Whoa. Whoa. Whoa. You didn’t think I was done talking about Pitchfork 2011, did you? No way. I have one, er, a couple final words to say about the fest. In fact, it’s something brand new: The Rundown.

Here’s my two cents on the best, worst and most intriguing things at Pitchfork Music Festival 2011…

BEST BAND: OFF!

WORST BAND: (TIE) Destroyer & Ariel Pink

BEST BET TO BECOME A FESTIVAL STAPLE: Cut Copy

BAND THAT NEEDS SOME WORK: (TIE) Yuck & Thurston Moore solo

BAND MOST LIKELY TO BE PLAYING LOLLAPALOOZA 2012: Pitchfork 2011 Schedule

BEST SLOGAN ON AN OLD DUDE’S TSHIRT:

BEST OFFENSIVE, CAST-WEARING HIP-HOP GROUP: Odd Future

BEST IMPRESSION OF HELL ON EARTH: Pitchfork Fest 2011 Porta Potties on Sunday afternoon

BAND PITCHFORK CAN ALWAYS FALL BACK ON WHEN THEY CAN’T BOOK JEFF MANGUM: Animal Collective

BAND MOST LIKELY TO DIE OF HEATSTROKE: Cold Cave

BEST USE OF A THEREMIN:

BEST DANCERS IN THE VIP SECTION: White Mystery

BEST PLACE TO HANG OUT WITH YOUR BROS: Heineken tent

BEST VEGAN CORN DOG: Chicago Diner

WORST AREA FOR BOTTLE NECKS: Entry way to Blue stage

MOST INDIE ROCK SODA:

WORST STAGE PROP FAIL: DJ Shadow’s white sphere

BEST DJ SET: DJ Shadow

BEST EXCUSE FOR OLD DUDES TO SMOKE JOINTS IN PUBLIC: Superchunk

BAND MOST LIKELY TO TEACH THESE DARN KIDS A THING OR TWO ABOUT ROCK ‘N’ ROLL: Guided By Voices

BEST GUEST APPEARANCE:

Photo Credit: Craig Shimala - craigshimala.com

And that’s a wrap on Pitchfork Music Festival 2011! Below is a recap of the day three acts we had a chance to catch. Sunday’s winners? Definitely Kylesa, Cut Copy and TV On The Radio. So sit back, relax and catch up on what went down on the third and final day of Pitchfork Musical Festival 2011.

1:00 p.m.: The Fresh & Onlys

It took until the third and final day for Pitchfork to open with some zest thanks to San Francisco’s The Fresh & Onlys. While their jangly, reverbed guitar rock wasn’t original in the least, it was peppy and very uptempo. And it got the early arrivers to move and sway in the harsh summer sun – which is an accomplishment in itself.
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1:45 p.m.: Yuck

Possibly the biggest disappointment of the weekend, guitar-heavy alt-rockers Yuck could never seem to match the energy of the crunchy melodies that saturate their buzz worthy debut. Their set started with volume at an annoyingly low level.

When the third song rolled around, the sound was slightly adjusted for the better, but the band decided to focus more on their slow-burning ballads than the chugging rockers. Add to it that the heat really started to bare down on Union Park, and it was hard for Yuck to rebound. In the last few minutes, it finally seemed as though Yuck had caught their stride and would leave on a high-note. However, lead guitarist Max Bloom had equipment problems that caused them to abort their riffy romp “Operation” after only a minute or so.

The band did end strong with the quicksand fuzz of “Rubber,” but it wasn’t enough to save the set. Yuck’s set proved that while many bands these days get propelled very high and very quickly, some aren’t ready for the festival circuit. As a fan of their latest LP, here’s hoping Yuck just needs a bit more seasoning on the club circuit (and a better sound guy).
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2:30 p.m.: Kurt Vile and the Violators

My topsy turvey relationship with Kurt Vile took another unexpected turn on Sunday afternoon.

Before his set, I told a colleague to prepare for disappointment. Then Kurt and his Violators tore through their set with the reckless abandon that the day’s previous guitar worshipers, Yuck, lacked. The flowing hair and shredding solos made Vile’s average songwriting really flourish. Go figure, I’m back on the bandwagon. (Ross Meyerson)
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3:20 p.m.: OFWGKTA

For months a lot had been said and written about Los Angeles hip-hop outfit OFWGKTA (Odd Future Wolfgang Kill Them All), and their violent, misogynistic and homophobic lyrics.

So, it was quite humorous when the group blasted Bob Marley’s “One Love” and Black Eyed Peas’ “Where is the Love” before they took the stage. The band knew of the local commotion (the group rarely receives this type of reaction and publicity when they play other cities), which is also why they presented cupcakes to the anti-violence society who were at Pitchfork to raise awareness of their often hate-filled attitude.

And when they finally took the stage? No riots, no murders, no swarm of locusts. Instead, Odd Future (including leader Tyler, The Creator in a foot cast) put on a lackluster hip-hop performance that featured obnoxious and forgettable backing beats.

The group seemed harmless as they paced back and forth across the stage spouting obscenities. Sure, they did the occasional stage dive, but all-in-all Odd Future didn’t seem to be doing that much different than their earlier hip-hop luminaries (in this case: Wu-Tang Clan, N.W.A). Well, actually, they just did it worse.

But a great deal of the crowd loved every minute of it. Drenched in sweat, they latched on to every snarling “F*ck,” “Sh*t” and “B*itch” in “Tron Cat” and shouted the chorus of “Radical,” “Kill People / Burn Sh*t / F*ck School,” in unison as if it were a Bears game.

