WBEZ | Savages http://www.wbez.org/tags/savages Latest from WBEZ Chicago Public Radio en Pitchfork 2013: Here we are now, entertain us http://www.wbez.org/blogs/jim-derogatis/2013-07/pitchfork-2013-here-we-are-now-entertain-us-108129 <p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130721_3120.JPG" style="height: 413px; width: 620px;" title="R. Kelly performing at Pitchfork Music Festival. (WBEZ/Andrew Gill)" /></div><p><strong>UPDATED with a correction below *</strong></p><p>As hopefully was made abundantly clear in <a href="http://www.wbez.org/blogs/jim-derogatis/2013-07/kelly-conversations-more-questions-answers-about-r-kelly-headlining">the Kelly Conversations</a>, the Pitchfork Music Festival&rsquo;s booking of Chicago superstar R. Kelly as 2013&rsquo;s ultimate headliner raised a lot of complicated questions.</p><p>I didn&rsquo;t expect to find answers in Union Park about the big issues of separating the art from the artist and the music from the man&rsquo;s misdeeds. But it did help narrow down what the presence of the self-proclaimed Sexual Super Freak and Pied Piper of R&amp;B meant to one of the most important music festivals in the world in year eight (or nine, if we count year one as Intonation).</p><p>Neither is positive.</p><p>My first conclusion is that the appreciation of Kelly by Pitchfork&rsquo;s powers-that-be and by some (not all) of the paying customers was indeed fueled by irony. All you had to do was look at some of the unofficial Kelly merchandise for sale onsite to see that.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/1%20Kelly%20Merch%201.JPG" title="Unofficial R. Kelly bumper stickers for sale at Pitchfork (WBEZ/Andrew Gill)" /></div><p>&ldquo;Irony is a low-lead brand of gasoline that may be ecosound and gov&rsquo;t approved but it sure won&rsquo;t put a tiger in your tank, nor take you as far as either moxie or rage or conscience (even that crap!) or even crassness,&rdquo; the late rock critic Lester Bangs wrote in 1972.</p><p>To be sure, there was crassness at Pitchfork: Allentown, Pennsylvania noise-punks Pissed Jeans covered that loudly and very nicely, thank you.</p><p>There was moxie: A strong set by Mish Way and Vancouver&rsquo;s modern-day riot grrrls White Lung kicking things off on Saturday was the very definition of that word.</p><p>There was rage (thank you, Metz) and conscience (hello, El-P and Killer Mike). And, best of all, there were a few examples of both combined.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/1JB.JPG" title="Jehnny Beth of Savages (WBEZ/Andrew Gill)" /></div><p>Only an idiot could deny that this year&rsquo;s festival belonged to Savages. As powerful as London-based guitarist Gemma Thompson, bassist Ayse Hassan, drummer Fay Milton, and vocalist Jehnny Beth are on their brilliant debut album <a href="http://www.wbez.org/blogs/jim-derogatis/2013-05/savages-drop-startlingly-powerful-debut-107065"><em>Silence Yourself</em></a><em>, </em>they are 100 times more ferocious, potent, mesmerizing, and dare I say life-changing in concert.</p><p>These four smart and passionate women, each making an indelible and unique contribution to the sound of the whole, packed the field in front of one of the two main stages, and the number of mouths left agape in awe after their cyclonic assault was rivaled only by the number of those who seemed genuinely frightened.</p><p>The only other act that came anywhere close to that level of intensity and sincerity (such an old-fashioned word!) was one of Savages&rsquo; inspirations: first-generation art-punks Wire. Aging legends they may be, but there was none of the phoning-it-in nostalgia witnessed in the considerably younger Breeders&rsquo; set.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/1Colin.jpg" title="Colin Newman of Wire (WBEZ/Andrew Gill)" /></div><p>Colin Newman, Graham Lewis, and Robert Grey plus upstart addition Matt Simms were as galvanizing in their minimalist way on classic older tracks such as &ldquo;On Returning&rdquo; and &ldquo;Drill&rdquo; as they were on the new material from the riveting <a href="http://www.wbez.org/blogs/jim-derogatis/2013-05/wire-rock%E2%80%99s-greatest-super-geniuses-after-eno-106948"><em>Changes Becomes Us</em></a> and other new-millennial releases.