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Transverso's Guide to Lollapalooza 2016

Music ListTransverso MediaComment

Longtime staple of both the Chicago and music festival experiences, each year Lollapalooza earns their reputation as one of the premiere menageries the performance industry can offer. Lolla, as the kids call it, needs no introduction at all, in fact, but we’ve written one anyway to justify our staff compiling such a lengthy list of recommendations (and condemnations) for this year’s edition. So if you’re still building your schedule, torn between conflicts, or just don’t know much about the bands that’ll be there, this is the guide for you!


THURSDAY


Pinegrove (Petrillo Bandshell 12:15-1:00)

So you didn’t want to go to Lollapalooza. It’s too big, too loud, and way too crowded, but your friends talked you into buying a ticket and now you’re at a goddamn music festival at noon on a goddamn Thursday. New Jersey punks Pinegrove feel your pain. On their incredible new album Cardinal, singer-guitarist Evan Stephens Hall crafts antisocial anthems that thread the line between emo and country, alchemizing unease and isolation into universally relatable howl-alongs. (Standout single “New Friends” is a rousing power ballad about deciding to have more than three acquaintances.) Pinegrove specialize in songs that sound great screamed in a giant crowd or whispered alone in your room, and their festival-opening slot offers you a rare chance to choose the former over the latter.  (Julian Axelrod)

Autolux (Samsung 12:45-1:30) 

Coming off a delightfully peculiar and long-awaited return on Danger Mouse’s 30th Century Records with Pussy’s Dead, Autolux are uniquely melancholic in a captivating way. Despite their relatively under-the-radar history, you may know founding member and multi-instrumentalist Carla Azar as one of Jack White’s main studio and touring drummers. (Weston Pagano)

Lucy Dacus (BMI Stage 1:00-1:40)

Seeing a festival set based on one song is a risky proposition, but early Thursday afternoon is a prime time for experimentation, and when the song is as good as Lucy Dacus’s “I Don’t Wanna Be Funny Anymore,” it’s not much of a risk. The track is a deft, subtle breakdown of the ways women are pigeonholed into types – the Funny Girl, the Cute Girl, the Groupie. It’ll have you laughing as you cringe with recognition, a trick Dacus pulls throughout her strong debut No Burden. The record recalls sarcastic storytellers like Jenny Lewis and Courtney Barnett, but comparing Dacus to other women does her a disservice. Don’t come to this show to see a Type – come to see Lucy Dacus kick ass. (Julian Axelrod)

Hiatus Kaiyote (Petrillo Bandshell 2:00-3:00)

The Melbourne-sprung Hiatus Kaiyote lead off early in the festival, and is a standout performer among its peers. This is a must see act, particularly anyone trying to bend their knees and swing their hips. Coming off a salutary reprise of "Laputa” in collaboration with Taylor McFerrin and Anderson Paak in April, the psychedelic soul outfit is in top form. Lolla is the first stop on their lengthy North American tour, so they should be full authentic giddiness and energy. Whether you’re trippin’ hard on something good and need a deep groove or atmospheric musings to set your mind right, want to get down’n dirty with some dance moves, or just want to vibe with a beer in hand, Hiatus has got you covered. (Andrew Meriwether) 

Yeasayer (Lakeshore 3:30-4:30)

Despite their latest LP being named Amen & Goodbye (arguably one of the best and most under-appreciated records of 2016), Yeasayer will be saying hello to Chicago for the third time in as many months when they ascend the Lakeshore Stage on Thursday. Not that we could get tired of seeing them, though, as the psychedelic freak-folk rock electro-pop trio wear many hats and wear them exceedingly well. Don’t miss their aftershow-that’s-really-a-preshow on Wednesday, as their sound always conveys better indoors and their impeccably intriguing performance decorations that play with the Sgt. Peppers-esque album art direction motif will likely not make it onstage at the festival itself. (Weston Pagano)

Wild Child (BMI 4:30-5:10)

