It was refreshing to take a break from the 716 on Friday night as I headed to Rochester for the long anticipated Sleigh Bells show at Water Street Music Hall. I finally got to see araabMUZIK live after missing his show in Buffalo last year, which is a regret I can now put behind me. His talent was as mind-blowing as I expected, although I wish he stuck with more of a hip-hop vibe rather than dubstep. Call me jaded.

After feeling like one in a handful of people that was actually getting down to araabMUZIK's set, Sleigh Bells initiated their show with a eerie introduction. I was pressed up against the gate attempted to squeeze next to a couple territorial of their spot. Sleigh Bells took the stage and suddenly vocalist and ultimate babe Alexis Krauss mentioned Buffalo. Several people screamed wildly, including the couple that wouldn't make room for my small frame. We exchanged smiles and nods of acknowledgment with the Buffalo couple, and suddenly enough space was made for me to fit comfortably. Regardless of the different city, the Buffalo love was still there. 


The show left me awestruck. With a more intimate crowd size than the Buffalo show in July, the feel of the room was intense. Similar, if not the same set list, I was able to enjoy this show even more because of how deep I fell into their music in the past three months. I couldn't help but tear up a little bit when they performed "End of the Line" and all that was between Alexis Krauss and I was a gate. "It didn't have to be this way, you know it didn't have to be, but it's the end of the line, so goodbye..." I sang along as she sang directly at me; it was as if she knew I felt that combination of utter desperation followed by the longing for retribution that the lyrics bleed.

Just as the show was about to end she beckoned the ladies to come on stage. What I expected was what happened at Town Ballroom when Santigold did the same thing. I braced myself for a mass rush of females climbing over each other, over the gate to hop around on stage. What happened was the furthest from that. Krauss came back over to my little space once again and amongst the outstretched arms she grabbed mine and began to pull me up. With the help of the security guard and my youthful skills and practice from hopping fences when I used to play Wiffle Ball, next thing I knew I was up on stage dancing around to "Rill Rill." After the song ended, me, my friend and the one other girl on stage each hugged Krauss and I must say it was that entire moment that verified this show a place in my top 10 favorites.  

Not only did I come home with a sore neck from head-banging, but also a new appreciation for the loyal Buffalo crowd. I left Water Street Music Hall with ringing ears and the biggest grin I've had in weeks. Seeing Sleigh Bells live once again is exactly what I needed to re-learn: that art created in darkness can also be and usually is the most freeing from such.

The moment I found out Sleigh Bells and araabMUZIK were performing together in Rochester, I screamed with joy.

Originally my thoughts on Sleigh Bells were conditional. I had to be in the right mood at the right time; when I wasn't, they sounded a little grating. Until I saw them live at Town Ballroom this past July, and suddenly my vision of them transformed. Alexis Krauss was a being of power, rage and utter sex appeal. I suddenly found myself waking up, putting on "End of the Line" and walking to work in the morning. Reign of Terror is now a staple in my album collections.

This week is all about surprises. In addition to new music from Menomena, Blood Diamonds, and Marie Minerva, there are unexpected but exciting collaborations between rappers and producers/electronic artists. These specific songs are great pairings and highlight each's unique talents and style well. Meanwhile, established act, Menomena, who I originally thought had broken up some time ago, returns as a duo with an incredibly powerful new song. Blood Diamonds and Marie Minerva continue a year of consistently great electronic music filled with newcomers. Please take some time and close out your week with a new Listener's Digest.

Menomena - "Heavy Is As Heavy Does:" When reports of the band not getting along surfaced a few years ago, I had, sadly, assumed that Menomena was over. However, now a duo, they are back with powerful new single. "Heavy Is As Heavy Does" begins simply, with vocals and piano, and then builds into a powerful dirge by the end with overpowering feedback laden guitars and drums. The crescendo is classic Menomena and only enhances the emotion evident in the song's beginning. Menomena seems to have lost none of their power in the shift in lineup and the time  between releases.



Danny Brown & AraabMuzik - "Molly Ringwald:" One of two excellent collaborations between a rapper and popular producer this week. This track features the hyped up and over the top qualities of both parties. Brown raps fiercely over AraabMuzik's tightly wound beats, which seem on the brink of exploding at every point. They do not and the track has a overall tense feeling to it. A great coming together of two very talented individuals.