</p><p>But Pitchfork also had irony aplenty.</p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/1PC.JPG" style="height: 295px; width: 620px;" title="Parquet Courts (WBEZ/Andrew Gill)" /></div><p>Saint Lester didn&rsquo;t make a distinction, but irony can be a useful literary tool like any other, if used correctly and sparingly. Texas-to-Brooklyn transplants Parquet Courts did exactly that as they rattled off a list of things minor (high thread count) and major (people die) that elicit the same ambivalent response: &ldquo;Forget about it!&rdquo; They hit the stage hard with their subway-train rhythms and dueling guitars, playing the songs from their great second album <a href="http://www.wbez.org/blogs/jim-derogatis/2013-01/parquet-courts-gives-us-reasons-be-cheerful-105173"><em>Light Up Gold</em></a>, and they never let up.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/1Mac.jpg" title="Mac DeMarco (WBEZ/Andrew Gill)" /></div><p>A cheaper and much more annoying brand of irony was displayed by Canadian multi-instrumentalist Mac DeMarco, who wasted half his set with dumb and painful covers of J.J. Cale/Eric Clapton, Bachman-Turner Overdrive, the Beatles, and Metallica, mocking the whole festival experience even as he took the festival&rsquo;s money and played to an eager festival crowd.</p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130721_3174.JPG" style="height: 413px; width: 620px;" title="R. Kelly (WBEZ/Andrew Gill)" /></div><p>Then of course there was the ironic appreciation of R. Kelly&rsquo;s exaggerated sex jams, with hipsters bumping and grinding to soft-porn cartoons such as &ldquo;Sex in the Kitchen,&rdquo; &ldquo;Flirt,&rdquo; &ldquo;You Remind Me of Something,&rdquo; and &ldquo;Fiesta,&rdquo; gleefully unconcerned about the real harm Kelly has done to many girls, some of whom lived within walking distance of Union Park.</p><p>As Kelly shows go, the singer was on good behavior, with no sign of the giant bed or the captive women in a cage that were for years staples of his concerts.</p><p>Instead, Pitchfork was treated to an army of white dove-shaped balloons released into the sky during the set-closing &ldquo;I Believe I Can Fly.&rdquo;</p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130721_2766.JPG" style="float: left; height: 192px; width: 190px;" title="Lil B (WBEZ/Andrew Gill)" /></div><p>For blatant and offensive onstage misogyny, Internet hype rapper Lil B was a much bigger villain. Kelly just seemed to be on auto-pilot, his voice cracking, his set padded with snippets of covers by Kanye West, Young Jeezy, and Nick Cannon, the crowd not connecting to stepping tunes like &ldquo;Happy People&rdquo; and &ldquo;Step in the Name of Love,&rdquo; and most of his songs being delivered in truncated versions of a verse and a chorus or two.</p><p>It was underwhelming, but his shows generally have been for the last decade, with little of the evidence of the genius boosters find on record or in the ever-twisting and never-ending &ldquo;Trapped in the Closet,&rdquo; which played on the loudspeakers after he left the stage.</p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/SchrieberKaskie.jpg" style="float: right; height: 162px; width: 300px;" title="Pitchfork Music Festival organizers Ryan Schrieber and Chris Kaskie (WBEZ/Andrew Gill)" /></div><p>The very mundanity of Kelly&rsquo;s performance leads to my second, sadder conclusion about his presence at Pitchfork: That the <strike>formerly Chicago-, now Brooklyn-based&nbsp;</strike> <strong>(*see correction below)</strong> brains and businessmen behind the festival and the Webzine, Ryan Schreiber and Chris Kaskie, just don&rsquo;t think that the music we embrace means anything at all in the real world. It&rsquo;s just a cool, digitally stored backing track for your oh-so-hip and groovy lifestyle at home, and every bit the ideal tool in concert for marketing and money-making that we see at the festival&rsquo;s larger corporate cousin, Lollapalooza.</p><p>Why talk about ruined lives? It just brings the party down. But this lack of soul or conscience wasn&rsquo;t always the case at Pitchfork.