After an incredible first day of FYF 2012, the second part of this festival packed it’s own surprises, filling out what was already an amazing festival.
Cursive
Arriving just in time to get the proper Cursive fix in was serendipity at its finest. After waiting in line to get into the festival for an unusually long time for FYF, I thought I had missed the show, but fortunately a little determination and a lot of sprinting overcame that obstacle. Arriving a little more than half way through their set, I was lucky enough to catch Big Bang, Art is Hard, and, From the Hips, which honestly were some of the best reasons to sprint to the stage. Cursive was a great way to continue a Saddle Creek reunion, with Two Gallants the day before and Desaparecidos and The Faint playing later.
Aesop Rock
As was the case with Cursive, there was a bit of a rush to Aesop Rock, by the time that we got there the crowd had taken over the tiny little grove. The hot LA sun was bearing down on the stage warming everyone up, just to that point past comfortable. There’s fire that Aesop spits, a raw honesty that can be felt sincerely from chorus to chorus. If you ever find yourself having an urge to get down on some raw spoken word with a beat to match, Aesop’s a must see; as for the weekend he was definitely a highlight.
Atlas Sound
Following Aesop Rock was the powerfully named, and aptly so, Atlas Sound. Lone guitarist Bradford Cox perhaps feels the weight of his own music bearing down on his shoulders, a feeling he likely doesn’t share playing with Deerhunter since he has some support to help carry the sound. Whatever the reasons may be the large and grandiose feeling that is created is quite befitting to the name. It would be hard for anyone unfamiliar to his work, to sit down and listen to an Atlas Sound record and believe that it was really just him, a guitar, and an innate sense of creating deep and rich layers.
Paul Banks
Paul Banks, Julian Plenti, Interpol Reprised, whatever incarnation of the day he’s traveling under, he creates a distinct sound that can’t help to draw you in. Whether it’s in his voice, or the composition of his music, personally its in that upper echelon of enjoyment. Being a fan of Interpol for years it’s safe to say it’s created a complimentary fandom to Paul Banks. The similarities between the music are too many to list, just as the creative differences are. Through the many monikers that Banks dawns, there’s an adaptation of lyrical and musical creation that befits them all. It’s in this ability to create such an eclectic mixture live that keeps his fan base growing, bridging sounds and genres.
Desaparecidos
It’s always entertaining to watch Connor Oberst on stage, it’s even more entertaining to watch him on stage and not see him centered in the spotlight. Connor’s transition from Emo prince to Punk compatriot really could constitute as a superpower. Personally watching Oberst dawn his Punk clothes and wail on guitar, was really the only draw to watching Desaparecidos, and after a few songs the novelty quickly wore off, but it’s not my cup of tea. It then became more of a game of trying to truthfully confirm that it was him through the small gaps of hair that would part during a barrage of head-banging. They played what they play well, and at the end of the day isn’t that all that matters.
Yeasayer
Having seen Yeasayer several times since they broke out in 2007, I would first have to say this was the best experience to date; after the last time I was able to catch them in 2011 at Sasquatch! Music Festival, I never thought I would say that again. Their performance in 2011 was… well it was a little alarming. Up until that point it was powerful and airy, their harmonics would blend together into a ghostly choir made up of longhaired, thick mustached cherubs—much like All Hour Cymbals was. Of course they knew how to perform live and made it much more powerful, but at its roots it was something gentle and welcoming, at Sasquatch! it was more as if they had been bribed by Rusko to throw some deep dub into the mix—it was abrasive and overall as I mentioned, alarming. Personally it left me a little sad and wistful for the “original” Yeasayer. On this night there was something amazing birthed, a combination of the “original” Yeasayer, and the electronic monster they had begun to create over the last few years; they were able to find some middle ground which worked out beautifully for their new material and even what appeared to be their remixed older stuff, honestly who doesn’t likeSunrise at a higher BPM and little more BASS!
Beirut
After M83, Beirut was another great reason for coming—it was great to see such an eclectic mixture of music for a weekend topped off with some of Indie music’s strongest alum’s. Having only seen Beirut once before, and that being at Sasquatch! earlier in the summer, I had some idea what to expect, but that may have been setting the bar a little high. Yeah playing to the LA night skyline is pretty awesome; it’s not singing over the Columbia River at sunset. Zach and his merry band of men played well and worked to provide a tranquil and light atmosphere for the end of the night.
The Faint
As The Faint were a last minute addition to the bill, this was a surprise that really can’t be put into words. Though this did create a last minute conflict between trying to catch The Faint and watching Beirut, sacrifices had to be made, and when The Faint comes back out of hiatus to play one of their best albums, you just can’t say no…unless you don’t like them, in which case you can say no, but that would be ridiculous and I would urge you to reconsider what you’re doing with you’re life. I feel like I have to quickly note that I had some small hope, very small hope, that there would be a sporadic Norman Bailer reunion with Oberst being on earlier in the evening, sadly this wasn’t the case, but I have to imagine the odds of that really happening were at least 1000 to 1. Since Todd Fink and crew hadn’t really been seen since their all too memorable Yo Gabba Gabba performance in 2010, there was of course much curiosity as to how they would come across after the little break… well they made most…Faint. Ok, cheap joke, but seriously they didn’t miss a step, playing harder, faster, and with as much angst as ever before. They’re tour has been decked out with a new updated light display which works to create the perfect chaotic backdrop to accompany their performance. This would definitely be a must see in the coming months.
Without any question or trepidation, FYF 2012 was an unbelievable experience! The lineup was something drafted by the divine, and we were just lucky to be there. With the last several years of this festival growing at what seems like an exponential rate, it’s going to be exciting to watch how it evolves. Bigger names, bigger stages…maybe some more grass to walk on? Only time will tell.