Rather than count all the songs I'm sad Wolf Parade didn't play, I'll just say the Montreal five-piece did renditions of two of their new album's best songs: "An Animal In Your Care" and "Kissing the Beehive," and both were epic. On the former, Spencer Krug sustained the keyboard chords instead of playing eighth notes like on "At Mount Zoomer," slowing down the verses for drama then raging through the catchy coda and sharing "feeling it" vocals with Dan Boeckner on the final refrain. The crowd went crazy, as they say. For the 11-minute marathon "KtB," Krug and Boeckner traded vocals from opposite sides of the stage, Krug pounding at the keys and Boeckner sawing at his electric guitar.

The crowd demanded an encore, Wolf Parade murdered their hit song "I'll Believe In Anything," reaching massive rock catharsis, and SP20 ended on a triumphant note.

Wolf Parade also plays a "secret" concert tomorrow at Neumo's in Capitol Hill.

Oh, and Guy's food blog is www.foodchains.blogspot.com

Andrew Matson, over and out.

First things first, Comets on Fire was the loudest band at SP20. The Santa Cruz band's set was slithering, sprawling, face-melting psychedelic guitar rock, breathlessly solo-ed and shreiked by frontman guitarist/singer Ethan Miller. Up front listening to their songs, each sounded like stepping in front of a different jet engine. It was blues-based and jazz-informed (a little, just on some drum beats), but clearly Comets on Fire is doing its own thing. Through sheer force and frenzy, these guys have put themselves way out on a limb.

After their set, I met Guy Maddison, bassist from Mudhoney in my nerd-infested press corrall. Guy was very polite, and we chatted for a while about his food blog where he fields recipes from around the world, cooks them in his house, and photgraphs the results. (I can't remember the name! Guy, if you read this, post your blog's name in the comments. It won't be spam- I want to check it out!)

He ended up giving me a bracelet that granted entrance backstage, land of free food and drinks. Later, trying to carry two plates of chicken, I was forced to surrender my drink (red wine and Coke, aka the 'hood sangria) to the nearest person who'd accept it: Dan Boeckner from Wolf Parade.

The only other time I've been star-struck at SP20 was when David Cross asked me if the Marymoor Park windmill was okay to climb in/on (I said yes, not knowing the real answer). I am a gigantic Wolf Parade fan, if you couldn't tell by this article. They play later tonight. I stuttered to Dan that I'd listened to his new album At Mount Zoomer roughly a hundred times and, currently, his band is my life. Embarrassing, but awesome. He asked, "Did you see Comets on Fire?" and gave me a look like, "Pretty heavy, huh?"

Heavy, indeed.

"This is the first time we've ever rehearsed," the lead singer/guitarist of Red Red Meat confessed at the start of the band's set this afternoon. "But only for 15 minutes. And just the first two songs."
But they sounded tighter than ever, and delivered body-slamming beats, thanks to two heavy-pounding drummers. The sound was scratchy but the band just went with it - and it seemed to be in the SubPop spirit to sound a little imperfect and unpolished.
There was a bent, spiritual undertone to the set - it is the Sabbath, after all -- with two songs making reference to Jesus, in a challenging, questioning way.
SubPop co-founder Jonathan Poneman looked on approvingly as the band he signed to the label moved an appreciative crowd. He went unrecognized, which just underscored the easygoing, no-stars-here ethos of SubPop, a label that'sall about music, not egos.

It's just a two-piece- drums and guitar- but No Age does a lot with a little.

The set these L.A. young guns just finished was awash in various custom-made feedback sounds, different styles of tuneful and textural white noise triggered by drummer/vocalist Dean Spunt turning knobs on a box and guitarist Randy Randall toying with pedals and amplifier settings. These noises were to sound what watercolor is to paint, and the band used them to fill out what otherwise might be called skeletal punk rock. Throughout the set, Randall often strummed murmering build-ups/fade-aways, and Spunt mirrored the rhythmic idea on his cymbals. It wasn't something you could dance to, but a special kind of close-friend ESP on display.

