The internet broke twice yesterday, first around noon when At the Drive-In tweeted out their unexpected reunion news, and then roughly seven hours later when COACHELLA unveiled its incredible 2012 lineup. We've digested the attractive headliners (Radiohead, Black Keys, Dre), the surprise reunions (Refused, fIREHOSE, ATDI), and that one famed Britpop heavyweight booking that almost makes up for another year without The Smiths (Pulp! Come on down, your blank check is right over here in Tent B!).

Not bad Coachella, not bad at all.

This year's music and arts fest in the California desert multiplies itself over two consecutive weekends this April, and upon first lineup glance, the list of performing acts seems lighter than in year's past, perhaps a result of the doubling-up festival organizers are experimenting with in 2012 (April 13-15, 20-22).

As promised last week, COACHELLA made its "big announcement for 2012" this morning, and no, it's not a Smiths reunion. California's already-massive spring music and arts festival will double in size next year, expanding across two weekends under the blazing Indio sun to accomodate increasing ticket demand.

So here it is -- the moment where a normally stoic and disaffected alt-weekly music editor completely loses his fucking SHIT interviewing Britpop kickstarters SUEDE just a few hours before their set at Coachella, the band’s first performance on U.S. soil since 1997. It’s the same old show -- it’s the killing of a fanboy, oh.

There was a point during Sunday night's STROKES performance at Coachella, sometime between a fuck ton of people in an open field singing the chorus of "Hard To Explain" and catching Marcus Mumford of Mumford & Sons grabbing WFNX's Paul Driscoll and going bat-shit bonkers, when all the Angles talk, comeback critiques, and dissertations about the current state of New York's greatest rock band of the 2000s just.

Saturday was a day of overall craziness in sweltering Indio, California, but sometime between sets by Erykah Badu and Broken Social Scene on the main Coachella stage, Paul Driscoll of FNX radio and I were able to grab a few tight minutes backstage with Will Butler of THE ARCADE FIRE.

The Canadian indie darlings and heralded Grammy-winners would later headline the big fort and give the endless sea of desert revelers a performance that kinda felt like their long-awaited public afterparty for The Suburbs taking down Album Of The Year a few months ago.

Anyone who knows me is very much aware of my love and obsession of Britpop kickstarters SUEDE. So while we await the upload of my nervous 15-minute chat last night with front man Brett Anderson, I’ll post some phlipcam action of “Trash” from their Coachella set, the legendary British rock band’s triumphant return to the states after a 14-year absence.

Ok, things are getting nutty at the Sapporo House out here in Cali -- Freelance Whales just came by and banged out a few jams for WFNX before making small talk and carrying out a few cases of Sap for the ride back to the fairgrounds, Foals were like ninjas coming in and out (In-N-Out, mmmmmmm, we've been there twice already) and now Foster The People just barged through the front gates with the energy of an Adderall Happy Meal.

A few pre-show technical difficulties didn't prevent CRYSTAL CASTLES from blowing up the Outdoor Theatre stage last night at Coachella in an LED explosion of electro thrash aggression and strobe-lit synthesizers. It was pretty much, so far, the best performance of this still-young music festival in the desert.

Timing is everything here at Coachella, and on the first day, we sometimes had it and sometimes did not. We had it when Alice Glass leaped over our Phoenix/WFNX photographer during CRYSTAL CASTLES' monster performance of "Baptism" (video of that in a bit) and we didn't have it when we missed the Killers unannounced reunion during an encore of Brandon Flowers' set.

After two decades in the game, the gorgeous, grandiose, and entirely grounded music of ELBOW culminated in the Brits latest release Build A Rocket Boys! Skillfully woven, some tracks on the album grab sweeping instrumentation from 2001's Asleep in the Back and joyous guitar rhythms from the 2008 Mercury Music Prize-winning album Seldom Seen Kid