The 80s had hair metal and cheesy synthesized-pop. The 90s had grunge rock and boy bands. But has anyone else had trouble pinpointing the sound of the 00s? I have been searching for it for years. Is it emo? Is it singer-songwriters? It keeps me awake at night -- what have the musicians of our decade come up with to define its sound?
After five lucid hours in the Satellite Ballroom on Saturday for UPC's Fest Full of Rock, I think I have my answer. The trouble with calling it indie rock, however, is that the term could mean anything. Indie, by its definition, refuses classification. So, if I may, I would like to coin a new term -- "digital-rock."
Honestly, it's the only thing all of the bands from Saturday's event had in common, excluding David Bazan's Pedro the Lion. But I argue that he counts. Loop stations and keyboards are mainstays in Bazan's side project, Headphones. The evening consisted of four additional bands, each revolving around some sort of Korg synthesizer and/or drum-pad. Noticing this, it led me to the Holy Grail of my music-quest. The sound of the 00s is "digital-rock."
First to the stage was U.Va.'s own, Cataract Camp. This four-piece from Charlottesville carry a professional sound for their relative inexperience, reminiscent of bands such as the Dismemberment Plan or Mewithoutyou -- head boppin' rock with crunchy guitars, synth and drums that avoid the traditional two & four backbeat. Carried by their drummer, who sang from a microphone strung to his yellow sweat band, Cataract Camp is a band I would take friends to see again. While harmony and melody may have little to no place in their music, the results of this unpaid college band were impressive.
Next up was another of Charlottesville's musical spawns -- USAisamonster. The name alone is a dead give away -- this band has an agenda and they wear it on their sleeves. All songs were written about manifest destiny and the ruthless elimination of Native American tribes. Many elements of authentic Native American music swam throughout the hard rock sound. The crowd didn't seem to mind that both musicians were completely tone deaf. Sometimes, music isn't about following the rules. But I've never heard anything like it.
Third to the stage was Detroit's three-piece noise-project, Wolf Eyes. Sam Ubl said it best about the band -- "Music should not make you want to kill yourself." With titles like "Stabbed in the Face" and "Burn Your House Down," you might just want to. Aspirin, ear plugs and an open mind are absolutely necessary if you want to listen to this band. While I did not agree with the aesthetic emitting from their amps, I confess that I actually agree with the idea. Is it an art project? I might argue so. Not all art belongs in a museum. They create their own instruments and record nearly twice a year. This music runs parallel to progressive symphonic masterminds such as Schoenberg and Feldman, who studied the sounds of dissonance and chaos. Add a dash of pandemonium and a pinch of violent screaming, and you have Wolf Eyes.
David Bazan's solo project, Pedro the Lion, was an abrupt change of pace, but didn't fail to captivate the crowd. Acoustic guitar performances are delicate, and Bazan was quick to offer courtesy to the crowd for their patience, as well as a slue of sex jokes about priests and little boys. Bazan, originally from Seattle, recently moved apart from former drummer, T.W. Walsh, and now carries his intimate post-emo, quasi-political one man band around the country, sending money home to pay the bills. If you are a fan of Bright Eyes, Iron & Wine or even Dylan, Pedro's folk sound is for you.
Les Savy Fav, the headlining band, has been described by Pitchfork Media as "the best live band ever. Period." By the time lead singer Tim Harrington was outside the window singing to old ladies in the parking lot while the band kept playing, I realized Pitchfork was on to something. I can see why they made such an audacious claim, but I would change it to "the most outrageous live band ever. Period." The music, in the vein of Fugazi and other hipster dance rock bands, sells itself to some degree, but it is Harrington's antics that take the cake. He borrowed some poor kid's video camera, double looped it in his microphone cord, and swung it around his head while singing. Not to mention bouncing off the stage and coming inches away from a passionate kiss with my friend Drew, who is still questioning his sexuality. If a live show can make you do that, then hands down, it was a success.
Indie rock is pretentious. But if you are of the sort with an open mind, wishing you had cool band names to drop in conversation, then attend UPC's Springfest. We can coin new music genres together.
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