Seeing how our staff has distinct tastes and opinions on music, it would be nearly impossible for us to determine a 10 Albums of 2010 list as a single entity without excessive bloodshed. So over the next couple of days, we’ll be posting Top 10 Albums of 2011 lists as determined by individual Loud Loop Press staff members. Today, contributor Britni Day body slams us with her list for Top 10 Albums of 2011.

This year, I felt like I was inundated with a lot of crap on the radio. If I wasn’t learning Jagger’s moves or getting my kicks pumped, then I was rolling around in the deep (whatever that means) or forced to deal with some unfortunate guy named Mr. Saxobeat. But where radio stations failed, Chicago’s musicians rose up, reminding me real talent is out there – sans auto-tune or “da club.” I’ve reserved 3 special spots for some of my favorite locals on this list. I would also like to note that even though we do not have a Top Ten Songs of 2011, “Lana Deth Ray” by Chicago’s own Rodeo is pretty bitchin’. Just like LMFAO, I have passion in my pants and I ain’t afraid to show it, so here’s your sexcellent top ten.

10. The Sweeps – The Terrible Children
Chicago’s original power-pop trio grew up into some horrid little monsters with their second album and I like it. Recorded in just two days, this album is a tighter, yet slightly unhinged version of what was heard in their debut album, Midnight at the Box. Although influences like Arcade Fire and Wilco can be heart, The Sweeps dabble in more complex directions – from dirty-bass rock to heart-felt folk – showing they aren’t just a catchy pop and structured harmonies kind of band anymore.

9. Gypsyblood – Cold in the Guestway
I’ve spent all year raving about Gypsyblood and their incredible debut album Cold in the Guestway. It’s not just because this album is filled some of my favorite fuzzed-out guitar sounds, intense kazoo backing or that alt-rock feel only a true child of the 90’s could love; but because the band’s personality is almost tangible through their music. A band like Gypsyblood puts on a great show, doesn’t take themselves too seriously and doesn’t stop playing even with the cops banging down the door.

8. St. Vincent – Strange Mercy
Annie Clark is a deceptive little shimmer-pop thing. Hearing St. Vincent in the background of a party or bar, the songs sound like these sweetly open-hearted pieces with smooth flowing melodies that blend one into the other. But, when you finally sit down and listen, you find Clark is powerfully intimate with this level of wit and snark that you can’t help but laugh at. Strange Mercy is a beautiful juxtaposition, with layered trembling keyboards, luscious strings and her rich vocal matched with sudden turns into harsh drums or abrasive guitar. Clark gives us a dose of tough love with this album and doesn’t apologize one bit.

7. Beats Antique – Elektrafone
Beats Antique takes it up another notch with their unique fusion of electro-hiphop/glitch, French gypsy jazz, and traditional Middle Eastern groove. This album marks a bit of a turning point for the band. While they could have continued along the road of up-beat, catchy hooks and club beats, instead the group takes their sound to more serious and intricate level. They explore the richer tones of bass while crisping up the organic sounds of the rare instruments they use like the saz, clay drum and violin. Electrafone is a darker album than the previous, but more thought provoking in instrumentation and sound. It’s no less exotic in beauty and no less easy to imagine the sultry belly dancing of Zoe Jakes to it at the front of the stage, but it’s a reinvented, more intelligent version of the Beats you know.

6. The Strokes – Angles
Nearly 10 years after their debut Is This It comes a version of the Strokes that sounds even more retro (is that even possible?) than before. Angles, although short and sweet, is cleaner, more catchy, but with no less of the 70’s post-punk elements for which the Strokes are known. The guys are even brave enough to dabble into a more 80’s power-pop, but still keep the same snappy guitar solos and epic vocals. It’s inspiring to see both a new album and an interesting new sound come out of The Strokes and I’m curious to see what comes next.

5. PJ Harvey – Let England Shake
“God damn Europeans, take me back to beautiful England.” My tiny Polly Jean with the huge mouth is back, exploring her own English identity through the difficult subject of war. Like Stories From the City, Stories from the Sea where Harvey touches on her time in New York and her Dorset home, Let England Shake she is once again inspired by the story behind a location close to her heart: England. While most of the angsty 90’s PJ is gone, I find this one more intelligent and willing to look beyond her own life stories as musical inspiration. This album is a softer, alt-rock Harvey, but no less powerful and complexly crafted as only my PJ knows how to do.

4. Lykke Li – Wounded Rhymes
I nearly fell out of my chair when I heard this album. Where was my sweet-voiced girl with her soft electronic songs of love? Lykke Li is no long the one-sided, shimmery soft soprano we used to know. Lykke drops her vocals into the powerful alto range, all backed by groove-laden, dark keyboards and dominant drums. Wounded Rhymes is heavy, dirty and promiscuous, nothing you want to bring home to mother.

3. tUnE-YarDs – W H O K I L L
Once again, the lady who started with a loop pedal has reinvented the possibility of noise-pop as she tosses tribal, urban, hip-hop and jazz among many sounds into W H O K I L L, all backed by her unhinged vocal melodies. You can almost hear the joy and exhilaration Merill Garbus had as she was unleashed on a full studio with a crew and backing musicians. Her sound is unique, as the layers crash one on top of the other, harsh and beautiful, showing just how much Garbus is capable of. This album is a force to reckon with that whispers of her intimacy with her lyrics and screams of her potential in the music.

