Maybe it was the joy of catching At the Drive-In, where we saw actual people in band T-shirts at a music festival, but of this year’s action in Grant Park, Sunday most felt like the festival’s original incarnation (still spliced with a raging dance party, of course).
With the day’s first set, Lollapalooza 2012 officially begins at 11:30 AM CST — “bright and early” for professional rock bands.
We’ll be tweeting and posting to Facebook intermittently with our thoughts, and if you’re down at Grant Park too, let us know if you’re still alive. (Today’s high temp. will be in the low 90s with 50% humidity. Drink your bubble tea.)
Tonight’s festivities end with two of the billion bands to use “black” in their names — Black Sabbath and The Black Keys. Here’s our quick list of sets to catch:
French dance-rock duo Justice brings a new dose of energy to the old-school, electro vibe of “New Lands” with an epically ridiculous video directed by Spanish collective Canada and shot in Barcelona.
Hajduch: When Justice emerged in 2007 with †, it signaled the logical end of Daft Punk‘s arena-house takeover. Chunky Ratatat riffs and absurdly compressed samples, all blown out as loud as possible — it was a tacky 4/4 onslaught that just made absolute sense. Justice was a “rock band” inasmuch as it was loud and had black leather jackets (and maybe lip-synched?) and made dance music that was very clearly informed by the trashier end of the rock-and-roll spectrum.
So now it’s 2011 and the sophomore release is out. For the talk about it being more baroque/prog/(insert term of choice denoting “wanky” here), it doesn’t sound like much else but another Justice album. Every song sounds at least a little bit like Night on Bald Mountain, and everything is loud. Also, “Ohio” pretty clearly samples the throb from NIN‘s “Closer,” which is a really good choice.
Morrow: I like the Fantasia / Modest Mussorgsky association, but I think that those baroque elements are more pronounced. “Horsepower” puts the classical influence front and center, basically from the start of the disc, “Ohio” uses harpsichord flourishes, and “Canon” sounds like, well, the type of composition for which it’s named.
Of course, you’re right that the whole thing still sounds like Justice with its French electro sound and disco bits. But I would echo that it sounds less like future-ized funk and party jams and more like Johann Sebastian Bach writing simplified dance-floor burners (for fame and women, of course).
Raised on an island with a penchant for all things sci-fi, Conrad Keely, frontman for post-punk band And You Will Know Us By The Trail of Dead, believes in a great — perhaps dark — destiny for the universe. Such spiritual beliefs and philosophical ruminations heavily inform the band’s ambitious, intricate songwriting.
A long line of Justice fans, and those “just there for the DJs,” braved the freezing-cold weather during the delayed entry into the Metro to attend the Chicago premiere ofJustice’s documentary, A Cross the Universe, at a special midnight screening on Friday, November 14.