I first saw Wild Child after we interviewed them at SXSW. It was in a small church downtown in their native Austin, and every time the band swore - in a song or otherwise - they semi-jokingly cringed and asked “Can we say that in here?” They’re the cutest folk outfit, but now they can say whatever the fuck they want out in Grant Park as well. (Weston Pagano)

The Arcs (Lakeshore 7:30-8:30)

Once you listened to a couple Black Keys records, you’ve pretty much listened to them all, right? So why go see Dan Auerbach, the lead vocalist and guitarist of BK, when you’ve got the plenty of other artists who could punch your eardrums? Because The Arcs, Auerbach’s most recent solo project, are not a blues rock band, and because they kick a lot of ass. On 2015's very well received Yours, Dreamily, Auerbach delves into the psychedelic and macabre both musically and lyrically; a refreshing departure from his past productions. His time behind boards as a producer has also broadened his sound beyond riff-a-licious jams to include horns, synths, and a dizzying collage of other fantastic instrumentation. Fit this veteran into your evening schedule - you won’t be disappointed. (Andrew Meriwether) 

Lana Del Rey (Budlight 8:45-10:00)

Do people really still like Lana Del Rey? (Weston Pagano)


FRIDAY


Lewis Del Mar (Bud Light 12:45-1:45)

After surfing with MGMT convinced them to sign to Columbia, Lewis Del Mar burst onto the scene with a confident "Can you please sit the fuck down?" We assume they'll be asking - and getting - the opposite this Friday. (Weston Pagano)

Joey Purp (Perry’s 2:30-3:15)

There is a truly astounding amount of incredible rap coming out of Chicago right now, and the city’s vital scene is well represented on the Lolla lineup, from perpetually rising star Vic Mensa to Rick Rubin disciple Towkio. Joey Purp may not have the same recognition as his comrades at the fest (yet) but he’s making the most interesting music. His mixtape iiiDrops crackles with inspiration as Purp recounts his violent upbringing and with a dead-eyed mumble, somehow sounding sleepy and urgent simultaneously. And the man has an incredible ear for beats, from the throwback Neptunes funk of “Girls @” (with Chance the Rapper) to the dying elephant bounce of “Photobooth.” Whether you’re a Chicago native or a first-time visitor, don’t miss this preview of the city’s next big star. (Julian Axelrod)

Foals (Samsung 4:00-5:00)

Still on the road a year out from their fourth LP What Went Down, Foals bring one of the most aggressively exhilarating indie rock sets to the festival stage. The youthful hints of mathiness in their set have been all but drowned out in favor of their more mature, denser sound of late, but you won’t be able to analyze much of anything with Yannis Philippakis shredding guitar whilst splayed out on top of you. Look for “Inhaler” to turn the droves of calmly-swaying-white-guys into an animalistic frenzy as cries of “I can’t get enough SPAAACE” go from purely metaphorical to literal, too. (Weston Pagano)

Sunflower Bean (BMI 6:50-7:30)

Sunflower Bean finds themselves in the unfortunate predicament of being surrounded by heavy reputations: Future, Miike Snow, and M83 are all set to perform in neighboring time slots. But for the rock fan whose feelings on grunge-rock are more fond than ill, Sunflower Bean may be the band to see. Their post-punk is fast and aggressive and guitarist Nick Kivlen is a true virtuoso on the axe. If you’re swayed more by advocacy, the Brooklyn-based band stands opposed to the plethora of shoegaze that the New York borough’s music scene has been producing. So if you’re in the mood for aggressive guitars or feel like protesting the shoegaze genre, check out Sunflower Bean.  (Ezra Carpenter)

Miike Snow (Lakeshore 7:00-8:00)

Those of you who still don’t know Miike Snow probably are familiar with Britney Spear's "Toxic" and Bruno Mars' "Grenade," the world-beating hits the Swedish writers and producers were the masterminds behind. But for the rest of us, it's been a few years of waiting for them to tour again like they are now in support of their latest record, iii. After their hiatus the first few shows were noticeably rusty at times (frontman Andrew Wyatt nearly killed a girl with a mic stand when I saw them at SXSW in March), but they’ve almost certainly gelled back to their delightful old ways since then. Either way, their uniquely engaging brand of perfect pop that blends professional polish with indie edge make this a set you should see. (Weston Pagano)

