Events

2018 Pitchfork Music Festival - Friday

Friday

Jul 20, 2018 – All Day

Ashland Avenue & Lake Street
Chicago, IL 60607 Map

  • Tame Impala
  • courtney barnett
  • Mount Kimbie
  • Syd

More Info

Tame Impala: Tame Impala tour dates are currently scheduled internationally and they are hoping to hit it big with a high profile performance at Coachella Valley Music Festival. Australian rock's latest export will be in your area this Spring and Summer, 2011.

The foursome got its start in high school music class in Australia's western city of Perth. They draw heavily on sixties psychedelic rock, folk, and Beatles influenced melodies. They are a self-described "psychedelic hypno-groove melodic rock" band. The original band formed in 2005 and got their start after coming in second at the 2005 Australian music competition, Ampfest. The band unveiled their current name, as well as a new drummer in 2007 and inked a deal with Modular Recordings the following year.

The newly incorporated Tame Impala hit the studio to record their debut EP, "Tame Impala [H.I.T.S. 003]" which was an immediate success. The EP hit #10 on The ARIA charts and released three singles to national radio. The band described the EP as "a beautiful snapshot into what lies within this beast." Tame Impala tour dates were booked nationally, and the band served as the opener for supergroups The Black Keys and MGMT when they traveled down under to perform. The Tame Impala concert schedule also included performances at "Southband" and "Falls Festival" and included a small Australian headlining tour in support of the debut EP.

The band returned to the studio in 2009 to record new tracks and scored a hit with "Sundown Syndrome," which was included on the soundtrack for "The Kids Are All Right," which was nominated for the Best Picture at the 2011 Academy Awards. They booked a national tour in support of the single and their second self-titled EP. Tame Impala concert dates included outings at 2010's "Big Day Out" festival as well as co-headlining performances with Rise Against and Muse.

Their highly anticipated debut LP, "Innerspeaker," was finally released to Australia in May, 2010 and the US in June, 2010 and was an immediate success. It hit the top ten of the ARIA albums chart and was awarded four stars by Rolling Stone magazine. The Tame Impala concert schedule boasted a 2010 headlining tour in Australia and they served as the opening act for MGMT on their American tour. The guys returned to the US for a twenty date headlining tour in late 2010 and were nominated for four ARIA Music Awards at the 2010 ceremony.

The band is a prolific touring act and Tame Impala tour dates are booked internationally through July, 2011. They will appear at California's famed Coachella Valley Music and Arts Festival in April, 2011. They also have dates scheduled at other international festivals and individual shows. They are on the forefront of a musical revolution, don't miss out when they come to a venue near you. Use Eventful as your source for Tame Impala concert dates and venue information .

Mount Kimbie: Who – or what - is Mount Kimbie, really?

“That’s a hard question,” muses Dom Maker. “The hardest. It’s…”

“It’s hard to say,” chimes in Kai Campos. “It’s an unspoken thing.”

Unspoken, or barely even there at all? The duo’s first two EPs – Maybes and Sketch On Glass, both out in 2009 through Hotflush – seemed like explorations of spaces so private that all within earshot were turned instantly into voyeurs. The experience was less like listening to music and more like eavesdropping on the machinations of a lone mind – albeit a lone mind surrounded by and retreating from millions of other minds.

For these were releases ushered into existence in Elephant and Castle, south London – a place where, as Kai puts it, “you can get a bus to anywhere in the world”, but is still, ultimately, “the shittest place you could ever live”. You imagine the area doesn’t become any more endearing when you’re forced to sleep within the walls of an old mental asylum.

“That’s where we first met,” explains Kai, originally from Cornwall. “South Bank University turned the old asylum into student halls. The ceilings were still ridiculously high to stop patients hanging themselves, and there was a brick wall about an inch from the window so they couldn’t leap out.

“It was a cold, joyless, concrete building – the sort of building where you’d drop a pen and the sound would just go on and on in an echo.”

Echoes are important to Mount Kimbie.

“We were rehearsing at Dom's place in Brighton with James Blake once,” Kai explains, referring to their prodigiously talented friend and sometime live collaborator. “We went down to the beach to get drunk. We walked home singing through this 50 metre-long wind tunnel, and there was just this incredible reverb.

“A couple of months later we went back with some mics. It was a freezing evening - people kept coming down and there's us, three weird guys in the middle of nowhere, singing harmonies in a wind tunnel! A lot of what we got that night features on the new album."

