With the sun flying high above and an experimental, art/bar rock band playing on stage, comparisons to Coachella instantly came to mind. Back that is, when the festival was still cool, and catered to eclectic tastes and permitted more than a little mid-afternoon jamming and riffing.Sadly, this music has become a rarity, and apart from this 5-person Brooklyn-based band, few others carry the torch first hoisted by Pavement frontman Stephen Malkmus.

A little technical delay, fine tuning of a huge overhead LCD display, made the band 1-minute late for their performance. Such a technical hiccup wouldn’t sound like a big deal, but at the end of their set, another glitch emerged which left a few people wondering if staff wouldn’t be better served fine tuning the music set-up.

Predictably, the band would Launch with “Total Football” a rousing number with three unexpected tempo changes. It ended with the bands most quoted phrase “Fuck Tom Brady”. It was rousing start, reminiscent of their breakout third album “Sunbathing Animal” which was non-stop riffs and chords. bursting with garage-y ferocity.

There was some obligatory Japanese spoken, though i couldn’t figure out what it was aside from konichiwa. And then it was headlong into “Dust” and “Almost Had to Start a Fight/In and Out of Patience”. The band chugged in and out of different genres, rhythms, styles, instruments. Sort of like an old manual Toyota who his a little stick on the shift. Having three different front men can increase the diversity of a band and it wasn’t till they got to “Freebird 2” did the slack tuned indie boogie start spilling over the crowd.

“Master of my Craft” was a jam and so was “Borrowed Time”. Multi-instrumentalist –keyboards and guitar – used some leftover World Cup patter such as “Where’s the referee? What did I do to deserve a red card. I will report you to FIFA. It’s match fixing god damn it.”

“Borrowed Time” brought back some of the band’s early energy and the whistle-led, Danger Mouse-produced “Wide Awake” was a big stage romp for sure, indicative of the new album’s eclectic nature.

Later, a prolonged jam “One Man No City” really tested out the sound system, and finally solved the problem of the missing kick-drum which finally punched through. It was a glorious romp around stage, and set up the audience for “Light Up Gold II” which is a crystallization of their early garage style, ending instantly with a scream “1,2,3 Parquet Courts”. Good-bye