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Their live show is bound to be magically transportive. Main Stage pm. The Breeders. Last year, Kim and Kelley Deal revived alt-rocking Pixies side project the Breeders, gradually recording songs with Steve Albini and others. The resulting album, Mountain Battles , doesn't exactly re-create the band at its peak moment, but rather finds the Deal sisters and company a little older and calmer but still casually adventurous and capable of moments of real indie-rock grandeur.

Wookie Stage pm. Mike Patton spent 10 years of his life as the singer for Faith No More. He also sang in Mr. Dan the Automator is an innovative hiphop producer who was part of the Dr. Octagon project with Kool Keith and also part of Gorillaz. Together, they're Crudo, and it's anyone's guess what their new project will present this weekend, but it's bound to be fascinating. Wookie Stage 6 pm. For good reason, some critics have tagged Georgia's Dead Confederate as Southern rock, but there's really more to them.

Their guitar-driven, dramatic songs are deeper and darker than psych-influenced Southern rock, and their lyrics are just as eerie, too, which only adds to the spooky, cinematic quality of the music. In the song "Goner," singer Hardy Morris growls, "I could be gone, you would never know" again and again with the tinge of an angry Cobain. Seven years later, they're still going strong, with three albums to their name and a growing following of listeners who've taken to their surf-laced, reverb-soaked, Khmer-tongued songs.

Dan Bejar's psych-tinged love affair with both Dylan and Bowie has resulted in two genius Destroyer records in two years, and this show will bask in his grand songwriting catalog. But the better show might be tailing Bejar between this and his New Pornos set. Will he buy merch? Hide backstage?

Sob about Destroyer's inevitably smaller crowd? Follow carefully and find out! Kathleen Edwards's set is the place to be if you miss Lilith Fair and if you're partial to pretty-voiced pretty ladies singing country-flavored songs about love and longing. While her older material is a little too Sheryl Crow at times, the new album, Asking for Flowers , summons a little more feminine delicacy.

Newton Faulkner is an acoustic-guitar virtuoso and the man with the most impressive dreads you'll see all weekend. So if you trust the Brits, this one-part adult-contemporary rising star, one-part hippie is a don't miss this weekend. Fleet Foxes. Strange thing about Fleet Foxes: The five guys in it are young and yet the music sounds so, so old—many-part vocal harmonies, rolling rhythms, and lyrics steeped in the landscape and milieu of the Old West.

Their songs don't sound written and recorded so much as unearthed and restored. In the natural setting of the Gorge, they're going to sound simply beautiful. Main Stage noon. Grand Archives.

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What with all the talent in the band, you'd expect some trickiness, some showing off, but there's none of that here. Grand Archives' songs are big and confidently simple. Grand Hallway.

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Only about half of Grand Hallway's set is appropriate for the outdoor, sunny nature of Sasquatch! The other half of their material, though, is a delicate web of subtle strings, soft vocals, and pretty piano that could easily get lost in an environment full of distractions. Unless you're standing right up front, of course, and able to absorb it before it gets away. Yeti Stage noon. Global agit-prop pop auteur Maya Arulpragasam couldn't make her scheduled appearance at Sasquatch!

Since then, though, she's been busy as hell across all kinds of borders, dropping stunning sophomore album Kala and touring internationally. Expect "Paper Planes" along with the rest of her set to sound fantastic floating through the air at the Gorge. Vince Mira with the roy kay trio. Vince Mira is the unbelievably cute and talented year-old Seattleite who can somehow sing just like Johnny Cash. Shy and earnest between songs, he blows audiences away with his gorgeous, booming voice and rockin' sets of originals and Cash covers.

As the opener at a recent rockabilly show, he elicited screams and raucous applause from the over audience, who demanded an encore—they just didn't want this kid to stop. It was jaw dropping. Modest Mouse. Which is fine, as Modest Mouse no longer lean on sloppy but entertaining antics like playing guitar solos with their teeth. Instead, their new material is more orchestral and lush rather than just drunk , well worthy of booming from a massive sound system to a crowd of thousands.

In , Joshua Morrison joined the army and served in Iraq.

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He recorded his first EP of songs upon returning home to Fort Lewis. Morrison plays whisper-soft, emotionally heavy, folk-influenced acoustic rock. His debut album, Home , is a quiet, peaceful affair, sublimating whatever stress or pain Morrison has suffered into calm, reflective ballads of love and homecoming.

Brooklyn quintet the National's dark, emotionally defeated songs sound like they were written on bar coasters and cocktail napkins while hiding, hungover, from the sun. Singer Matt Berninger sings with a rich, unshowy baritone and the band dress his lyrics in subtly seductive arrangements of piano, drums, and guitars, alternately spare and swelling. The New Pornographers. Wikipedia defines "arpeggio" as a "broken chord," or a chord played one note at a time. And it describes a "diminished triad" as an unstable, dissonant chord. The first song on Electric Version , the record by the New Pornographers, uses an arpeggiated diminished triad for its principal melody.