Armed with found sound snips and a siege mentality, Kai and Dom set about turning London’s ambience into rhythm, its chaos into coherence. Traces of influence remain – the hard-earned spaces of Burial and The Bug vie with the berserk melodrama of Xiu Xiu and Grouper’s sad-eyed glow, D’Angelo’s pervert soul gets cleansed in the intimacy of Phil Elvrum’s Microphones, Angelo Badalamenti’s swollen ‘Twin Peaks’ atmospheres find a cradle in Madlib’s lax lope – but what emerges as ‘Mount Kimbie’ feels so pure in its of vision it’s surprising to learn its roots lead back to a trance club at the end of a pier in Bognor Regis.

“My first experience of electronic music was at sixth form,” explains Dom, who hails from the south coast holiday town. “All my friends would go to this club called Sheiks. They’d play the Tiësto rave mix of Barber’s ‘Adagio for Strings’, and I’d see girls I knew from school going in all tarted-up with their mums. It was fucking gross.”

It’s perhaps too easy to see the music Mount Kimbie make now as a retreat from both siren-strewn London mess and the rank, tyrannical mob empathy of Tiësto’s trance brain-sucks. What seems sure is that the sound of Mount Kimbie’s music reverberating around Sheiks’ main room come Friday night would blow many Bognor minds. This is music made in and for stranger, more private places: emerging from train journeys, “dimly lit garages full of hefty spiders” and the guest rooms of that old asylum, to exist… where, exactly?

In terms of attitude and approach, Mount Kimbie exist alongside those other auteurs in the vanguard of the post-dubstep diaspora – like Joy Orbison, Actress, Untold and Ikonika, Dom and Kai were drawn closer to UK clubland by the bass rearrangements seeping from nights like FWD> and DMZ. And like those other producers, their sound – their electronic response to the dubstep moment – is very much their own: sceneless; untethered from etiquette and genre codes. They float through dubstep and hip-hop, jazz, techno and ambient, post-rock, UK garage and film scores. But when the question comes to place Mount Kimbie’s music physically, we’re forced to return to that earlier question – who – or what – is Mount Kimbie, really?

There are two minds at work here – if you were to scrawl a Venn diagram with Dom on one side and Kai on the other, ‘Mount Kimbie’ would be the overlap, a territory where their tastes and empathies interlock and resonate. Kai’s first year in London was “bleak” – he didn’t have any friends, and broke up with the girl he moved from Cornwall for. How important was it for the two of you to meet at that point?

“Crucial,” reckons Dom, immediately.

“We’re still feeding off the same things we were when we started,” surmises Kai. “Still responding to that first year or two in London, I guess.”

It’s an interesting statement – in Mount Kimbie’s emotionally murky and ambiguous mix you can hear all the sensations you’d expect such a “crucial” coming-together to provoke. Relief, first of all: then joy, curiosity, surging confidence and – as well as all that – the memories of the old search and its solitude. Agitated, evasive, enigmatic and wry, Maybes and Sketch On Glass seem like transmissions from that found place, the fluid, moving, living part of a city that gets trapped inside a human along with the artificial light and dirty air.

Every track on Mount Kimbie’s new album is unreleased and entirely new, yet it’d be strange to imagine them torn from that locale – this is, after all, the quietly momentous sound of their own memories.

“Most music that speaks to me is a mixture of different emotions and contradictions and that’s why it’s music,” reasons Kai. “That’s why music is important – it can convey those contradictions in a way you couldn’t ‘say’ with words because it wouldn’t make any sense. It gets to the core of being a human being. That’s what life’s like. A mixture of things.”

Syd: Syd is a singer/songwriter from Vermont whose love of "indie rock", driving rhythms and 50's pop has separated him from the growing legions of boys wielding guitars.

After playing hundreds of shows a year since 2002, selling a combined 3000 physical copies of his first two records and an astonishing 23,000 digital downloads, Syd brought his band (drummer Sam Smith, now Ben Folds' throne man and guitarist Dylan Allen, now also living in New York) into the deep woods of Chelsea, VT to record in a gutted barn what would become 2007's "The Way We Found It" a record that re-defines the sound Syd has been honing all these years. Produced by They Might Be Giants' Danny Weinkauf, "The Way We Found It" is a new sound, and altogether familiar.

Along the way, he's earned a spot in Music Connection magazine's "Top 25 Demos of the Year", a nomination for Coffeehouse Performer of the Year, showcases at NXNE and Nemo Music Festival, plus opening slots in front of Ari Hest, Stephen Kellogg and The Sixers, The Zombies and Hanson, among many others.

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