</p><p>Perhaps it&rsquo;s just the nature of the Old Country Buffet smorgasbord model that as a festival becomes increasingly successful, well-established, and ever more commercialized, the ethos upon which it was founded becomes increasingly obscure. The greater meaning, if ever there was one, slips further and further away. Any role that the fest had in both reflecting and stimulating a musical community inevitably erodes. And everything is reduced to mere entertainment.</p><p>Savages, Wire, and White Lung; Mac DeMarco, Lil B, and R. Kelly: There&rsquo;s no difference; it&rsquo;s all just show biz. Pay your money, get your kicks, enjoy the tunes, or just wait until the next set starts in 20 minutes. &ldquo;I feel stupid and contagious,&rdquo; some indie dude sang a million years ago. &ldquo;Here we are now, entertain us.&rdquo;</p><p>That poor deluded fellow was sneering at the very notion that music&mdash;especially underground music&mdash;ever could be dismissed as anything less than the essential lifeline tethering us to this mortal coil. Now that was irony well-employed! But that sort of idealism is lacking in many on the current scene (and, truth be told, it was lacking in many during the alternative era, too, and in every rock movement before it).</p><p>So was Pitchfork in year eight (or nine) at least entertaining? As always, it depended in large part on how much you were there for the music and how much you were there for the high-five-me partying, bro.</p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130721_2553.JPG" style="width: 310px; height: 206px; float: left;" title="(WBEZ/Andrew Gill)" /></div><p>I have long said that live music is best appreciated indoors at night. Why?&nbsp;Beyond the usual havoc wreaked on outdoor shows&mdash;scattering the best sounds to the wind, roasting people under a blazing sun, the dubious joys of dehydration, etc.&mdash;Mother Nature struck Pitchfork with a vengeance on Friday night, cutting short Icelandic goddess Bjork&#39;s performance, and dousing those enjoying heartfelt troubadours Belle &amp; Sebastian on Saturday evening (though they at least got to finish their set).</p><p>No matter how you cut it, those performances and the other highlights cited above all would have been much better experienced at Metro, Lincoln Hall, the Riviera Theater, or, really, pretty much anyplace else. And at any of those places, minus the now ethically vacant Pitchfork imprimatur of cool, maybe the music would have meant something, too.</p><p>At a time when an audience can find irony, entertainment value, or both in the music of a man who has hurt so many women, I remain undeterred in the conviction that music matters and there is meaning to the sounds we embrace or eschew. Go see Savages, and maybe you&rsquo;ll believe, too.</p><p><strong>* CORRECTION: Pitchfork Music Festival publicist Jessica Linker points out: &quot;Pitchfork&#39;s headquarters are still Chicago. 50% of their staff is here, which now also includes The Dissolve. More so, Chris Kaskie continues to live in Chicago, down in Beverly. He is not a New Yorker.&quot;</strong></p><p><strong>I regret that error. Also, I could swear Wire played &quot;On Returning,&quot; but an even bigger Wire fan than me, Aadam Jacob, says it was &quot;<span class="st">Map Ref. 41&deg;N 93&deg;W. </span>&quot;</strong></p></p> Mon, 22 Jul 2013 05:00:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2013-07/pitchfork-2013-here-we-are-now-entertain-us-108129 Girl at Pitchfork: Day 2 http://www.wbez.org/blogs/leah-pickett/2013-07/girl-pitchfork-day-2-108127 <p><p><img alt="" class="image-original_image" height="413" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130720_1201.JPG" title="(WBEZ/Andrew Gill)" width="620" /></p><p><strong>Saturday, July 20</strong>- A slightly cooler day also brought a considerably larger crowd to Union Park, with seapunks frolicking amongst bros and masses of sweaty bodies sticking together like flypaper. But hey, at least the music rocked.