Posts Tagged ‘Animal Collective’

Bootleg City: Genesis in London, July ‘87

Noah Lennox, otherwise known as Panda Bear in the band Animal Collective — and as a solo artist — plays art rock and experimental pop music. But it’s still pop, and when the Onion A.V. Club asked him to set his iPod to “shuffle” in October 2007 as part of its Random Rules feature, one of the songs that came up was Phil Collins’s 1985 hit “Sussudio.”

Lennox said, “I feel like the way people react to music is the same way they react to people; you either respond to the person and trust them, or you don’t. I can’t put my finger on it, but I get into guys like S.E. Rogie or Phil Collins — even somebody like George Michael — whereas there’s a lot of similar music that I won’t get into for whatever reason. It’s really difficult to for me to say why. The fact that [Collins] is really into what he’s doing comes through somehow, and that resonates with me very well.”

Collins, of course, was a hugely successful solo artist in the ’80s as well as the lead singer and drummer for Genesis, which made its name with progressive rock in the ’70s but shifted its focus to radio-friendly pop the following decade, scoring five top-ten hits alone with its 1986 album Invisible Touch. Collins has taken his fair share of abuse over the years for the earworms he’s created, with “Sussudio” showing up on many “worst songs of the ’80s” lists.

Why all the hate? Because rock stars aren’t supposed to be short and losing their hair, that’s why! It makes them too much like normal people, and we all know normal people suck. And rock stars apparently aren’t supposed to use a nonsense word like “Sussudio” for the title of a hit song that you’ll be singing for the rest of the day whether you like it or not. But for artists and fans like Panda Bear, Collins is king because he knows who he is, and the world is a better place for it. Don’t blame him for the fact that no matter where you are in the world at any given moment, one of his songs will be on the radio.

The following bootleg is a bit of a cheat: it’s an audio rip of Genesis’s Live at Wembley Stadium DVD, recorded in London in July 1987. But “Sussudio” is nowhere in sight, so those of you with a preexisting earworm infection can rest easy.

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Test of the Boomerang: A Midwinter Mix

Now is the time of year when thoughts turn to the warmer days of spring and summer just ahead. It’s also the time of celebrations. Chinese New Year or Spring Festival is celebrated between January and February. The old Celtic holiday of Imbolc on February 2nd marks the halfway point between the Solstice and Equinox. February is Black History Month. Valentines Day, Presidents Day. We have a lot to occupy ourselves while we wait for spring. Robert Nesta Marley’s birthday is February 6th, and so today’s Test of the Boomerang features a Bob-inspired mix of music to warm up with during these waning cold days.

There are some cuts from Bob himself, as well as Stephen “Raggamuffin” and Damien “Jr. Gong” representing the rest of the Marley family. You’ll hear from the great Bill Laswell (born Feburary 12th) with the Algerian band Maghrebika, as well as a cut from Laswell’s brilliant Bob Marley tribute, Dreams of Freedom: Ambient Translations of Bob Marley in Dub. I’m also sharing with you some music by the lost great band Catalyst, whose essential collected discography set, The Funkiest Band You Never Heard Of, seems to sadly have gone out of print yet again. If you find it at a decent price, definitely pick it up. Some brilliant stuff there.

Last on the playlist today is a live recording from the Grateful Dead, taped on March 21st, 1991. This is a improvised jam on “Stir It Up” that appeared in the second set out of “Fire on the Mountain” and leading into the “Drums” portion of the night. The inclusion of new keyboardists Bruce Hornsby and Vince Welnick in 1990 infused some new energy and a renewed sense of adventure to the band, and this is a good example of that. A lot of fun.

Enjoy the tunes, folks. Stay warm. Beware of black ice, and I’ll meet you all back here next week. (more…)

CD Review: Animal Collective, “Merriweather Post Pavilion”

Merriweather Post PavillionAnimal Collective – Merriweather Post Pavilion (2009, Domino)
purchase this CD (Amazon)

The optical illusion cover for Animal Collective’s latest and eighth release, Merriweather Post Pavilion, is more than something fun to look at while under the influence of the sort of drugs you might like to be on while listening to it. Curves of bright green ovals on a purple background, they appear to be in motion when we know they’re stationary. It’s an apt representation of the album’s dueling thematic components: fantasy versus reality, whimsy vs obligation, restlessness versus tranquility.