M83 (Samsung Stage 6:00-7:00) 

Friends, family and fellow 2011 nostalgists: We are here today not to bury M83, but to praise them. (Or rather, him.) While many people populate the stage at an M83 show (including Dallas musician Kaela Sinclair, who joined the touring band after an open call for keyboardists) the project is the brainchild of Anthony Gonzalez. The French pop mastermind was thrust into the mainstream on the heels of hit single “Midnight City,” which you might know on the off chance you’ve seen a movie, TV show, or commercial in the past 5 years. This year’s follow-up album Junk seemed at first like a decisive (and divisive) left turn away from the epic, windswept pop anthems that cemented M83’s place atop festival lineups, filled with overtly cheesy synth struts and melodramatic strings that evoke the elevator music in an overpriced '80s hotel. But like a weird foreign soap opera you find on cable at 3 AM and end up watching until sunrise, Junk is packed with peculiar pleasures. Give yourself up to Gonzalez’s vision of a pop utopia – it is a world unlike any other.  (Julian Axelrod)

Radiohead (Samsung Stage 8:00-10:00)

No introduction needed for this Friday headliner, but the release of LP9 and the reintroduction of “Creep” to the band’s set has reinvigorated fan curiosity and interest. Firstly, Radiohead has consistently played A Moon Shaped Pool true to its tracklist until its fifth track: “Ful Stop.” The front end of the album has been well-received for its stoic and somber tone, so expect to get very intimate with the band from an early onset. Now onto the issue of “Creep.” We get it, the majority most probably despises the reinclusion of the band’s 1993 single. However, this majority is also likely comprised of fans who have followed Radiohead’s progression since the release of 1993’s Pablo Honey. So to the younger Radiohead fan: this may be one of the few times you will ever hear “Creep” performed live if you haven’t experienced it already. However one may feel about the song, it is undoubtedly a privilege to hear it performed live. EDM fans will be split between Martin Garrix and Major Lazer, so the Radiohead crowd should consist of a homogeneous set of genuine Radiohead fans. (Ezra Carpenter)


SATURDAY


AudioDamn! (BMI 1:00-1:45)

Fresh-faced and endearing, the up-and-coming German trio told Transverso all about their debut EP and subsequent first American tour in our interview not too long ago. Expect a playful show in which their clean suits do little to betray solid rock and roll chops. (Weston Pagano)

Big Grams (Samsung 4:15-5:15)

Though starting out as an unexpected pairing, the Big Boi + Phantogram supergroup have become staples of this year’s festival circuit following their self-titled debut, and we’re excited to see these #FestivalKillers supply their #JediRapShit at Lolla this year. Also look for Phantogram’s aftershow at House of Blues on Sunday which will be their first of many dates in support of their forthcoming record, Three - whether or not Big Boi will appear in that as well remains to be seen. (Weston Pagano)

Leon Bridges (Bud Light 4:45-5:45)

Saturday night offers a wide selection for those looking for vanguard of foundational genres. Whether it’s country’s golden boy Chris Stapleton, The Band-channeling Houndmouth, or the foot-stomping Nathaniel Ratcliff and the Night Sweats, one can easily get their fill of the horns, tube amps, and Rhodes organs. Carrying the mantel for classic Soul is Leon Bridges, whose career has skyrocketed since releasing a couple of tracks on SoundCloud two years ago. Bridges seems to be the walking definition of vintage. Everything from his tucked white t-shirts in high waisted jeans to the analogue tinged sound of his records is something out of another era, or perhaps a hyper real version of an era. You may not get anything “new” per se from this performance, as he essentially stays in the safety of Sam Cooke and Otis Redding type tracks. Nonetheless, Bridges ability spark that comforting feeling of nostalgia will undoubtedly delight audiences. So give yourself a break and go enjoy some smooth crooning. (Andrew Meriwether) 