2. Radiohead – King of Limbs
I spent the first two years of writing these Top Ten lists avoiding Radiohead albums because they are my favorite of all time and it’s not fair to other bands. This year, I’ve broken my silence because I am in love with King of Limbs. I’ve listened to this album (digitally, live from the Basement and on vinyl) at least twice a week since it’s come out. The ethereal stutter of glitchy music loops and the soft, mournful tones of Thom’s vocals bring this album almost back to Kid A territory. But, it’s simple, it’s catchy yet not flashy and it’s just another slight angle of the infinitely faceted musical machine that is Radiohead.

1. Loyal Divide – Bodice Ripper
I was first floored by Loyal Divide last year when their music video “Vision, Vision” made our Top Ten Local Music Videos of 2010 – ya know, the one with the stick people genocide – and I’ve been eagerly awaiting Bodice Ripper ever since. This album shows so much musical talent and lyrical insight for a debut, it’s frightening. From the powerful, breath-taking opening of “Young Blades” (which is exactly how you open an album, people) to the delicately crafted “Near Native,” Bodice Ripper is layered in such complex groovy-psych-electronic/indie-organic/whatever sounds that it reaches beyond genres, making this band nearly indefinable (slightly reminiscent of early Yeasayer or Animal Collective). Bands like Loyal Divide give me hope that the time of well-crafted, genre-evading music is still out there, breaking all of our ideals and ready to blow all of our minds.

1. I’ll admit, I became quite smitten with Miss Annie Clark after the 2009 St. Vincent release Actor. It was the perfect combination of exotic orchestral arrangements and sensual but eerie melodies. But a few weeks ago Clark released a new record under the St. Vincent monkier, Strange Mercy. This time around she’s trying to claim her rightful place in modern day guitar heroes with a record filled with dark grooves and moody arrangements that makes for a captivating listen.

2. But don’t take my word for it. Here’s a video of Clark at the Metropolitan Museum of Art in New York performing one my favorites from Strange Mercy, “Cheerleader,” which at it’s base is practically a grunge rock song with it’s blatant verse-chorus-verse structure, but of course Clark prettys it up quite a bit. Oh, and that dress? Yeah.

www.youtube.com/watch?v=F9E41K8dxWE

3. Opening tonight’s show is Welsh singer-songwriter Cate Le Bon. She’s been quite a following since her start in 2007 with her folky pop aesthetic, but what really grabs most people’s attention is her haunting vocals and harrowing lyrics.

9:00 p.m. Wednesday, October 5. The Metro. 18+. SOLD OUT.

www.youtube.com/watch?v=fVhCo7PoVpA

Seeing how our staff has distinct tastes and opinions on music, it would be nearly impossible for us to determine a 10 Albums of 2010 list as a single entity without excessive bloodshed. Therefore in the next two weeks, we’ll be posting multiple Top 10 Albums of 2010 lists as determined by Loud Loop Press editors and contributors. Today, contributor Britni Day body slams us with her list for Top 10 Albums of 2010.

Before we start, I’m sure my lovely Editor-In-Chief, Richard Giraldi, would like me to issue this warning: The views and comments of Britni Day are not necessarily the views and comments of LoudLoopPress.com and/or its staff members. The fact that Britni Day is currently in the death-grip of an awful pneumonia and simultaneously virtually incoherent due to cold medicine but awake and furiously typing because of the hyperbolic amounts of caffeine in her veins only adds emphasis to the above warning. Plus, if the views of Britni Day were also the views of LLP and its staff members, then the title of this post wouldn’t bloody be called “Britni Day’s Top Ten Albums of 2010”, would it?! Off we go, then!

10. School of Seven Bells – Disconnect From Desire
I have been a huge SVIIB fan from the moment I first heard them on Adult Swim’s collection of side-splitting in-between commercial break bumps. While the Deheza twins and Benjamin Curtis (former Secret Machines member, and I have heard it said by people that he was better off there, but I completely disagree and still challenge said people to a duel which they seem to chicken-out of every time…) normally push the limits of electro-dream pop with tribal beats and drone tones, Disconnect from Desire seemed like more of a fun exploration of indie rock for them. While the classic SVIIB dream-pop base still stands with their signature cerebral vocals, the songs are less electro-quirky and more straightforward. There isn’t a song on this album that I haven’t listened to that I don’t thoroughly enjoy. Alas, I am greatly saddened that Claudia Deheza left the band. But, I hold the hope that one day, a joyous reunion will happen and another wonderful album.

9. Sleigh Bells – Treats
Recently, it’s been explained to me that Sleigh Bells is trite garbage. Being an open-minded reviewer (I know, oxymoron), I understand why that opinion has been taken by that certain person. Although, he’s still awesome, I don’t agree, but I think we live better lives not wanting to slay each other in back alleys over it. I find Sleigh Bells to be sassy, bold and just lots of fun. I love that they tread on the grounds of electronic and indie and even give the sub-bass boys a run for their money. I adore the sweet, innocent, little girl vocals over layers of guitar, harsh keyboards, hard driving drums and that lovely teeth-removing bass. It’s like a gorgeous Audrey Kawasaki painting has come to life only to Thai-kick you in the throat. However, I will say that it’s not deep, thought-provoking music. It’s not going to peel off the layers of your soul and allow you to drown away into the feeling that someone else has created a special symphony of your entire tattered existence. No, this isn’t that kind of music (and really, maybe therapy is what you’re looking for, not music), but I’m just fine with that.

