So, about Passion Pit saying he’s yet to be paid for GoodVybes…

GoodVybes Festival(Update: GoodVybes released an extended statement, admitting that while there is a “disputed amount of additional costs”, they have paid 86% of the total Passion Pit is owed, and added that “to say that we have not paid them is not only dangerously reckless, but libelous and slanderous.” Michael isn’t happy: “How this is being handled pretty much explains it all.”) This morning Michael Angelakos, aka Passion Pit, started some sort of thunderstorm, tweeting that he has yet to be paid for his appearance at the GoodVybes Festival last year. The festival’s organizers, Vybe Productions, have told Bandwagon that they have, in fact, paid his agency, and raised the possibility that the agency has not paid Michael. (As I write this, we’re still waiting for an official statement from the outfit, but we have a couple of tweets.) It’s a weird situation, at least from my viewpoint. The story took a while to be picked up by some media outlets; I am pretty sure Bandwagon is the only music-centric outfit that has written about it. Manila Concert Scene deleted the tweet – an innocuous one, marking a year since the festival – that Michael replied to. But that’s trivial stuff. As a country that’s looking to be a stop for all these foreign acts – and at the risk of sounding like I’m taking sides – why the hell is this thing happening? Nobody’s sure what the real situation is, but there can’t be no fire if there’s no smoke. There is a deeper story here, I think, but ultimately, in the world’s odd way of doing things, it wouldn’t matter much to the public – what matters to them is that they get to watch their favorite acts live here. All that said, this kerfuffle becoming public is a reminder that there is a lot of work to be done, and constantly. [NB] (Photography by Jobelle Natividad.)

Live things: the highs and lows of the GoodVybes Festival

Hello. Niko here. Our review of the GoodVybes Festival, which took place last Saturday, would be a little different than we envisaged. We planned an essay of observations for the first major (arguably) music festival of 2016. We had a man on the ground: one of our contributing writers, Dexter Tan, bought tickets, making good on his vow to see Chvrches once and for all. And he was there.

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Review: Kindred by Passion Pit

Kindred by Passion PitI honestly don’t see the point of this album. I never thought we’d end up like this. Passion Pit was exciting the first time around, and did some interesting things when their second record, Gossamer, was released in 2011. Now, with Kindred, the indietronica band led by Michael Angelakos decidedly stays in the same lane and offers little to hold attention. Perhaps fans will like the way he swings between anthemic wompy pop and surprisingly slinky soul (“Where The Sky Hangs” is this record’s “Constant Conversations”, but not by a mile) but there’s the sense that you’ve heard all of this before. It’s sunny pop with gloomy lyrics, identified by that weird screech. And it all becomes a blur and, when the record’s over, you forget it ever happened. [NB]2/5

“Sorry I couldn’t be there. I was tied to a rocking chair.”

“It’s Not My Fault, I’m Happy” by Erato | I was looking for a Passion Pit song off their Gossamer album that I have not heard yet when I stumbled upon this Swedish vocal trio. Not much is known about the group yet, but if they were a beverage, I’d call them “smoothie”. Their fresh take on the song literally took me by surprise. I was expecting an acoustic cover but these ladies managed to infuse a bit of their own style into the originally sweeping track.  The best thing about this version, in my opinion, is the subtle xylophone arrangement that transformed the whole song. It added a sweet nostalgic feel that best match their vocals and I constantly had to remind myself that it’s their own song.

“Now I’m dreaming somebody would simply come and kidnap me.”

“The Reeling” by Passion Pit | Another recommend from Adrian – although, really, this is more of a reminder, since this is my favorite Passion Pit song. And, perhaps, the quintessential song from them. (Except if you’re my sister. It’d be “Sleepyhead” for her. That one word gets stuck in her head.) As expected from Michael Angelakos, this song is darker than it sounds – I read it as being from some sort of withdrawal, perhaps from an addiction, but you wouldn’t know that once you start tapping your feet. Or, you know that you are addicted… to this song. (Have things I should hear? Drop me a line here.)