Our resident indiephilosopher takes a good hard look (listen) to the Brooklyn buzzband's sophomore effort and doesn't exactly like what she finds. International tour starts today; dates listed below.

BY JENNIFER KELLY

Yeasayer, naysayer... this album blows.

Yeasayer, the Brooklyn ethno-trance-dance celebrants, caught a wave set in motion by Animal Collective in 2007, releasing All Hour Cymbals to unequivocal praise. MTV called them "One of Seven Bands at SXSW That Matter."  Pitchfork gave them a 7.8. Entourage ran "Sunrise" over its closing credits. Beck offered an opening slot. And all this for an album released on tiny We Are Free label.

Odd Blood, the second album, looks to be the band's bid for a commercial killing, released on a bigger label (Secretly Canadian) with simpler, more accessible songs and far, far cleaner production. But unfortunately, clarity is not working in Yeasayer's favor. Getting a good listen to Odd Blood is the music world's version of waking up in bed with someone who is not as good looking as you thought, not good looking at all in fact, and possibly not even of the opposite sex. What were you thinking?

The disc starts out okay, with the clank and distortion of "The Children," a mic-altered thread of narrative running through African polyrhythms and vast synthetic spaces. It's the fuzziest, foggiest, hardest-to-hear of all these tracks and also one of the most bearable.  When you clean this stuff up, there's not much to look at. Early single "Amblin' Alp" has been scrubbed and disinfected to within an inch of its life, and maybe beyond. "You must stick up for yourself, son, never mind what anybody else done," sings Chris Keating, celebrating individuality in a track that is, ironically, almost entirely devoid of personality or soul.

It gets worse with the two "ONE" cuts that straddle the middle of the album. They're the kind of faux funky, disco sterilities that you might mostly associate with bands that dress in uniforms and have cute hair and get covered in Tigerbeat. It's a break-up song performed in the kind of smarmy, self-absorbed tenor that goes down well with tweener girls, embellished at intervals with sugary R&B pop falsettos. And damn, you get through it once and there it is again, in a remixed version that is just as false and inhuman as the first.

You have to wonder whether Yeasayer thought that this kind of vacuum-sterile production and asexual white boy funk actually sounded good or just might increase their changes for mass success. (Either way, how depressing!)  If you ever wondered what it would sound like if Phil Collins brought in the Back Street Boys for a song on the Tarzan soundtrack, here's your answer. Not good, my friends, not good.

TOUR DATES:

Feb 8 2010      8:00P
    Bowery Ballroom    New York, New York
Feb 9 2010     8:00P
    Music Hall of Williamsburg    Brooklyn, New York
Feb 16 2010     8:00P
    Academy 2    Birmingham
Feb 17 2010     8:00P
    Oran Mor    Glasgow
Feb 19 2010     8:00P
    Academy    Dublin
Feb 20 2010     8:00P
    Speakeasy    Belfast
Feb 21 2010     8:00P
    Academy 3    Manchester
Feb 22 2010     8:00P
    The Faversham    Leeds
Feb 23 2010     8:00P
    Heaven (NME Show)    London
Feb 25 2010     8:00P
    Thekla    Bristol
Feb 26 2010     8:00P
    Digital    Brighton
Feb 28 2010     8:00P
    Luxor    Koln
Mar 1 2010     8:00P
    Trix Club    Antwerp
Mar 4 2010     8:00P
    KB    Malmo
Mar 5 2010     8:00P
    Debaser    Stockholm
Mar 6 2010     8:00P
    Rockerfeller    Oslo
Mar 8 2010     8:00P
    Vega Small Hall    Copenhagen
Mar 9 2010     8:00P
    Knust    Hamburg
Mar 10 2010     8:00P
    Postbahnhof    Berlin
Mar 11 2010     8:00P
    59/1    Munich
Mar 12 2010     8:00P
    Zukunft    Zurich
Mar 13 2010     8:00P
    Circolo Degli Artisti    Rome
Mar 15 2010     8:00P
    Tunnel    Milan
Mar 17 2010     8:00P
    Moby Dick    Madrid
Mar 19 2010     8:00P
    Point FMR    Paris
Mar 20 2010     8:00P
    Paradiso    Amsterdam
Apr 3 2010     8:00P
    9:30 Club    Washington, Washington DC
Apr 4 2010     8:00P
    Cat's Cradle    Carrboro, North Carolina
Apr 5 2010     8:00P
    Orange Peel    Asheville, North Carolina
Apr 6 2010     8:00P
    Masquerade    Atlanta, Georgia
Apr 7 2010     8:00P
    Hi Tone Cafe    Memphis, Tennessee
Apr 8 2010     8:00P
    Granada Theatre    Dallas, Texas
Apr 9 2010     8:00P
    House of Blues Houston    Houston, Texas
Apr 10 2010     8:00P
    The Parish    Austin, Texas
Apr 11 2010     8:00P
    The Parish    Austin, Texas
Apr 13 2010     8:00P
    The Crowley Theatre    Marfa, Texas
Apr 14 2010     8:00P
    Club Congress    Tucson, Arizona
Apr 15 2010     8:00P
    Rhythm Room    Phoenix, Arizona
Apr 17 2010     8:00P
    The Fillmore Auditorium    San Francisco, California
Apr 19 2010     8:00P
    Wonder Ballroom    Portland, Oregon
Apr 20 2010     8:00P
    Neumos    Seattle, Washington
Apr 21 2010     8:00P
    Commodore Ballroom    Vancouver, British Columbia
Apr 23 2010     8:00P
    In The Venue    Salt Lake City, Utah
Apr 24 2010     8:00P
    Bluebird Theatre    Denver, Colorado
Apr 25 2010     8:00P
    Waiting Room    Omaha, Nebraska
Apr 26 2010     8:00P
    Gargoyle Club    Saint Louis, Missouri
Apr 27 2010     8:00P
    First Avenue    Minneapolis, Minnesota
Apr 28 2010     8:00P
    Majestic Theatre    Madison, Wisconsin
Apr 29 2010     8:00P
    Metro    Chicago, Illinois
Apr 30 2010     8:00P
    Grog Shop    Cleveland, Ohio
May 1 2010     8:00P
    Lee's Palace    Toronto, Ontario
May 2 2010     8:00P
    La Sala Rossa    Montreal, Quebec
May 3 2010     8:00P
    Paradise    Boston, Massachusetts
May 4 2010     8:00P
    Webster Hall    New York, New York
May 5 2010     8:00P
    The Trocadero    Philadelphia, Pennsylvania

Royal Trux's Jennifer Herrema also guests on the album.

By Blurt Staff

Congratulations, the new studio album from MGMT, will be released on April 13 on Columbia. It's the successor to 2008's Oracular Spectacular.

Congratulations is described as "a collection of nine individual musical tours de force sequenced to flow with sonic and thematic coherence."

The tracks are:  "It's Working," "Song for Dan Treacy," "Someone's Missing," "Flash Delirium," "I Found a Whistle," "Siberian Breaks," "Brian Eno," "Lady Dada's Nightmare," and "Congratulations."

Hey, we are all about tours de force and songs titled after Brian Eno.

Produced by MGMT and Sonic Boom (Spacemen 3, E.A.R., Spectrum), Congratulations was recorded throughout 2009 in upstate New York, Malibu, and Brooklyn and features Andrew Vanwyngarden and Ben Goldwasser, MGMT's core duo, performing with Matt Asti (bass, backing vocals), Will Berman (drums, backing vocals), and James Richardson (guitar, backing vocals), the band's live line-up.

Congratulations offered MGMT the opportunity to work with a couple of their musical idols and influences including album co-producer Sonic Boom (Pete Kember) and Royal Trux front-woman Jennifer Herrema, who contributed guest vocals.  "We've been lucky enough to meet and work with some of our all-time musical heroes," Andrew says, marveling at MGMT's good collaborative karma.  "It's so great to be around such amazing and unusual musical minds."

Ben and Andrew first met Sonic Boom at a Spectrum show in London in February 2009 and wound up onstage jamming with the band on "Suicide," a vintage Spacemen 3 track paying homage to another MGMT influence.

MGMT has become an international festival favorite with performances at South By Southwest, Coachella, Lollapalooza and Bonnaroo in the states and the Glastonbury extravaganza in the UK.  The band has toured with Beck, Yeasayer and Of Montreal, among others, while becoming a headline concert attraction in its own right.  MGMT is confirmed to appear at the 2010 Coachella and Bamboozle festivals.

It's the news we have been waiting for! To heck with that Bonnaroo announcement, we are booking our flight to England today.

By Blurt Staff

Legendary British pop duo Go West will embark on a rare 11-date UK tour in April 2010. Seriously. We are not kidding about that "legendary" part - time to break out the parachute pants, kids! This is more important than, like, the Pavement reunion.

