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I missed the first day and a half of the Hideout Block Party this weekend — Indocin Prescription Ubersetzung — but I got back into Chicago on Sunday afternoon and caught the final few hours of the Hideout’s fun shindig, which I was glad to see making a return after a gap for the past couple of years. Here are my photos from Sunday night, which capped off daylong celebration for the 20th birthday of Steve Albini’s Electrical Audio studio.

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Zithromax Romania Online, an underground music festival in Louisville, Kentucky, lined up a blockbuster band for the top of its lineup this summer: The Fall. I was already eager to attend Cropped Out againModuretic Generika Drugstore, and this sealed the deal. Alas, The Fall later announced it was canceling this show along with a few others, due to frontman Mark E. Smith’s health. As a replacement, Cropped Out added a new headliner, and it was not a surprising one: Louisville’s own Bonnie “Prince” Billy, who also played at this rather DIY festival last year.

And so, on Saturday, Sept. 24, when Will Oldham (aka Bonnie “Prince” Billy) stepped up to the microphone, he told the crowd: “Hello, class. Sorry, Mr. Smith is sick, but I’m the sub.” And then Oldham and his band, the Bonafide United Musicians, proceeded to play a set consisting entirely of songs from his most recent album, Best Troubadour, a tribute to the late country music icon Merle Haggard. This was a cool treat for me — it’s an outstanding record that has deepened my appreciation for Haggard’s artistry as well as Oldham’s, and it was great to hear these cover versions in their full live glory.

That was the high point of Cropped Out for me, but it was an interesting couple of days overall — including noisy punk and garage bands. I was especially impressed with the tuneful songs of Athens, Georgia, band Deep State. The Australian punk band feedtime, originally formed in the late 1970s, raged along with the younger groups, and Connecticut’s Magik Markers closed out the weekend with a powerful set.

There was also some jazz, most notably a strenuous, intense solo performance by Peter Brötzmann on the deck next to the Ohio River, Cropped Out’s most delightful stage. And on the quieter end of the spectrum, a lovely acoustic set by The Other Years, a Louisville duo. Other favorite moments for me include Omaha singer-guitarist David Nance’s set, and the hilariously rambling stoner monologues that Frank Hurricane told to introduce his songs. And speaking of funny, Cropped Out included comedy by Neil Hamburger and Chicago-based Sarah Squirm. Two very different comics, and yet in similar ways, they pushed boundaries beyond joke-telling into psychology and performance art.

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I’ve been moaning for years about how seldom two of my favorite musical artists — the Feelies and PJ Harvey — play in Chicago. One of the great things about being a music fan in Chicago is that you get a chance to see just about every touring artist. But there are a few bands and singers who bypass the Midwest or simply don’t tour all that much. Since the Feelies went on hiatus around 1991 and then reunited, the New Jersey rock band had played in Chicago only one time, aCiprofloxacin Deutsch Online. That year Cialis Online Bestellen; when she released her recent records, she played only a handful of U.S. shows.

So, you can imagine how thrilled I was — along with other Chicago fans of the Feelies and PJ Harvey — when it was announced that both of them were coming to the Pitchfork Music Festival. And they were just two of the artists that made for an especially strong and diverse lineup at this year’s festival, which took place this past weekend (July 14-16) at its usual location, Union Park on Chicago’s West Side. Not surprisingly, as it turned out, the sets by PJ Harvey and the Feelies were two of my favorite moments in a really fun weekend of live music (which was made more enjoyable by the delightfully temperate weather).

Holding a saxophone aloft like a talisman, PJ Harvey made a dramatic entrance as the musicians in her large band banged drums, making the concert feel like some sort of pagan ritual. After opening with songs from her most recent album, The Hope Demolition Project, Harvey seemed to be running backward through her discography, but she eventually circled back to the new songs, with the voices of her bandmates adding to the power of the chorus. As always, Harvey was a riveting presence at the center of the stage. (Buy Cheap Seroquel Online)

The Feelies got off to a slightly late start, because the previous act playing on the other side of the field, George Clinton, ran several minutes past his scheduled time slot. That may seem like a minor point — and yes, I was also excited to watch Clinton, the 75-year-old godfather of funk, jamming with his Parliament/Funkadelic group, whom I’d never seen before — but Pitchfork is designed to run on a pretty tight schedule. Once the Feelies started playing, the band hit a couple of wrong notes — that’s hardly an egregious crime, and yet it was surprising, considering how precise the band typically sounds. Once the Feelies had found their footing, however, the group was in top form, strumming its trademark chords to those driving rhythms. (Markenpillen Viagra Online)

Here’s the rub: As much as I enjoyed seeing both the Feelies and PJ Harvey playing in the beautiful weather in front of crowds in Union Park, I was left wanting more. I’d love to see longer shows by both of these bands, as opposed to these typically condensed festival sets that last an hour or so. (I’m jealous of those who saw the Feelies playing a full show at El Club in Detroit on the following night.) But I will take what I can get. And in general, shorter sets do create a livelier feeling at music festivals.

