Specially discounted three-day festival pass ($170.00) are now available (via Ticketmaster.com) through December 31, 2009.

The festival’s complete lineup will be announced February 16th. We strongly suggest you keep an eye on our Sasquatch! Outlook page for all the latest lineup news, confirmation, and rumors.

Flogging Molly:

What: “Green 17 Tour” 2010 North American tour dates (Pre-sale)

When: February - March

Tixs: Price varies depending on location

Buy: Ticketmaster.com on Wednesday, November 11th at 10:00 AM EDT

Where’s The Band Tour (feat. Dustin Kensrue, Chris Conley, & Matt Pryor):

What: Tour dates for Hollywood & Anaheim (CA)

When: January

Tixs: Price varies depending on location

Buy: Ticketmaster.com on Thursday, November 12th at 10:00 AM PST

U2:

What: 2010 “360 Tour” dates for Miami (FL), E. Rutherford (NJ), Chicago (IL), and Anaheim (CA)

When: June - July

Tixs: $30.00 - $250.00

Buy: Ticketmaster.com on Monday, November 9th at 10:00 AM EDT

The tour also will also bring the release of the band’s new single and video for “Punch Drunk Grinning Soul” from the band’s latest album, Float.

Fan pre-sale tickets are available now through Music Today with a reduced ticketing service charge until November 14th when tickets will be available through all normal ticket outlets.

Flogging Molly 2010 Tour Dates:
02/09 - Dallas,TX @ House of Blues *
02/10 - Houston, TX @ House of Blues *
02/12 - Memphis, TN @ Minglewood Hall *
02/13 - Atlanta, GA @ Tabernacle *
02/14 - Tampa, FL @ The Ritz *
02/16 - Orlando, FL @ House of Blues *
02/17 - Orlando, FL @ House of Blues *
02/18 - Charleston, SC @ The Music Farm *
02/19 - Charlotte, NC @ The Fillmore *
02/20 - Myrtle Beach, SC @ House of Blue *
02/22 - Vorfolk, VA @ The Norva *
02/23 - Baltimore, MD @ Ram’s Head Live! *
02/25 - Hartford, CT @ Webster Theatre *
02/26 - Philadelphia, PA @ Electric Factory *
02/27 - Boston, MA @ House of Blues *
03/02 - New York, NY @ Hammerstein Ballroom *
03/03 - University Park, PA @ Robeson Center Alumni Hall *
03/04 - Columbus, OH @ LC Pavillion *
03/05 - Cleveland, OH @ House of Blues *
03/06 - Detroit, MI @ The Fillmore *
03/08 - Indianapolis, IN @ Egyptian Room *
03/09 - Cincinnati, OH @ Bogart’s *
03/10 - St.Louis, MO @ The Pageant *
03/12 - Milwaukee, WI @ The Eagles Club *
03/13 - Chicago, IL @ Aragon Ballroom *
03/14 - Kansas City, MO @ Uptown Theater *
03/15 - Tulsa, OK @ Cain’s Ballroom *
03/17 - Tempe, AZ @ Tempe Beach Park *

* = w/ Frank Turner

“Sunday Bloody Sunday” first came together in 1982 while U2 were just starting to work on their third album. Bono was on his honeymoon with his wife Ali Hewson, leaving The Edge to begin working on the music in Ireland. After one particularly miserable day in which Edge got into a fight with his girlfriend and doubted his songwriting abilities, he channeled all his anger into a piece of music that would become the song’s main riff. Though both sets of lyrics deal with the troubles in Ireland, Edge’s original lyrics were much more blunt and risky. Starting with the line, “Don’t tell me about the rights of the IRA, UDA,” the track was strongly anti-terrorism. The lyrics were later changed to ensure the safety of the band and their families, as well as to promote a message of tolerance on both sides.

The final version of “Sunday Bloody Sunday” was the opening track to U2’s third album, War. Kicking off with Larry Mullen, Jr.’s militaristic drumbeat, the song moved away from the echo-laden guitar the band had used on their first two albums.  Instead, the guitar notes were icy and had a brittle feel to them. The accompaniment of Irish violinist Steve Wickman helped to connect the track to traditional Irish music. The Bloody Sunday mentioned in the song called back to the 1972 incident in Derry where British soldiers fired on a crowd of protesters, killing 14 of them. Bono directed his anger in the lyrics to the loss of life in general, rather than pointing fingers. With lyrics like, “And the battle’s just begun/There’s many lost, but tell me who has won/Trenches dug within our hearts/And mothers, children, brothers, sisters torn apart,” Bono conveyed the sadness and anger over such a loss of life.