The duo, of course, is Peter Cox (vocals) and Richard Drummie (guitar), and they are best known for their smash hit singles "We Close Our Eyes" and "Call Me", the UK tour will kick off on Thursday April 8th at the Cheltenham Town Hall. 

Described as "The 25th Anniversary Concert", Go West's tour will see the band perform songs drawn from across their career, including yet more Top Ten singles such as "The King Of Wishful Thinking", "True Colours", "I Wanna Hear It From You" and "The King Is Dead."

April 2010 tour dates include Cheltenam (Apr 8), Lowestoft (Apr 9), Birmingham (Apr 10), Gateshead (Apr 11), Basildon (Apr 15), Chatham (Apr 16), Peterborough (Apr 17), Barrow (Apr 18), Rhyl (Apr 21), London (Apr 23), Milton Keynes (Apr 25 / 26).

To coincide with Go West's nationwide UK tour, the band will release a re-recorded version of their 1985 hit ‘Call Me' coupled with brand new song ‘Skin Deep'. The single will be available as a CD and digital download.

Psychedelic theater rains down on the Paradise Rock Club on Jan. 27.

By Wyndham Lewis

The toughest thing about reviewing an Of Montreal performance is not describing the psychedelic pop nugget-ry they mine, or the theatricality they have consistently built on during the past decade, and it certainly isn't counting the articles of clothing frontman Kevin Barnes is wearing by the encore (one; x-small); the most difficult part of telling you what went down at the Paradise Rock Club in Boston on Thursday night is the spelling the goddamn song titles.

The band kicked off the action with the straightforwardly named Suffer for Fashion, a song that, when released in 2007, signaled completion of the bands evolution into treble-y synth/guitar rock.  Coupled with Barnes high whine and penchant for vocal effects, the thin sound and personal songwriting earned high praise and a legion of fans, along with an army of detractors.  On this night, the opening number perfectly illustrated how the bands constant touring has forged a supremely confident front-man backed by a band that has realized much fuller, and heavier live sound. 

It has been interesting to watch the progression of this band that used to feel a bit contrived, like a boys and girls playing rock star in the bedroom, but now feels like it has genuine personality and charisma.  What used to seem like weird for weird's sake, or an attempt to upset or shock their high school tormentors now seems like a well harnessed vision with the musical chops to match.

As a performer and writer, Barnes continues to up the sexual ante on stage and record.  For a long time, he seemed to be held up in a sort of visual purgatory, having neither the purposefully grotesque physicality of Arthur Kane or Tim Harrington (in tutu) nor the raw sexuality/beauty of Prince or Bowie.  Historically, he looked like the component parts of a guy wearing make-up and some woman's clothing.  This time was different.  He has really developed into the cocksure leader that embodies the whole package and commands (not asks for) the audience's attention.

Barnes donned a lime green wrap cardigan, matching head-band, white tank-top, gold medallion and a Bloomingdale counter's worth of eye make-up, but for his beard, he would have looked at home dropping his kids off at Country Day with the neighborhood moms. 

Early in the set, there were no breaks between songs, and as they crested into Forecast Fascist Future the stage-to-ceiling split screen showed song-specific animation and images shot in real time from a handheld camera.   Much of the screen time was dedicated to images that literally illustrated lyrics, including fox heads with rotating crab-claws. It all played out like a trippy revue.  

Given the theatrical elements, it is safe to call Of Montreal equal parts band and troupe.  The band is relatively conventional - bass, drums, keys, guitars - but there are multiple people pulling double and triple duty as techs/dancers/characters.  It is hard to tell who is doing what, but it is obviously not for the audience to know how Of Montreal's 'sausage' is made. 

The young, enthusiastic crowd was, at times, rapt by dueling Medusas, pigs and tigers in cream colored suits, carrying cock-fighters in black body stockings and bejeweled fencing masks. Making for colorful theater as the screen pumped out more Fat Albert meets Uncle Albert style images.

The music and stage show were neither at war, nor in lock-step.  But, at no point do the absurdities on stage detract from the extremely well crafted, well delivered songs.  An Eluardian Instance, Spike the Senses and And I've Seen a Bloody Shadow groove strongly.  Helmsgate is Like a Promethian Curse is reworked into a more muscular, pulsating song that turns the plea for help from the record into a conquered demon live.   A Sentence of Sorts in Kongsvinger took the titillated crowd from head nodding to full on dance party.