Then, just as the set began, it ended. No, Odd Future did not bring about the end of the world and the death of modern society. But now the group might become targets due to their weak beats and lazy live show.
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4:15 p.m.: Ariel Pink’s Haunted Graffiti

Photo Credit: Craig Shimala

Honestly, I’m a bit upset I wasted a lovely Futurama YouTube clip on Destroyer’s god awful yacht rock set on Saturday. Because Ariel Pink’s set might have been worse. Scratch that, it was worse.

The set was a disheveled mess of crooked, synthy indie-pop. During this, Ariel Pink (born Ariel Marcus Rosenberg, who for some reason is sometimes referred to as the “godfather of chillwave,” would sing through a tiny microphone that would constantly crackle and cut out.

Well, the heat must have gotten to Pink because at one point he simply sat down in the middle of the stage and let out obnoxious hoots, hollers and howls.

And, with over 15 minutes left in the set, Pink got up and walked off stage. The band tried to coax him into coming back to play more songs, but instead he berated them and went backstage. A band member had to tell the crowd, “I think we’re done here. Thanks” to which a smattering of boos erupted from the crowd.

This isn’t the first time Ariel Pink has had an onstage, for lack of a better word, meltdown, but it should be his last.
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5:15 p.m.: Superchunk

Comparing Superchunk to Odd Future, who performed on the very same stage about an hour earlier, would be like comparing any single-A affiliate to the New York Yankees.

Seasoned indie rock vets, North Carolina’s Superchunk wasted no time showing kids and nostalgic non-kids how it’s done. Their uber-melodic power-pop was a non-stop ball of energy from the get go as lead singer and guitarist Mac McCaughan literally pogoed around the stage. Literally.

It was the anti-Odd Future. Good-natured, non-stop fun that grabbed ahold with the first jumpy power chord of “My Gap Feels Weird.”

Speaking of said song, the band started fast and furious with a number of tunes from their most recent, 2010′s Majesty Shredding. But though the tempo slightly dropped, an instant highlight was the opening notes to “Like A Fool,” off ’94s Foolish, as a thick breeze rolled in.

It sounded as poignant as it did it did 17 years ago. And so did Superchunk, whose sound (and faces) are as tight as ever.
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6:00 p.m.: Kylesa

It’s difficult to really rate Kylesa in the Pitchfork festival context. Not only were the Georgia metal outfit the heaviest, most brutal sounding band of the entire weekend, but their live show is hard rock catnip.

Anyone who loves menacing, orange-powered riff couldn’t possibly get enough of it. Add to that the band’s ridiculously unnecessary but unbelievably cool double drummer attack. It’s especially mesmerizing when a solid groove would get locked-in such as on the prog-metal opus, “Spiral Shadow.”

It’s not only the fact Kylesa was heavy and abrasive, it’s that it was different. Quite different in a festival setting that is littered with synths, saxes and mandolins.

From my vantage point, the crowd seemed to be enjoying themselves without getting too out of hand and rowdy. Maybe Pitchfork will get the message and sprinkle some additional metal and heavy rock in next year – something the Fest desperately needs.
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7:25 p.m.: Cut Copy

Photo Credit: Craig Shimala

As the sun finally dipped behind the Union Park trees, Cut Copy heated things right back up.

A club-worthy dance party erupted as they delighted with elastic, disco-wave romps. Plus, the Australian dance-rockers do it with gusto.

The band, possibly the most clean cut of the weekend decked out in collared shirts and dress slacks, had the moxie of festival veterans.

Lead singer Dan Whitford played the role of not only frontman, but hypeman as he lead the crowd in singalongs, clap-a-longs and booty-shaking madness. Meanwhile, Tim Hoey twisted tones out of his guitar and took to using a mic stand as a drumstick on a defenseless cymbal. Plus, their hooks were ever so catchy: “With hearts on fire, I reach out to you tonight.” In addition to the Euro-flavored beats and swirling melodies.

If they keep this up they could make the leap…to an hour later and headline the festival next year. But for now, expect them in a late afternoon early evening slot at Lollapalooza 2012.
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8:30 p.m.: TV On The Radio

Photo Credit: Craig Shimala

TV On The Radio’s set began on a rather odd note. Frontman Tunde Adebimpe asked the crowd if everyone was having fun, and if they had a good day. To which he responded with, “That’s good to hear. It was a pretty bad day from my point of view.”

Uh, what? If this was TV On The Radio on a bad day, then a good day might be too much to handle.

Playing by far one of the tightest, most efficient sets of their careers, the band rattled ribs and massaged ear drums with their funk-ified, digitized art rock.

Things started off with a bang via a two-song, Dear Science-punch of “Halfway Home” and “Dancing Choose.” Later, it was newer songs, Nine Types of Light, that demanded attention. “New Cannonball Blues” delivered a electro-sex low end and “Repetition” was played with a punk-like urgency.

Most of the activity on stage came from Tunde Adebimpe, whose body twitched and arms waved wildly. Meanwhile, guitarist Kyp Malone played straight man – standing firm rarely moving other than back and forth from the microphone. And lead guitarist and sound guru Dave Sitek worked the tones in the background while the breeze worked the wind chimes hanging from the head of his telecaster.

TV On The Radio was so impressive, their cover of Fugazi’s “Waiting Room” is easily forgivable.

In a fest that lacked big names – bands had to rise to the occasion. And TV On The Radio might have risen even further.