8. Kid Cudi – Man on the Moon II: The Legend of Mr. RagerThere are few rap artists out there that I enjoy and for good reason. Talking about phat booty, dolla bills and your gold chains has gotten really old and I’m over it.Kid Cudi, however, is the anti-rap rap star and that’s why he sits on this list. Man on the Moon II is a meaningful album. It’s the realization by a rap star that he was being completely stupid about drugs and relationships and needed to fess up to it. It delves into darker depths of Kid Cudi’s mind and we find it isn’t pretty.The harrowing topics he spits at us float among soundscapes that stretch into the far reaches of hip hop, Jamaican and even Indian beats. He brings in off-center sounds and musical movements that can be pop-catchy like “Scott Mescudi vs. the World” featuring Cee-Lo, or layered and complex like “Maniac” featuring St. Vincent. His indie approach to the music has always been a nice refreshing change from your usual MPC bump. Kid Cudi to me is more than just a rap star, he’s a real musician with more depth and flow than most out there. I appreciate this grim confession from him. It has given me hope in the new alt/indie-hip hop/rap/R&B movement that is gaining momentum.

7. Houses – All Night
This whole album really does sound like peace. Nearly as beautiful as the album is the story behind it. If only we could all ditch our jobs, run off to the jungles of Hawai’i, tend microorganisms and flee from giant Cane Spiders (seriously, I double-dog-dare you to Google image-search these suckers and not scream), then maybe we could truly understand all this album holds. Alas, we all aren’t as lucky as Dexter Tortoriello and Megan Messina in that respect, but we are extremely fortunate that they wanted to make an album from all of it. And what an album it is! Beautiful, ambient electronic tones and beats accompany organic instruments like piano and acoustic guitar while wistful vocals float playfully somewhere beneath. Songs sleepily blend and meld into each other, giving up touches of tribal Hawai’ian influence. As soon as the first song slowly creeps into your head, it’s almost as if you’re standing there with Dexter and Megan, hearing the lush richness of the forest and charismatic charm of the island that captured them. In some ways, it is a spiritual experience.

6. Boy King Islands – Fall
I have to start off by stating my belief that My Bloody Valentine is the quintessential shoegaze band (and, yes, The Jesus and Mary Chain and Cocteau Twins fall under this as well, but I’m not talking about them). The endless crashing off-set guitars, tinkle of occasional keys and thunderous drums while buried somewhere beneath drift the soft murmur of vocals. All that having been explained, I don’t consider Boy King Islands shoegaze. I don’t even consider them nugaze – which really is a horrid name for the post- rock, shoegaze-inspired movement because it sounds like numetal and I think that numetal is the worst thing to plague human existence since Britney Spears and the Ebola virus. However, I do think that BKI is in a category of their own, which is why they made my top ten list. I came across this album by miracle. Seriously. It was handed off to me by another LoudLoopPress.com staff member who wanted to listen to metal that day. And the metal gods must have been smiling down on me, because Fall happened to be a gift of the ages. Rich, fuzzy ambient lo-fi post-rock with lackadaisical Elliot Smith-esque vocals that have a dirty habit of twisting themselves into drilling guitar riffs with heavy bass lines and driving drums fill this album. Boy King Islands make intelligent music, blending element into element with surgical precision and adding cheeky but clever lyrics to boot (“Math is Christ, the devil’s in details, but everything exists just for me”). Every song is unexpected but always a refreshing welcome blow to the ears. My favorite part of Boy King Islands? These boys love a tasty Rhodes piano with their clashing guitar as much as I do. Delicious.

5. Ten of Swords – Dry Spell
I had been hoping for years that singer/songwriter Adam Hitchell would come out with a full-length album. When he finally did, with a full band, I nearly wet myself in glee. Coming back to the Chicago music scene as Ten of Swords, Hitchell is all that this Tarot card embodies. In the Tarot, Ten of Swords depicts a man under the weight of (or stabbed with) ten swords under an ominous sky by a calm sea and the sun peeking from behind the clouds. While this sounds like a whole lot of symbolic hooey, what it means is rebirth from a time of complete defeat. Dry Spell is all of this and more. Hitchell fills this album with simple, yet hauntingly beautiful alt-country songs that show off all his soft, husky voice can do. He sings of life, love and all the sadness and happiness that come with it. He pulls in some of Chicago’s greatest on the singer/songwriter circuit, including Arthi Meera with her perfect backing vocals and Ryan Suzuka with his passionate harmonica playing. The whole album is mind-blowing and I can’t even believe that you’ve read this all the way to the bottom and haven’t bought it yet. Go!

4. Beats Antique – Blind Threshold
I have two words for you: Zoe Jakes. I mean, of course this is the band that brought together a fusion like nothing I’ve ever heard before. Pairing gorgeous Middle Eastern music produced by organic brass and string instruments with smooth electronic beats may sound a little strange but it’s the sweetest mana for the ears. From behind wires, laptops and modern computer-generated sub-bass, Side Car Tommy and David Satori produce passionate swellings of exotic, spiritual music with violins, trumpets and Turkish banjos. This third album is a pinnacle for Beats Antique and shows just how this feisty trio has come into their full stride. However, the music isn’t just all of it. To fully experience all that Beats Antique has to offer, you must really see them live. Because there is a very delicious cherry that dances atop this voluptuous music: a stunning, award-winning belly dancer with a hunger in her blue eyes like a jungle cat and the moves of the best breakbeat dancers out there, Miss Zoe Jakes.