These themes of Merriweather Post Pavilion manifest in both the musical and lyrical content. Guitarist Josh Dibb, aka Deakin, decided to take time off after Strawberry Jam, so the remaining members — David Portner aka Avey Tare, Noah Lennox aka Panda Bear & Brian Weitz aka Geologist — wanted to create an album with samplers as the primary instrument, much like Panda Bear’s highly acclaimed solo album, Person Pitch. Unsurprisingly, the result is pretty similar to that album, but with multiple aesthetics combining, Merriweather Post Pavilion is jumpier, more in your face (or ear, as it were).

As part of these dueling themes, the samples seem divided between two different types of effects — those that echo nature, the rush of the wind or the flow of a river, and those that recall constructions, like music-boxes, carousels or video games. Opener “In the Flowers” sounds like discovering a carnival hidden within a swamp. “No More Runnin” is a piano-driven singalong played on the edge of a lake. (more…)

Test of the Boomerang: Animal Collective’s “Merriweather Post Pavilion”

Named after the outdoor summer shed in Columbia, Maryland, Merriweather Post Pavilion is the latest disc from Baltimore’s Animal Collective. The band named their disc in homage to warm summer evenings spent on the lawn there, enjoying and experiencing live music. The squeaky clean “planned community” hosted a mighty double bill of The Who and Led Zeppelin in 1969, but the local fuzz banned the good ol’ Grateful Dead from setting foot in the place in 1990.

When I first heard Animal Collective a few years back, I was immediately reminded of bands like Flying Saucer Attack, Windy and Carl or His Name is Alive. Bands with a foot planted firmly on the reverb pedal and just the slightest suggestion of song structure at their shimmering core. But Animal Collective strip away those pretensions and infuse their soundscape with gleeful abstraction and playful experimentation rather than post-punk melancholy. This music is dense and rich and it’s fun. Before I wrote this, I spent a lot of time listening to it. While it couldn’t grab me while I was doing dishes or driving to work, headphones at night proved to be ideal. (more…)

Lost MP3 of the Week: Animal Collective, “Fireworks”

[Taylor's note: The incredibly talented Vincent “Hey Is It Okay If I Get Called V-Sides” Rendoni did such a wonderful job with his write-up on Van Morrison's Astral Weeks that we decided we wanted him back. Luckily for all of us, he came back with this great write-up on Animal Collective that, personally, I could not agree with more... but read on and decide for yourselves.]

Animal Collective, “Fireworks” (download)

Not that it’s much of a surprise to anyone who has ever heard it, but “Fireworks” was one of the best songs of 2007. With a steam-engine beat and a background of frolicking hums, you think you were listening to some kind intergalactic train running, at least, until the lead vocals chime in. Now, I don’t forget that Animal Collective has always been the kind of band whose lyrics are either too muddled to hear or too vague to waste time analyzing, but when Avey Tare begins to sing, you can hear the sincere quiver in his voice when he begins, “Now it’s day / I’ve been trying to get that taste off my tongue,” quickly developing an image of being at the breakfast table in the morning, thinking of things past longer than we should have, as all the while, our cereal is congealing. A small bit of piano takes us to a beach illuminated by fireworks and Tare admits to us as much as himself that he’s only what he sees sometimes. You’re shocked. This song has somehow fused melody and celestial ambiance into a spectacular being. Your clap your hands in tiny glee. The piano and melodic howling play hopscotch around each other, brilliantly closing the song…

…Sort of.

Thing is, it’s only about 2:35 in the song with about 4:14 left. You will notice in the above paragraph, I said “Fireworks” was one of the best songs of 2007. It very easily could’ve been the best song of 2007, but then Animal Collective do what they typically do – disrupt and soil the underpants of the universally beautiful thing they created and for a lack of better words, get fucking weird. Shortly after where the song should’ve ended or evolved, there’s a sonic lull at 2:41 and the song wanders, sputters, and only what would seem predictably for this band, they let loose some random yips, howls, and barks. In contrast to the spectral fire they’ve created in the first part of the song, they go ahead and fucking salt and pickle themselves, replacing the piano with nausea-inducing Casio beeps and singing, well, whatever the fuck this is–

I’ve been eatin’ with a good friend / Who said a genie made me out of the earth’s skin / In spite of her, she is my birth kin / She spits me out in her surly blood rivers / All the people out lurkin’ / And dominions of the hot Turk dish / If the elephants are reaching for our purses / Meet me after the whirlwind shivers

Okaaaaaaaaaaaaay then. (more…)