This helps explain why the Pornographers are a power-pop band that's actually interesting to listen to. Will Sheff certainly knows how to weave a tale within the confines of a song's meter. His elaborate narratives are the centerpieces of Okkervil River's indie-folk compositions, with his ramshackle cast of musicians punctuating the drama with sweeping crescendos. Live, these Texans betray their twee personas through feverish and frenzied performances. A multiculti band based in L. For those who like their hiphop on a positive and global tip, this band was made just for you. Flying high off the release of their rock-heavy new album, Accelerate , the veteran band were positively electrifying at this year's SXSW and their performance should prove to be one of the weekend's biggest highlights.

Main Stage 10 pm. The band's tattered indie rock is about as new as a frayed cardigan but just as comforting, particularly if you're afraid of expanding your musical horizons too broadly this weekend.

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Throw Me the Statue. The other night, someone was sitting in his apartment wondering why Throw Me the Statue's first album, Moonbeams , isn't a huge hit. Five minutes later, the second track on the album, "Lolita," was playing on the TV—on a Rhapsody.

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So maybe the world is taking notice. The Whigs take on overly familiar garage-rock territory but play their songs with such enthusiasm and unmitigated verve that they not only avoid coming off as a rehash but instead arrive as musical heroes, here to save you from boring rock, with an ungodly number of miles logged on their tour van. Handpicked as tour openers by none other than the Cure's Robert Smith, 65daysofstatic's songs are exercises in dynamism, fucking up your expectations of instrumental postrock with industrial crunch and math-rock signature changes. The Sheffield, UK, band create music for architects, but instead of just being nerdy, it's epic, loud, and, most importantly, awesome.

Main Stage 1 pm. Back in , seven guys who knew each other from doing theater and sketch comedy decided to form a band. They play almost two dozen instruments and write songs sometimes playful, sometimes dreamy, sometimes jubilant about drowning men, dying bees, and a woman who turns into a fish. If you're lying on the grass in the summer, looking up at the blue sky, and waiting for the drugs to kick in, this is exactly the band you want to hear.

The Blakes know a couple things about rock 'n' roll. They know how to record it—their self-titled Light in the Attic LP is full of simple songs with distinct vibes: dangerous "Streets" , sexy "Don't Bother Me" , and tender "Lint Walk" are favorites.

They also know how to sell it: The Blakes kill shows and play better drunk. Blue Scholars. The leaders of Seattle's current moment in hiphop are Blue Scholars. The duo's rise has been steady and strong since , when Charles Mudede first wrote about them in this paper. Mudede repeatedly makes this fact known at all of the dinner parties he attends on Queen Anne and other luminous parts of town.

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Sera Cahoone. Like Neko Case, Sera Cahoone has a voice that is perfectly suited to the lonesome high-desert plains of Eastern Washington. Her lovely, languid songs have a perpetually dusty glow and she's got an ace backing band that knows how to bring her material to life without overwhelming it. Cancer Rising. The Long Beach boys sound a bit patronizing when singing from, for example, the viewpoint of a repentant death-row inmate, but the strong bass lines hold the wild emotion in check.

The Cops. This is proletariat rock at its finest. The Cops channel the plight of the everyman through bombastic guitar assaults and poetic manifestos. The songs are smart enough to engage the mind, but raw and rowdy enough to effectively frame the razor-sharp lyrical content. Bring your petitions and your dancing shoes for this one. The Cure.

The South Park kids may think that Disintegration is the best album ever, but most of the Cure's catalog is worthy of the Top Ten category. Few other bands can fill a three-hour set with more hits than you can believe, and still leave you ticking off all the ones they left out.

Thirty years in, the Cure are still mind-blowing. Death Cab for Cutie. With the recent release of their sixth studio album, Narrow Stairs , Death Cab for Cutie have become mad scientists, experimenting with new song structures, new writing processes, and darker themes. The last couple of albums have been full of romantic, mellow rock gems, and they've sold millions of copies, which has afforded them the luxury of branching out in new, jammier, creepier directions.

Like releasing eight-and-a-half-minute songs about obsession, for example. Michael Franti has had a long career—from the Beatnigs the mid-'80s to the Disposable Heroes of Hiphoprisy early '90s to Spearhead mid-'90s to today. Though many argue that the Disposable Heroes of Hiphoprisy is Franti's highest hiphop moment, only his current band, Spearhead, have produced a legit hiphop classic: "People in tha Middle. At some point in concert, the Heavenly States will pull out a violin, and much of the crowd will groan with visions of Dave Matthews. But don't expect tapers to rush the stage or a tour manager to dump a busload of shit into the Gorge.

Rather, expect these Oakland treats to deliver piano-informed rock of the literate, hooky, and Stones-worshipping variety. Young Brighton band the Kooks reference David Bowie in band name and cast a sidelong glance at the Kinks with latest album title Konk. Their music is just as enamored of and indebted to their Brit-pop forebears. Their short, sweet love and breakup songs are reliably poppy, polished, and cute, if perhaps a touch too familiar.

Seattle's Maldives seem ready-made for a Sasquatch! Light a J, lie on a blanket, and let the band's healthy spread of Big Pink and Crazy Horse wash over as the sky above your head turns from blue to orange. And if it rains? You're still in luck: Run to the front, get soaked, and shout along with Jason Dodson when he plays a few MMJ-worthy country-rock epics.

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