Like many of U2’s songs, “Sunday Bloody Sunday” has evolved and changed throughout the years it’s been played live. When U2 performed the song on the War Tour, there was some trepidation on how the crowd would react, especially their Irish fans. There were some who saw the song as a glorification of the Troubles and a call for revolution. In order to squash these ideas, Bono introduced the song by saying, “This song is not a rebel song. This song is Sunday Bloody Sunday.” This statement, combined with the white flags that waved behind the band on stage, helped bring forth the song’s non-partisan intention for a peaceful solution.

U2 continued to perform “Sunday Bloody Sunday” as a staple of their live set. As their popularity increased, the band chose it as the opening number of their two-song set for Live Aid. With U2 flags sticking out of the crowd everywhere, the band played a passionate performance during which Bono had the entire Wembley Stadium singing the words “No more!” along with him.

The song reached its live peak during the Joshua Tree Tour. On November 8, 1987, a bomb placed by the Provisional Irish Republican Army exploded during a Remembrance Sunday commemoration in Enniskillen for those killed in all conflicts involving the British Army. The bombing killed 11 people and became the latest stage of the Irish conflict. Later that same day, U2 performed one of the angriest and most passionate versions of “Sunday Bloody Sunday” in their career. It started off with just Edge and Bono before the rest of the band kicked in halfway through. After Edge’s solo, Bono unleashed one of his most scathing rants against the violence occurring in his home country.

“And let me tell you something. I’ve had enough of Irish Americans who haven’t been back to their country in twenty or thirty years come up to me and talk about the resistance, the revolution back home, and the glory of the revolution, and the glory of dying for the revolution. Fuck the revolution! They don’t talk about the glory of killing for the revolution. What’s the glory in taking a man from his bed and gunning him down in front of his wife and his children? Where’s the glory in that? Where’s the glory in bombing a Remembrance Day parade of old age pensioners, their medals taken out and polished up for the day. Where’s the glory in that? To leave them dying or crippled for life or dead under the rubble of the revolution, that the majority of the people in my country don’t want. No more!”

After the tour ended, Bono mentioned at one point that the band may never play the song again, since it became real on that day that the performance would never be bested. For the next few years, U2 kept to their word. “Sunday Bloody Sunday” wasn’t played on any of the dates for the 1989 Lovetown Tour. It made a few appearances during the band’s 1992-1993 ZooTV extravaganza, but it was mostly left out of the set.

The song only really returned midway through the band’s 1997-98 Popmart tour. The tour was the most extensive U2 had done up to that point, with dates in South America, Japan, and South Africa. One of the most special dates of the tour occurred when the band visited the war-torn city of Sarajevo. During ZooTV, Sarajevo was under siege by the Serbian Army looking to add the city to a new Serbian state. The conflict lasted for about four years, leading to thousand of deaths and injuries. U2 was closely involved with trying to get help to the citizens of the city and wanted to play there during the conflict. It was deemed too dangerous, though, so the band waited until their next tour to play Sarajevo. It was during this show that “Sunday Bloody Sunday” made its return, albeit in a very different structure. The Edge performed a slow solo version of the song that emphasized the sadness over the violence rather than the anger. It was this version of the song that Edge continued to play for all the remaining dates of the tour, dedicating it to Sarajevo every time.

During U2’s successful Elevation Tour, the “…Sunday” returned in its full band version. This time around, the song was centered on Ireland again. While the Troubles in Ireland had been resolved by 2001, U2 played the song in tribute to those who died in the Omagh bombing of 1998. The bombing killed 29 people in Northern Ireland and was carried out by the Real Irish Republican Army, a splinter group of the IRA. The attack was seen as a response to the nearly completed peace process occurring in the nation.  During performances, Bono would ask for the crowd to “Turn this song into a prayer.” During their emotional concerts at Slane Castle, Bono recited off the names of all the victims of the bombing in tribute to the lives lost. After 9/11, the song was played in tribute to those who died in the terrorist attacks. Instead of talking during the middle break, Bono instead hugged an American flag.

“Sunday Bloody Sunday” found itself placed in the middle of a political trio of songs on the Vertigo Tour.  All three songs, but mostly “Sunday Bloody Sunday”, centered on the theme of coexisting. The song was played immediately after “Love and Peace or Else” and segued into “Bullet the Blue Sky.” As it started, the word “coexist” was displayed on the video curtain with the Islamic crescent, the Star of David, and a Christian cross making up letters in the word. After Edge’s solo, Bono would usually drive the point home by saying, “Jesus, Jew, Mohammed, it’s true. All sons of Abraham.” This version of the song focused on the growing religious conflict around the world and was a call for all faiths to realize that they’re much more similar than they think.

