,Glenn Branca, ,grinderman, ,Jarvis Cocker, ,laura lotti, ,Martin Rev, ,Moon Duo, ,Music Festivals, ,Nick Cave, ,Of Montreal, ,Parc del Forum, ,PiL, ,Post Punk, ,Primavera Sound, ,psychedelia, ,Public Image Ltd, ,pulp, ,Queuing, ,Rebecca Elves, ,Rock and Roll, ,spain, ,Suicide, ,summer, ,The Fresh & Onlys, ,The Glenn Branca Ensemble, ,Ty Segall

Amelia’s Magazine | Primavera Sound 2011 Review: Warpaint, PJ Harvey, Animal Collective and more! (Day 3)

Warpaint-at-Primavera-by-Rebecca-Elves
Warpaint by Rebecca Elves

The first band I aim to see today is Warpaint. Breathing salty seabreeze and sipping the first flat beer of the day I make my way to the stage where they’re playing, doctor that is already packed. I’ve been into this band since the times of Billie Holiday, pill and today they confirm the first impression I had of them. They play and sing perfectly, build up intricate layers of harmonies, and they look so cool on stage – having fun between themselves and engaging with the audience – that’s a pleasure to watch their show. With this performance I’m officially sold to their magic. They’re my new favourite girls band. Better, they’re my new favourite band, and the fact that they’re girls makes me empathise with them even more. “Love is the only way out”, Theresa Wayman sings with grave voice during their stunning performance of ‘Beetles’ (from their first EP Exquisite Corpse). And for a moment I believe her. What I learn from seeing this gig is that the future of music seem to be pink. Or better, it wears laddered stockings and smeared make up. And slides the guitar like a proper guitar hero(ine).

Video: Warpaint – Billie Holiday

At the end of the gig the marathon starts. Gotta reach the other end of the festival site to catch tUnE-yArDs, the noise-pop princess that recently gained popularity with the release of W H O K I L L . The sweetness of her whimsical style, reminiscent of Coco Rosie, and her flashy attire gain my sympathies. However, the festival stage is not exactly what gives justice to her music. Plus, the sound here on the Pitchfork stage is just awful. We later decide to enjoy Fleet Foxes lying on the green knoll that surrounds the main stage. Given the heath and the tiredness accumulated in these days, this is a far better way to enjoy their lulling harmonies than sweating it out under the stage. Fleet Foxes’ bold sound suits very well the festival main stage and easily wins the challenge. We let ourselves be caressed by their arias and transported into pastoral landscapes and dreamy soundscapes, enjoying the sun setting on the festival site and doing some people watching (which is always an interesting activity especially in these circumstances).

tUnE-yArDs by Laura Lotti

On my way to restore my thirsty limbs, I pass by the ATP stage and I’m totally hypnotized by an supernatural sound of violins juxtaposed to throbbing drumbeats. Who is this, I wonder. I find out this is non the less than The Album Leaf, that, despite starting as a solo project by Californian artist Jimmy LaValle, tonight plays as a whole band – a small orchestra, I should say – formed by violins, keys, drums, guitar, trumpet and bass. Their set is simply beautiful. I must admit I didn’t know much about them before, but the conquer me with a key. If you’ve got the chance, go see them live. It’ll probably be the best concert of your life. And you will never regret it.

Einsturzende-Neubauten-at-Primavera-by-Rebecca-Elves
Einstürzende Neubauten by Rebecca Elves

Time has come to go to see Einstürzende Neubauten, the historic German band among the propulsors for the Neue Deutsche Welle movement, that revolutionised the idea of electronic music mixing industrial sounds with punk attitude in the divided Germany of the Cold War period. Equipped with various percussion kits and noise machines made out of different post-industrial paraphernalia, the stage looks more like a steam punk set than a 21st century festival stage. Blixa Bargeld sings and shrieks with his monotone charming voice, and is still as crazy and charismatic as he was 30 years ago. He’s The Gentleman of industrial music. The deep bass and tribal drum beat make it impossible to stand still. With references to Italian Futurists Marinetti and Russolo, they play a wild concert, experimenting with instruments made out of the most improbable machineries. Iron and steel are not only cold lifeless “things”. Technology (either new or old) has got a primitive, lively side. And Einstürzende Neubauten take it all out.