Chris Stapleton (Petrillo Bandshell 5:45-6:45)

The country act - still quite the anomaly for well-established music festivals. Yes, Chris Stapleton is definitely a performance out of left field, yet his popularity is as unquestionable as his vocal talent. Stapleton’s voice is a rustic, molasses-smooth brand of country ballad that will resonate with fans of R&B, soul, blues, and traditional male vocals. He deserves the highest attendance for his allotted time slot (excusing Jane’s Addiction die-hards) and is sure to please anyone who can appreciate a good voice. If you find yourself undecided on who to see early Saturday evening, take a chance on Stapleton. (Ezra Carpenter)

Houndmouth (Pepsi 6:30-7:15)

One could make a strong argument that the market for alt-country bands is oversaturated. Fans may be burnt out on bemoaning lost love and rehashes of blues bar brawls, and genre is a reaching a breaking point and the whole edifice may come crashing down (which, I suppose, may end up being a decent country song). Luckily, one can take solace in a group like Houndmouth. The band is nothing if not earnest, which is hard to come by these days with acts like The Lumineers, whose one-trick-pony folk tunes have spawned a whole litany of saccharin imitators. Houndmouth is steeped in the Music From Big Pink and Basement Tapes rock, and they do about a good a job as anybody at tapping that raw emotional power found in the old masters. On a warm summer evening, on the cusp of rowdiness and love, you won’t find anything much better than Houndmouth. (Andrew Meriwether)

Grimes (Lakeshore 7:30-8:30)

When the Coachella organizers booked Grimes opposite Guns 'n' Roses, they made a clear statement: Give this artist three years (and one more great album) and they’ll be headlining every festival in existence. Listening to last year’s bone-crushingly sweet masterpiece Art Angels, it’s hard not to see Grimes as a global superstar from an alternate dimension who slums it on our planet as a critically acclaimed indie darling. Right now she’s in a weird limbo between the two, so this may be your last chance to see Grimes in any sort of intimate setting before she blows the fuck up. (Julian Axelrod)

Disclosure (Bud Light 8:30-10:00)

A lot of variety to pick from for Saturday’s closing acts: Red Hot Chili Peppers, Hardwell, Vic Mensa, and Disclosure. Saturday’s closing action seems to offer something for fans of every genre to appreciate. Not to be underestimated is the hometown boy Vic Mensa’s performance of his new, politically-charged material. But if the headlining RHCP don’t quite pique your interest, Disclosure will surely be the most fun way to spend your time. The release of their latest Moog for Love EP promises a return to their old U.K. garage house style and though their second LP Caracal demonstrated a shift towards more accessible pop music, the transition hasn’t curbed the band’s ability to inspire dance. (Ezra Carpenter)


SUNDAY


Låpsley (Samsung 12:45-1:30)

It’s Sunday afternoon and somehow, you’ve found yourself back at the festival at way too early of an hour, still feeling the effects of Saturday night’s drinking. Låpsley may be the cure to your hangover. Coming off Long Way Home, Her atmospheric and minimalist pop/R&B is incredibly easy to listen to and exudes a sensational sort of spatial relaxation - Låpsley’s Sunday afternoon set would be a perfect way to ease yourself into the day.  (Ezra Carpenter)

FIDLAR (Bud Light 2:45-3:45)

This band turned heads when their “Cocaine” music video featured a montage of Nick Offerman public urination, but FIDLAR has more credit owed to them than just their ability to enlist star power in their visuals. For one, FIDLAR will definitely contend for the best moshpit of Lollapalooza. Their fanbase comes together in full energy and enthusiasm for each show. FIDLAR’s set is worth their cover of the Beastie Boy’s “Sabotage” alone. Stop by if you’re in the mood for some rough, high-throttle moshpitting, the Sunday mid-afternoon time slot is pretty slender anyway. (Ezra Carpenter)

Third Eye Blind (Petrillo Bandshell 3:45-4:45)