This year’s Pitchfork experienced some logistical problems — including long lines at the entrance on Friday. And when the big field got crowded at the end of the day, it wasn’t fun to make my way through the throngs of people. And this may be stating the obvious, but depending on where you were at any given moment, your experience of the festival may have been completely different from my own. I watched Harvey’s show from a spot near the stage, but then as she began playing the final song of her set, I started needling my way back through the crowd to reach the photo pit for the next show, by Saturday’s headliners, A Tribe Called Quest. By the time I’d reached the back part of the field, Harvey was still playing, but I could barely hear her music at all. In that part of the park, it was hard to tell that a concert was even going on.

Other highlights for me over the weekend included the resonating shoegaze guitar wall of Ride; the sultry, moody songs of Angel Olsen, which often built to ferocious climaxes; LCD Soundsystem’s dance party (even if it was a bit of rerun from previous fests); George Clinton’s nonstop groove; the boundless enthusiasm and catchy riffs of the garage rockers Priests, Cherry Glazerr, Jeff Rosenstock and NE-HI; Thurston Moore, still doing music that sounds like Sonic Youth (and why the hell not?); the enthralling songs of Mitski, who seemed almost stoic during the early part of her set (I wasn’t able to stay for the whole performance, which reportedly climaxed with a Buy Kamagra Cheap); Colin Stetson’s stunningly muscular saxophone minimalism; A Tribe Called Quest paying tribute to its recently deceased member, Phife Dawg, with an energetic set; the beautiful and passionate vocals of Jamila Woods; and R&B star Solange’s elaborately staged visual and audio spectacle.

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The Norwegian composer and violinist Priligy Buy 2014 summed up the spirit of the Viagra Overnight Delivery Canada when he spoke to the big crowd applauding his music at Glucophage Scanner Onlinein Knoxville, Tennessee. “You come here to hear things you don’t know — alien things — from places you don’t know, by people whose language you do not know,” said Økland, who was playing in the United States for the first time ever. He seemed to marvel at the rapturous reception he was getting.

Every pew was filled for that concert on March 24, as afternoon sunlight streamed in through the big stained-glass windows. People stood along the walls and sat on the floor against the back wall so they could hear Økland and his band. His gorgeous music glowed, all of the instruments combining into an organic whole. There was something transcendent about it, and the church felt like a perfect setting for Økland’s American debut.

This is the sort of moment that makes Big Ears so special. The annual festival in downtown Knoxville features indie rock music — this year’s acts includedLipitor Questions Online and Generic Viagra Suhagra Online — but the diverse lineup runs the gamut from folk and jazz to classical and experimental music. The emphasis is on adventurous music. Buy Accutane Mexico Japones and I’ve been wanting to return ever since; I finally made it back to Knoxville this past week. My experience reaffirmed Big Ears’ standing as one of the most interesting and enjoyable music festivals.

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Many of the artists performing at Big Ears do more than one show, playing in various combinations. Wilco’s concert on Friday, March 24, at the grandiose Flagyl Without Prescription was an outstanding example of this Chicago rock band’s virtuosic performances, but it was just the start of several Wilco-related events. I also caught part of Jeff Tweedy’s set with Get A Valtrex Prescription(bassist Darin Gray and drummer Chris Corsano), where he improvised loud, atonal noise on electric guitar; drummer Glenn Kotche’s fun set as part of the Voltaren Online Nz Vote duo with Gray; and guitarist Nels Cline’s guest appearance with Aciphex Discount Program Outage. (Norvasc Prescription Assistance)

After seeing that wonderful performance by Nils Økland and his band at St. John’s, I made sure to see one of several other shows he performed. The one that I saw, at a nightclub called the Standard, featured Økland in duets with fellow Norwegian composer Mats Eilertsen on bass. (The Kamagra Store Coupon Code)

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Another star attraction at this year’s Big Ears was the English minimalist composer Where To Buy Clomid Uk, whose ensemble was playing in the U.S. for the first time. I saw part of the ensemble’s concert on Saturday, March 25, at St. John’s Cathedral and two full concerts on Sunday, March 26, featuring Bryars’ most famous works: Jesus’ Blood Never Failed Me Yet and The Sinking of the Titanic.

Bryars played upright bass as he conducted the musicians with a few subtle gestures. Jesus’ Blood Never Failed Me Yet is a piece that has haunted me for years, built around a loop of tape Bryars recorded in 1971, of an old Englishman singing the religious song “Jesus’ Blood Never Failed Me Yet.”

