Seattle's Fleet Foxes brought beautiful harmonies back to modern music, rescuing three-part tenor singing from the vaults of Crosby, Stills & Nash. But as beautiful as "White Winter Hymnal" can be, the band hasn't yet jumped up and shown any oomph.
Orange County's Local Natives have seized that opportunity, and Sunday afternoon at the Pitchfork Music Festival they delivered a set of exciting, rhythmic music laced with the energy of post-punk as well as those sweet, core harmonies. Much of their music is built around what their voices can achieve, and the fact that they achieved it the brutal July Chicago heat is impressive. But these harmonies have teeth. Kelcey Ayer took charge of most of the proceedings, hitting beautiful high notes while bashing the bejesus out of his small stand-up drum kit. The beats he added to the regular drummer's rhythm -- sometimes Ayer would play keyboard with his left hand and drum with his right -- made songs like "Airplanes" blast like a jet engine. "Camera Talk," the evolving "Shape Shifter," the cover of the Talking Heads' "Warning Signs" -- it was all fleet and (dig guitarist-singer Taylor Rice's stache!) very foxy.
Earlier, clouds provided sweet relief from the heat just as Beach House began its Sunday afternoon set. Mother Nature knows how to set the mood. Despite the summery name, Beach House makes cool -- no, chill -- music. With piercing vocals and a hushed, daydreamy tone to the hypnotic sounds, Beach House is made for a little less light.