Barnes' lime green wrap served as a green screen as well when visual effects were projected onto it on the large screen.  Like many of his props, it too is eventually shed as he made his transition from semi-androgynous tease to full on Prince Jr. mode with St. Exquisite's Confession and For Our Elegant Castle during which he delivers the playfully coy-boy chorus 'I like it both ways.'

The encore was the cherry on top.  From the introductory bass line of the Jackson 5 cover I Want You Back the crowd was shaking serious ass and its deferential treatment allowed the exuberance of the song to speak for itself.  The crowd left happy and fully entertained.

James Husband (aka Of Montreal drummer Jamie Huggins) opened the evening with a solid set culled from his recent solo record A Parallax I.  Husband, who resembles a young Eddie Money, has sat behind Kevin Barnes for more than half a decade now and they obviously share (with the entire Elephant 6 collective) a love of sixties pop.

On songs like While the Boys Went Down Under and Elephant Alibi, Husband tones down the production flourishes and exotic instrumentation that sometimes confuse a perfectly good melody from some of his E6 brethren (Of Montreal, Great Lakes, Elf power, etc...).  His recent covers EP contains multiple Guided by Voices tunes and that along with Love's Forever Changes is where his musical style seems rooted.  Find a great riff, A Grave in the Gravel, don't fuck it up, and move on to the next.

Husband benefited from an unusually full house for an opener due to a freezing cold night and the headliners' devoted college-age fan base.  He was well received, but in retrospect, his limitations as a singer and showman were brought into sharp contrast by evening's main attraction. 

To his credit, the band (nearly half of Of Montreal) was tight and enjoyable.  But they would have been well served to begin as upbeat and engaged as they ended.  The early part of the set was marked by too much inter-band discussion and not enough playing to the audience.  Kevin Barnes saw the back of Jamie for a change as he guested on drums mid-set.  That broke the monotony and early introspection, seemingly waking the band up to finish strongly.  

[Photo credit: Leó Stefánsson]

Latest effort from the shapeshifting Lidell due in May.

By Blurt Staff

Warp Records will release Jamie Lidell's third full-length album Compass on May 18. The album was recorded in Los Angeles, New York and Canada. Guests on Compass include Beck, Feist, Gonzales, Chris Taylor of Grizzly Bear and Pat Sansone of Wilco.

Warp calls it his "most eclectic album yet. Songs shift, chop, change and mutate genres and forms before our very ears. It's got funk in spades; the jaw-dropping power of the vocals is stronger than ever; it rocks, it pops, it's sweet, angry, hard, soulful and soft, often within the span of a single track. It's the restless album that finally matches the soul of its creator."

Sessions began at Beck's Hudson Studios in Los Angeles, where they got together with Wilco, Leslie Feist and veteran drummer James Gadson (who's hit sticks for Bill Withers, Quincy Jones among many others) for Beck's Record Club project. Inspired by the chemistry of those jams, they shifted to the legendary Ocean Way Studios. There, they were joined by producer/keyboardist Brian Lebarton, singer Nikka Costa, and Justin Stanley. All would have an important impact on the album. Pat Sansone from Wilco and Chilly Gonzales (who's played on both Multiply and Jim) were present as "musical meta-spirits," recording their parts remotely and delivering them via the internet.

Back in New York Lidell began to make sense of this (in his words) "great big mess on the hard drive."Then it was up to Feist's ranch in the Niagara Escarpment with Chris Taylor, producer and member of Grizzly Bear.

"I wrote every song in a month," Lidells said. "It's been an emotional couple of years, so I tapped into what I wanted to say and started writing. There was a lot to draw on."

Lidell plans to tour 2010 with a band again - "but stripping it back; keeping it lean."

Creates LP art for soulsters Kings Go Forth; MP3 below.

By Fred Mills

A few years ago, when BLURT was a little ol' rock magazine called Harp, we ran a story about the so-called "imaginary soul superstar" Mingering Mike, a kind of outsider artist from D.C. who for years had created hand-drawn record sleeves for his non-existent back catalog - that is, as the "performer" Mingering Mike he'd "released" a slew of soul and funk albums and singles over the years, as "evidenced" by the extant artwork.

There never was any actual music, of course, but the sleeves themselves were a prime example of classic outsider art that, upon being discovered at a flew market in 2003 by a curious crate digger, wound up getting compiled in a Mingering Mike book and displayed in art galleries.

