Sunday, 6-8

MGMT, Wolfmother, Cypress Hill, Flosstradamus, and The Temper Trap will be performing at Lollapalooza 2010 between the hours of 6:00 and 8:00 p.m. on Sunday, August 8.

MGMT
Love them or hate them, MGMT are certainly a hot topic of conversation this year. After following up their hit 2007 album Oracular Spectacular with this year’s more challenging Congratulations, MGMT have forced fans to either get on board with their less poppy and more psychedelic sound or fall by the wayside. The band is feeling particularly muscular after winning a legal dispute with French President (and MGMT fan) Nicolas Sarkozy, who used their song “Kids” several times for campaign purposes without permission. The band has also succeeded in sprucing up their live show since expanding from their original 2-man lineup into their current party of five. As one of the must-see acts at this year’s Lollapalooza, MGMT will hopefully delight old fans and gain new ones with their animated and genre-crossing theatrics. Not bad for a band that was opening for Of Montreal just a few years ago. (Sunday, 6-7:15, Budweiser Stage) –text: Anna Deem

WOLFMOTHER
Sometimes there’s no use messing with a good thing. Just ask Andrew Stockdale. The leader of Aussie hard rock trio Wolfmother saw his band explode onto the scene in 2006 with heavy riffs and wailing vocals that perked up the ears of even the pickiest Led Zeppelin fans. In 2007, the young band snagged a Grammy for “Best Hard Rock Performance” for their single “Woman.” After “irreconcilable differences” shattered the original lineup, Stockdale put together a new band (which is now a quartet). While all of the original players except Stockdale have changed, the group has kept its same name and its same heavy psychedelic sound. Cosmic Egg was released last October and with songs like “New Moon Rising,” it’s clear that Stockdale’s solution to personnel changes is to play it safe with the same hooks and dizzying guitar solos that Wolfmother fans know and love. How else do you think McDonald’s stays in business? (Sunday, 6-7, Parkways Foundation Stage) –text: Bonnie Stiernberg–photo: Daniel Boud

CYPRESS HILL
Bouncing and squealing like a hydraulic low-rider, Cypress Hill dragged hip-hop a little deeper into the suburban bedrooms of the 1990s while managing to smuggle in a Latino culture that mid-America hardly knew existed. They demonstrated that hip-hop could belong to cultures not exclusively African-American without cooling into Vanilla Ice. Their debut drew musical ideas from Dr. Dre and Public Enemy alongside themes from gangsta rap, inflected with a prankster’s sneer and dense clouds of cannabis. Later albums got grimly serious as gangsta culture encountered real violence. Once the smoke cleared, hip-hop had taken root globally as a music of defiance and self-assertion that gave marginalized communities of immigrants and minorities a real feeling of power. Cypress Hill had a little to do with this. Yet the promise of radical multi-cultural American hip-hop went largely underground as its more visible artists continued to fixate on narratives about money and luxury goods. (Sunday, 7-8, Adidas Mega Stage) –text: Michael Latham

FLOSSTRADAMUS
This local DJ duo is most at home mashing hip-hop with spacey electronically-backed beats on their turntables. They built a nationwide audience by hosting parties that regularly drew an underground following. This indie status was solidified when they started remixing artists such as Charlotte Gainsbourg and distributing copies at SXSW. Less frantic than Girl Talk, DJs J2K and Autobot still create music well suited to dancing…without spilling your PBR. (Sunday, 6:30-7:30, Perry’s) –text: Cara Slingerland–photo: Clayton Hauck / everyoneisfamous.com

THE TEMPER TRAP
With grand ambitious vocals and pulsating atmospheric guitars, it’s no surprise that Melbourne natives The Temper Trap are soaring up the charts. After making waves at the Reading and Leeds Festivals before embarking on a largely sold-out U.K. tour, debut album Conditions was released in 2009 and cracked the top 100 in five countries while going platinum in Australia. Come see what all the fuss is about and you’ll discover why they make it look so easy. (Sunday, 6:30-7:30, Sony Bloggie Stage) –text: Ariel Marko

MGMT

People are disappointed because they wanted to hear something else [on the new record]. I feel like maybe they think it was some sort of self-conscious attempt to do this or do that, but I don’t think the album turned out any different than it did.

story by Garin Pirnia

With their 2007 debut full-length Oracular Spectacular, Grammy-nominated New York act MGMT (formerly The Management) generated the immensely catchy and popular “Time to Pretend,” “Electric Feel” and “Kids” and became one of the most buzzed-about bands in the past few years. Ben Goldwasser and Andrew VanWyngarden formed the band as a duo in 2002 while attending Wesleyan College. Within the span of 2004-2005, they released a couple of EPs that planted the seeds to their full-length debut. Last year, the duo became a cohesive quintet with the full-time additions of bassist Matthew Asti, drummer Will Berman and guitarist James Richardson, who all up until recently only supported MGMT on tour.