PJHarveybyElliottQuince
PJ Harvey by Elliott Quince

Rhetoric review for PJ Harvey. She’s amazing as expected. Dressed as an otherworldly fairy, her voice sounds as strong as her pixie figure looks frail. After the first track, taken from her last success ‘Let England Shake’, though, doubts arise in my mind: is this PJ Harvey? Comparisons are too easy with another ageless pixie fairy gifted with otherworldly voice: Björk. There’s nothing wrong with PJ’s performance, but she’s just not the heroine from ‘Rid Of Me’ or ‘Down By The Water’. And with this in mind, and some misfeelings towards her, I make my way away from the crowd in a quest for new and original sounds. Anyway, it’s easy to know what to expect next from this concert – an array of awesomely performed songs by one of the greatest artists alive and active now (description that could fit both PJ Harvey and Bjork, by the way).

PJ-Harvey-at-Primavera-by-Rebecca-Elves
PJ Harvey by Rebecca Elves

I feel adventurous and go for Davila 666, a Puertorican rock band that’s meant to give us some rock and roll fun time. Indeed, Davila 666 rock-fucking-roll!! And, quite surprisingly, they’ve got their wee following of PJHarveydontgiveafuckers. Their rock á la Beach Boys with a grunge touch is infectious. I can’t stop jumping. Their strength is that…they are FUN! They play totally unpretentious, wholesome rockabilly tracks, with a hint of sexiness (well, rock and roll IS sexy after all, as Elvis teaches). It is that kind of music made with the spirit of having a good time and making people have a good time too – genuine, spontaneous. During their set, all the worries fade away in the sweat and the laughter. There’s a life to worry about things anyway, but it’s going to start tomorrow. Now there’s only music. And though not knowing the lyrics (that, by the way, are sung in Spanish) I find myself singing along. With a smile on my face.

Davila666byLauraLotti
Davila 666 by Laura Lotti

And after Davila 666, total change of atmospheres with Scottish post-rock stars Mogwai. Mogwai’s melodies lull my mind into faraway places and untouchable lands. I want to get closer and melt with the sound, that is so thick and heavy I feel I’m drowning in it. But I’m soon back to Planet Earth, Barcelona and Parc del Forum, when The Jon Spencer Blues Explosion kicks off. Their sound, a contemporary version of what rockabilly might have been interpreted into in the 1990s, has been labelled anything from garage rock to punk blues and blues-rock. Whatever. To me they sound just brilliant! The stage is packed. Everybody jumps, waves to the band and even thank them for this great gift of pure energy. The atmosphere is wired, I’m lost in the crowd, it will be difficult to find my friends, but I don’t really care now that I’m securely wrapped into this literal Explosion of rock. It’s a never ending groove. It makes even difficult to stand still and take pictures (in a very positive way, I mean). This is definitely the rock ‘n roll night of Primavera Sound for me. I haven’t had so much fun like tonight!

Animal-Collective-at-Primavera-by-Rebecca-Elves
Animal Collective by Rebecca Elves

Then it’s time for the band I was mostly striving to see since the beginning of the festival: might sound banal, but it’s Animal Collective.
I must start by saying that I’ve got a huge amount of respect for Animal Collective. They are The Band of the Noughties, blending noise and pop in a lysergic swirl to create a distinctive sound of their own that’s given birth to a whole new genre, universally recognised and still difficult to label. And for Primavera Sound they deliver an outstanding performance, completed by trippy visuals and an awesome quality of the sound. Though, it lacks of intimacy and it feels almost stuck up. There’s no interaction with the adoring audience whatsoever, and, to the greatest disappointment of the public, they leave the stage after an overwhelming performance of Summertime Clothes without a word, without an encore. It was too perfect to be totally real.

