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Last time Asobi Seksu played Seattle, the press release announced that the band was going to be playing an acoustic set, in anticipation of their upcoming (since-released) acoustic album Rewolf. The band didn't get that memo and instead played their normal set which was wonderful, if a bit jarring compared to the quieter, non-strobe-lit acts on the bill. Following through this time around, Asobi Seksu left their effects pedals at home for last week's Triple Door performance and demonstrated that their songs stand up even without the obvious shoegaze-influenced sensory onslaught.

Asobi Seksu's always been best live. Their records are always worth a listen as well, but it's on stage where you really understand the duality of their songs, with the distorted guitars forming an aggressive counterpart to Yuki Chikudate's sweet vocals. Without that interplay, this show was a completely different beast, placing sole focus on Yuki's voice, making me wonder at various points how such a big sound could come out of such a small frame.

As with Rewolf the evening's set consisted of re-workings from throughout Asobi Seksu's discography. Old favorites like "New Years" and "Thursday" gained a new, more intimate life with the new arrangements, and the Triple Door was the perfect space to experience it. The songs gave off a new vulnerability when delivered from the 4 seated members on the large stage, with "star light" replacing strobe lights and nuance replacing sonic power. It was a pleasant change and nice to see the band branch out into new territory, especially in the appropriate setting. That said, I certainly won't complain when the band comes back with the fully plugged in experience next time.

Video from the show:

Rewolf is available now from any record store worth its salt. It's also available from the band's label.

More videos after the jump.

Opener Anomie Belle

In a few more marks of the rock world further embracing electronic elements, Saturday's Neumos show features both School of Seven Bells and up-and-comers The Depreciation Guild.  The former, made up of members of Secret Machines and On! Air! Library!, features harmonies of the identical twins Alejandra and Claudia Deheza layered over electronic and guitar-laden textures.  The latter combines the hazy guitars of shoegaze and dreampop but punctuates that with 8-bit tones, a pairing that is a bit jarring at first but works to interesting effect. It's a very appropriate pairing of bands, well worth your Saturday night.

• School of Seven Bells, The Depreciation Guild, War Paint @ Neumos, 8pm doors, $12 adv., 21+

One of the best choices I've made this year was to head to New York in May to see Japan's Mono perform on their 10th anniversary tour. In honor of that occasion and their latest album, Hymn to the Immortal Wind, the performance featured not only the band in the beautiful New York Society For Ethical Culture concert hall, but collaboration with a full orchestra as well. It was a truly transcendent experience, with superb acoustics and the band's already powerful intrumentals pushed to new heights.

Tonight's show isn't in a church-like setting, isn't slated to feature an orchestra, and is part of Mono's usual tireless touring, but I'm no less excited about the performance. Neumos isn't fancy, but the setting is ideal for letting the music wash over you. As cool as the orchestra was, Mono doesn't need anything but the core members to fully execute on their quiet-LOUD-quiet template, so there's no other place we'd rather be tonight. If somehow you've managed to miss out on Mono's live performance, you'll definitely want to make it as well. Don't forget earplugs.

The bonus for tonight's show is an opening performance by the local and always-wonderful-live synth-gazers Sleepy Eyes of Death. It's their last performance of the year, and chances are high that they'll play some material from the new album they're finishing up. Word is that it's visual technician Brandon's last show as well, so here's hoping he goes out big--lasers and confetti?

• Mono, Maserati, Sleepy Eyes of Death @ Neumos, doors 8pm, $13 adv., 21+.

It's not often that you get to have a bill that's interesting from opener to headliner. Sunday night is one such rare occasion, as a gaggle of Swedes join some New Yorkers for an evening of acoustic (and near-acoustic) music.

Opening Sunday is Anna Ternheim in support of her latest album Leaving on a mayday. That album was produced by Bjorn Yttling of Peter, Bjorn, and John, and goes down easy just like PB&J's finest output. Ternheim's already earned a bit of acclaim among Swedish audiences (Best Female Artist and Album of the Year at the 2009 Swedish Grammys), and I can't help but to be excited to hear her voice in the flesh. Check it out for yourself.

Download: Anna Ternheim - "What Have I Done?"

Rounding out the bill is Loney Dear (also Swedish), in support of Dear John, and New York's Asobi Seksu, who are leaving their wall of sound at home in support of the upcoming Rewolf, their new acoustic album. Show up early and plan to stay for the whole show. It certainly looks to be worth your time (and money).

Here are my pics from the weekend.  You can view more pics in the Decibel Festival 2009 Flickr Pool.

From a weekend so filled with wonderful moments it's hard to pick any particular set of highlights, but if I had to pick a top three, I'd have to call out the following:

If you missed out last weekend, don't fret. You've only got a year to wait until the next Decibel. Don't make the same mistake.

Like many of you, I've spent the last few months loudly declaring this year's Bumbershoot as one to miss after skimming the list of lackluster headliners. In recent weeks, I've turned around on the event. Yes, it's crowded. Yes, some of the headliners are a complete snoozefest. But it's still one of the best large-scale events in Seattle, and I'd be a fool to ignore it out of my own elitism. Plus, there's funnel cake! I decided I'd at least check out one day, and Sunday's the day.

Sunday's musical lineup (as with the other days) is solid if you look past the names in the largest type. First off, there's Vivian Girls. Between their dates here and this year's SXSW (where they played an amazing 18 shows in 3 days), I've seen Vivian Girls plenty of times, and only once been disappointed (stink-eye for you, sound guy at Neumos ). Somewhere in their hectic touring schedule they've managed to finish up their sophomore album, so this date promises a lot of new material.

I'll also be scratching my indie-rock itch with the Yeah Yeah Yeahs and locals Sleepy Eyes of Death, with the latter promising the debut of a new song (side note: if you haven't bought Dark Signals Remixed, SEoD's recent remix album, you should).  In a more soulful vein, I'm looking forward to Roy Ayers and Raphael Saadiq, representing both classic and neo-soul. It's a bummer to miss Mayer Hawthorne (playing today) and Black Joe Lewis & the Honeybears (playing Monday), but such is life.  Hopefully they'll both be back soon.

Between those bands I'm also hoping to catch some of the other festivities as well (and not just the food). As with every year, I'll be fighting my impulse to buy everything at Flatstock, and the Seattle-Moscow Poster Show sounds incredibly compelling. I've got high hopes for big laughs from David Cross and Aziz Ansari as well. It's certainly going to be a long day, underscoring how wrong I was to dismiss this year's Bumbershoot.