Birds In Row’s You, Me & The Violence is album of the week. You wouldn’t know about them, though… At least not until Brandon Stosuy hops on their junk or something.

I will thumb down anyone who says “Fireworks” (and thumbs up to “Banshee Beat”)

No new ones, how typical.

Alright, I’ll give you my own short review because it’s clear this Aaron character went to an entirely different FYF Fest than I did. The way you portray FYF was incredibly different than the one I experienced. It’s touted as the “greatest weekend of the year,” and it lived up to (and surpassed) that expectation. Sorry for your loss, but clearly there’s an unfair bias of your experience compared to an average festivalgoer that’s directly related to your father’s passing . This was my 2nd FYF and having years of that other SoCal festival (aka Coachella) to measure it against, I can certifiably say this is the best festival out there. Here’s why and my other observations…

- Yes, Converge’s sound sucked, but American Nightmare’s did not. Also, there was a legit gray haired senior citizen women wearing a floral print bandit kerchief over her face in the pit, and I also saw her in circle pit during Ceremony. It was the most amazing thing I saw that weekend. She was also dancing the day before during Sleigh Bells. Also, the stage itself has a cool set up to it with the Metro riding by in the background as onlooking travelers see a bunch of kids in torn up black clothes crowdsurfing and moshing.

- Also, did you know someone lost a finger during Sleigh Bells’ set and people were scrambling to find it? Not sure if Sleigh Bells is reason enough to lose a body part…

- The Men were the biggest disappointment of the festival. The sound was indeed bad there, but it was mostly their fault as the sounded a mess for a band on an outdoor stage. They could use some more small club shows to tighten their grip on their ever-shape-shifting sound.

- The true highlights of the festival were the punk and hardcore bands, old and new. Sunday’s Joyce Manor into Ceremony was probably one of the high points of the entire two day experience. If you aren’t going to this festival to see the up and coming punk acts, and instead opting for the M83s or safe indie acts, then you probably should stay home and save your money to see the indie-centric bands in a small club or what have you. How many times can you say that you saw Hot Snakes, Quicksand, Joyce Manor, Ceremony, Converge, American Nightmare, Desperecidos, Refused, Fucked Up and Against Me! in a two day span? That’s unheard of and kudos to FYF for making it happen.

- Daughn Gibson started Sunday off strongly in the tent. He sounded great and anyone who got their early to watch probably left his set happy they made a point to see him at 2pm when everyone was still filing in.

- The weather was warm but breezy. I maybe cracked a swear if only I was rushing to a stage, but other than that, it was very comfortable by SoCal weather standards. Also, considering the lineup and the rare acts I saw, the cost to get in was a steal.

- The people in attendance were not douchy Coachella LA types there just to party or be seen. I didn’t go to a single stage or set where people were not there for music and music alone. FYF is a real music fan’s festival.

Could probably go on, but I think I got my point across. Maybe next time hit me up for guest post, Stereogum? Oh wait, a minute…

was this necessary? didn’t we establish with the premature evaluation that this album is a total bore and essentially the same 3 chores slowly plucked over and over again?

(Swans drummer Jim Sclavunos plays on all but two tracks) —- Sclavunos was, most notably, in Teenage Jesus &The Jerks and 8-Eyed Spy but he was not ever drummer for Swans.

(originally titled Blowjob!) – Actually it was a working title of “Blowjob?” which was the text on a Pettibon drawing of 40s era Joan Crawford. I wore this tshirt for a photo session in the 80s with Option magazine and it was airbrushed out.

(If the no-wave bands in New York were populated with overeducated, ultra-proficient jazzbos masquerading as inept scumfucks) – a point of contention, but what always separated the original late 70s no wave “musicians” from the latter 2000s era revivalism (Rapture, Yeah Yeah Yeahs and any other band featured in the doc Kill Yr Idols) was that they did not know how to play at all in any traditional sense – though Arto was perversely referencing the sophisticated vocabulary of Brasilia, and Donny Christensen could really play jazz drums, James Chance knew how to hit Ayler notes – but for the most part no one could play and that made the material AMAZING

Nathan im sorry, but that Centipede Hz metaphor was terrible