No Age did not just build cool texture walls for nothing- they used them as backdrops for heavily-distorted nimble punk songs that lasted an average of two minutes. Sometimes the songs were catchy ("Eraser"), and sometimes they were just interesting ideas that wrapped up before wearing out their welcome.

And did I mention before? SP20 pictures are here.

A faraway spice floated to Redmond all the way from Oxford, England, and it tastes like dance-punk.

Foals just finished their set of arty, speedy, disco-drummed rock. I ventured out of my shady area (for bloggers, photographers and other nerds) and stood smack-dab in the middle of the giant plastic "dance floor" sport court to watch the set in billion degree heat. Seriously, the heat cannot be overstated. Every breeze is gold.

Foals singer Yannis Philippakis said he was impressed to see so many good-looking teeth. He confirmed British people have very bad teeth, and bleeding gums, too, he said, bleeding so much that Brits try and talk to each other but just spray blood everywhere.

Much noise has been made of the fact Foals sound like Bloc Party, and they do, but mostly because of Philippakis' voice: he communicates in aggressive, semi-fey yelps just like Bloc Partier Kele Okereke, each line a kiss-off voiced to carry a soccer field. I mean a football field. The rest of Foals' sound is nervous fast guitar- a lot of one-string/few notes back-and-forth picking- and breakneck dancey hi-hat-centric beats. It's not the most original sound in the world, and "dance-punk" is a lot more popular in England than it is here (NW dance-punk heroes the Gossip are huge stars there, minor figures here), but Foals pulled it off very well, selling it like it was completely crucial. Sounded cool, anyways.

Now French punk group Les Thugs are playing at the small stage. It's basic-sounding punk with pop nods here and there, but the more I listen the more I like it. These songs are good. It's fast 'n loud guitar rock, you know, punk, but Les Thugs are good at communicating a barely-reigned-in energy that's really appealing. These Frenchmen are in total control of their galloping punk storm. They have been on Sub Pop longer than any other band still on the label. They rock.

No Age is starting now and I can't wait to see them.

Portland guitar-rock sextet Blitzen Trapper's set was supposed to be over three minutes ago, but whatever. They sounded great today playing their special North American blend: Wilco, Sonic Youth and Neil Young loom large in their music.

Blitzen Trapper also has songs where they totally do their own thing (offbeat folk interrupted with crazy noise asides? I don't think any other band is doing that) but their Wilco soundalikes are best, and resonated most with a now much fuller-looking crowd than greeted the Ruby Suns at the beginning of the feel-good part of today's SP20.

Local psych/drone mostly-instrumental rockers Kinski just started on the small stage, the first set played there today. The band has a knack for hammering tough-sounding guitar riffs into oblivion, twisting and tweaking, but mostly just harping until some desired song froth is reached. Aggressive stuff, for sure, and more interesting when it doesn't hammer so one-track: flute was just played through something that made it sound like a wailing distorted guitar. Cool.

Side note: Seen currently in the sequestered press corrall is a baby w/out earplugs. This is not ok.

Side side note: Baby is now wearing earplugs.

Oh, and check out SP20 picutres here.

Here we go: day two of SP20.

The weather is exactly the same as it was yesterday, clear and hot, and from where I sit by the smaller of the festival's two stages in some pine tree shade, I can smell Banana Boat. The green, scorching hot grassy hills and shady stage-front areas look a little more sparsely populated then yesterday- today did not sell out, yesterday did.

Last night ended with big time famous New Zealand duo Flight of the Conchords, and today began with relatively unknown New Zealand indie-pop group The Ruby Suns. They just finished.

A small crowd in front of the big stage bopped along to the guy/girl duo's cute, electronic pop, which came from a few machines and digitally pulsed along to Ryan McPhun and Amee Robinson's sweet chanting, bouncy standing-up drum playing and intermittent elecric guitar picking. It was sorta tribal, if "cool Portland house party" is a tribe. Except The Ruby Suns are Kiwis.

Anyhow, the set was cheery and interesting to listen to. Better, it was easy to listen to, and worked well for facing the beginning of a sun-saturated 10-hour day at certainly the best music festival happening anywhere in the world right now.

Even easier listening? Grand Archives, which just started with Mat Brooke's friendly acoustic strumming and whistling. Off we are on the good vibes right away, versus yesterday's hard-rockin' kick-off.