3. The Gorillaz – Plastic Beach
I’ve said it before and I’ll say it again (even though long-distance staffer Andy Kahn disagrees): Snoop Dogg is the sex. And the fact that Damon Albarn not only got the Snoop D-O-double-G on an album for his imaginary cartoon band, but also Mos Def, De La Soul, Lou Reed, Gruff Rhys, The National Orchestra for Arabic Music and Bruce Willis in his music video for “Stylo”, makes Albarn the official Super-Pimp of cameos. Welcome to the world of the Plastic Beach, kiddies – another rousing addition to the story of Albarn’s post-apocalyptic musical world. This album shows just how far Albarn can push himself in composition and pull together an array of talented artists. He dabbles in orchestral arrangements, turns himself loose on electro-indie pop songs and keeps the hip-hop love alive. His lyrics range from the haunting imagery of child labor found in “Empire Ants” to the light-hearted cry of “All hail King Neptune and his water-breathers” from De La Soul in “Super-Fast Jelly Fish”. While this still isn’t my favorite album from The Gorillaz (Albarn will have a hard time topping Demon Days for me), this is hands-down one of the most amazing albums to come out of 2010. Although, I’m still trying to figure out what exactly comprises a “glitter freeze”. Sounds yummy, though!

2. Baths – Cerulean
There are only a few bands this year that have made me get out of my seat and shake what my mama gave me. The best of these is Baths with his album Cerulean. This whole album is upbeat, quirky, ambient glitch-hop, but the best part is the feeling you get from the music. Will Weisenfeld (Baths) has the uncanny ability to convey his emotions through all the little foibles he carefully creates in his songs. From the layers of simple, organic forest sounds depicting the dark reality of death in “Lovely Bloodflow” to the magic found in the joyful keyboards of “Aminals”, the whole album is the equivalent to a heart on his sleeve. The immense details that have gone into the lush layers of the album are jaw-dropping. Every song pulls you into its own world and shows you all its strata, flora and fauna, then spits you out for the next song to grab you. The landscape is infinite and stunning and I’ll never stop coming back to see what new things I can discover. He puts everything he believes in into his music and that’s what makes him incredible.

1. A Sunny Day in Glasgow – Autumn, Again
It seems the latest trend is for bands to take on a little influence from the wild synth-pop bands of the 80’s (think key-tar meedling). While most don’t seem to get it right and end up with a pile of over-dramatic, disgusting synth-shite (I’m angrily shaking my fist at you, Goldfrapp), ASDIG has once again shows us all how it should be done. Autumn, Again is a gorgeously crafted album. This band knows exactly how to layer, blend and orchestrate songs that give you the sort of shivers that can only be accompanied by a smile. Still filled with the classic ASDIG clashing, dreamy vocals, sparkly keyboards and shoe-gaze guitars, Autumn, Again has an even more controlled and mature atmosphere. While Ashes Grammar was very much shoe-gaze inspired, Autumn, Again is a reining-in and display of careful thought and growth into their own sound.
From the playful keyboards and airy vocals of “How Does Somebody Say When They Like You?” to the infinite and finely speaker-panned left, right layers of “Autumn, Again”, ASDIG has created a full-blown masterpiece.

The Pitchfork Music Festival is a week behind us so I wanted to take a quick look back at what took place, and break down the various good and bad aspects of the fest.

It’s hard to argue that the event wasn’t a resounding success. Outside of the oppressive heat that always seems to show up around P4K weekend there are few major complaints from me and from what I gather most everyone else that attended.

Let’s start with the good:

- The Music

This year’s lineup was the best compilation of acts brought together since the festival’s inception and the addition of a full comedy lineup on Friday was a solid improvement. The reunited Pavement’s performance proved they are truly the definition of a headliner. Any questions about whether LCD Soundsystem deserved top-billing was quickly squashed in moments shortly after they took the stage and the festival by storm. LCD Soundsytem’s set stood out from the rest as the biggest, baddest, kicking-ass-and-taking-names show of the weekend. And they had lasers. Broken Social Scene, Wolf Parade, St. Vincent, Beach House and Lightning Bolt were other highlights for me.

www.youtube.com/watch?v=gwTdYoyCMt4

- The Experience

I have to say, the crowd at the festival was and typically is one of the most well behaved and under control groups at an event this size. I saw no fights, no arrests, no OD’s, no one spun out on drugs and no one intoxicatedly stumbling around searching for their shoes. Cheers to you, fellow goers, for handling your shit despite the heat and humidity and keeping the place relatively clean by utilizing the abundant recycling bins. Credit also needs to go to the security and medical staffs at Union Park. Security was present and visible without being overbearing and the medical staff was courteous and prompt with care.  Thanks for the free sunscreen at the first aid tent too.

