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.

1. You are right, you read the glowing-est of glowing reviews for Woods‘ Songs Of Shame and, damn, if that guy wasn’t on to something. At the time Woods played a pretty packed in-store at Permanent Records but now they are headlining the Lincoln Hall. Can the United Center be too far off? Probably. But still, Woods is a fine fine band that you should check out. Don’t just take it from current me, me of a few months ago knows what he was talking about.

2. Woodsist label mates, Real Estate, open and bring with them a sweet, summery lo-fi sound just in time for this mini-warming trend. I’m starting to get that good feeling about Woodsist. That feeling I had when I was younger where I could trust a label to give me the goods sight unseen. Real Estate is a great reason number two to get to this show as well as to dig in to the Woodsist catalog.

3. Here’s where I usually come up with a non-band related reason, often ignoring a band on the bill. Not today, friends. Chicago’s Netherfriends deserve recognition. Shawn Rosenblatt’s one man band sound bigger than most many membered bands. And, unlike many of today’s hip indie bands that explore the grandiose to a rather boring end, Netherfriends big, layered sound comes across as more melancholy and personal. I’d say tonight it would be in your best interest to get somewhere on time for once. Coolness be damned!

9:00 p.m. Monday, 3/15. Lincoln Hall. 18+. $12.

New York’s Woods have quietly been releasing lo-fi records on tape, vinyl, cd, whatever to varying degrees of success, but their newest release Songs of Shame not only fully realizes all the power and charm that lo-fi can and used to offer but might be the best release so far this year. It recalls early Built To Spill albums such as 1994′s There’s Nothing Wrong With Love but mixed in are OhSees-esque haunting vocals and, yes, a Camper Van Beethoven lean on middle eastern vibes.

Taking just one step back, you can hear the potential but lack of cohesion on Woods previous album, 2008′s Family Creeps. And that’s what makes this new effort that much more of a pleasant surprise. Family Creeps wanders at times and songs often feel unfinished. But Songs of Shame is fully fleshed out without losing any of its lo-fi charisma. Not to harp too much on the Built To Spill comparisons but, Songs of Shame bursts with a creative energy and newness the way Built To Spill’s There’s Nothing Wrong With Love did after their extremely uneven Ultimate Alternative Wavers. And album opener “The Clean” even starts out with a Car-like guitar chirp. But in no way am I implying that Woods are a mere rip-off.

Whereas Built To Spill always had a tendency for grandness even in its more humble tunes, Woods would fit right in playing on a porch or anywhere else for that matter. In that vein, “The Hold,” Shame’s second song, employs trashcan sounding drums and a guitar plucked almost into banjo submission.

The one flaw with the album, albeit minor, is the odd placement of the 9 minute plus “September By the Pete.” The track is a sprawling, 60′s tinged psych jam that by no means wanders aimlessly, it still feels to hit a little too soon and might have played out better as the middle of another tune placed later on the album. This minor set-back is quickly overcome by the short, Middle Eastern foot stomping “Down This Road.” This is the first hint of a vibe that would be fully embraced by “Echo Lake,” a song that would make Camper Van Beethoven proud. And this comparison is part of what makes Songs of Shame so refreshing. Because it truly hearkens back to the days when independent music was fiercely independent and willing to make its own rules.

There’s not a truly weak moment on Songs of Shame. The cover of Graham Nash’s “Military Madness,” with its bouncy bass and wah-wah’ing guitars is a perfect fit. “Born to Lose” sounds like Bonnie Prince Billy on helium and album closer “Rain On” finds Earl’s vocals literally reaching new heights to heartbreaking effect. Additionally, the production throughout just hits all the right notes. Yes, Songs of Shame sounds like it was recorded in one shot in a basement but all the guitar work – and thankfully there is a ton – is perfectly placed in the mix, always there but never overshadowing the songs.

It’s too early to tell if Woods is poised to pull a Perfect From Now On out of their hats nor whether they would want to. But Songs Of Shame is pretty perfect enough for now.

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Catch Woods Sunday, September 13 at the Empty Bottle. Tickets are available right now at ticketweb.com.
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The Warlockss

San Francisco’s The Warlocks, inexplicably hated by Pitchfork (seriously, search for them and you’ll find all 2′s and 3′s), are playing 2 nights at the Empty Bottle, Thurs, Aug 6 and Fri, Aug 7. So someone must like them. If you haven’t heard their druggy, shaggy, mopey haze and like that kind of bending, sighing sort of thing, check them out. Don’t let those wannabee taste makers tell you what to think (not all of us need to know what Radiohead had for breakfast). – Ross Meyerson

9:00. Friday, 8/7. Empty Bottle. $10. 21+

Bird Talk

Chicago’s Bird Talk may blandly label themselves as indie and rock on their myspace page, but you’ll hear some new wave flourishes amongst their 90′s underground sound. Live, they bring a ton of energy and a pinch their cheeks charm and, if you’re lucky, Jumpy’s glasses might come flying off. Nervous Fingers, another local favorite, open, bringing their Feelies like jangle with them. – Ross Meyerson

9:00 PM. Friday, 8/7. Beat Kitchen. $8. 21+

Woods

Woods play their only Chicago show this Sunday, Aug 9th at my favorite local record store, Permanent Records. Yes, Woods only stop is an in-store but look at it as a win-win: not only do you get to see some fine lo-fi, charming, early Built To Spill-esque indie rock but you’ll probably also walk out with a ton of sweet vinyl. The show is at 6pm but maybe get there a bit early to browse.. – Ross Meyerson

6:00 PM. Sunday, 8/9. Permanent Records. FREE.

Finally, don’t forget all the Lollapalooza aftershows!

See you at Grant Park. Don’t forget to follow us on twitter: @loudlooppress!