• • The Reader’s Miles Raymer catches up with OFF! frontman Keith Morris to talk about record collecting and punk rock expectations.
• • While we didn’t exactly love Destroyer’s set at Pitchfork Music Festival this weekend, John Dugan over at Time Out Chicago surely did.
• • WBEZ’s beloved curmudgeon Jim DeRogatis (my spirit animal, if you will) gave Pitchfork a 6.4 rating for its three days of heat, dust and music. He also didn’t like Odd Future.
• • Jim DeRogatis wasn’t the only one who didn’t like Odd Future’s set on Sunday night. Thomas Conner of the Chicago Sun-Times scolds the group as well.
• • Did you know Soundgarden was in town this weekend? The Chicago Tribune thought the band was a good as they ever were.

Pitchfork Music Festival Day Two is in the books. Below is a recap of the the acts that we had a chance to catch. Saturday’s winners? Definitely No Age, OFF! and DJ Shadow. So sit back, relax and catch up on the Pitchfork Day Two action. We’re doing it all again in a few hours. Joy!

1:00 p.m.: Juliana Barwick

On any other afternoon, the looped siren chants of Juliana Barwick might have been quite enchanting. But definitely not early Saturday at Pitchfork Fest as stinging heat and humidity descended upon Union Park. For a few fleeting moments, it was captivating. But most of the time, songs would build and build before fading into nothingness.

Not to mention Chrissy Muderbot’s boomy low end was quite audible during the first few minutes of Barwick’s set. Still, her vocal talents were enough to capture the attention of a quite a few early arrivers.
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1:45 p.m.: Woods

When Brooklyn’s Woods (accompanied by New Jersey noise musician Ducktails) took the stage, they opened with a couple of sunny, folk tunes. How deceiving that was.

Only a few songs later the steamy crowd was knee-deep in spacey, echo-filled folk jams. There were melodies and some hypnotic bass grooves, but they were played mostly at a sleepy pace. Yet the crowd, which by this time has grown substantially, were seemingly latched onto every tape loop gurgle and sullen guitar riff. And Woods rewarded near the conclusion of their set by unleashing some uptempo garage rockers.
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2:30 p.m.: Cold Cave

When the members of Cold Cave waltzed out on stage wearing leather jackets and long dark jeans in what had to have been near 90-degree heat, you knew this was going to be a memorable set.

Cold Cave clearly take a page from gothy new wave and industrial acts -- bands that would have been found on historic Chicago label Wax Trax! Records. But it wasn’t just the melodic double synth attack or rock-steady beats. The trio showed the energy of a band that is ready to make an impression. The combination of frontman Wesley Eisold’s dark crooning and secondary synth player Dominick Fernow’s jerky dance moves enthralled the crowd and kept many distracted during what was probably the hottest portion of the day.
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3:20 p.m.: No Age

“Fuck Electronics. Fuck Technology.,” said No Age’s Randy Randall after a brief delay due to technical difficulties. Moments later, the Los Angeles duo ripped into their bulldozer-punk assault and pummeled everything within earshot.

Dean Allen Spunt handled the manic rhythms and snotty shouts while Randy Randall’s guitar traveled between a sludge thick clean and a jet engine fuzz. The set got especially rowdy when No Age broke into the hyperactive “Fever Dreaming” from their latest, Everything In Between, which spawned the weekend’s first mosh pit.

But No Age aren’t all noisy riffs and speedy beats. Their brand of speedy hardcore is littered with grimy pop melodies.

The result was no doubt one of the weekend’s top highlights -- no-holds-barred rock fueling a rambunctious, enthusiastic crowd.
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4:45 p.m.: OFF!

Those who wanted more ferocious energy after No Age’s set concluded didn’t have to wait long. A few minutes later, OFF! let loose a barrage of short, intense hardcore numbers.

Led by former Black Flag/Circle Jerk singer Keith Morris, OFF! is comprised of a few rock and punk notables including Burning Brides’ Dimitri Coats, Redd Kross’ Steven Shane McDonald and Rocket From The Crypt/Hot Snakes’ Mario Rubalcaba.

After Morris introduced the band sounding more like your chatty uncle than a hardcore punk front man, OFF! launched into minute long ragers. While the riffs flew and drums rumbled, the lyrics dealt with important topics like those in the grocery store express lane who have more than 10 items and people who talk on their cellphone while driving.

The premise may be silly, but the songs are pure old-school hardcore in sound and attitude. In fact, OFF! rocked so hard that McDonald blew his amp head before the final song, which was funny seeing how it took longer for the stage crew to replace it than to perform the set’s closing song.

Still, midday’s one-two punch of No Age followed by OFF! gave Pitchfork Fest a much needed shot of adrenaline.
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5:35 p.m.: Destroyer

www.youtube.com/watch?v=jG2KMkQLZmI

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6:15 p.m.: Dismemberment Plan

Though the Dismemberment Plan reunion had already made its way through Chicago back in February, fans packed the front of the Green Stage for Washington D.C.’s dance-punkers.

And those fans were probably glad they did as the band rattled off their best known songs one after another -- many coming from their popular 1999 record Emergency & I, which was recently reissued.

What’s most noticeable about the Dismemberment Plan’s usually bright, always melodic rock is just how solid their rhythm section is -- bassist Eric Axelson lets bouncy grooves fly while drummer Joe Easley’s hard-hitting beats hold everything together like glue.

Also, something has to be said of lead singer Travis Morrison’s stage presence. He’s the goofy indie rock frontman archetype. He was in good spirits while spouting off clever quips and engaging in plain silliness, such as introducing the crooked singalong “You Are Invited” with a Ukrainian accent.

