Yuck jams together Sunday afternoon at the Pitchfork Music Festival. (Tom Cruze/Sun-Times)London quartet Yuck has been one of the biggest hypes this year — the lines to see each of several showcases last spring at SXSW were long and futile — and while they couldn’t hope to live up to it, their ’90s Shoegaze Fanclub shtick is growing on me.
Curly-haired Daniel Blumberg plays guitar and sings with a permanent crick in his neck, often stooped as he grinds out Lush swells on guitar. His longtime mate and fellow guitarist Max Bloom fills whatever spaces Blumberg doesn’t — he added a great slide solo to “Suicide Policeman” — and the parts make for a pleasant whole. They were more laid back Sunday, swinging between the riffy fun of “The Wall” and a few songs so easygoing and with melodies so loping I half expected Jackson Browne to join them. In March I said “it should make for a harmless summer ’90s revival,” and voila.
How to Dress Well, a k a Tom Krell, was the latest casualty Sunday afternoon of sound check delays at the Blue Stage. Leading the group as singer only, just a drummer/keyboardist and a string section (complete with conductor), Krell didn’t quite gel. HTDW’s music has lit up blogs based on its ephemeral nature, the ghostly ways he weaves his R&B-inflected vocals underneath subtle samples and gossamer synth sounds. At Pitchfork, the soft strings and simplistic drums weren’t enough to support Krell’s ambitious, quivering falsetto. His so-far signature tune “Ready for the World” came on too strong, and “Decisions” didn’t make enough. “We’re still working out the kinks,” Krell said midway through.
Philadelphia singer-songwriter Kurt Vile — he of the shaggy long hair, like almost everyone in the band — returned to Pitchfork with a bigger, bolder sound. Vile was at this festival last year, when he was still getting the Nick Drake comparisons. Sunday’s set, full of muscled guitar and songs about trains, strove for Springsteen, complete with a sax solo on “Freak Train.”
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