I didn’t know it before I’d seen them, but I’d been waiting for Rose Windows. The Seattle band, in some ways, emulates Pink Floyd’s best years, with anthemic but minimalistic blues-style guitar riffs, just enough rhythm section to provide the necessary foundation, and the hazy, sultry vocals gently laid over the whole ordeal. It was moving, both musically and emotionally, and although the crowd started off as a few dozen, it ended at several hundred, which speaks to the strength of the musical statement made. It was, in some ways, the best way to start the day.

Robert Delong is another Seattle native with a distinctly non-traditional Seattle quality. DeLong is a master of sound manipulation, especially the manipulation of his own voice. He began by layering a 6-part harmony on a live loop, DeLong changes specific aspects until it very much resembles an injured Optimius Prime, and then disintegrates the whole thing into ripping, thunderous house beat. Once this is all going as the underlying beat, he adds the actual vocals to the song live, using a very old gaming joystick to skew and stretch the sample, creating variety out of monotony, and blowing minds, mine included. DeLong is essentially known for his hit, but the other songs in his setlist, were equally, if not more, impressive. His ability to work the crowd was masterful, and for being in the afternoon’s hot sun, the second set of the day, he definitely left an impression.

I didn’t know who to see next, so I tried to see everyone who was scheduled in the following hour. I started at the Yeti Stage with Indians. They were good, but it was more of the same rock that had been done better by their predecessors on that stage, so I headed up to Bigfoot to catch Atlas Genius. These guys are the real deal, they’re tight, they’re loud, and they LOVE playing live. I enjoy seeing a band dig themselves, and when they are as good as Atlas Genius, you have fun right along with them.

I remembered that I wanted to see JJ Grey & MOFRO and headed to the Sasquatch Stage next. I got there just in time to hear their last song, but from the growly, bluesy vocals and wailing guitars, I could tell they were the real deal. Now I must say as a disclaimer at this point that I am a complete sucker for a horns section in nearly any configuration. JJ’s got a horn section, and these guys can PLAY. Their precision and control was astounding, and they were the perfect, silky contrast for the gutteral, emotionally raw vocals of Mr. Grey himself. Having only heard one song, I can’t really say how they are as a band. I can tell you that, having only heard one song, I will be waiting with baited breath the next chance I can see them live.

Nanvy and Beth kind of take you by surprise. I could hear them starting as I was walking out of the Sasquatch stage to the Media tent, and I couldn’t help but stop and watch. The dueling female vocals were incredibly tight, and in a style that I haven’t seen, but definitely appreciate (think “Boogie-Woogie Bugle Boy From Company C”). It was impeccably done, and the backing players were perfect on their hollow-body, upright bass and keys. Now I must digress into a personal story at this point, though the connection will reveal itself. I once had a dream in which I got into a gunfight with the cast of Will and Grace, culminating with my killing Rosario and assuming victory, only to turn and see Megan Mullaly’s character with me dead to rights, just as I woke up. Now, knowing that, imagine my reaction when I looked onstage to see my killer herself, Megan Mullaly, who makes up one half of the duo, and, with her background in musical theatre, has some serious skills. They were funny, they were smart, they were unlike anything else at the festival, but they were so goddamn good that the celebrity appeal wore off quickly, and they were STILL amazing. To top this all off, Nick Offerman, comedian, star of Parks & Rec and all around bacon fan, is Mullaly’s husband, and made a cameo appearance during Nancy and Beth’s stirring rendition of the busted cheater’s anthem, “Smell Yo Dick,” which honestly left me checking whether or not this was, in fact, real life. I was floored by Nancy & Beth, and you will be, too.

I saw Bloc Party play both at Showbox Sodo and Block Party in Seattle. Knowing the dynamism of their live set, I got good and close. I was not disappointed. They led with selections from their earlier albums and moved into the newer stuff, but there was not change in energy from the band or the audience in response. This is a great example of the dedication to quality and drive that these young men from London have maintained over the course of their career. It’s just a really nice thing when a band’s older selections fold seamlessly into the new during a set, and the energy, intensity, and level of quality never drop. From “Helicopter” to “Waitinig for the 7:18” to “This Modern Love,” Bloc Party brought their best. Set of the Day status: Achieved.

The XX are a favorite band of mine, one that I can rely on to provide goodness at all times. They are great at tapping into the stream of emotions felt in the day-to-day lives of most people. They are good at crafting aural textures that leave the body weak, the heart in desperate need of the closeness of another being. They are also good at bringing out the internal struggle we all feel: the need to tell the one you love how you REALLY feel. They are not, however, good at performing live, at least at this festival. You know what? I take that back. I saw them at the Paramount a while ago and they were unimpressive then as well. While they’re playing the same notes in the same order as the record, I can’t help but feel detached from it, it’s vocal point counterpoint effect accentuated by the male/female dynamic present onstage. The haunting, hanging vocals almost have you, but instead of enveloping you in their arms and offering comfort, they kind of pass you by, swept by the wind out over the Columbia River and down to Oregon. It’s a great pity too, because on this clear dark night, some XX would have been a great way to relax and regroup oneself.

Instead, it was merely a stop on the way to see one of my favorite bands of the last few years, Surfer Blood. Surfer Blood is one of my all time favorite bands from the last few years. Their surfy, beachy sound is perfect for a long drive on a warm day with the windows open. They also, evidently, know a thing or two about rocking a canyon at night. With the “boyish charm” dial turned all the way up, Surfer Blood started off the set with one of their most popular, “Floating Vibes” and never let down. They played the bulk of their new album, which is definitely a different, more mature Surfer Blood, but they wisely brought along the jangly, air-y guitars that has brought them so much success. Adding to the excellence of the music was the light show, something that is notably present at all Sasquatch stages this year. It elevated the experience to that of a drug, completely blowing my mind and facilitating my enjoyment of the overall. I’m grateful for the opportunity to see Surfer Blood, and I’m glad they lived up to my expectations.

Sigur Ros was perfect. Not being a massive fan, I was a little hesitant, and it did take a couple minutes to tune into what they were trying to do. It as silken, floating melodies over a waving tapestry of sound that included winds, strings, and brass, as well as the near constant hum of a bow on the electric guitar. It built and released, swelled and receded, and carried the several-thousand strong audience on it’s feathers. A transcendent experience to be sure.

Day two is in the books and I couldn’t be more excited, with the coming days offering the promise of Deep Sea diver, Alt-J and Killer Mike, things are bound to get even better.

–Andrew Harris, music writer, The Monarch Review