AnimalCollectivebyLauraLotti
Animal Collective’s psychedelic visuals by Laura Lotti

With my heart half broken, I head to see The Black Angels. With the Austin band, you can’t really go wrong. In fact, they are as good as I remember them from their last gig in London in February. The sound is pounding and the beer is flowing. Dancing to the notes of ‘Telephone’ and ‘Haunting at 1300 McKinley’, the night flows towards the end of this couldn’t-be-any-better festival. While technicians and operators start to dismount the stages, the few venturers still remained within the gates of the Parc del Forum gathered by the Pitchfork stage for the dark set by brainy dubstep mastermind Kode9. Most of them, no wonder, are British. I don’t last too long, though. It’s already 7am by the time that I make it to La Rambla. I’m literally OD’d in live music, my ears fizzle, my feet hurt, my back aches (what a wreck) and my bank account is overdrawn. But I’ve never been so happy. It’s time to sleep and metabolise all the inputs received in these 3 days of music marathon.

TheBlackAngelsbyLauraLotti
The Black Angels by Laura Lotti

All in all, the balance of this festival has been extremely positive. I’ve got two new favourite girls bands: Warpaint and No Joy.
Two acts to be excited about as soon as they come to play in London: James Blake and Tennis. Some contemporaries to invest into for the future: Deerhunter (as if we didn’t know). Some oldies that confirm their credibility in time and that I might not have the chance to see again: Pere Ubu, Einstürzende Neubauten and Jon Spencer Blues Explosion. Plus, I made peace with one of my idols: Johnny Lydon. And I had extreme fun with Davila 666. Yes, this is like old story. We all knew these acts were amazing. PR companies tell us every day through features on magazines, blogs, billboards. But the truth is, no matter how many CDs we buy, album and tracks we download (legally and non), music blogs and magazines we follow… It’s only through live music that one can experience fully what a band has to offer and potentially put her/his trust in them. Fact. Music festivals are for this, after all.

And finally, the main message I got from this festival is that music is ALIVE, in its past, present and future forms. You only have to be open to it. And let yourself be overwhelmed by it.

MorningbyLauraLotti
Leaving the Festival Site for the last time by Laura Lotti

Written by Laura Lotti on Thursday June 9th, 2011 2:13 pm

Categories ,Amelia’s Magazine, ,Animal Collective, ,Ariel Pink, ,Ariel Pink’s Haunted Graffiti, ,Atlas Sound, ,Avant Gard, ,barcelona, ,Beach House, ,beer, ,Beetles, ,Bradford Cox, ,Chores, ,Coco Rosie, ,Common People, ,Davila 666, ,deerhunter, ,Disco 2000, ,Einstürzende Neubauten, ,electronic, ,Elliott Quince, ,festivals, ,Fleet Foxes, ,James Blake, ,Jarvis Cocker, ,Kode 9, ,laura lotti, ,Let England Shake, ,mogwai, ,Music Festivals, ,No Joy, ,Parc del Forum, ,Pere Ubu, ,PiL, ,PJ Harvey, ,Post Punk, ,Primavera Sound, ,psychedelia, ,Public Image Ltd, ,Queuing, ,Rebecca Elves, ,rock, ,Rock and Roll, ,rockabilly, ,spain, ,summer, ,Tennis, ,The Album Leaf, ,The Black Angels, ,The Jon Spencer Blues Explosion, ,Theresa Wayman, ,tune-yards, ,Warpaint

Amelia’s Magazine | Primavera Sound 2011 Review: Tennis, Pere Ubu, Deerhunter, Pulp and more! (Day 2)

Jarvis Cocker of Pulp by Sam Parr.

Julian Lynch by Laura Lotti

Music video: Julian Lynch – Garden 2

Tennis by Laura Lotti

Music video: Tennis – Cape Dory

JAMES BLAKE by Laura Lotti
Audience at James Blake’s Set by Laura Lotti

Music video: James Blake – The Wilhelm Scream

Pere Ubu by Sam Parr.

Pere Ubu2 by Laura Lotti
Pere Ubu by Laura Lotti

Music video: Del Shannon – She Said

Low by Laura Lotti

Deerhunter by Laura Lotti

Music video: Pulp – Common People

Written by Laura Lotti on Wednesday June 8th, 2011 3:16 pm

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