Recently, this past year, “Sunday Bloody Sunday” became re-contextualized yet again as a tribute to the 2009 Iranian election protests. The song was also a focal part of the transition between the two parts of the main set. Bono has mentioned in interview that the first half is a personal journey, up until a techno version of “I’ll Go Crazy If I Don’t Go Crazy Tonight.” The backing beats and looped vocals fade out as “Sunday Bloody Sunday” kicks off the political half of the set. As the band played through the song, Iranian writing and footage from the protest appeared on the screen, tinted in a shade of green.

The live history of “Sunday Bloody Sunday” has shown how versatile it is as a song. A track originally written as a call for peace in Ireland has spread throughout the years to a call to the end of all conflicts. Its message is backed by the power of the lyrics and music that it contains. It’s a number that fans love to hear played live. However, every time they do, there’s one line that comes through over and over. “How long must we sing this song?”

The FEST is filled with ink, beards, and the Pabst Blue Ribbon that pours out of sweaty fans’ pores, as they fist pump and crowd surf. Outside of the music related fare, there is Friday’s FEST-organized pool party at the University Holiday Inn, and the flea market, affectionately known as the “FEST dirt mall,” with plentiful freebies. In addition, No Idea Records hosted a parking lot sale and Barbecue as a pre-FEST attraction on Saturday morning.

Friday, October 30

The local band Battle! kicked off the FEST in 1982, the small bar sandwiched between UF Nail and Wing Zone. Battle!’s straight forward melodic performance showcased the fast and aggressive nature of percussion, as the drummer’s accelerated kick pedal work awed the audience. The band was led by a robust set of pipes, which spewed an onslaught of unintelligible lyrics. The one exception to that was “Hourglass”, as the lyrics were heard loud and clear by the crowd. The heavy subject matter presented in a softer light juxtaposed with the band’s hardcore, yet catchy sound brought genuine tears to the fans’ eyes.

The Riot Before was quick and to the point, with simple lyrics inspiring an inordinate amount of fist pumps. Fittingly, the Richmond, Virginia band played at the Atlantic, which mirrored the band’s occasional AC/DC-esque circa “Thunderstruck” guitar styling, with its dark early ’90s feel. The Riot Before was easily one of the most energetic performances of the FEST. Unfortunately, “Words Written Over Coffee” was played sans harmonica, resulting in depleted charm, even if it coincided with the venue better than the song’s softer recording found on Fists Buried in Pockets. Fortunately, the complex lyrics aided in enthralling the listeners.

Coming in third for the day was a stop at The Venue. Walking in, one instantly feels like they’re running up a ramp, which opens out to the football field and the big game under the stadium lights. Fittingly, Small Brown Bike is the Brett Favre of punk. Wavering back and forth between retiring and playing, the band managed to come together for two shows at the FEST and is pushing along with their career, making a logical transition into a more mature sound. The Michigan natives are unparalleled in their pairing of high intensity performance and guitar tapping. While some musicians’ performances would suffer while they stare at their hands meticulously executing the songs, Small Brown Bike is able to rock out. However, the band’s breakdowns lacked the needed speed and consistency toward the beginning of the set. By the end, though, Small Brown Bike hit its stride with great synchronicity.

Immediately after Small Brown Bike, The Venue hosted A Wilhelm Scream. This band can easily be described as the Dream Theater of hardcore punk, but somehow they fail to make the numerous components of their band fit as well as their progressive rock counterparts. Bass player Bri Robinson held the show together with his animated performance and groove inducing bass lines. While the other members spent a notable amount of time bouncing around the stage and into one another, Robinson played to the crowd by finding the one person uninspired by the band’s playing, and making it his mission to get them involved. Musicians like Robinson are what live shows are about.

The night ended with a trip back to the Atlantic and a FEST staple - the reunion show. The Ghost broke up in December of 2004 citing “arguments, shifting interests, consistently harsh tours, depression, and conflicting views” as the reason. Wounds of the past bled, as singer Brian Moss seemed to be the only band member who cared that they were performing. Focusing heavily on This Is a Hospital, the band opened with the album’s first track, “Death by the Bay”. The Ghost has a knack for taking overlapping guitar work like that of Hot Water Music and making it more mathematical and painfully deliberate, all the while trying to retain a sense of melody.