- The Vending

Having previously spent more than half a decade as a vegetarian I was more than pleased to see all of the vegetarian and vegan options made available to attendees. And there were plenty of other tasty and varied options for the omnivores too. Everything seemed reasonably priced and well stocked too. The Flatstock area with a collection of concert poster artists was great to stroll down and interact with the folks behind the prints. Equally impressive was the CHIRP Record Fair and Other Delights tent that was home to a wide range of labels from all over. I had to consciously stop myself from going in there to feed my vinyl addiction (though, I did manage to pick up a few choice Numero Group releases).

www.youtube.com/watch?v=BQXgwkvu_Pg

All right, now here’s the bad:

-The Music

A common complaint in years past has been that with the quality of sound at the festival. While I will give credit to the overall improved sound from years past, several sets (Broken Social Scene to name one) suffered technical difficulties and particularly on Sunday there was excessive sound bleeding from one stage to the other. This year’s lineup lacked a little ‘umph’ relying heavily on chill-wave and dream-pop acts. So when Lightning Bolt finally interjected some angry energy into the lazy Sunday afternoon lineup it was welcomed but lead to a rather abrupt shift once the delightful St. Vincent followed. A more balanced flow to the acts would be nice. At the risk of agreeing with DeRo, Panda Bear’s set was a major disappointment. Different time, different place – maybe it would have been better, but the soundtrack to an Acid-Test was not what I was expecting.

- The Experience

A lot of people went to the festival again this year and while the crowd isn’t too large per se, by the end of Day 3 it started to feel a bit claustrophobic in Union Park. In a perfect world the organizers would sell a few less tickets to make getting around and finding some shade a bit easier. The area around the Balance Stage was especially congested with people on Sunday. Both getting inside the area close enough to see the band and finding a spot to take in the performance was a chore and prevented me from getting over to see a band I wanted to check out. Some of the overcrowding would be alleviated if the organizers would allow for re-entry. My biggest knock on P4K is the lack of re-entry meaning if you want to catch a band at noon you’re going to be there all day long. Why they won’t allow people to come and go is beyond me and is the biggest complaint I have every year. Maybe take a cue from Lollapalooza and only allow 3-Day pass holders the opportunity? Something, please.

- The Vending

Heineken. Again, kudos for the abundance of recycling bins and focus on being green. But the only thing green about switching from Goose Island, which is brewed right down the street, to Heineken, is the label on the new beer. No doubt Heineken’s sponsorship dollars went a long way to help stage the festival but to do so at the cost of walking away from a local brewer is as skunky as the beer they opted for. And what’s the deal with having to wait in one long line to buy a damn drink ticket only to have to get in another long line to actually purchase the drink?  If the food vendors can handle cash, why couldn’t the beer and water vendors?

So yeah, complaints are few and compliments are plentiful. Keep up the good work Pitchfork and try not to piss off any bands you might want to headline the fest next year so that they’ll allow you to webcast them.

That’s all she wrote. After three days of sunshine, music and a lot of heat, the 2010 edition of the Pitchfork Music Festival is in the bag. We’ve brought you complete coverage throughout the weekend of Day One and Day Two. Here’s where I give my thoughts about Day Three, and where you begin the countdown to next year’s Pitchfork Fest…

8:50 p.m.: Pavement

Photo by Audrey Leon

Pitchfork’s big festival grab this year was the newly reunited Pavement. The band hasn’t played in Chicago since 1999, and yet, they’ve already announced they’re coming back in mid-September. This is more lucky for us than them because they’re obviously a bit worn down having been on the reunion trek since April. Steven Malkmus admitted he had lost his voice, and therefore percussionist Bob Nastanovich took over the duties for the more straining songs such as “Unfair” from 1994′s Crooked Rain, Crooked Rain. But at times, it was even more frustrating when Malkmus pushed his “Whatever” attitude to maximum when he chose to simply omit the verses from the gloomy ballad “The Hexx” at the show’s conclusion.

However, the performance also showcased why we wanted Pavement back to badly. Their half-baked pop gems, such as “Shady Lane” in which the same structure is simply repeated, is irresistibly catchy with Malkmus’ clever vocals leading the way. Then the band seamlessly plowed through mid-90′s, 120 Minutes-favorites “Cut Your Hair” and “Trigger Cut”. Throughout the nearly 90-minute set, the band had a couple of false starts and notes were missed constantly on arguably their most well known pop hit “Stereo”. It recalled the band’s 1990′s heyday when they were at their most vulnerable. Sloppy and crass but with enough ability to write some classic tunes. And those classic tunes were confirmed to still be great in the eyes of the crowd as they latched on every guitar shriek or twangy Malkmus hook. Sure, it’s a nostalgia trip. But with Pavement’s set, never did that trip seem so familiar.

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7:35 p.m.: Big Boi

Before Big Boi took the stage, there were murmurs among audience members wondering if Big Boi would even touch Outkast material. Fears that his classic songs would go untouched flew out the window a mere 10 minutes into his set when “So Fresh, So Clean” and “Miss Jackson” emanated from the Connector stage speakers. “General Patton” from his latest release, Sir Lucious Left Foot: The Son of Chico Dusty, amped the crowd with its Choir-heavy vocals that really give the track some meaty power. The set did lose some energy at times, but when Big Boi brought on the uber-talented children from Chicago’s Finest Breakers, the fun level skyrocketed to eleven and may have even stolen the show.
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6:35 p.m.: Major Lazer

This Diplo/Switch collaboration was more performance piece than, uh, performance. Switch Hyper-sexual front and/or hype man Skerrit Bwoy plays the role to a tee. He commanded the audience to answer his obvious call-and-response of “Major!” “Lazer!” several times through the show. The over-the-top spectacle-ness alone was worth checking out, which included ladder hijinks, ballerinas and Chinese lion dancers. Not to mention Diplo confidently tossed off mashups and snippets to get the crowd going including a sample of buzz band Sleigh Bells, who would play later in the day.
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5:45 p.m.: St. Vincent

