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Weekend @ 7th Street Entry

Apr 07, 2014

It was a night of good music, good people, and good times at 7th Street Entry on April 3, 2014.

OAKS

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It was an unsurprisingly (by Minnesota standards) snowy Thursday night in Minneapolis and Weekend was scheduled to make their second appearance at the 7th Street Entry since September—this time as a headliner. First to take the stage, however, was local 2-piece, Oaks. After a minor mishap involving a candle and the bassist’s voluptuous hair, the band played a quick set consisting mostly of tracks from their 2013 post-punk effort Field Beat. Made up of just two guitarists and a drum machine, their sound resembles a combination of the heavy electronic beats from Sleigh Bells’ Bitter Rivals and Sonic-Youth-inspired noise. The nearly mechanical sounding, intensely distorted bass strumming from Jim Kolles was endearing, supporting Erica Krumm’s impressive vocal work.

CITIES AVIV

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Memphis-based rapper, Cities Aviv, was up next, showing off his commanding stage presence immediately. His music was futuristic and heavily electronic, yet almost natural in its use of elaborate musical landscapes. His trance-inducing samples and hyperactive beats were a high point for the night. While some songs were inspired by the R&B tradition, many had roots in shoegazey indie rock, making him an unusual, but appropriate opener for Weekend.

WEEKEND

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And finally taking the stage just after 11:00 was the much-anticipated headliner, Weekend. The band’s set relied mostly on older songs from each of their first two EPs and their debut album, Sports, while mixing in a few aggressive versions of tracks from their newest album, 2013’s Jinx. The band’s unique mix of raw, self-loathing vocals and lo-fi instrumentals were perfection. Their performance of “Mirror,” from Jinx was a highlight, as the lead singer relished the opportunity for a mid-song stop, allowing for brief, confused applause, before diving back into a powerful chorus. Despite the seemingly chaotic noise, the set was tight and controlled, letting loose only at the very end, as the band constructed a wall of feedback with samplers and loops, allowing electronic noise to roar as they exited the stage. The band kind of gave me that feeling that you get when you lie on your back in the middle of the desert and watch the stars explode—you know what I mean? It was perfect.

Luke Michaels