The Bomb

Saturday, October 31: Happy Halloween

After an evening of a “punch-in-the-face” welcoming to the FEST, Saturday afternoon brought a welcome break, offering enchanting acoustic shows. The Civic Media Center, a gathering for alternative and non-corporate press enthusiasts, hosted two of the best acoustic sets. Shelves of books and a minuscule stage added a coffee-house feel to the Grabass Charlestons. The band resurrected the light, feel-good instrumental style of the Gin Blossoms and the vocal tone of Tom Waits from guitarist PJ “Peej” Fancher. The band’s cover of Warren Zevon’s “Carmelita” was a poignant performance, despite constant heckling from the town’s local idiot and die hard Rancid fan.

Following the Grabass Charlestons, Andrew Jackson Jihad packed the small venue to capacity. The band focused on new material, shying away from fan requests for older songs such as “Lady Killer”. This is respectable because Andrew Jackson Jihad has progressed into a more self-aware and introspective band. To play the old stuff would discredit their more earnestly based viewpoints. Sounding eerily similar to The Mountain Goats and with the lyrical gimmicks of Mike Doughty songs such as “Circles”, this band has been heard before. However, they’re just as good, if not better, than their predecessors and completely worth listening to. Also, they were nice enough to play a set in the adjacent parking lot for the fans that were unable to get into the Civic Media Center.

Later, Less Than Jake played at The Venue. However, it seemed more like they had planned to throw a birthday party for bassist Roger Manganelli, and the crowd just happened to show up and join in on the fun. One of the best, if not the best, performances of the FEST was provided by the ska band. The band threw out prizes to the crowd, called people up to the stage to take shots, and created the experience of a lifetime. Too bad all parties aren’t as FESTive.

A trip to Flacos restaurant occurred next, in anticipation of Big Black Motorcycle (Small Brown Bike’s acoustic set). First, a solo performance took place. As mentioned before, Brian Moss of The Ghost seemed to be the only member stoked to perform on Friday, which explains why he would venture a solo career as Hanalei. Moss uses his solo act to get on the soapbox and discuss religious zealots and Chicago. Vocal squeaks were plenty as Moss sang with a FEST-torn voice from his performance the night before. Billed by the FEST guide as “earthy-folky acoustic jams,” Moss instead used his electric guitar, which gave his songs a different, yet still enjoyable flavor.

Finally, Big Black Motorcycle played, and in the spirit of Halloween, drummer Dan Jaquint was dressed up as Roger Bart. Oh, wait, that wasn’t a costume, it is just an eerie resemblance. “A Declaration of Sorts” was transformed into a beautifully melancholy ballad. The chorus maintained its brain-infiltrating traits, while the acoustic version allowed unheard lyrics, such as “This is the last time that I feel broken/I’ve tried to fix this mess/For years and years I fight my stress,” from the night before to shine.

An unexpected crowd favorite followed. From across the pond came Apologies, I Have None. The upbeat punk rock inspired the most crowd interaction all FEST, complete with a fan pyramid erected three tiers high. For their first show in the States, this band deserves to be proud.

Halloween wrapped up with an impromtu Youth Brigade show at Mexican restaurant Boca Fiesta. Unfortunately, this was possibly the worst show of the FEST. After a screening of a two-hour movie venerating the band’s career, they played like a gaggle of 14-year-olds in a Youth Brigade cover band. A solid two to three minutes of screaming, “Vocals! There’s no vocals,” which was clearly heard by the crowd through the microphone, ensued and the first four attempts to play anything at all were utterly futile.

Sunday, November 1

The new month was ushered in with 12XU from France. Rocking riffs, and sensitivity with an addicting accent transpired into an intense show, with many first time listeners leaving as fans. Afterward, The Bomb had an amazing set with a considerably sparse crowd at The Venue. Nonetheless, singer Jeff Pezzati, originally of Naked Raygun, enthralled the audience with his classically trained voice. Said voice was a welcome deviation from many of the FEST’s overly raw vocals.

The Emotron played the Kickstand. Solo musician Jason Kyle Knight promotes the “I’m-misunderstood” aesthetic to the grave. News flash: you’re misunderstood because it is difficult for people to fathom why throwing flour and chocolate syrup around and pissing on the stage is being pawned off as art. The dance beat style paired with a more hardcore sound is slightly enjoyable, though. The Emotron should focus on honing that combination and forgetting about the shock show.