In the end, Dismemberment Plan’s catchines takes over. No matter how nonsensical the hooks become or how frantic the songs are, they’re irresistibly fun and energized the crowd after Destroyers’ muzac-flavored, train wreck of a set.
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7:25 p.m.: DJ Shadow

Before beginning his set, DJ Shadow, born Joshua Paul Davis, took to the mic and explained that he’s not a wedding DJ who plays top 40. I’m going to say quite a few fans could gather that fact from the giant white sphere in the center of the Red Stage.

Not only was there a giant white sphere on stage, but DJ Shadow actually played the first half of his set inside said sphere. The idea was for the ball to be used as a projector screen for what was supposed to be an epic light show. However, festival planners made a major miscalculation on this one as it was still far too light outside for the graphics and lights to be seen properly.

Twenty minutes in, Shadow realized the error and rotated the sphere so the opening faced the crowd.

It was for the best as the audience now had a better view of what Shadow was doing, which was substantially more than what’d you expect from your average DJ. Shadow didn’t only scratch records or stay glued to a laptop. He used a variety of gear to obtain varied sounds including electronic drum pads used to trigger samples.

It’s also was important to differentiate Shadow with other well-known DJ acts like Girl Talk. While Shadow does sample various rappers -- at one point he used a munchkin-pitched version of Lil Wayne’s “A Milli” -- he’s doesn’t mash-up pop songs. Instead, he does a very fine job combining pulsating dance beats and melodic passages into well-crafted, original compositions.
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8:30 p.m.: Fleet Foxes

Despite seemingly a bit too delicate for a festival headliner, Fleet Foxes attempted to disprove that notion on Saturday evening.

The Seattle indie folk outfit let loose acoustic guitar and harmony-powered mountain campfire jams. The songs were mostly laid-back, but bright tones and steady percussion captivate the thousands that filled the park.

Frontman Robin Pecknold commented on the last time they were at Pitchfork Festival in 2008. Dizzy Rascal immediately followed them on the schedule. After their set, Pecknold said the band was psyched to see Rascal live, only to over hear him tell the crowd, “Fuck that folk shit.”

This time, however, Fleet Foxes were headliners, and exuded that type of confidence. The slow-building, ultra-melodic “Helplessness Blues,” pleasantly hovered over what was then a calm, cool evening.

While the band did sound bigger and bolder than past festival appearances, they still lack the true command of a major festival headliner. One slot earlier in the evening opening for a more established group would have been perfect for Fleet Foxes. But, admittedly, Foxes did well with the slot they had and proved that mellow can truly rock hard.

Pitchfork Music Festival Day One is in the books. Below is a wrap up of the the acts that we had a chance to catch. Friday’s winners? I’d say EMA, Guided By Voices and, yes, Animal Collective. So sit back, relax and catch up on the Pitchfork Friday action. We’re doing it all again in a few hours. Joy!

3:30 p.m.: EMA

Where as last year Pitchfork opened with a couple of subdued acoustic acts, that was not the case this year. EMA, better known as Erika M. Anderson of former drone-folk duo Gowns, hit the stage early in the sun soaked afternoon.

Joined by two multi-instrumentalists and her little sister on drums, Anderson’s vocals were filled with a Kim Gordon-meets-Karen O raspiness and worked especially well during the heavy-hitting “”Milkman”. Much of the time, however, EMA’s jams rested in the melancholy spectrum but weren’t tired, They brought an edgy bite to the quaint crowd that had gathered in front of the newly minted Red Stage (all stages this year are color-coded with Red, Green or Blue flags making navigation exceptionally easy).

However, the music was occasionally a bit on the hollow, unfocused side – not quite fully cooked for a major festival. Yet the crowd, obviously excited that Pitchfork fest has just begun, gave Anderson cheers of encouragement, which helped carry the set to a snarling finish with the angsty, spoken word of “California.”
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4:35 p.m.: Battles

One had to wonder if Battles could still rock as hard now only standing on three legs (founding member Tyondai Braxton left the group last August).

Well, you certainly have to hand it to Battles because rock they did. There’s no denying that the now trio (Don Caballero’s Ian Williams, Lynx’s Dave Konopka and Helmet’s John Stanier) are three extremely talented musicians. When they get locked in a groove, it would take a crowbar to get them out of it. Their shape-shifting barrage of keyboards, guitars, basses, drums and synths makes for one intense festival experience.

However, there were times when their show fell flat. Particularly when they relied on prerecorded backing tracks, which was a major portion of their set including the bouncy, popcorn synth single “Ice Cream”. But for that song, it wasn’t only the vocal track being piped in, the lively keyboards that act as the song’s foundation were prerecorded. Early versions of the song, including this one from 2008 when Braxton was still in the band, shows Williams playing the part live. It’s a shame that Battles has to scale back their musical delivery seeing how their live show relies on watching three humans create some of the most mechanical, expansive, alien prog-rock out there.

Still, the trio of Battles can captivate a crowd. Unlike their stop at Lincoln Hall earlier this year, they broke out a tune from their impressive 2007 debut Mirrored. The band unleashed “Atlas” and festival goers heads nodded almost violently to the song’s tribal drum attack. But tonally the track missed Braxton’s elfish vocals, which were replaced by a backing track of a children’s choir. Thankfully, their most aggressive song from their latest LP, “Futura,” brought the set to an exhilarating end.
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5:30 p.m.: Thurston Moore

“You guys wanna hear some songs about rape, incest and carnage? We’ll do our best,” joked Thurston Moore at the start of his late afternoon set in reference to the controversial LA hip-hop collective Odd Future. However, if that joke were a reality, perhaps his set would have been far more memorable.