&nbsp;</p><p>Early afternoon began on a high note with <a href="http://whitelung.bandcamp.com" target="_blank">White Lung</a>, a Canadian punk rock band led by platinum blonde vocalist Mish Way. Although she lacked the blistering ferocity of say, Savages&#39; Jehnny Beth (I&#39;ll get to her later), Way still managed to hold her own, spouting agressive feminist diatribes over her bandmates&#39; brash and melodic wall of sound.</p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130720_0872.JPG" style="height: 413px; width: 620px;" title="Pissed Jeans (WBEZ/Andrew Gill)" /></div><p>Pennsylvania noise rockers <a href="http://www.subpop.com/artists/pissed_jeans" target="_blank">Pissed Jeans</a>&nbsp;came next, with front man Matt Korvette wasting no time in lavishing his audience with plenty of sarcastic banter and shirt-ripping. &quot;I just found out how much money we get for playing this,&quot; he hollered out to the crowd, who cheered uproariously in response, &quot;We&#39;re getting paid to eat pink ice!&quot;&nbsp;</p><p>My biggest dilemma of the day came between 3 and 5 p.m., when I had to decide between the overlapping set times of Phosphorescent and Parquet Courts, followed by Savages and Metz. I ended up choosing <a href="http://parquetcourts.wordpress.com" target="_blank">Parquet Courts</a> and <a href="http://parquetcourts.wordpress.com" target="_blank">Savages</a>, even though I had already seen both bands at Lincoln Hall just two nights earlier. Still, I knew deep down that they were just too good to miss.&nbsp;</p><div class="image-insert-image "><div class="image-insert-image "><img alt="" class="image-original_image" height="414" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130720_0952.JPG" title="Austin Brown of Parquet Courts (WBEZ/Andrew Gill)" width="620" /></div></div><p>A larger than average crowd rushed towards the Blue Stage to see the much-hyped Parquet Courts in action; and as expected, the Brooklyn punk rockers did not disappoint. In fact, their freewheeling set of&nbsp;<em>Light Up Gold</em> anthems proved even more muscular and exhilarating the second time around, with every rhythmic tumble feeding off that feverish, sun-soaked energy that only an outdoor venue can provide.</p><div class="image-insert-image "><img alt="" class="image-original_image" height="413" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130720_1235.JPG" title="Savages (WBEZ/Andrew Gill)" width="620" /></div><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130720_1375.JPG" style="height: 167px; width: 250px; float: left;" title="Savages' audience (WBEZ/Andrew Gill)" /></div><p>Next up: the London post-punk band Savages, which I knew going in would be a much harder pill for Pitchfork fans to swallow. Remarkably poised, yet often borderline scary in their unrelenting sonic assaults, the alpha-female quartet ripped through their debut album <em>Silence Yourself&nbsp;</em>with precision on fire. At first, the people around me appeared unnerved by the sneering, shorn-haired vocalist Jehnny Beth; but in only a few minutes time, she had them dumbstruck into submission and waiting with bated breath for what she would do next.</p><p>Still, despite generous applause and mostly undivided attention from the fun-in-the-sun Pitchfork crowd, I kept longing for Savages to cut their audience to ribbons in a much smaller, darker and more intimate setting. &nbsp;</p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130720_1658.JPG" style="height: 413px; width: 620px;" title="Kim Deal of The Breeders (WBEZ/Andrew Gill)" /></div><p>As Swans droned in the background for the next hour or so (cue Chicago Diner food and beer break), I could barely contain my excitement to hear&nbsp;<a href="http://breedersdigest.net" target="_blank">The Breeders</a> play&nbsp;<em>Last Splash&nbsp;</em>in full. But when the moment finally came, all I got was a sloppy, sometimes awkward retread of an album from 1993 that sounded much better back then. However, I must admit that catching a glimpse of Kim Deal just hanging out backstage was pretty awesome.