After The Emotron train wreck, Kickstand offered a trifecta of first-class bands to close the FEST, beginning with O Pioneers! from Houston. The band appeals to fans of Against Me! and Fugazi, offering the same sort of atmosphere. Next, Bomb The Music Industry!, which gives their music away for free, exhibited talented songwriting. “Congratulations, John, On Joining Every Time I Die” is a key example of this, with the chorus, “Nice going asshole/Nice going asshole/Nice going asshole/Nice going asshole,” followed by lyrics such as, “I hope you know that Christine’s gonna ask you to get into all your shows for free/And I will smile while silently resenting you for quitting Bomb The Music Industry!” Performed with a punk, ska, and pop vibe, the band is beyond infectious, so take advantage of their free music and join the fight to save the soul of music.

Shutting down the FEST was the most anticipated show of the three-day festival, Defiance, Ohio. The second show of the weekend for the Bloomington bunch electrified the small venue. The amount of hooks and talent produced by the band are profuse. Songs like “Condition 11:11” tightly grasp the audience from the beginning with the Deliverance style (if the movie were set in an urban club) banjo playing by Sheri. The infectious sampling of Defiance, Ohio’s catalog left fans dancing, shouting, and screaming for more. Unfortunately, the cops showed up and eradicated any chance of a much-requested encore.

Overall, the FEST’s low ticket price and abundant musical and community offerings, paired with the lack of corporate hands crowding the cookie jar, offers one rocking Halloween weekend. The good news is, despite rumors of this FEST being the last, first prize for the FEST 8 Photohunt is two passes for FEST 9. Looks like there is more fun to be had in Gainesville’s future.

Photos courtesy of Michelle Cox…

Bad Religion:

What: Tour dates for Las Vegas, NV

When: March 26th & 27th

Tixs: $22.50

Buy: Ticketmaster.com at 10:00 AM PST

Jack’s Mannequin:

What: Tour dates for North American tour

When: February - March

Tixs: Price varies depending on location

Buy: Ticketmaster.com at 10:00 AM EST

Lady Gaga (w/ Kid Cudi):

What: “The Monster Ball” tour dates for Las Vegas, NV & Detroit, MI

When: December - January

Tixs: $35.00 - $125.00

Buy: Ticketmaster.com at 10:00 AM EST

Not So Silent Night:

What: One day concert in Oakland, CA featuring Muse, Vampire Weekend, 30 Seconds to Mars, and AFI

When: December 11th

Tixs: $47.25 - $56.75

Buy: Ticketmaster.com at 10:00 AM PST

Passion Pit:

What: Tour dates for Boston, MA & Pomona, CA

When: December - January

Tixs: $23.00 - $25.00

Buy: Ticketmaster.com at 10:00 AM EST

Tim McGraw:

What: Tour dates for North American tour

When: February - March

Tixs: Price varies depending on location

Buy: Ticketmaster.com at 10:00 AM EDT

Weezer (w/ Jack’s Mannequin & Motion City Soundtrack):

What: Tour date for Camden, NJ

When: December 10th

Tixs: Price not listed

Buy: Livenation.com at 10:00 AM EDT

Update: The band has offered more details on the reasoning behind the decision: “The cancellation of the tour is due to the rejection of the band’s Central Withholding Agreement (CWA) by the Internal Revenue Service (IRS). The rejection was unexpected as the Echo & the Bunnymen team submitted the necessary paperwork in due time and in accordance with the process that had been followed on previous tours. Additionally, the IRS offered no reasoning for the rejection and was unresponsive to our inquiries. This CWA allows for foreign entertainers to be paid in full, otherwise promoters are legally obliged to withhold a minimum of 30% in lieu of tax which ultimately will not allow for a tour to happen at this time.”

[Insert satirical political jab here]

Echo & the Bunneymen 2009 Tour Dates:
11/15 - Atlanta, GA @ Masquerade
11/17 - Washington, DC @ Black Cat
11/18 - State College, PA @ State Theatre
11/20 - Glenside, PA @ Keswick Theatre
11/21 - Fairfield, CT @ Stage One
11/22 - New York, NY @ Hammerstein Ballroom
11/23 - Boston, MA @ House of Blues
11/25 - Chicago, IL @ Metro
12/12 - Oxford, UK @ O2 Academy
12/14 - Newcastle, UK @ O2 Academy
12/15 - Leeds, UK @ O2 Academy
12/17 - Liverpool, UK @ O2 Academy
12/18 - Liverpool, UK @ O2 Academy
12/19 - Liverpool, UK @ O2 Academy

In the summer of 2008, iconic surfer and former Pipe Master, Rob Machado, flew to Indonesia to experience a “different kind of surf trip.” As the story goes, “the journey ultimately took him way beyond his comfort zone, where he was finally alone with his thoughts, desires and the empty perfection of an unnamed Indian Ocean reef.” What he discovered was captured in his new autobiographical film, The Drifter, which was released on DVD this past Tuesday, November 3rd.