Maybe in a medium-sized theatre Moore’s sweeping acoustic and chamber orchestra-propelled solo album, Demolished Thoughts, would come off sounding lush and vibrant. But at a music festival smack dab between Battles and Guided By Voices? Not so much.

Quite the mellow affair, not even a harpist could save Moore’s set from becoming a talk-amongst-yourselves, beer and bathroom break. Yes, much of the guitar work still featured those oddly voiced riffs that have made Sonic Youth so alluring for nearly thirty years. But Moore desperately lacked the punch of his primary vehicle. Instead, songs wafted through the humid air to an inattentive crowd. Note to Moore: Don’t quit your day job.
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6:25 p.m.: Guided By Voices

Picking up, although much less abrasively, where Jesus Lizard left off in 2008, Guided By Voices once again proved that dudes with gray hair often rock the hardest.

Their songs took on a nearly punk energy as guitars chugged along with distortion and grit – something that never made it to their popular, lo-fi recordings. “Game of Pricks” from 1995′s Alien Lanes had its mid-tempo revved up to a steep pace, and the warm reflection “I Am a Scientist” became quite a crunchy affair.

Like the music, the band showed no sign of slowing down. Front man Robert Pollard took swigs from a bottle of Tequila through out the set, and, similarly, guitarist Mitch Mitchell ripped away while a cigarette dangled precariously from his lower lip. And it must be mentioned that this was the only set of the evening where the crowd out shouted the singer.

If anything, Guided By Voices’ set educated some on how indie rock used to be.
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7:20 p.m.: Neko Case

To be honest, I missed a bit of Neko Case’s set while in the press tent recording and attempting to upload a late afternoon audio update. It took a few tries and a few minutes to charge my battery-eating iPhone before I finally succeeded.

Thankfully, I did make it to see a few songs. Case is undeniably soulful and certainly lovely. Her songs are mostly bluegrass-inspired, roots-y hymns, but wrapped in a blanket of warm melody and tone. “People Got A Lotta Nerve” and its Fleetwood Mac-ian charm had the audience hooked on every winding guitar line.

But near the end of her set, every lull between songs was filled with bleed from across the park where dub-step darling James Blake played to shrieking fans. While his thumping bass didn’t outduel Case, it grabbed the crowds attention and enticed many to investigate the smaller Blue Stage.
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8:30 p.m.: Animal Collective

When Animal Collective headlined Pitchfork Music Festival in 2008, their set was unmemorable, to say the least. Synths twirled, drums pulsated, lights flickered. That was about it.

Things were clearly different this time around. For starters, the band seem to have found a few items from the Flaming Lips’ stage set-up because multi-colored decorations dangled from all sides of the stage. Also, members were visible this time rather than hidden in darkness.

The biggest difference was the music. The first three “songs,” for the lack of a better word, were more structured and popped with energy. It was electro-psychedelic dancehall music, and the crowd seemed relatively satisfied.

Even older material was played with more focus. “Did You See the Words” from 2005′s Feels became a rambunctious romp, and the plodding synths of “Brother Sport” seemed to have more burn. Though, admittedly, the song did meander near end. Still, much of the audience rushed the stage with joy upon its open notes.

Animal Collective would benefit from an editor at times, but this, especially after Pitchfork 2008 and their dreadful, aimless Lollapalooza 2009 performance, shows that a real band lives behind all those loopy loops. A talented one at that.

Photo Credit: Craig Shimala - craigshimala.com

Tomorrow begins another Pitchfork Music Festival at Chicago’s Union Park. And once again, Loud Loop Press will be on-site all weekend long bringing you the best coverage we possibly can.

What can you expect? Updates throughout the day on our Twitter feed and our Facebook page. Then on 10 a.m. the day after (Saturday, Sunday and Monday), we’ll have a full recap of the previous day’s happenings complete with blurbs on the acts we caught, photos and more!

Of course, like every Pitchfork Fest, there’s a ton of music everyday, some of which you have no clue about, so the ol’ Loud Loop staff has decided to help out and clue you in on some of our much anticipated P4K 2011 acts. Anywho, let’s not waste anymore time. This is your Loud Loop Press Pitchfork Fest 2011 Preview.

www.youtube.com/watch?v=YqV5KzbNYIQ

There are those indie bands that leave you thinking, “Hm, well that was an interesting musical experience.” Then there’s the small percentage of indie bands that rock your auditory cortex so hard, they leave you in near-comatose state from complete awe. tUnE-yArDs is one of those bands. The lo-fi, indie noise-pop project of Merrill Garbus (Sister Suvi), tUnE-yArDs combines a patchwork of aural flavors including jazz, R&B, Afro-pop, folk and most everything else out there. These intricate melodies and playful beats offset Garbus’ eccentric vocals that range from child-like humming to unbridled, soulful wailing. Garbus is the master of multi-tasking on stage, playing drums, recording loops, harmonizing with herself, all while keeping the show frisky for the audience. Garbus seriously is a force to reckon with on stage. (Britni Day)

BATTLES Green Stage, 4:35 p.m.

www.youtube.com/watch?v=j-rvJsH_WcU

Battles had a pretty difficult time recording the follow-up to their critically acclaimed 2007 loop-prog near masterpiece Mirrored. After completing much of the record, founding guitarist and “singer” Tyondai Braxton left the band. This left the remaining members (Ian Williams, John Stanier, Dave Konopka) in quite a bind. They pressed on, however, and rerecorded the majority of their 2011 release, Gloss Drop, as a trio with a slew of guest vocalists, including Gary Numan and Matias Aguayo, the latter of which adds some odd reggae-esque croons to single, “Ice Cream.” While not as immediate and epic as their full-length debut, Gloss Drop is full of enough mathy riffs and machine-like drum work to get crowds moving. (Richard Giraldi)