When I saw Third Eye Blind on the Lolla lineup, I laughed. Don’t get me wrong – I love “Semi-Charmed Life” as much as the next guy. But I couldn’t figure out why the ostensibly one-hit wonders were playing a major festival in 2016. Then the RNC happened. According to Cleveland.com, 3EB were scheduled to cover “several pro-America anthems” at a Rock And Roll Hall Of Fame charity show during the convention. Instead, the band skipped most of their big hits, railed against the party’s anti-gay policies and quipped, “Who here believes in science?” to glorious boos. In summation: I love Third Eye Blind, “Jumper” is a fucking jam, and if you skip this set you hate America and science and the LGBT community. (Julian Axelrod)

Local Natives (Bud Light 4:45-5:45)

I once saw Local Natives from what felt like a mile away from the stage amidst a sea of melting people in direct sunlight at Bonnaroo. I distinctly remember feeling trapped and wondering if I put on enough sunscreen as it was 100 degrees and the midday sun was mercilessly brutal to our tired bodies. Despite this, it was still one of the most enjoyable sets of the entire festival, as Local Natives' power and poise reached out all the way to where I was, making me forget the pain. They’re thankfully a little later in the day this weekend (4:45), but it’ll still be hot. At least their new album is appropriately named Sunlit Youth. (Weston Pagano)

 

HAIM (Bud Light 6:45-7:45) 

Transverso recommends boycotting HAIM until they apologize to Grizzly Bear’s Ed Droste for abandoning his friendship for Snake-Who-Must-Not-Be-Named(Weston Pagano)

Vince Staples (Pepsi 7:45-8:30)

Stage banter is an underrated art. By the time you hit day four of your 10th music festival of the summer, you’ve lost all patience for the “How’s everybody feelin’ out there?” and “We love you, Chicago!” bullshit you hear at every show. No one understands this better than Long Beach rapper Vince Staples, who has garnered a reputation as the enfant terrible of the festival circuit. The same dark humor and perceptive wit that made last year’s bracing Summertime ’06 an instant classic manifests itself onstage as Staples takes aim at the suffocating corporatization of every fest, like when he told off Spotify at SXSW while performing at a Spotify event. You should see Staples because he’s one of the best rappers out there, but the fact that he’s playing the Pepsi Stage makes this show even more enticing. (Julian Axelrod)

LCD Soundsystem (Samsung 8:25-10:00)

What hasn’t already been said about LCD Soundsystem’s reunion? The dance punk veterans are resurrected and they’re going to perform “Dance Yrself Clean,” and that’s all that matters. It’s worth the entry price alone, but it will also be joined by “I Can Change,” “All My Friends,” and “New York, I Love You But You’re Bringing Me Down.” James Murphy is going to croon and howl and we might cry - there truly isn't a better set to end the festival with. If any Arcade Fire members make cameos we called it first. (Weston Pagano)

 

The Top 30 Records of 2015

Music ListTransverso MediaComment
2015 year end photo.png

3. Beach House - Thank Your Lucky Stars

Thank Your Lucky Stars acts as both an extension of and pivot point for Beach House’s career as a whole. Many may want the band to actively change in a progressive way, but the band chooses to continually broaden their sound in the most familiar and microscopic ways possible instead. Perhaps one of the best integration of all five preceding albums, you hear the metronome, drums are crisper, individual instruments are audible, and Victoria Legrand’s lyrics are unexpectedly discernible at certain points. It's what works for them, and its afforded Beach House the ability to carve out a dream-pop legacy (and avoid becoming a caricature) on their own terms.

 

2. Majical Cloudz - Are You Alone?

Are You Alone? takes off where the Montreal duo’s preceding Impersonator left off; a paradox of bare-bones, minimalist soundscapes ebbing with lush depth that are somehow simultaneously tranquilizing and uplifting. Welsh’s immaculately vulnerable monologues and unflinching vocals are gently bold, and they drive their synth lullabies forward with severe care. It's Welsh at his most overbearing, and yet his tight grip is irresistible. Calculatedly organic, passionately controlled, it’s a journal reading in a dream.