St. Vincent played Chicago four times in little over a year. Two of them were at the mid-sized club The Metro and the other was at the immense Pritzker Pavilion in Millennium Park. While, her lush soundscapes are better suited for an intimate setting, they indeed worked during her large scale performance in Millennium Park last year. Unfortunately, they don’t quite transfer as well to a hot and sweaty festival crowd. The songs were as beautiful as always, minus a rearranged “The Party” that stripped down it’s orchestration into a more minimal digital approach, but the crowd was still coming down from a Lightning Bolt or Surfer Blood high and the raw energy just lacked. It’s not St. Vincent’s fault, however. There’s not a better and more mesmerizing performer than Annie Clark when she goes wild on her guitar. If there was one fail of the day, it’s that Lightning Bolt and Surfer Blood weren’t switched stages with Surfer Blood going to the large Aluminum stage as their popularity has increased dramatically since they were booked.
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4:30 p.m.: Lightning Bolt

Days one and two of Pitchfork have been entertaining in their own right. Things on Sunday started off a bit more dense as CAVE played brilliant riff-filed set. But Lightning Bolt took their intensity, chewed it up, spit it out again and then stepped on it for good measure. Rhode Island’s noisy, two man and drum-and-bass duo brought pure brutality to the Aluminum stage. The sheer abrasiveness of the gut-shaking bass riffs fueled by the demonic speed of drummer Brian Chippendale was a pure adrenaline jolt for those who were in attendance. Brian Gibson’s bass was so loud, that unless you were within 15 feet of the balance stage, most of Surfer Blood’s hooky, power-rock was washed out.
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3:55 p.m.: Local Natives

Local Natives offered the over-packed Balance stage mid-tempo tribal beats under soaring vocal harmonies. Something like if Animal Collective went analog. While their songs were rhythmic and bright, they weren’t quite danceable or completely attention-grabbing, so most in the back half of the crowd took the time to sip lemonades to talk amongst each other. However, their set did pick up for an instant when they covered the Talking Heads deep cut “Warning Sign”.
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3:25 p.m.: Beach House

Beach House nabbed the Real Estate slot from a day earlier – your mid-afternoon chill session. Their ’80s-influenced, slow-moving echo rock was subdued and restrained. At times, even for those under the influence, their sleepy, nearly lullaby tunes made the sun drag even longer on the crowd’s already burnt backsides. The name Beach House fits the band as their latest, Teen Dream, does recall a lazy summer day – but, weather-wise, 75 and sunny feels most appropriate rather than a stuffy, 90-degree day.
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2:10 p.m.: Best Coast

New appointed Pitchfork.com buzzband of the moment, Best Coast, had the curious out in droves. Possibly the biggest crowd at the Balance stage all weekend, front woman Bethany Cosentino rattled off Sunday’s performers, and then commented about how today was the best day. It came off as a bit conceited, but she’s been the bloggers’ newest love story as of late, so she can get away with it. Still, her California sun, reverb-heavy guitar pop came out to shine on this scorcher of a day. Cosentino’s lyrics seem to reflect a laid back lifestyle that focuses on the simpler things such as boyfriends, beaches and marijuana. Pretty much right up the alley for many in attendance this weekend.
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1:30 p.m.: CAVE

Some may argue that Sunday has the best lineup for Pitchfork Music Fest 2010. Well, if Sunday Balance stage openers CAVE are any indication, that assessment may be true. CAVE came with jagged tension that lacked in days one and two. Frenzied prog riffage and pulsating bass jams were powered by thundering drums. Even though the rain caused a 15 minute delay in their set and an oddly humorous introduction by a man dressed like Fidel Castro pushed their set back five minutes longer, the band had the crowd by the throat. Inside their noisy seven-minute opuses were some undeniable grooves that they performed with Battles-like intensity.
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12:46 p.m.: Rainfork

Those who arrived early to nab a spot for Pavement had a wet welcome. Thunderstorms popped up right near Union Park around 12:20 p.m. today. It drenched the small number of fans who were already here. But, now the sun is peaking out again. So things should go on as schedule. Still, there’s a chance of more thunderstorms later this afternoon…so pack a poncho if you have one.

Time Out Chicago reported yesterday that Chicago post-rockers Tortoise joined magical freak-of-nature Beck in his Los Angeles studio for his Record Club project.

Beck’s Record Club project is a relaxed studio session where Beck and his coolest rock star friends get together to re-record classic albums.

Beck’s Record Club manifesto:

Record Club is an informal meeting of various musicians to record an album in a day. The album chosen to be reinterpreted is used as a framework. Nothing is rehearsed or arranged ahead of time. A track is put up here once a week. The songs are rough renditions, often first takes that document what happened over the course of a day as opposed to a polished rendering. There is no intention to ‘add to’ the original work or attempt to recreate the power of the original recording. Only to play music and document what happens.

Beck recently recruited members of Liars, St. Vincent and Os Mutantes to help him recreate the classic 1987 INXS album Kick. He has previously worked with Wilco frontman Jeff Tweedy and his son, Spencer, Radiohead producer Nigel Godrich, Feist, Devendra Banhart, and actor Giovanni Ribisi in past sessions.