Neil Strauss of the New York Times told the story of Mingering Mike in a wonderful 2004 piece - check it out here. It's pretty fascinating. The book's readily available at Amazon as well.

Now comes news that Mingering Mike has created his first "real" sleeve art for the Milwaukee soul combo Kings Go Forth. It's displayed above. Titled The Outsiders Are Back, the album is due April 20 from Luaka Bop. Oliver Wang's esteemed Soul-Sides.com blog has some further details on the band and Mike here.

Meanwhile, check out this smoking MP3 from the band in which they channel their inner Curtis Mayfield: "One Day"

(Above photo of Mingering Mike from Toolbox DC. You can read more from ‘em here.)

Legendary jam band announces series of residencies for this summer; hasn't toured in three years.

By Blurt Staff

The String Cheese Incident will perform a handful of "Incidents" in 2010. The band will play their hometown venue, Denver's Red Rocks Amphitheatre, on July 23, 24, and 25.  In addition they'll set up camp at a site close to the band's/fans' hearts, Horning's Hideout (near Portland, Oregon), July 29 through August 1.

This announcement ends a three-year break from performing; a hiatus interrupted only once - this past summer- when SCI united to headline Rothbury for one incredible Incident.  (Fans can download that 2009 performance in its entirety at www.iClips.net, or check out a sneak peek at www.stringcheeseincident.com).

Tickets will go on sale tomorrow, Feb. 9 - see details below. Every ticket order placed at www.stringcheeseincident.com will receive a download code to LiveCheese.com for a FREE "Best of" SCI sampler - "Cheese on the Rocks" (RR) and/or "Cheese in the Trees" (HH) - depending on the tickets purchased. Each download features over 100-minutes of old-school SCI.

July 23, 24, and 25, 2010

Red Rocks Amphitheatre

Morrison, Colorado

Red Rocks Ticket Information:

Tuesday, February 9 at 10:00 am MST - Presale at www.stringcheeseincident.com

Friday, February 12 at 10:00 am MST - KBCO Presale at www.kbco.com

Saturday, February 13 at 10:00 am MST - Public On Sale www.ticketmaster.com

***

July 29 - August 1, 2010

Horning's Hideout

North Plains, OR

Full Festival Line Up and Schedule To Be Announced

Presented by Madison House Presents

Horning's Hideout Ticket Information:

Tickets available beginning Tuesday, February 9 at 10:00 am MST

Only at www.stringcheeseincident.com

            Four- day tickets and RV Passes available.

[Photo Credit: C. Taylor Crothers]

Spring dates in Europe now bumped to September and October.

By Blurt Staff

Leonard Cohen was about to embark upon a European tour next month but now dates are being rescheduled for September following a lower back injury the bard sustained recently while exercising. His promoters, AEG Worldwide, described it as "a compression injury."

He'll be taking time off to do physical therapy and get back into full fighting form - which, as anyone who's seen him do his nearly three-hour concerts recently will attest, is impressive indeed for a 75 year old.

Cohen manager Robert Kory said, in a statement, "Doctors have confirmed that Mr. Cohen is otherwise in terrific shape, thanks to years of exercise and careful diet, and simply needs appropriate time to recover from the lower back injury."

Cohen also had an incident last September when he collapsed onstage in Spain, apparently from a case of food poisoning.

Those rescheduled dates:

9-15 Caen, France - Zenith
9-17 Grenoble, France - Palais des Sports
9-19 Strasbourg, France - Zenith
9-21 Marseille, France - Le Dome
9-23 Tours, France - Parc Des Expositions
9-25 Lille, France - Zenith Grand Palais
10-04 Katowice, Poland - Spodek
10-07 Moscow, Russia - Kremlin Palace
10-13 Bratislava, Slovakia - Sibamac Arena

Lots of goodies for all you collectors.

By Blurt Staff

The next installment in the reissue of Nick Cave & the Bad Seeds entire studio album catalogue is on the horizon. Digitally re-mastered and remixed for 5.1 Surround Sound for the first time since their original release, Tender Prey, The Good Son and Henry's Dream (their fifth, sixth and seventh albums) will come out March 30^th on Mute, each as a separate deluxe double-disc collectors edition.

Each deluxe edition contains the re-mastered stereo album, the new surround mix, a specially commissioned short film by UK artists Iain Forsyth and Jane Pollard plus the b-sides from the singles, videos and exclusive sleeve notes.  See track listings, below.