THURSTON MOORE Red Stage, 5:30 p.m.

www.youtube.com/watch?v=6LzUUTPFRrQ

Sonic Youth frontman Thurston Moore is widely-known for his experimental noise-riffic guitar skills, but on Moore’s recently released solo album Demolished Thoughts, the rocker gets downright romantic. The Beck-produced Demolished Thoughts is swimming with sweet, sweeping melodies, sharp acoustic guitar strums and poignant strings. It will be interesting to see how Moore pulls it all off inside Union Park. (Audrey Leon)

GUIDED BY VOICES Green Stage, 6:25 p.m

www.youtube.com/watch?v=cqmcINr4JKA

I just asked my friend three words to describe Guided By Voices, and he immediately came back with “drunk, happy, 90s.” My three words that immediately came to mind were “drunk, rock, awesome.” I’m not sure this preview needs any more information than that. (Andy Kondrat)

DAS RACIST Blue Stage, 6:30 p.m.

www.youtube.com/watch?v=NzCukmO4fhg

Possibly best known for that transcendent piece of existential crisis, “Combination Pizza Hut and Taco Bell,” Das Racist is, in fact, an extremely smart hip-hop group that use humor and playful rhymes to dance around deeper commentary. These guys are smart enough to know that substance has to underline each joke, and are talented enough to pull it off. That being said, they’re still the group that recorded “Combination Pizza Hut and Taco Bell,” so you can expect a hell of a lot of fun dancing along to their performance. (Andy Kondrat)

JAMES BLAKE Blue Stage, 7:30 p.m.

www.youtube.com/watch?v=MVgEaDemxjc

So James Blake is the next new thing, a wunderkind out of England that takes dub and samples and piano and loops and crazy shit like that to make music that makes smartypants music critics cream their jeans. But this guy is the real deal. His debut album is as good as you’ve heard it is, and none other than David Byrne of Talking Heads was quoted as saying Blake’s live show is an “emotional incantation.” I’m pretty sure this is not a performance to be missed. This is going to be the show Panda Bear should have put on last year. (Andy Kondrat)

ANIMAL COLLECTIVE Green Stage, 8:30 p.m.

www.youtube.com/watch?v=iuLdCWnuTa8

The quintessential psychedelic, experimental indie pop/rock band. Animal Collective combines possible seizure-inducing electronic beats with layers of swirling keyboard flourishes and lead vocalist Panda Bear’s high tenor voice and exotic word pronunciation. The band has been compared to Flaming Lips, Polyphonic Spree, or Beach Boys (on crack, really) but have inspired musical giants like Grizzly Bear and Four Tet. Once you get past all the insanity, the band is nothing but pure rhythm and soul. (Britni Day)

www.youtube.com/watch?v=E2mXIfA2xNs

Simply put, I would not be going to Pitchfork if it weren’t for Wild Nothing. I had already given my money and limited-capacity to handle crowds to another summer fest when a friend handed me their debut LP “Gemini.” My. God. What a record. The dream pop band from Blacksburg, VA take from the best — The Smiths, The Cure, Kate Bush — and do what’s neigh impossible amongst the surfeit of imitators: They get you not to notice. Wild Nothing hasn’t reinvent the genre but they have made a record (all of which is good) that reinvigorates my love for it. And what sweeter a situation to be in, as a music lover, than to hear your freshly minted favorite new band playing all your new favorite songs? Envy me. (Joseph Montes)

NO AGE Green Stage, 4:15 p.m.

www.youtube.com/watch?v=Jn84clPVbG4

Los Angeles nu-punkers No Age certainly turned a corner with their latest release, 2010′s Everything In Between. The record brimmed with the guitar-n-drum assault of their earlier material but added an intriguing sonic layer with electronic samples. And perhaps the best news is that the band have managed to not lose that important new piece of their sound in their live show as they’ve enlisted William Kai Strangeland-Menchaca to help out. The result is an experience both aurally exciting and mosh pit-ready. (Richard Giraldi)

THE RADIO DEPT. Blue Stage, 5:45 p.m.

www.youtube.com/watch?v=r0FoVuUYh4w

Sweden’s chief exports include, particleboard furniture, lingonberries, and stellar pop music. No joke. The country that gave us ABBA is the third-largest music exporter in the world and amongst their ilk is the wildly underrated Radio Dept. Although the dream pop band has been supplying lynchpin tracks in Sofia Coppola soundtracks for years, it wasn’t until 2010′s “Cling to a Scheme” that they earned kudos from Pitchfork and wider acclaim. Justly so, their downbeat, dance single “Heaven’s On Fire” was one of last year’s best tracks. Still, it’s just the breadcrumb on a trail of delicious pop candy stretched over three LPs and numerous singles. This band slayed when I saw them at The Empty Bottle. Don’t miss them. (Joseph Montes)

TWIN SHADOW Blue Stage, 6:45 p.m.

www.youtube.com/watch?v=IaVeApg9k-w

George Lewis, otherwise known as Twin Shadow, hit the indie rock scene in a major way in 2010 with the release of his debut Forget. Sounding like a gloomy 80s new-wave throwback, the Dominican-born Lewis stacks his sound deep with rich synths and faster beats to match his haunting vocals. Not to mention that fabulous head of hair. Somewhere Tears For Fears are weeping tears of joy. (Audrey Leon)

www.youtube.com/watch?v=Kz7vyrFhFE8

Listening to Yuck’s self-titled debut is like getting reacquainted with a dear old friend. In Yuck’s case, that friend is the electric guitar. The band has been gaining much buzz this year thanks to their blatant early ’90s alt-rock influence. But maybe even more impressive is how damn melodic Yuck’s double guitar attack just is. They managed to perfectly work the fine line between abrasive and poppy -- a combination that is practically addictive. (Richard Giraldi)