In celebration of the film and its incredibly awesome soundtrack, one which features contributions from The Raconteurs, Bon Iver, Yeasayer, MGMT, The Shins, Dr. Dog, Iron & Wine, The Black Keys, Tegan & Sara, and many others, we’ve got a pretty nifty prize pack to give away. Specifically included in said prize pack will be:

• A copy of The Drifter on DVD

• A Drifter inspired t-shirt

• A bar of Rob Machado’s special and organic blend of surf wax

• A pair of tickets to the exclusive East Coast screening of the film to be held on November 12th at the Algonquin Theater in New Jersey. (The Screening includes an acoustic music set with Machado and Jon Swift, the full-length feature film and a post-movie Q&A with Machado and the film’s director, Taylor Steele.)

Interested? Send us an email with your name and address. We’ll select one winner at random on Monday, November 9th.

Included on the five track EP, titled appropriately enough Christmas, will a new version of “All Over The World”, a song from the band’s most recent studio album, as well as an reworked version of “It Doesn’t Often Snow At Christmas”, which was originally an exclusive Christmas single issued to members of the Pet Shop Boys fan club in 1997.

But wait… there’s more! Also offered on the EP will be a cover of the Madness song “My Girl” as well as a medley of Coldplay’s “Viva La Vida” and the Pet Shop Boys classic “Domino Dancing”. Rivers would be proud.

Ironically, the band’s most famous holiday number, a 1988 cover of Elvis’ “You Were Always On My Mind”, did not making the cut. But because we care, we’ve included it in this post, just so you can hear it now.

Christmas EP Tracklist:
01. It Doesn’t Often Snow At Christmas
02. My Girl
03. All Over The World
04. Viva La Vida/Domino Dancing
05. My Girl (Our House Mix)

NEW Singles:

• “I Don’t Like Your Band” by Annie
• “Tiger Tamer” by Arms
• “Theme From Tomorrowland” by Cold Cave
• “Demons” by The Lawrence Arms
• “Arrived/Departed” by The Mercury Program
• “Englar og darer” by Ólöf Arnalds
• “Step Off” by People Under the Stairs
• “Jimmy Whistlenut” by Ryan Adams
• “Answer to Yourself” by The Soft Pack
• “Severance Pay” by Star Fucking Hipsters
• “Small Things” by Stricken City
• “Functioning People” by The Subjects

Covers, Remixes, and all that JAZZ:

• “Sing Sang Sung” (Black Moth Super Rainbow Remix) by Air
• “My Love Is Better” (Sunkh Knight Remix) by Annie
• “Candy” (Pablo Decoder Remix) by Audio Affinity
• “Ultra Violence and Beethoven” (Arveene & Misk Remix) by Baby Monster
• “New Beat” (Breakdown Remix) by Bouncecamp
• “3″ (The Knocks Remix Radio Edit) by Britney Spears
• “Call Me Up” (Hoshina Anniversary “Galaxy” Live) by Chromeo
• “Easy” (Buffetlibre Remix) by Dragonette
• “Surprise Hotel (Wallpaper’s Mariah Mashup)” by Fool’s Gold
• “Do You” (an-ten-nae Remix) by Freeland
• “Los Angeles” (Elliott Smith) by Jump Clubb
• “Hold The Line” (dMon Remix) by Major Lazer
• “Which Song” (Passion Pit Remix) by Max Tundra
• “Simon Says” (Mikey Mic Remix) by Pharoahe Monch
• “Nightmarer” (Max Justus Remix) by Queens Club
• “Marcos Vuelve” (Picnic Kibun Remix) by Survey Team

Something to CHECK OUT:

• “Oakland 2008″ by Beautiful Supermachines
• “Sneaky Times” by Birds & Batteries
• “My Hallucination” by Cracked Latin
• “She’s Just a Girl” by Esteban
• “Farabutto” by Pink A Pads
• “Amazonian Pacific” by Robert Carlos Lange
• “Conquerors” by Yuuki Matthews