Something magical happened to me this weekend. I found Sasquatch (or as we like to call it in the Midwest, Bigfoot). However, I am not talking about the mythical (or extremely real and terrifying) creature. I am talking about this glorious stage located on the beautiful gorge in George, Washington.
Tag Archives: review
Daft Punk Random Access Memories Austin’s Take Random Access Memories is one of those records where it is hard to separate the immense hype and expectations from the eventual finished product. What we ended up with is an album with perfectly executed promotion without the deep satisfaction that we expected. The album reminds me most of a microbrewery releasing a trendy new beer with slick packaging, and finding the flavors don’t mesh into the clean finish you would hope for.
Vampire Weekend Modern Vampires of the City Three albums into their career, Vampire Weekend has only progressively gotten better at their craft. In 2008 they released their self-titled debut, which proved to be a cerebrally focused pop-punk album that was a half hour of smart, heavily influenced fun. In the 2010 release Contra, the lyrics only increasingly became more clever, and the music became more layered and complex. Now enter Modern Vampires of the City, where that tack-sharp wit has
Kurt Vile Wakin On A Pretty Daze Kurt Vile left the band The War on Drugs back in 2008 after the release of his self-recorded debut album Constant Hitmaker garnered a fair amount of critical success. Since then, he has not turned back to his past band and instead fully embraced his solo career with his backing band the Violators. I for one am glad he did so. Vile has a knack of slipping in bits and pieces of Americana
The Yeah Yeah Yeahs Mosquito Wes’ Words: Like the Strokes, the Yeah Yeah Yeahs had a huge place in reviving rock music in the early 2000s. Also like the Strokes, the Yeah Yeah Yeah’s latest album stands as their worst to date, with a hammy comic book feel and a slew of repetitive retread songs. It doesn’t help that Mosquito opens with its lead single and clearly best track in “Sacrilege” sort of like the comedy that released all its