Besides Fleet Foxes yesterday, Grand Archives' music mirrors the Marymoor setting better than any other SP20 band. This is truly music to lay out in the sun to. Percussion: woodblocks and tambourine hits. Guitar sound: something between a mandolin and a dulcimer.

SP20 is serene, but that should change when jam-ier, noisier indie-Americana act Blitzen Trapper follows Grand Archives. Until then, I'm going to enjoy this set and wait for "George Kaminski," my favorite song off the band's eponymous album.

Awake yet? Ready for Day 2?

While you have your morning coffee, here are some Day 1 photos from yesterday's big Sub Pop party, to get you back in the SP20 mood. On This Stage and That Stage today: Grand Archives, Foals, Kinski, Comets on Fire, Green River and Wolf Parade.

The Obits

The New York four piece opened the festival Saturday. Read Jeff Albertson's post below.

The Constantines

Andrew Matson's take: this was one sweaty set.

Eric's Trip

Eric's Trip, SP20 - July 12, 2008, Shawn Brackbill

Jeff Albertson described this band as "pop music for long-haired stoners."

Pissed Jeans

Andrew Matson's only word: loud.

Low

Low, SP20 - July 12, 2008, Shawn Brackbill

Read Jeff Alberton's take on Low at sunset below.

Mudhoney

Two decades in, Mark Arm is still punker than you, writes Jeff below.

Vaselines

It was one of the first times this Scottish band played in the U.S. Read more from Jeff below.

Iron & Wine

Sam Beam calmed the crowd. Read more from Andrew below.

Flight of the Conchords

The funny Kiwi duo closed out Day 1.

Lots of couples are here at SP20, and now that it's dusk, many are sitting on blankets closer than they were when the sun was out, swaying to Flight of the Conchords' ridiculous comedy songs. The Kiwi duo- Jemaine Clement and Britt, I'm sorry, Bret McKenzie- sing about girls a lot. People shared deep laughs over love/lust one-liners like, "You're so hot, you're making me sexist." The anti-sexy sex song "Business Time" was even funnier than I remembered: Jemaine to "lucky lady," in throaty voice: "Ok, now wipe off that pimple cream. Aw yeah."

My mom phoned me earlier with special news that she'd just seen Jemaine at Sea-Tac Int'l Airport, and that's a partial explanation of how broad the Conchords' appeal is.

Though their SP20 set was songs- no comedy routine besides that, just songs- their special brand of deadpan interrupting each other with observations ("Hey, there's a lot of guys here without shirts on. What's that all about?") and ideas (Jemaine: "Hey Bret, let's have everyone throw their underpants on stage and have them just barely miss us, yeah?" Bret, with sideways glance: "Yeah.") was hilarious.

FotC brought Sub Pop comedian Todd Barry on stage for "Business Time" and played no encore. SP20 day one: great.

The following was written by Andrew Matson and posted by Jeff Albertson:

Iron and Wine is Sam Beam, and he played his SP20 set solo with an acoustic guitar. His voice was breathy, but not too much, and his guitar finger-picking was precise.

During the period of day/night I believe is called the gloaming, his slow, easy-listening songs went down smooth, perfect salves for ears ravaged all day by grunge and noise bands. People were completely respectful the whole time, staying silent. It was audacious, this long bearded man with sunglasses hooked on his shirt serenading thousands of people, but he pulled it off (while looking like Beach Boy Carl Wilson). The comforting energy was exactly what everyone needed.

Yes, he played his famous cover of The Postal Service's "Such Great Heights." Yes, couples kissed during it.

Flight of the Conchords is on stage right now. They have very obvious accents.

The Vaselines have a rich and interesting history. The band, originally made up of only Eugene Kelly and Frances McKee, formed in 1986 and broke up a short three years later after releasing two EPs and one full-length album.

Then Kurt Cobain came along and declared them his "most favorite songwriters in the whole world." Cobain returned the favor to the relatively unknown Glasgow band by covering three of their best songs: "Molly's Lips," "Son of A Gun" and the traditional "Jesus Wants Me For A Sunbeam." The latter was included on Nirvana's "MTV Unplugged Album" and exposed the band to a world-wide audience.