BATHS Blue Stage, 4:45 p.m.

www.youtube.com/watch?v=dHvWURUzj3Q

Will Weisenfeld (Baths) is just one man with a few choice electronic instruments, but he has the uncanny ability to convey his emotions through all the little foibles he carefully creates in each of his quirky, glitch-hop songs. From the layers of simple, organic forest sounds mixed with a stumbling beat to the magic found in the playful samples and joyful keyboards, Weisenfeld musically puts his heart on his sleeve with each infinite, stunning soundscape. (Britni Day)

SUPERCHUNK Red Stage, 5:15 p.m.

www.youtube.com/watch?v=9Lxw6A6scvU

What can I say, Superchunk are back, sort of, and what a welcome “welcome back”. Not only are they just rocking it live like they’ve always done, but Majesty Shredding was good old ‘Chunk being good old ‘Chunk. It was all quite the triumph and a well deserved victory lap that might be wrapping up. Who knows when they will re-emerge again so don’t be a damned fool and wander away to catch whoever is playing on the li’l stage. No, plant yourself firmly in front of the Red Stage and soak it all in. This was the way indie used to be, kids. Superchunk are just hear to remind you. (Ross Meyerson)

KYLESA Blue Stage, 5:45 p.m.

www.youtube.com/watch?v=q0HM958kCpQ

Speaking of the li’l stage (Blue Stage, that is), that is where the token metal band, Kylesa will be playing. I guess token is better than none, but again I admonish Pitchfork for its lack of metal. If ever there was a truly underground and independent scene, it would be the metal one. Whatever. Kylesa will rock your sweaty, pale asses off and that’s a fact. Pitchfork gave their latest, Spiral Shadow, an 8.4 for what it’s worth. And deservedly so as Kylesa have turned into a tight and massive force. Still, I must digress. With so much great local metal, it would be nice to see at least the Blue Stage littered with the likes of Indian or Nachtmystium or Bloodiest. Plus, Kylesa’s set bumps up against Superchunk’s so you’ll have to make a Sophie’s choice here. (Ross Meyerson)

TORO Y MOI Blue Stage, 6:45 p.m.

www.youtube.com/watch?v=BJPOl5onkVI

When the chillwave invasion hit hard in ’09, Toro Y Moi was there in the top tier, riding the crest. Many critics wondered about shelf life of the genre, which was lampooned for its laptop-hollow compositions and weak vocal deliveries. As time passed and interest washed out (no pun intended), somehow my appreciation of Toro Y Moi only grew. For me, he’s evolved into an incredibly talented pop artist, a creator of subdued hits that get your girlfriend dancing. I can’t explain what sets him apart, but maybe that’s the way of all new musical movements? You’ll always have your Monkeys and your Beatles. For chillwave, Toro Y Moi represents the latter. Here’s to hoping he can avoid the genre’s performance curse and deliver on a compelling live show. (Joseph Montes)

CUT COPY Red Stage, 7:25 p.m.

www.youtube.com/watch?v=sI3tstEeY7g

When this Australian dance-pop-awesomeness group popped up a couple years ago with their excellent album In Ghost Colours, I spent most of the summer playing “Out There On The Ice” and “Hearts On Fire” on repeat, because, well, those are exactly the songs you want to hear over and over during the summer. It made me worried, though, that their follow-up record wouldn’t be able to match the pure ecstasy of the first. Luckily for all of us, Zonoscope rules, too, and from all accounts, a Cut Copy show is nothing short of pure joy. Perfect for the 90 degrees it’s supposed to be on Sunday. (Andy Kondrat)

TV ON THE RADIO Green Stage, 8:30 p.m.

www.youtube.com/watch?v=dXLpXu9T7j0

Brooklyn’s experimental art rockers TV on the Radio grace Chicago yet again in support of its latest album Nine Types of Light. The album is definitive TV on the Radio. There’s groovy, danceable beats backed by a solid horn section and plenty of the a capella and soulful harmonies that we’ve come to expect from the decade-old group. If there’s a more perfect way to end a long, hot, dusty night at Union Park, I’d like to hear it. (Audrey Leon)

COMPLETE SCHEDULE

XXX = Loud Loop Pick

Friday, July 15 (gates at 3 p.m.):
XXX 8:30 Animal Collective (GREEN)
XXX 7:30 James Blake (BLUE)
7:20 Neko Case (RED)
XXX 6:30 Das Racist (BLUE)
XXX 6:25 Guided By Voices (GREEN)
5:30 Curren$y (BLUE)
XXX 5:30 Thurston Moore (RED)
XXX 4:35 Battles (GREEN)
XXX 4:30 tUnE-yArDs (BLUE)
3:30 EMA (RED)
3:20 Gatekeeper (BLUE)

Saturday, July 16 (gates at 12 p.m.):

8:30 Fleet Foxes (GREEN)
7:40 Zola Jesus (BLUE)
7:25 DJ Shadow (RED)
XXX 6:45 Twin Shadow (BLUE)
6:15 The Dismemberment Plan (GREEN)
XXX 5:45 The Radio Dept. (BLUE)
5:15 Destroyer (RED)
4:45 OFF! (BLUE)
XXX 4:15 No Age (GREEN)
XXX 3:45 Wild Nothing (BLUE)
3:20 Gang Gang Dance (RED)
2:50 G-Side (BLUE)
2:30 Cold Cave (GREEN)
1:55 Sun Airway (BLUE)
1:45 Woods (RED)
1:00 Chrissy Murderbot ft. MC Zulu (BLUE)
1:00 Julianna Barwick (GREEN)

