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Blair Stiles

Last night, cradled by St. Louis' Old Rock House, Mac DeMarco crafted a cult out of the sold-out crowd.

Glasgow, Scotland's Chvrches have needed little assistance in emerging as a mainstream contemporary electronic dance-rock monolith.

Michael Deni's efforts to galvanize the woozy Off Broadway crowd coalesced into a flagrant one-two punch. He bopped around the stage with straight shoulders and buoyant legs, eventually plunging into the crowd who finally shook itself out of the Thursday night stupor that left them boring and polite the first couple songs in.

The stroll to downtown St. Louis' City Museum consists of cracked and cobbled stones that prove themselves ankle-twisters after several libations. Their unsteady ground further rumbled under foot as an unseen siren's wail emanated from the building the path surrounds.

On Saturday night the Firebird hosted a three-band bill that consisted of Brick + Mortar, Vacationer and Hellogoodbye. Sheltered from the storm brewing outside, the bill played on uninhibited by the danger that prowled around the skies.

The creative process can be arduous. Without the right elements, working an internal dialogue into a malleable mass of creative genius can feel wrong. It takes time. It takes a curative flair. Bands like Local Natives understand the ingredients that go into records anointed with emotions that settle deeper than the soul, and it's why why people go see bands like Local Natives.

Sometimes there just is not much to say about a show. Real Estate's sold out Firebird show last night sacrificed engaging musicality for mellow vibrations. The decision was not terrible. It all seemed like a mirage conjured up by the sands of a desert.

It was freezing, and the line for Rebecca & Fiona on Friday night was 20 deep. House music spilled out of Europe Night Club with the same intensity as the waiting women who jiggled out of their tops as they bounced to stay warm. Its compulsory thump threatened to break pavement as we shivered. A text to a friend on the inside scored us instant respite from the cold that nipped our bare skin.

Ryan Lott had never been to St. Louis. The Brooklyn, N.Y. dweller, and brain behind Son Lux, spent upwards of seven weeks holed up in Indiana. Presumably, he worked fastidiously on "Lanterns," Son Lux's third release, and developed an insatiable appetite for corn and Pacers basketball.

When Xenia Rubinos' album "Magic Trix" landed in my lap it felt like the most tangible show of piano and percussive prowess.

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