They just finished with one of their first ever performances in the United States and a supportive and enthusiastic crowd ate it up. McKee and Kelly's specialty of sugar-coated pop songs and tongue-in-cheek sexual innuendo made for a memorable show.

The highlight of the set was "You Think You're a Man," a cheeky tune that had the crowd dancing and singing along: "You think you're a man, you are only a boy. You think you're a man you are only a toy. You think you're a man, but you just couldn't see. You aren't man enough to satisfy me."

Edit: The band's July 9th show at Maxwell's Hoboken, NJ was their first U.S. performance.

Twenty years after releasing what is widely considered as the seminal grunge EP, "Superfuzz Bigmuff," Mark Arm still has more charisma, stage presence and raw power than most front men half his age.

The eternally youthful Arm and band mates, Steve Turner (guitar), Guy Madison (bass) and Dan Peters (drums) tore through a set of classic hits including the punk-rock anthem "Touch Me I'm Sick," "You Got it" and a slew of newer tunes from their equally impressive "The Lucky Ones" released in 2008.

Arm stumbled a bit on the lyrics to "In and Out of Grace," the chill-inducing hardcore epic from their debut EP, but was able to laugh it off and rip off a blood curling response singing: "Christ - body and blood I crave, sliding in and out of grace, yeah!" that drew a hearty cheer from the crowd.

It's inspiring to see a band out live so many others, especially when they enjoy it as much as Mudhoney does. Forget about all the faces in the crowd smiling, singing and pumping their fists along with the music, Mudhoney look and sound like they are having as much fun now as they did when they first started tearing the roofs off of Seattle clubs two-decades prior.

Low, the Duluth, Minnesota slow-core band, is playing a set as glorious as the fading sunset behind the pines.

Sun-drenched bodies are strewn across the lawn while the absurdly minimal three-piece plays stripped down and syrup-paced rock. In their song "Sandinista" the band incorporated the riff from Neil Young's "Tin Soldiers" making for an eclectic and inspiring mash of old and new.

The music is both haunting and beautiful while guitatrist and vocalist Alan Sparhawk sings:

"Where would you go if the gun fell in your hands?
Home to the kids or to sympathetic friends?
Oh sandinista, oh sandinista
Oh sandinista, take my side

Deep through the clouds hear them marching up slowly
Fresh with the blood of your father so holy
Oh sandinista, oh sandinista
Oh sandinista, take my side"

The subdued vibe is sure to liven up when Mudhoney takes the stage shortly after.

For more on Low, visit: http://www.chairkickers.com

Right now, they are singing "Sun Giant," A cappella - wow, what harmony! They should record the live performance. They definitely are a band you have to close your eyes and be thankful for.

Pecknold told me for "White Winter Hymnal," the band just sat down and recorded it cold, before rehearsing iit ever - and after their perfect harmony right now, I have to believe him.

They kicked off "White Winter Hymnal" A cappella too. So far, they've received the biggest crowd.
(Photo by David Belisle)

While Pissed Jeans played incredibly loud songs full of electric guitar feedback, moaning and screaming, I tried to shout to my friend that I'd see her later, during the Fleet Foxes' set.

"What? You're going to get me three vodkas?" she yelled back.

"No, Fleet Foxes. Forget it."

And now Fleet Foxes are harmonizing "Sun Giant" a capella, which sounds indescribably lovely.

Seriously, could there be two more different bands than Pissed Jeans and Fleet Foxes? Another reason Sub Pop is great: variety.

A cop came up right before their last song, and said they were not allowed to play -- they had to play 4 more hours! The band was punk'd! Turned out Girl Trouble would not get into their own trouble - the park concert coordinator was an old friend.

And Sub Pop Records had this to say too: "We at Sub Pop are honored to share the park with Girl Trouble and look forward to their first-ever acoustic performance. It's just this sort of IY ("Invite Yourself") attitude that we hope will make SP20 a memorable event. Plus, Girl Trouble has promised a complementary bag of chips to the first 40 attendees. Just try to get there before we do," said Chris Jacobs, Sub Pop General Manager.