Chicago Innerview spoke with Asti (who may or may not have been stoned) from his home in New York during a brief respite from their yearlong world tour. So far this year, MGMT has made a lot of high-profile appearances including a choice slot at Coachella in April, performing on “SNL” and recording a 45-minute set on David Letterman. Asti prefers to play smaller venues than large music fests because, according to him, “at fests you don’t get a soundcheck. Everything is a little more rushed.” The success of the band seems like it’s happened overnight considering that they played Schubas two years ago and now are playing huge venues like The Riviera and Lollapalooza. Asti isn’t surprised by the trajectory, though. “It was still a progression,” he states. “There was a bunch of small steps to get there. It’s been kind of gradual baby steps.”

For the first time, the full band recorded their follow-up record together. The follow-up, Congratulations, is a record that’s garnered quite polarized sentiments since its April release. The biggest gripe among critics and fans is that the album went in a new direction and left the infectious singles of Oracular behind. The Guardian claimed the record was “mere career suicide for the band”, while the U.K. group Friendly Fires lashed out saying they’d never take such a huge leap on their second record. Yes, it’s not as accessible as their first record, but that’s not necessarily a bad thing. Gone are the dance anthems of “Electric Feel” replaced by the acoustic-driven 12-minute opus “Siberian Brakes”, their glam tribute to “Brian Eno” and a wacky video for drug-induced song “Flash Delirium”. The band also opted not to release straight singles from the record because they wanted people to listen to the album as a whole.

“I don’t have any response to it,” says Asti about the backlash. “It seems unnecessary. People are disappointed because they wanted to hear something else. I feel like maybe they think it was some sort of self-conscious attempt to do this or do that, but I don’t think the album turned out any different than it did.” He goes on to state that the new record felt like a natural progression. Goldwasser and VanWyngarden already had written the songs and had some tracks finished before the rest of the band joined them, but Asti says “everyone had their two cents.”

MGMT will be touring extensively until the end of the year, something they’ve grown quite accustomed to. Asti says they can’t really write new songs on the road, but sometimes they’ll try out new material during their soundcheck. When asked what direction he’d like to see the band take, Asti responded with, “I guess the direction it’s going in now. I think we’ve been getting a lot better at live shows and I just wanna be the best band we can be. Take no prisoners.”

MGMT :: Riviera :: June 18.

Booka Shade, DeVotchKa, MGMT, Serena Ryder, Steel Train

BOOKA SHADE
With some electronic acts assimilating into Lollapalooza’s main stages this year instead of being locked in at the now-defunct Mindfield side stage (now known as Perry’s), Booka Shade will get a chance to inspire an afternoon dance party on the asphalt. Across their three albums, the Frankfurt, Germany duo has kept things pretty consistent: well-chilled house music with underpinnings of disco and ambient techno. In a decade in which those subgenres could be tossed at dozens of production teams, the challenge then becomes self-differentiation. Booka Shade try to accomplish this without flashy noises or even the assistance of many vocal tracks, which are both, in their own way, routes to easier accessibility. Instead they employ subtle, hypnotic synthesized sounds and minimal beats — an equation that calculates well on their 2008 album The Sun & The Neon Light. It remains to be seen (and heard) if their nocturnal sound will survive the mid-day heat as the sun pounds down on East Balbo Drive. (Saturday, 3:30-4:30, Citi Stage) –text: Nick Meador

DEVOTCHKA
For DeVotchKa, it’s all about the sousaphone…and the upright bass…and the immediate sensation that you’ve stumbled upon a band of gypsies after the few first notes. This Denver-based quartet is a breath of fresh, spiced air and offers a nice change of pace alongside Lolla’s rock and hip-hop heavy menu. DeVotchKa songs are rich in both texture and spirit thanks to their wide arsenal of ten different instruments and honest vocals to match. Their big break came on Little Miss Sunshine, to which their Slavic sound provided the perfect soundtrack. For those who missed reading A Clockwork Orange in their moody developmental years, the band name comes from the Nadsat (and Russian) word for “young girl”. While most of their material sounds similar, it also sounds good. And besides, when’s the last time you’ve seen a sousaphone outside of a marching band? Not recently enough. (Saturday, 3:30-4:30, PlayStation Stage) –text: Justine Reisinger

MGMT
First off, it’s pronounced “em, gee, em, tee” and it’s short for original name The Management. Now that we’ve disposed of the perfunctory, let’s get to the heart of the matter. MGMT is the best pretend band of all time. Just take a gander at the lyrics for their space-freak anthem “Time to Pretend”: “I’ll move to Paris, shoot some heroin and fuck with the stars. You man the island and the cocaine and the elegant cars.” Although it sounds like something straight out of Scarface, this mythical debauchery is the product of MGMT’s psych-pop stars Andrew VanWyngarden and Ben Goldwasser. Sure their names sound like a Spinal Tap put-on and they wear long black capes for live performances, but the music is nothing if not genuine in its desire to levitate. The fact that it does proves MGMT is fated to do much more than pretend. (Saturday, 3:30-4:30, MySpace Stage) –text: Tim Slowikowski