&nbsp;</p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130720_1791.JPG" style="height: 413px; width: 620px;" title="Solange (WBEZ/Andrew Gill)" /></div><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130720_1754.JPG" style="height: 450px; width: 300px; float: right;" title="Solange (WBEZ/Andrew Gill)" /></div><p>Then, in perfect harmony with the Chicago sunset and long-awaited summer night breeze, <a href="http://www.solangemusic.com/#/" target="_blank">Solange</a>&nbsp;effectively stepped out of her big sister Beyoncé&#39;s shadow and into the spotlight.</p><p>Solange&#39;s Pitchfork audience was, of course, overwhelmingly white and hipster; but that didn&#39;t stop her from charming even the most awkward of dancers to get their groove on.</p><p>With a silky voice so full of soul, paired with a setlist of inspired funky R&amp;B (including a flat-out amazing cover of the Dirty Projectors&#39; &quot;Stillness is the Move&quot;) and a stage presence so sexy and endearing that both men and women couldn&#39;t help but fall in love at first sight, I also felt powerless to resist her.&nbsp;</p><p>Of all the acts that I saw and enjoyed today, this gem of a performance was by far my favorite.&nbsp;</p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/20130720_1888.JPG" style="height: 413px; width: 620px;" title="Stuart Murdoch of Belle and Sebastian (WBEZ/Andrew Gill)" /></div><p>The renewed vitality conjured by Solange lasted all the way to <a href="http://www.belleandsebastian.com" target="_blank">Belle and Sebastian</a>, the big-name headliner that suddenly had a very tough act to follow. Luckily, the Glasgow indie rockers delivered in spades, playing crisp and clean versions of classics like &quot;I&#39;m a Cuckoo,&quot; &quot;The Boy with the Arab Strap&quot; and &quot;Get Me Away From Here I&#39;m Dying&quot; as still-dancing Pitchforkers twirled about in the lightly falling rain. A magical end to the night, indeed.&nbsp;</p><p><em style="color: rgb(51, 51, 51); font-family: Arial, sans-serif; font-size: 14px; line-height: 22px; ">Leah Pickett is a pop culture writer for WBEZ and co-host of&nbsp;<a href="https://itunes.apple.com/us/podcast/wbezs-changing-channels/id669715774?mt=2&amp;ign-mpt=uo%3D2" style="margin: 0px; padding: 0px; border: 0px; font-size: 14px; font: inherit; vertical-align: baseline; text-decoration: none; color: rgb(0, 104, 150); outline: 0px; " target="_blank">Changing Channels</a>, a podcast about the future of television. Follow her on&nbsp;<a href="https://twitter.com/leahkpickett" style="margin: 0px; padding: 0px; border: 0px; font-size: 14px; font: inherit; vertical-align: baseline; text-decoration: none; color: rgb(0, 104, 150); outline: 0px; " target="_blank">Twitter</a>,&nbsp;<a href="https://www.facebook.com/leahkristinepickett" style="margin: 0px; padding: 0px; border: 0px; font-size: 14px; font: inherit; vertical-align: baseline; text-decoration: none; color: rgb(0, 104, 150); outline: 0px; " target="_blank">Facebook</a>&nbsp;and&nbsp;<a href="http://hermionehall.tumblr.com/" style="margin: 0px; padding: 0px; border: 0px; font-size: 14px; font: inherit; vertical-align: baseline; text-decoration: none; color: rgb(0, 104, 150); outline: 0px; " target="_blank">Tumblr</a>.&nbsp;</em></p></p> Sun, 21 Jul 2013 05:00:00 -0500 http://www.wbez.org/blogs/leah-pickett/2013-07/girl-pitchfork-day-2-108127 I saw god and/or Savages http://www.wbez.org/blogs/jim-derogatis/2013-03/i-saw-god-andor-savages-106114 <p><div class="image-insert-image "><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/1savages2.jpg" style="height: 437px; width: 620px;" title="(Facebook/Savages)" /></div><p>Austin, Tx&mdash;Ah, yes: THIS is how South by Southwest is supposed to work! Your feet ache from running around nonstop for the past 14 hours, then hiking two miles to yet another crappy venue with a lousy sound system. Your stomach is funky from too much meat. The mediocre to dreadful acts today have far outnumbered the good ones (four to one, to be precise; thank you, <a href="http://www.wbez.org/blogs/jim-derogatis/2013-03/more-sxsw-day-two-social-networking-and-music-pumcayo-106110">Pumcayó</a>).</p><p>And then you see god.