 

 

1. Tame Impala - Currents

Currents is the most adventurous, interesting, and well-produced collection of songs Kevin Parker has created thus far, sitting atop Tame Impala's discography as the most mature and painstakingly crafted iteration in their twisted psych-pop world. From the lush synth tracks that bubble through the mix to his effortless, washed out vocals, every sound is rendered with the utmost care. Currents proves Parker is unable to stick with a certain sound, forever looking for new ways to evolve his ideas and push his project beyond what was expected when Innerspeaker first hit the shelves.

 

Foals Elevate Power and Control on 'What Went Down'

Music ReviewWeston PaganoComment

Foals’ reputation as one of the best live acts of the current generation should by no means detract from their recorded efforts; what is kinetic energy on stage drips and pulses through the grooves of both the vinyl and the music itself. Even their spinning wax can elicit more rapture than many live acts today, still you can’t help but feel What Went Down is the best advertisement for an impending tour a band could hope for.

Absolutely massacring the starting gate with the title track, guitarist and vocalist Yannis Philippakis and co. conquest straight through the heavier territories they had only previously visited with “Inhaler.” Complete with cover art evoking the horror movie style of The Ring, it’s a downright animalist and violent first impression. Recorded in the same village in the south of France where, according to the press release, "Van Gogh was hospitalised after savaging his own ear,” you have to wonder if there's something in the water; “What Went Down” savages your ears just the same, one steamrolling riff and punchy howl at a time. Philippakis claims to have "buried his heart in a pit in the south,” and if he’s truly left part of himself in that soil we can only imagine what will grow out of it next.

In terms of the track listing it's quickly revealed what follows, however. “I drive my car without the breaks,” Philippakis recklessly informs in the radio ready yet earnest “Mountain At My Gates,” but with the way he expertly steers through the hazardous path you can enjoy the throttling ride. "Birch Tree” then implores “Meet me by the river / See how time flows,” nodding to the evolution of the Oxfordshire rockers’ discographical transition. 

“The city I was born in / Left a long time ago,” he recalls over jumpy guitar reminiscent of “Total Life Forever.” Having come far from their mathy and youthful debut Antidotes to the angsty, self-exploratory sprawl of Total Life Forever, Foals breakout album was arguably 2013’s Holy Fire on which they honed their seeping vulnerability and visceral guitar hooks into a full-bodied masterpiece. That veteran professionalism expands on their newest LP, and while its newfound comfort verges on the slippery slope to arena rock at times it never falls prey to the completely jaded polish of rock stars past their prime. The scent of blood and the hunger that drives them towards it is still there, even if it’s smeared across Philippakis own face now post-fistfight. Aggressive, confident, and tight, they’ve unabashedly taken "over your town;” no longer looking for space, Foals have found it and are asserting dominance over it.

It may be the fullest sounding record they’ve made, but with this increase in depth comes the least dynamism they’ve exhibited in a while, slowing down from then on to hit a bit of a midrange that consumes the majority of the record. “Give It All” explores a hint of oriental melodies behind its unequivocally English breakup lament “But you’re there by the tube stop in the freezing rain / You caught the bus and I caught the train / All that remains are words in the rain,” while “Albatross” carefully ascends like a more bombastic Coldplay. This lull is still just "the shade of a thunder cloud,” though, as the smooth sailing soon thrusts us over the rocky rapids adorning a sheer cliff-face, leaving us to hold on for dear life.

Unlike the name suggests, “Snake Oil” is the real deal, giving What Went Down its second peak to rival the high-flying opening. Rumbling along before lashing out venomously, “Snake Oil” is an earthquake in a hurricane and it takes hold of you with a most raucous and primal eruption of adrenaline, leaving you longing for that date circled on your calendar when Philippakis can smash it into your face in person. With lyrical moments of classic pop platitude like "You cast a spell that keeps me wired / Keeps me red, keeps me on fire,” it’s not the deepest of sentiments in Foals’ repertoire, but it’s one of the most boldly presented, and with a body like that, who cares?

