Authenticity, among other things, drives this album, and this band, to bridge the gulf between west-coast sunshine-pop and mid-west folksy rock. With the energy of youth and the buoyancy of hope and possibility, The Lighthouse and The Whaler deliver here with an engaging sound that shows room to grow and mature and will hopefully carry forward and be enhanced by their solid production, passionate lyrics and innovative instrumentation.
Watch Vampire Weekend perform a new song and a classic for Jimmy Kimmel Live.
The Pitchfork Festival returns to Chicago’s Union Park on July 13 – 15.
Yesterday, we published the first part of a two-part B List penned by HT photo editor Jeremy Gordon in which he shared five of his favorite photos and the stories behind them. Today, Jeremy returns to tell the tales of his other five favorite shots. Take it away, JG…
6. The Forgotten Photo
[Coca-Cola sign Times Square]
It was my first time photographing the Disco Biscuits and, man, was I excited. This was going to be the biggest band I had shot up to that time, and only the second time I had shot at the Nokia Theatre in Times Square. I got there early and talked to a few people, including some other photographers. Then I grabbed a few shots of Simon Posford as he spun discs for the crowd. Finally it was time for the Biscuits to take the stage leading to three songs and about 15 minutes of me running around looking for angles, trying to grab focus, and guessing shutter speeds against the pulsating lights, all while the crowd was screaming behind me.
Later in the show, I was invited side stage to get some more shots before adjourning backstage for a slice of Famous Ray’s and a beer. Then it was on to the aftershow to catch Bassnectar at B.B. King. So where does this photo fit into that long and rambling story? It ended up being just one of three shots taken after a friend and I left the concert and headed to Times Square in search of an ATM. There, at 3:00 in the morning, workers were repairing the Coca-Cola sign. For one reason or another I wasn’t happy with the shot, and it sat untouched for eight months until I finally got bored and worked on this forgotten shot. I’m glad I did.
READ ON for four more amazing photos and the stories behind them…
For this week’s B List, we present a two-part series penned by HT photo editor Jeremy Gordon in which he shares his ten best photos and more importantly the stories behind those photos.
Someone once said, “A picture is worth a thousand words,” and perhaps it is. But often a photo without context conceals the greater story behind it. A couple of months ago, my editor at Hidden Track, Scott Bernstein, asked me if I would like to share the stories behind 10 of my favorite photos. I jumped at the chance, hoping to impart my tale and perhaps a little wisdom to our readers and my friends. What you’ll find below is mostly true and mostly accurate, so take it all with a grain of salt.
1. 15 Minutes of Fury
[The Flaming Lips at Central Park SummerStage]
Generally, three songs or 15 minutes is all you’re going to get in front of the band. In that time you’ve got to get close-ups of each member of the band and hopefully shots of them together, interacting with energy and excitement. Sometimes the lighting just plain sucks – there’s actually a joke that the bands purposely under light the first three songs because they hate photographers – or the bands are uninteresting to watch and it becomes a frustrating mess. But then you get to shoot The Flaming Lips.
The show begins with the band being born out of a giant light – or a replica of a vagina – on stage before the lead singer jumps into a hamster ball to crowd surf the venue. Dancing girls are dressed in alien costumes (if dressed at all), giant bears and fishes join in on the fun, and confetti streams down from the rafters as 20 to 30 photographers push, shove, and run around trying to get a photo of anything they can think of. It truly is 15 minutes of fury and, except for almost going berserk on a fellow photographer, I loved every minute of it.
READ ON for four more exquisite photos and interesting stories…
Since we’ve spent the entire week recounting our favorite albums of 2010, and quite frankly you’re probably tired of reading about them, seemed like a no-brainer to end the week
For the second consecutive year at Hidden Track, we concocted our innovative little experiment for the year-end Best Albums list. Instead of picking the old fashioned way – subjectively – we opted for something a little different: a collaborative, collective list that incorporates the opinions of everybody here at HT.
To begin, we devised an all-encompassing list of well over 100 nominees, whereby most everything our contributors recommended made the list. Then we invited our crew of writers to independently and blindly vote on the whole list on a scale of 1 to 20 (20 = five stars). We ended up with varying degrees of familiarity with the nominees as some folks voted on just about everything, while some just a few. From there, we deployed our egghead algorithm for rating albums: (two times the average rating) + (the total number of votes). At that point, we took the top 25 highest scores and presto: the Hidden Track 25 Best Albums of 2010. No bullshit, no big opinions; just the results.
We’re on to day two of on our week long countdown, let’s check out albums number 16-20…
20) Marco Benevento – Between The Needles & Nightfall
Key Tracks: Greenpoint, Between the Needles, Numbers
Sounds Like: Brad Mehldau meets Tortoise
The Skinny: Marco Benevento’s latest solo record is the prolific keyboard player’s most impressive release yet. Bassist Reed Mathis’ sense of space and harmony along with drummer Andrew Barr’s subtly explosive poly-rhythmic playing lay the foundation for Benevento’s hook-laden melodies, shape-shifting piano, and circuit-bent sounds. While his first two studio releases were solid, Between the Needles and Nightfall has a cohesiveness not found on either that allows Marco’s songwriting to truly shine. The one-two punch of Greenpoint and Between the Needles at the front of the album set the overall tone for the album, while Marco’s solo at the end of Numbers highlights the whole thing.
READ ON for the next four albums in our countdown…
We’re a bit saddened to report that Carrie Brownstein will be stepping down from her blogging duties at NPR’s Monitor Mix to pursue a number of different projects, which include
Arguably one of the most buzzed about bands out there right now is the UK-act Mumford & Sons, who have been selling out shows coast to coast on their recent
When Conan O’Brien announced his Legally Prohibited From Being Funny on Television Tour most of us news-gathering types circled the two shows at Radio City Music Hall in New York City as the potential stand-outs.
Vampire Weekend w/ Conan – Walcott
Not only did the gawky, red-haired comedian call the Big Apple home for 15 years but O’Brien would be performing in the same group of buildings where his former NBC bosses work. The first of two shows at Radio City lived up to the hype as Conan tailored the set for the NYC audience and welcomed more than a few of his famous friends.
Musician/comedian/whack-job Reggie Watts kept the audience guessing throughout his 30-minute opening set by mixing straight jokes with physical comedy and hilarious musical interludes. Watts’ experimental act – which features a large dose of beat-boxing and looping skills that would make Keller Williams proud – went over extremely well and made most appreciate getting into the legendary venue on time. Shortly after 9PM, the Legally Prohibited From Being Funny of Television Tour Band took the stage and immediately brought the energy up by dropping into a killer version of Curtis Mayfield’s Move On Up that featured Richie “La Bamba” Rosenberg on surprisingly good vocals.
After his band got the crowd all hot and bothered, Conan strolled out to a hero’s welcome. O’Brien’s monologue started with a joke about Phish as he referenced all the glowsticks in the room – cocktails at Radio City come with a glowstick – by saying “this is not a Phish concert.” Nearly 20 minutes long, Conan’s opening killed and included tons of jokes about the chain of events that led the late night tv host to his first tour. Coco strapped on the guitar at various points throughout the evening and after a few songs with the Legally Prohibited From Being Funny on Television Band he invited Vampire Weekend out for the first surprise of the evening.
READ ON for more on Conan’s first show at Radio City…