Blood Diamonds - "Ritual:" This is partially my own self imposed attempt at penance for forgetting to post the amazing single from Blood Diamonds and Grimes, "Phone Sex," a few weeks ago. If you have a few moments, please also check that single out. This is the B-side and no less worth your time. A bright mid tempo dance track featuring a chopped and alternating slowed down female vocal sample, "Ritual" is extremely infectious. The single comes out next week, featuring artwork, resembling the packaging to some sort of recently rediscovered Sega Genesis game, by Elite Gymnastics.

Toro Y Moi and Tyler the Creator - "Hey You:" The Odd Future camp had a rather productive week with new music from DomoGenesis, MellowHype, and Tyler the Creator as well as the announcement of a full tour (making a stop in Buffalo). A surprising and exciting collaboration that was accidently leaked before being finished, this track combines the strengths of both artists into something that seems like a natural fit. A smooth nocturnal track, Toro Y Moi's production is evident throughout. Tyler's own voice, more even than normal, sounds natural and well placed.

Marie Minerva - "The Sound:" A spacey dance track from the Not Not Fun artist, with an effectively used sample of a talk on transcendental meditation that sets the tone for the rest of the song. This hazy and entrancing song will be on her new album, to be released September 4.

BuffaBLOG's pilgrimage to Pitchfork Music Festival is out of respect for the voice that Pitchfork Media provides for independent music all over the world. It's no secret that their media facilitates the exploration of music while also providing opinionated reporting that allows the readers to decide what they like and dislike. Because Pitchfork reaches so many unique individuals across the world, they and their readers help to expose the freshest Artists.

When it comes to Hip-Hop this is most certainly the case. While not ignoring the Commercial Hip-Hop industry, Pitchfork's coverage tends to lean towards the Rappers of the underground. Focusing on up-and-coming individuals with unique talents.

A$AP Rocky: photo by Brock Fetch

This year's Pitchfork Music Festival at Union Park in Chicago July 13-15 will feature many of those same buzz-worthy artists. Most notable is A$AP ROCKY who came into the light last year as a young buck with a high-talent ceiling. His interesting music on the mixtape LiveLoveA$AP excited many and caused him to get so much attention via the internet. Likely because five of the tracks on that mixtape was produced by another critically acclaimed Pitchfork Music Festival artist CLAMS CASINO. He gained notoriety for his brilliant genre-bending productions for both A$AP Rocky and also The Based God, Lil B. Many will tell you that both he and ARAABMUZIK are two of the best Hip-Hop style producers outside of the mainstream right now. Along with producing, AraabMuzik is an incredible performer. Using multiple samplers as live instruments he precisely plays unlike any other.

Young Southern gentleman BIG K.R.I.T will also get to display his talents. His sliding country style is definitely influenced by his predecessors Outkast and UGK. He is one of the unknown true talents in the Rap world, producing tracks for artists like, Wiz Khalifa, Curren$y, Smoke DZA, Ludacris, and Chris Brown.

Kendrick Lamar: photo by Jeff Forney

Additionally getting the nod from Pitchfork are South-Central Los Angeles rappers KENDRICK LAMAR and SCHOOLBOY Q from the 'Black Hippy' Hip-Hop group. Lamar's Independent release of Section.80 last year turned many heads and was revered as new Alternative Hip-Hop. It's a smooth laid back style, very California, but more importantly lyrically relevant. Unlike the Commercial Rappers of the world these two artists, and for that matter all of the Hip-Hop Artists at the Pitchfork Music Festival, are spitting lyrics that tell a story about humanity today. Not Diamonds, nor Yachts. And who couldn't that be more true about than DANNY BROWN? His "Radio Song" is a original slam at Rappers who are complacent making songs for profit only rather than creating meaningful music. He will be front-and-center on Saturday night to show off his zany personality.

Danny Brown: photo by Ysa Perez

One commonality of the Hip-Hop artists at this year's Pitchfork Music festival is that they all are going agains the grain of what Rap music has become. So although people can tend to scoff at the terms used to describe these branches off like "Alternative Hip-Hop" "Trillwave" or "R-Neg-B" it may very well be these sub-genres that save Hip-Hop from itself. Pitchfork Music Festival has curated the best of these acts to showcase the potential of where Rap music can go in the future.

The Pitchfork Music Festival is July 13-15 at Union Park in Chicago, IL. For the entire schedule and lineup check out their festival website HERE.