Here's an interview with the Tacoma band and how their guerilla actions had little repercussions:

Sitting at the picture tables, underneath the trees and listening to music, I don't think there's any other way I would want to spend a summer day.

Portland indie rock band Helio Sequence is playing, providing a sweet summer soundtrack. Right now, they're playing "The Captive Mind" again, at the request of an audience member.

(Photo by Pavlina Honcova-Summers)

Eric's Trip frontman Rick White has the longest hair of anyone performing today, prompting me to wonder: How do you describe this band's sound to friends based on his looks?

The short answer: Pop music for long-haired stoners.

They have elements of the distortion-saturated guitars of Sonic Youth (taking the song "Eric's Trip" as their moniker), but the band also manages to play as quiet as they do loud. Their 1993 debut, "Love Tara" inspired a legion of DIY kids like Phil Elverum (Mount Eerie/Microphones) to record lo-fi masterpieces in their bedrooms on crude four-track tape recorders.

The band broke up in 1996, then reunited for a handful of shows in 2007. Despite intermittent status of the band they played a solid set while the temparture hit the 80-degree mark.

To hear a sample check out: http://www.myspace.com/ericstrip

Among the many band members milling about this weekend was Scott Plouf, drummer for Built To Spill. Idaho's best export and biggest indie band on major label is in the middle of recording a new album in Los Angeles.

When asked who he was most excited to see this weeknd Plouff answered "Everyone."

It's hard to argue with the man.

Just outside the entrance of the Sub Pop Festival at Marymoor Park, Tacoma garage band Girl Trouble played.

With so many bands in the lineup, they were not invited to play inside, but as the first full-length record SubPop ever released with the record matrix number ironically K/SP-20, they kicked off their own show outside.

Here's a clip of the performance. They created quite a stir.

Sky: cloudless
Weather: hot
Trees: mostly coniferous
Knolls: grassy

SP20 is situated in a part of Marymoor Park that has trees and grass hills. It is beautiful. Lots of people have no shirts on. Plenty are sleeveless and the rest have their sleeves pushed up.

Good thing it's a sweaty occasion for the Constantines; their music glorifies toil, work, sweat and simple pleasures. Starting their set with the refrain "night time, anytime, it's alright" from their song "Working Fulltime" off Sub Pop album "Shine a Light," they must have been referring to something fun: singer Steve Lambke was smiling through their entire set of let's-toast-to-the-hardscrabble rock. Proof the Constantines, even though they are far artier than most hard-edged indie pop, are completely about the Pabst-drinking people? They finished with a cover of the Rolling Stones' "Street Fighting Man."

All this happened at the big stage, the "This stage," which is right next to the small stage, the "That" stage, which are fronted by a huge sport court plastic mat, which the knolls surround.

Eric's Trip just finished. They were great, and Jeff will tell you about that. Seaweed is playing now. They are funny, shouting out "Girl Trouble," who Marian will blog about.

The Obits, a four-piece band from New York, opened today's festival with a hard-driving set of minimalist rock while sun-drenched crowds angled for spots in the shade close to the stage.

The Obits, who played a blistering show at the Funhouse last night, showed no signs of slowing down and played a spirited blend of psychedelic and garage rock that was drenched in reverb-heavy guitar and propelled by rhythmic and thundering drums. Led by Rick Froberg (Drive Like Jehu/Hot Snakes) the band is currently in talks with Sub Pop to release a new album. Early festival attendees hunkered down in the front of the stage where the most shade was to be had and in turn were treated to a solid show.

There are in and out privileges until 5 p.m.

Tickets are exchanged for a wristband upon exit. And after 5 p.m., the venue will allow folks out on a case by case basis, depending on reasonable, legitimate health and security reasons.

So that's the heads-up!

And here's the full line-up.

It was a night of awkward, offbeat humor where the comedians had a fun time celebrating Sub Pop. Here's a lowdown:

KRISTEN SCHAAL
Known as the stalker fan Mel from the "Flight of the Conchords" HBO show, Schaal was a charming choice for host. And, just like Mel, she was wonderfully random - playing the elementary school game of MASH on stage and folding origami to electronic music, all the while telling jokes in her high pitched naive-like voice. Here's her site to check her out - myspace.com/kristenschaal.