Also joining Beck and Tortoise in the studio session was Sonic Youth frontman Thurston Moore. No word yet on just what album the group recorded together, but Tortoise band member Douglas McCombs told Time Out’s Areif Sless-Kitain that the music selection was “sort of appropriate.”

If that doesn’t get you excited, here is Beck’s Record Club covering INXS’s “Never Tear Us Apart” with St. Vincent’s Annie Clark on vocals to tide you over.

1. Because if it wasn’t for my beautiful, amazing, remarkable, perfect girlfriend, I’d be madly in love with St. Vincent. Sad, but true. I can’t pinpoint why. Maybe it’s that she has an amazing voice or writes all her own music -- even the most complex bits -- or she absolutely shreds the guitar or her angelic features or…well I think I’ll just stop there. Anyway, if you haven’t checked our her album Actor, one of my picks for the 10 best albums in 2009, I suggest you do buy or download it right now.

2. Because she’ll most likely play the amazing Actor track, not that all the tracks on the album aren’t amazing, “Laughing With A Mouth Of Blood.” Check out the video below featuring comedy duo ThunderAnt, SNL’s Fred Armisen and current NPR blogger and former Sleater-Kinney guitarist Carrie Brownstein, playing some whacky bookstore employees.

St. Vincent -- “Laughing With A Mouth Of Blood”

www.youtube.com/watch?v=0yfxoSbBhwY

3. Because…oh yeah! Opening tonight’s show is minimal, swedish-pop duo Wildbirds & Peacedrums. Check out the video to their melodic and bouncy single, “My Heart.”

Wildbirds & Peacedrums -- “My Heart”

www.youtube.com/watch?v=MvsR_vVJXSM

9:00 PM. Thursday, 2/18. The Metro. 18+. $18.

Modest Mouse has been confirmed for Friday, July 16. LCD Soundsystem and Raekwon will perform on Saturday, July 17. Finally, Sunday, July 18, offers the most confirmed acts with St. Vincent, Lightning Bolt, Sleigh Bells, Here We Go Magic, Cass McCombs and the highly rumored and anticipated Pavement reunion.

Tickets go on sale at 12 noon CST today at $40 for a single day pass and $90 for a three day pass. Purchase tickets at Ticketweb.com.

Photo Credit: Carrie Musgrave - livebabylive.com

It’s that time again, we’ve looked ahead and started filling in our calendars with all of the awesome upcoming shows headed to Chicago in the next few months. Being the good guys and gals that we are, we’re sharing our favorites with you, all of which will surely be not-to-miss performances of artists from around the globe that includes an impressive line-up of local acts. Check out below what we think are the hot Winter/Early Spring concerts, local acts are BOLD for easy access, and let us know in the comments what we may have missed.

MONDAY, JANUARY 25

Cacaw – Empty Bottle

WEDNESDAY, JANUARY 27

DJ Krush – Empty Bottle

Streets on Fire – Double Door
One of our 10 Chicago Bands to Watch in 2010, they bring angular and frantic guitar riffs as lead singer Chadwick spouts his gnarled, rambling messages over at tight rhythm section. It’s fun yet dark and, at times, nearly psychotic.

FRIDAY, JANUARY 29

Adam Franklin – Hideout

Earth Program – Ronny’s
One of our 10 Chicago Bands to Watch in 2010, and it’s their record release party!

The New Deal – Park West

SATURDAY, JANUARY 30

Cold War Kids – Vic Theatre

Pentagram – Empty Bottle

WEDNESDAY, FEBRUARY 3

Asobi Seksu – Schubas

THURSDAY, FEBRUARY 4

State Champion – Bottom Lounge

The Entrance Band, Lights, White Mystery – Empty Bottle

FRIDAY, FEBRUARY 5

Dark Star Orchestra – Vic Theatre

Gov’t Mule – House of Blues

SATURDAY, FEBRUARY 6

The Academy Is… – Metro
A special show in celebration of the 5 year anniversary of their debut release Almost Here with and opening set by Minneapolis based pop group Sing it Loud.

Dark Star Orchestra – Vic Theatre

Mavis Staples – Old Town School of Folk Music

Jemina Pearl – Beat Kitchen

SUNDAY, FEBRUARY 7

D.R.I – Reggie’s Rock Club

THURSDAY, FEBRUARY 11

Mako Sica – Hideout

SATURDAY, FEBRUARY 13

DOOM, Mos Def – Congress Theater
Rescheduled from January 29th.

Fucked Up, Kurt Vile – Empty Bottle

Gene Ween Band – Lincoln Hall

Mariah Carey – Chicago Theatre

SUNDAY, FEBRUARY 14

Mariah Carey – Chicago Theatre

MONDAY, FEBRUARY 15

Editors, The Antlers – Vic Theatre

An Evening With The Residents – Logan Square Auditorium

TUESDAY, FEBRUARY 16

Nosaj Thing – Lincoln Hall

THURSDAY, FEBRUARY 18

St. Vincent – Metro

FRIDAY, FEBRUARY 19

Four Tet – Empty Bottle

Trey Anastasio – Riviera Theatre

Smoking Popes – Reggie’s Rock Club

SATURDAY, FEBRUARY 20

Chicago Underground Duo – Hideout
Album release party for 2010’s Boca Negra on Thrill Jockey.