SERENA RYDER
Canada has delivered another striking musical presence in Serena Ryder. Her blues-y folk pop delivered in commanding, often melismatic style enchants while her major-label debut, If Your Memory Serves You Well, is a tour de force. Ryder essentially takes a collection of vintage Canadian covers, offers them up in her powerhouse voice and erases their previous existence. Ryder’s own “Weak in the Knees” also proves she can write one helluva song on her own. (Saturday, 4:15-5:00, BMI Stage) –text: Jen Fischer

STEEL TRAIN
Steel Train is like Fall Out Boy, only slightly less annoying. Sure, they took their name from a Sublime song and sure, frontman Jack Antonoff utilizes a hackneyed juvenile twang to emphasize his point that he’s your “tramp-o-liiiiIIIIIiiiine”. But these aspects are somehow endearing, like the nerdy younger brother who you know is one day going to grow up and be cool. Or at least you hope so. (Saturday, 3:00-3:45, BMI Stage) –text: Caroline Evans

The Audition, Baby Dee, MGMT, Yeasayer

THE AUDITION
When I first heard about The Audition, the same image came to mind as all the other reviewers had described them in the past: Fall Out Boy, Swizzletree, an older Lucky Boys Confusion with more facial hair. But if I can admit to underestimating what may be one of the best local acts right now, then perhaps you can too. The Audition’s brand new sophomore release Champion is indeed a winner — in fact I’ve already waged war on a roommate who “borrowed” the CD to snatch it back. If this is Fall Out Boy for adults, then I’m glad to be of age. The more “mature” feel of the sexy soulful vibe are less cookie cutter than your typical pop/punk but as easily catchy and sing-along-y. While they may be less aggressive, their lyrics have a humor to them that may slip by some of their younger listeners. If you don’t like this band, there might be something wrong with you. (Appearing with Envy on the Coast and Danger Radio at Metro on Feb. 8) –text: Jyn Radakovits–photo: Matthew Socki

BABY DEE
When she was a child, Baby Dee watched in awe as the men on her block took their hammers, axes, and crowbars to a piano, tearing apart the instrument until all that remained was the cast-iron harp underneath. Fascinated by the instrument, Baby Dee began her professional career by playing harp in New York’s Central Park dressed as a bear. It was the beginning of an eccentric career that would include collaborations with Antony and the Johnsons and Marc Almond, as well as touring with the Bindelstif Circus. As a solo act, Baby Dee accompanies her moody chansons with harp, piano, and accordion. The addition of her thick, androgynous croon and anachronistic melodies create a sound that is more pre-war Paris than 21st-century New York. The cabaret atmosphere at her live shows is notorious, but her authentic performance reportedly makes for a captivating concert. (Appearing with Mucca Pazza at Empty Bottle on Feb. 7) –text: Caroline Evans–photo: Jim Newberry

MGMT
The pronunciation remains as enigmatic at the duo themselves (some pronounce the name in its abbreviated form while others declare it as “Management”). Since touring with Of Montreal last fall, Brooklynites Andrew VanWyngarden and Ben Goldwasser have catapulted themselves into “ones to watch in 2008″ terrain. Their just-released debut, Oracular Spectacular, has all the makings of a great indie record (albeit on a major label). Their sound covers multiple genres from classic rock to electro jams to straight-out pop. “Time to Pretend” is the first single, a hooky satiric bent on being a drugged-out rock star: “Let’s make some music, make some money, find some models for wives.” The tune “Kids” is another gem full of pulsating synths and psychedelic inklings. They encroach on early Stones terrain with “Pieces of What” and settle on funked-out basslines for “Electric Feel.” MGMT will either swim or sink in the hype, but for now they maintain a sunny forecast built upon the strength of their sound. (Appearing with Yeasayer for two shows at Schubas on Feb. 8) –text: Garin Pirnia

YEASAYER
Yeasayer is a 2008 band. And by that I mean they’re modern. Hipsters like them. The Brooklyn-based band takes old, even ancient, musical ideas and instead of deriving strict influence from them, they take those sounds and morph them into a ball of raging synth fire. In an attempt to describe their sound, simply not knowing what the hell else to call it, the band might refer to itself as “Middle-Eastern psych pop snap gospel”. Okay then. Yeasayer first gained media attention at SXSW and have now birthed a grand debut, All Hour Cymbals. Yeasayer’s choice of strategically placed instruments and sounds creates a textured, layered, abstract aura. Synthesizers, drone pop, and heavy beats hearken back to the Rapture, and more extensively, to David Byrne and Talking Heads. The whole sci-fi, chanting, New Age synth pop that Byrne put on the map in the ’80s was very ahead of its time — not unlike what Yeasayer is doing now. (Appearing with MGMT for two shows at Schubas on Feb. 8) –text: Katie Knaub