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/1savages.jpg" style="height: 225px; width: 300px; float: left;" title="Jehnny Beth of Savages at SXSW (photo by my pal Jim Testa)." /></div><p>Based in London, <strong><a href="http://www.facebook.com/savagestheband">Savages</a> </strong>are a group of four young women on guitar, drums, bass and vocals who play with a galvanizing ferocity. Their influences, especially in terms of the unrelentingly minimalist approach to song structure, melody and image, are obvious: Wire, Gang of Four and the Slits. But there isn&rsquo;t a hint of imitation here; no whiff of anything but pure personality. You may as well never have heard another punk or post-punk band before, because that&rsquo;s the way you feel after these four finish assaulting you songs such as &ldquo;Shut Up,&rdquo; &ldquo;She Will&rdquo; and &ldquo;Husbands,&rdquo; which finds singer Jehnny Beth, a.k.a. French native Camille Berthomier, wailing, &ldquo;God, I wanna get rid of it, yeah/Rid of it/My house, my bed&hellip; my husbands!&rdquo;</p><p>And all of this in half an hour that seems to last about five minutes.</p><p>The group has just been signed to one of the best indie labels in America, with the announcement coming next week, and hopefully an album shortly thereafter. You&rsquo;ve been warned.</p><p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/xUqDckQuqcg" width="560"></iframe></p><p>After a set that exquisitely satisfying, you know that nothing else you hear this evening will even come close. Thankfully, the other great band I saw played just before Savages, at a venue almost as horrid as last night&rsquo;s Hype Hotel or the always wretched Stubb&rsquo;s. Dubbed 1100 Warehouse, this was yet another temporary club set up in a hangar-like space that reportedly usually serves as a poultry slaughterhouse.</p><p>Matt Korvette took the stage and cheekily announced that the Foo Fighters were backing David Bowie at a no-badges-needed surprise show with tons of free beer a block away, and he thought it only fair to tell everyone. None of that was true&mdash;at that moment, Dave Grohl was jamming with Stevie Nicks and Rick Springfield across town as part of his Sound City All-Stars revue&mdash;but Korvette clearly wanted to rid the room of anyone who wasn&rsquo;t worthy of the punk-rock fury that his band <strong><a href="http://www.whitedenim.com/pissedjeans/">Pissed Jeans</a> </strong>was about to unleash.</p><div class="image-insert-image " style="text-align: center;"><img alt="" class="image-original_image" src="http://www.wbez.org/system/files/styles/original_image/llo/insert-images/1pissed-jeans.jpg" title="Pissed Jeans (Sub Pop)." /></div><p>This Allentown, Pennsylvania-based quartet has recorded four merciless albums to date, the last three&mdash;including the recent <em>Honeys</em>&mdash;for Sub Pop Records. But it&rsquo;s an experience best appreciated live, where Korvette channels early Jello Biafra in the way he throws himself about the stage, and the band&rsquo;s powerful pummeling may be rewarded with an old-school &rsquo;80s-style mosh pit like the one that erupted at 1100 Warehouse.</p><p>Come to think of it, the place&rsquo;s alleged past as a slaughterhouse may have been exactly the right setting for both Pissed Jeans and Savages.</p><p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="315" src="http://www.youtube.com/embed/0B2Gww3ywDA" width="560"></iframe></p><p>&nbsp;</p><p><strong><u>My complete coverage of SXSW 2013</u></strong></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2013-03/more-sxsw-day-two-social-networking-and-music-pumcayo-106110">More of SXSW Day Two: Social networking and the music of Pumcayo</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2013-03/foo-fighting-dave-grohl%E2%80%99s-keynote-address-106099">Foo fighting: Dave Grohl&rsquo;s keynote address</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2013-03/laura-stevenson-holydrug-couple-foxygen-and-more-106090">Laura Stevenson, Holydrug Couple, Foxygen and more</a></p><p><a href="http://www.wbez.org/blogs/jim-derogatis/2013-03/imaging-jingle-crafting-crowdfunding-and-%E2%80%98born-chicago%E2%80%99-106087">Imaging, jingle-crafting, crowdfunding and &lsquo;Born in Chicago&rsquo;</a></p></p> Thu, 14 Mar 2013 23:55:00 -0500 http://www.wbez.org/blogs/jim-derogatis/2013-03/i-saw-god-andor-savages-106114