Patti Smith – Park West

Smoking Popes – Reggie’s Rock Club

Tortoise – Lincoln Hall

Scott Lucas and the Married Men – Schubas
Local H frontman Scott Lucas is striking out on his own with his new group The Married Men. This show at Schubas is a record release party for their debut album “George Lassos the Moon.”

The Sweeps – Bottom Lounge
One of our 10 Chicago Bands to Watch in 2010

SUNDAY, FEBRUARY 21

Bela Fleck and The Africa Project – Old Town School of Folk Music

MONDAY, FEBRUARY 22

El Perro Del Marr – Lincoln Hall

THURSDAY, FEBRUARY 25

Paul Di’Anno (original singer of Iron Maiden), Bible of the Devil – Reggie’s Rock Club

FRIDAY, FEBRUARY 26

Screeching Weasel – Reggie’s Rock Club

SATURDAY, FEBRUARY 27

Alkaline Trio, Cursive – Metro

SUNDAY, FEBRUARY 28

Cursive, Alkaline Trio – Metro
Cursive live is not to be missed. Frontman Tim Kasher is hilarious and unpredictable, which are all necessary components for a great live performance. Additionally, according to Audrey Leon Cursive’s “Mama, I’m Swollen” is one of the best albums of 2009.

TUESDAY, MARCH 2

Furthur – Auditorium Theatre

WEDNESDAY, MARCH 3

Furthur – Auditorium Theatre

Streets On Fire – Empty Bottle

One of our 10 Chicago Bands to Watch in 2010

THURSDAY, MARCH 4

Gomez – Vic Theatre

FRIDAY, MARCH 5

Citizen Cope – Vic Theatre

J. Davis Trio – Bottom Lounge

moe. – Riviera Theatre

SUNDAY, MARCH 7

The Avett Brothers – House of Blues

Magnetic Fields – Harris Theater

SUNDAY, MARCH 8

Magnetic Fields – Harris Theater

TUESDAY, MARCH 9

Califone – Lincoln Hall
All My Friends are Funeral Singers will be shown along with a live performance of the soundtrack.

WEDNESDAY, MARCH 10

Califone – Lincoln Hall

JC Brooks & The Uptown Sound – Tonic Room

Vetiver – Empty Bottle

FRIDAY, MARCH 12

Hockey – Lincoln Hall

Kreator, Voivod, Nachtmystium – Bottom Lounge

Muse – United Center

Pelican – Beat Kitchen

SATURDAY, MARCH 13

RJD2 – Metro

Ted Leo and the Pharmacists – Bottom Lounge
Ted Leo is heading back to the Windy City to blow the roof off of the Bottom Lounge with songs from his latest release “The Brutalist Bricks,” many of which were performed at Lincoln Hall’s grand opening last October.

SUNDAY, MARCH 14

Orphaned Land, Indian – Bottom Lounge

MONDAY, MARCH 15

My Gold Mask – Empty Bottle
One of our 10 Chicago Bands to Watch in 2010.

THURSDAY, MARCH 18

Experience Hendrix – Chicago Theatre

P.O.S. – Bottom Lounge

FRIDAY, MARCH 19

Gil Mantera’s Party Dream – Empty Bottle

Appleseed Cast – Bottom Lounge

SATURDAY, MARCH 20

Alice In Chains – Aragon Ballroom

Norah Jones – Chicago Theatre

WEDNESDAY, MARCH 24

Air – Riviera Theatre

JC Brooks & The Uptown Sound – Tonic Room

Matthew Good – Double Door

THURSDAY, MARCH 25

Black Rebel Motorcycle Club – Metro

Vampire Weekend – Riviera Theatre
Check out Andy Kondrat’s review of Contra, and let us know what you think of the band’s sophomore effort.

FRIDAY, MARCH 26

Tegan and Sara – Aragon Ballroom

Vampire Weekend – Riviera Theatre

THURSDAY, APRIL 1

The Black Lips – Logan Square Auditorium

Spoon, Deerhunter – Aragon Ballroom

FRIDAY, APRIL 2

Acid Mothers Temple & The Melting Paraiso U.F.O, Plastic Crimewave Sound – Empty Bottle

Passion Pit – Congress Theater

SATURDAY, APRIL 3

Xiu Xiu – Lincoln Hall

WEDNESDAY, APRIL 7

Henry Rollins – Vic Theatre

THURSDAY, APRIL 8

The xx, jj – Lincoln Hall
Each group put out killer albums last year making several of our top 10 lists.  This pairing of double consonant named bands will be grooving and moody and is already sold out.

FRIDAY, APRIL 9

Japandroids – Lincoln Hall
Check out Dan Henshaw’s review of their 2009 release, Post Nothing, a favorite of Andy Kondrat’s.

SATURDAY, APRIL 10

Mission of Burma – Double Door

FRIDAY, APRIL 16

Dr. Dog – Metro

King Sunny Ade and His African Beats – Old Town School of Folk Music

MONDAY, APRIL 19

Hot Chip, The xx – Riviera Theatre

FRIDAY, APRIL 23

Trans Am – Empty Bottle

SUNDAY, APRIL 25

B.B. King – House of Blues
The legend returns for another show at the HOB. If you haven’t seen him and Lucille do yourself a favor and get out for this concert.

THURSDAY, APRIL 29

Yeasayer – Metro

FRIDAY, APRIL 30

Owl City – Aragon Ballroom