From “Night Swimmers” superb afrobeat drive to the vaguely twisted-Lorde sway of "London Thunder”’s emotional self-awareness, the sea storm then settles to gently lapping waves with “A Knife In The Ocean”'s rolling takeoff into a restless end.

So what went down? A turntable stylus, a hapless swimmer, and 49 minutes of unadulterated power that never seems heavy handed, valleys that never seem lazy, and, if you’re lucky enough to be there, Philippakis himself as his body leaves the stage and lands on top of you.

What Went Down is available now via Warner Music. You can buy it here.

Hear "Mountain At My Gates," the Second Single from Foals' 'What Went Down'

New MusicWeston PaganoComment

Foals premiered the title-track off their forthcoming LP What Went Down on BBC Radio 1 last month, and they've now dropped the second single "Mountain At My Gates" in the same way this afternoon.

Though not quite as aggressive as "What Went Down," "Mountain At My Gates" is a rousing track in its own right and certainly heightens the excitement surrounding the new record. Check it out below.

What Went Down is out August 28 via Transgressive Records. You can preorder it here.

Listen to Transverso's 2015 Summer Playlist

Music ListTransverso MediaComment

Summer has officially started, which means you need a summer playlist! We've taken the responsibility of compiling 20 of the best tunes to come out so far this year that can serve as the perfect soundtrack to all of your typical summer activities, whether it be driving with the top down, relaxing by the pool, hanging out at a family reunion, or feeding gummy bears to Belle & Sebastian. Check it out below.

Watch What Goes Down in Foals' New Music Video "What Went Down"

New MusicWeston PaganoComment

Earlier today Foals debuted the title track from their upcoming album What Went Down on Annie Mac's BBC Radio 1 show, and now we have a visual to go along with the sound.

Frontman Yannis Philippakis went on air after the song and described it as "animalistic," but went on to say that "there's a little bit of everything" on the new record. "What Went Down" takes the visceral, brutal themes explored on the band's last record Holy Fire and runs with them, as Philippakis chants possessed, altering between distrust and affection.

Directed by Niall O’Brien, the music video isn't quite as explosive as "Inhaler" or as jarring as "Late Nite," but fits restlessly in the middle hinting at what will surely be one of this year's most compelling records.

Foals Announce New Album 'What Went Down,' Release Teaser

Music NewsWeston PaganoComment

If the teaser is any indication, Oxfordshire rockers Foals have not become complacent after the success of their last LP, 2013's Holy Fire, announcing today the news of their fourth record What Went Down which will be released via Warner Music this August 28th.

The album was recorded in France with producer James Ford (Arctic Monkeys, Florence + the Machine) while the band "drank about 130 bottles of red wine," resulting in a "heavier, poppier, weirder" sound influenced by Nick Cave, according to NME.

The title track will debut on Annie Mac's BBC Radio 1 show this Tuesday, June 16 at 19:30 BST, the same day on which What Went Down will become available for preorder.

It's clear something went down, we'll just have to wait until the fall to find out what.

What Went Down

  1. What Went Down
  2. Mountain At My Gates
  3. Birch Tree
  4. Give It All
  5. Albatross
  6. Snake Oil
  7. Night Swimmers
  8. London Thunder
  9. Lonely Hunter
  10. A Knife In The Ocean

Current Tour Dates:

7/3 - Hassleholm, Sweden @ Siesta Festival
7/5 - Turku, Finland @ Ruisrock
7/12 - Montreux, Switzerland @ Montreux Jazz Festival
7/17 - Bern, Switzerland @ Gurten Festival
7/26 - Benidorm, Spain @ Low Festival
8/8 - Buftea, Romania @ Summer Well Festival
8/13 - Budapest, Hungary @ Sziget Festival
8/14 - Piestany, Slovakia @ Grape Festival
8/20 - Krakow, Poland @ Krakow Live Festival 2015