at the Pitchfork Music Festival. (Chandler West/Sun-Times)
Saturday was a day of mixed reviews. The weather: dreadful at first, delightful by nightfall. Mobile service: some hilarious tweets, though several of them were delivered two hours late. The video screen: beautifully clear this year, even though its images always seemed brighter and sunnier than reality.
Music, too. Sleigh Bells, for starters. Their reign of terror on the evening main stage alternated between hard-hitting and plain silly.
Pumped-up cheerleader Alexis Krauss, guitarist-producer Derek Miller and a second guitarist, Jason Boyer, put on a spirited track show, leaping and posing to a backing of tinny beats and high-EQ noise. Even in the wide-open park space for Pitchfork -- where they also played in 2010 -- the sound was claustrophobic. Opening with their now-signature high-EQ guitar assault, they dished music that at times aped Billy Squier ("Demons"), Roxette ("Born to Lose") and a Jamaican Jesus & Mary Chain cover band ("End of the Line"). Give Krauss props for filling in the holes with buoyant stage prancing and fierce orders for everyone to cheer, and give the crowd props for obeying. "I'm coming to get you, Chicago!" she cried as she dove into the audience. She makes a racket, but she makes it look like a blast.
Chromatics were playing for five minutes before I realized that the innocuous synth-pop I was hearing was not the piped PA music. Danny Brown's pinched, nasally, Nipsey Russell rapping was funny but flat, like his usually wild hair that the Detroit MC hid underneath a ballcap. London's Hot Chip filled the good-time, dance-party slot last year ably designed by Cut Copy, but did so by playing a batch of uptempo dance-pop that all sounds exactly the same, even their cover of Fleetwood Mac's "Everywhere." They sounded like everyband.