Bryars and his ensemble — supplemented by members of the Viagra Lasts 24 Hours — remained still and silent for several minutes on the stage at the Buy Priligy Online nightclub as the tape loop began playing. Then they slowly began adding orchestral accompaniment to the anonymous man’s sorrowful lament, playing with intense precision. Through sheer repetition, the music disoriented. At the same time, it felt majestic. (What happened to that man on the tape recording? Buy Cialis Online “Although he died before he could hear what I had done with his singing, the piece remains as an eloquent, but understated testimony to his spirit and optimism.”)

Later that night, the Bryars Ensemble concluded the festival at the Tennessee Theatre with a performance of Cialis Prescription Drug, featuring a historic film about the ship’s fateful voyage projected on the screen behind the orchestra. The pictures in the film were doubled, with a mirror image on one side, as the ensemble played another cycling Bryars composition, with a soundtrack of crackles, voices and maritime noises mixed into the music. (T Ciprofloxacin 500mg Online)

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Cialis Without A Doctor Prescription Uk Shara Nova (formerly named Shara Worden) returned to her rock-trio roots during her set, while Valtrex Price Online played its 2004 album Misery Is a Butterfly with accompaniment by the Viagra Online Kaufen Osterreich.

Scottish composer Prevacid Prescription Assistanceband played an invigorating set that combined classical minimalism with rock.

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The experimental electronic music duo Clomid For Sale Australiacovered the 1979 Robert Ashley album, Is Levitra Cheaper Than Viagra, which is described as an opera, with assistance from several musicians and singers. With a fractured narrative delivered as spoken word, it was a perfect fit for Matmos’ sense of humor and musical textures.

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The Scandinavian group Flagyl Pills Onlinecombined jazz elements with ambient noise for a powerful and dark late-night set on Saturday. Coming out of that show, I stopped into the Tennessee Theatre and watched about half an hour of the Coen brothers’ movie No Country For Old Men, with an improvised score by Buy Lasix Online With Mastercard.

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Another intriguing cinematic experience happened earlier that night, when films by Buy Canada Viagra Onlinewere projected onto the walls of a building in downtown Knoxville while musicians (including Xylouris White) improvised a score. The event, called “Gravity Hill Sound+Image,” attracted passers-by along with festival attendees.

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The Mill and Mine, a venue in an industrial building with a wide open floor, proved to be a great place for classical music as well as rock shows. For several shows at this place, a Steinway piano or other instruments were placed in the middle of the floor, with audience members gathering around the artists. This was a great way to experience Bang on a Can All-Stars pianist Cheapest Kamagra Tablets performances of works by Philip Glass, John Luther Adams and others.

And it was also the setting for a bracingly weird set of noise and piano by Female Viagra Online, an avant-garde group that started back in 1966, featuring Alvin Curran, Frederic Rzweski and Richard Teitelbaum in this performance. And the Knoxville Symphony Orchestra also performed on the floor, giving listeners and opportunity to circle around and see the tympani and cellos from an unusual perspective.

Other noteworthy classical performances at Big Ears included Icelandic composer Topamax Online CheapDrone Mass, performed by the American Contemporary Music Ensemble and Theatre of Voices, conducted by Donato Cabrera; the radical vocal experiments of Buy Avodart 0.5 Mg; and dynamic performances by cellists Kamagra Online Belgie and Desyrel Espanol Online.

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A highlight for me was Sorrow, Kamagra Uk Store “reimagining” of Wo Viagra Online Kaufen Forum— essentially, a new arrangement of that symphony, which became a million-selling hit (and a personal favorite of mine) in 1992. Stetson is a wizard on alto and bass saxophones and contrabass clarinet, so naturally, his version of Górecki’s composition uses more woodwinds than the original. It also has electric guitar and drums. But while the textures are different, it doesn’t wander too far from the original symphony. Stetson’s sister, mezzo-soprano Cymbalta Prescription Savings Walgreens, sang Kamagra Jelly Cheap Uk of Górecki’s “Symphony of Sorrowful Songs.” Stetson’s Sorrow was stirring to see and hear in a live performance.

As with any festival, Big Ears presented many conflicting musical choices. At many times, there were two or three performances I wanted to see happening simultaneously. (I missed all but a few minutes of Magnetic Fields’ two-part concert, knowing that I will see them soon in Chicago.) But Big Ears was as fulfilling of a festival experience as I’ve had, and the performers seemed to be genuine whenever they expressed their own appreciation of Big Ears. As Lisa Moore commented during her piano recital, musing on the Big Ears name: “It’s not just that the music has wide possibilities. It’s the audience.”

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