Sunday, July 17 (gates at 12 p.m.):

XXX 8:30 TV on the Radio (GREEN)
7:40 HEALTH (BLUE)
XXX 7:25 Cut Copy (RED)
XXX 6:45 Toro Y Moi (BLUE)
6:15 Deerhunter (GREEN)
XXX 5:45 Kylesa (BLUE)
XXX 5:15 Superchunk (RED)
XXX 4:45 Baths (BLUE)
4:15 Ariel Pink’s Haunted Graffiti (GREEN)
3:45 Shabazz Palaces (BLUE)
3:20 OFWGKTA (RED)
2:50 Twin Sister (BLUE)
2:30 Kurt Vile & the Violators (GREEN)
1:55 How to Dress Well (BLUE)
XXX 1:45 Yuck (RED)
1:00 Darkstar (BLUE)
1:00 The Fresh & Onlys (GREEN)

For More information about the Pitchfork Music Festival, visit: Pitchforkmusicfestival.com.

But of course you already knew that. What you want to know is when the hell Fleet Foxes play on Saturday, right? Well, we’ve got your answer.

One quick note: looks like the stages we’ve come to know as Aluminum, Balance and Connector have been renamed Green, Blue and Red, respectively. Single day passes are still available to all three days – Sunday sold out for a moment before they released more – and can be had at Ticketweb.com for $45 per day.

Anyway, check out the complete schedule after the jump.

2011 PITCHFORK MUSIC FESTIVAL SCHEDULE:

SUNDAY, JULY 17 – gates at 12pm
8:30 (GREEN) TV on the Radio
7:40 (BLUE) HEALTH
7:25 (RED) Cut Copy
6:45 (BLUE) Toro Y Moi
6:15 (GREEN) Deerhunter
5:45 (BLUE) Kylesa
5:15 (RED) Superchunk
4:45 (BLUE) Baths
4:15 (GREEN) Ariel Pink’s Haunted Graffiti
3:45 (BLUE) Shabazz Palaces
3:20 (RED) OFWGKTA
2:50 (BLUE) Twin Sister
2:30 (GREEN) Kurt Vile & the Violators
1:55 (BLUE) How to Dress Well
1:45 (RED) Yuck
1:00 (BLUE) Darkstar
1:00 (GREEN) The Fresh & Onlys

Before the entire town obsesses over the soon-to-be announced Lollapalooza mega-lineup, we here at Loud Loop Press thought we would whet your summer festival appetite with some of our other local sun-and-fun fests.

North Coast Music Festival, which returns to Union Park this Labor Day weekend on Friday, Sept. 2 through Sunday, Sept. 4, has announced Chicago rapper Common will headline. Joining him will be gypsy punks Gogol Bordello, Brooklyn synth master Neon Indian, Pittsburgh rapper Wiz Khalifa and electro trancers Thievery Corporation, just to name a few.

Not to be outdone, Pitchfork Music Festival completed its lineup with the editions of the solo stylings of Sonic Youth frontman Thurston Moore, legendary indie rockers Superchunk, DJ Shadow, Brooklyn experimental rockers Battles and chillwaver Toro y Moi.

Pitchfork three-day passes are sold out, but you can still purchase individual day tickets for $45 each.

A North Coast Music Festival three-day pass will set you back $95 (without service fees). Single day tickets are not available until May.

Get the entire Pitchfork and North Coast Music Festivals line-ups below:

Pitchfork

Friday, July 17

Animal Collective
Neko Case
Guided by Voices
Thurston Moore
Battles
James Blake
Das Racist
Curren$y
tUnE-yArDs
EMA
Gatekeeper

Saturday, July 16

Fleet Foxes
DJ Shadow
The Dismemberment Plan
Destroyer
No Age
Gang Gang Dance
Zola Jesus
Twin Shadow
Toro y Moi
Woods
Cold Cave
Wild Nothing
OFF!
Julianna Barwick
G-Side
Sun Airway
Chrissy Murderbot

Sunday, July 17
TV on the Radio
Cut Copy
Deerhunter
Superchunk
Ariel Pink’s Haunted Graffiti
OFWGKTA
Health
Kurt Vile
Yuck
The Fresh & Onlys
Radio Dept.
Baths
Kylesa
Shabazz Palaces
Twin Sister
How to Dress Well
Darkstar

North Coast Music Festival

David Guetta
Wiz Khalifa
Thievery Corporation
Common
Lotus
Gogol Bordello
Wolfgang Garter
Little Dragon
Neon Indian
Rubblebucket
Van Ghost

and more to be announced.

Big names announced so far include Animal Collective, Fleet Foxes, The Dismemberment Plan, TV On The Radio and Cut Copy.

The line-up so far is as follows:

Friday, July 15:
– Animal Collective
– James Blake
– Das Racist
– Curren$y

Saturday, July 16:
– Fleet Foxes
– The Dismemberment Plan
– Ariel Pink’s Haunted Graffiti
– Woods
– Sun Airway
– Kylesa

Sunday, July 17:
– TV on the Radio
– Cut Copy
– Deerhunter
– Destroyer
– OFWGKTA
– Yuck

And don’t forget tickets go on sale at 12 p.m. CST today at Pitchforkmusicfestival.com. Single-day passes are $45, and three-day passes are $110.