TODD BARRY
Another "Flight of the Conchords" actor - Barry was in the last episode as "The Third Conchord," playing a bongo playing egomaniac who came up with the horrid song, "Doggie Bounce." An audience member asked him to play, but sadly, he did not. He had some goofball jokes, like the best part of eating alone is the eavesdropping.

EUGENE MIRMAN
A third comedian from the "Flight of the Conchords" HBO show cast - Miriman plays the landlord in the series. He had two funny bits - one that playing dead is a rumor that bears must of spread somehow without any access to propaganda. And the other was a video of Mirman donning a Hannah Montana wig, recounting the good old days of grunge.

PATTON OSWALT
Oswalt was the funniest comedian of the night actually. He drew a lot of his jokes from real experience. An air marshal recognized him on the plane, and admitted to him freely that officials keep their guns in their briefs to avoid exposure. Patton also relayed his belief that religion was a way for the weaker of the population to control the stronger from stomping on them, promising them cake and pie in the sky.

DAVID CROSS
Caught off guard by a baby's cry in the audience, Cross got off beat with this comedic rhythm. Then, he realized that he dropped his notes somewhere backstage, so Oswalt and Schaal went snooping around. But when he finally found the notes, he got back on track - ribbing on the shopping magazine SkyMall's useless gadgets like the time mug, supposedly necessary during meetings when you can't scan your watch.

(Photo by Ryan Russell)

I'm looking forward to the comedy show tonight.

I think its brilliant that Sub Pop has comedians in its lineup and they have their own show for the anniversary festival.

There are two that I want to hear tonight:

David Cross

"Arrested Development" was one of my favorite sitcoms and it was Cross that made me return time and time again. Now I have the DVD's. If you ever watch it, definitely look up the episode where Cross' hair plugs suck out his livelihood, but he is so determined to keep them, he ends up confined to a wheel chair. He also voiced a good villain as the tentacled alien Yivo in the Futurama DVD, "The Beast with a Billion Backs." (here's the link to the trailer."

(Photo courtesy of Sub Pop Records)

Patton Oswalt

I wasn't sure about Patton on "The King of Queens," because he always played such a wimpy character (though he looks tough here), but he was sure sweet in the animated film "Ratatouille." I've since seen a few of his stand-up acts on television, so I'm excited to see what he will say tonight.

(Photo by Ryan Russell)

Stay tuned on my thoughts of the show later.

Doh! Turns out the 520 bridge -- likely the preferred route of many Seattleites heading to SP20 tomorrow or Sunday -- is closed all weekend for its annual check up. Nothing like a routine doctor's visit to mess up your plans.

The 520 bridge closes at 11 tonight and stays that way till 5 a.m. Monday, extending from Montlake Boulevard East in Seattle to 92nd Avenue Northeast on the Eastside (read the full Seattle Times story here. But don't fret, Seattle! Sub Pop is on top of things, and posted non-520 bridge directions on their site earlier this week. Find them here.

It was an ironic scene - indie rockers and their hipster friends waiting in line for sushi and appetizers, plus hankering for the open bar. The last party I've gone to at Universal Records wasn't even that nice - they only had some scant refreshments that were gone by the time I got there - while Sub Pop's party had three long tables worth of food, not to mention the flowing libation.

More than 500 folks were there last night, partying past 12:30 a.m.

This weekend, they are expecting around 10,000 fans to flow into Marymoor Park. Tonight's Sub Pop Comedy show, as well as the first day at Marymoor Park are sold out, but there are still tickets available for The Gutter Twins show at The Showbox and the Sunday show at the Marymoor.

Wolf Parade!

They close out Sup Pop's 20-year anniversary festival at Marymoor Park Sunday at 8:20 p.m.

I interviewed the band's drummer, Arlen Thompson, for a preview in today's Ticket section. As far as I know, tickets for SP20's Sunday show are still available (Saturday is sold out), so read the article and get motivated to spend what's left of your stimulus check!

Check out the video for what is, as I say in my article, surely one of the finest songs of this decade:
"I'll Believe In Anything"