Last year, Nick Cave & the Bad Seeds first four consecutive albums in the re-mastered deluxe edition series appeared: From Her to Eternity, The Firstborn Is Dead, Kicking Against the Pricks, and Your Funeral...My Trial.

Tender Prey

1.     The Mercy Seat

2.     Up Jumped The Devil

3.     Deanna

4.     Watching Alice

5.     Mercy

6.     City Of Refuge

7.     Slowly Goes The Night

8.     Sunday's Slave

9.     Sugar, Sugar, Sugar

10.   New Morning

Collectors Edition extras

Album in 5:1 

Extra tracks

The Mercy Seat (Video version)
Girl at the Bottom of my Glass

The Mercy Seat (Acoustic version)

City of Refuge (Acoustic version)

Deanna (Acoustic version)

Videos: - also available for download to MP3/Ipod

Do You Love Me Like I Love You (Part 5)

The Mercy Seat

Deanna

Do You Love Me Like I Love You (Part 5:Tender Prey directed by Iain Forsyth and Jane Pollard)

The Good Son 

1.     Foi Na Cruz

2.     The Good Son

3.     Sorrow's Child

4.     The Weeping Song

5.     The Ship Song

6.     The Hammer Song

7.     Lament

8.     The Witness Song

9.     Lucy

Collectors Edition extras

Album in 5:1

Extra tracks

The Train Song

Cocks 'n' Asses

Helpless

Videos: - also available for download to MP3/Ipod

Do You Love Me Like I Love You (Part 6)

The Weeping Song

The Ship Song

Do You Love Me Like I Love You (Part 6: The Good Son) directed by Iain Forsyth and Jane Pollard)

Henry's Dream

1.     Papa Won't Leave You, Henry

2.     I Had A Dream, Joe

3.     Straight To You

4.     Brother, My Cup Is Empty

5.     Christina the Astonishing

6.     When I First Came To Town

7.     John Finn's Wife

8.     Loom Of The Land

9.     Jack The Ripper

Collector's Edition extras

Album in 5:1

Extra tracks

Blue Bird

Jack The Ripper (Acoustic version)

I Had a Dream Joe (Live)

The Good Son (Live)

The Mercy Seat (Live)

The Carny (Live)

The Ship Song (Live)

Videos: - also available for download to MP3 / iPod

Do You Love Me Like I Love You (Part 7)

I Had a Dream, Joe

Straight to You

Jack the Ripper (Acoustic Version)

Do You Love Me Like I Love You (Part 7: Henry's Dream), directed by Iain Forsyth and Jane Pollard 

PITCHFORK MUSIC FESTIVAL ANNOUNCES PAVEMENT, MODEST MOUSE, LCD SOUNDSYSTEM, ST. VINCENT, RAEKWON, CASS MCCOMBS AND MORE TO PERFORM AT JULY TICKETS ON SALE TODAY AT NOON C.S.T

By Blurt Staff

As previously reported, the 2010 Pitchfork Music Festival will be held at Chicago's Union Park on July 16 - 18. Tickets are on sale today at 12 PM C.S.T.

Headliners for Friday, Saturday and Sunday will be, respectively, Modest Mouse, LCD Soundsystem and Pavement, while other performers inked for the event thus far include Raekwon, Here We Go Magic, St. Vincent, Lightning Bolt, Cass McCombs and Sleigh Bells.

Now, before you say to yourself, "Gee, that's the weakest Pitchfork roster to date, compared to previous years," well, you may be right, but don't forget that we're in a recession and some artists aren't touring as extensively this year while others may have exorbitant booking fees. Besides, more bands will be announced in the coming weeks in case you're counting your own pennies and trying to decide which festivals to hit this year.

Speaking of which, vote in the BLURT poll for most-anticipated 2010 festivals. You can go to the left hand side of the homepage to vote, or view the current results here.

Tickets are on sale today at 12 PM CST at www.pitchforkmusicfestival.com. Single-day tickets can be purchased for $40 and three-day passes for $90. This year, Friday will feature more bands, providing festival-goers with a longer day of music. There will be no two-day passes for sale.

The 2010 Pitchfork Festival Lineup so far:

Friday

Modest Mouse

Saturday

LCD Soundsystem

Raekwon

Sunday

Pavement

St. Vincent

Lightning Bolt

Cass McCombs

Here We Go Magic

Sleigh Bells