Articles tagged with Animal Collective

Future obscurities

Animal Collective - Fall Be Kind
Most bands save their best material for full-length albums, meaning that EPs are often cobbled-together collections of songs deemed unfit for LP-inclusion. Not Animal Collective, however. The title track of last year’s Water Curses remains one of the catchiest and most accessible songs the band has ever written, although the fact that it’s not on an LP means that’s it’s doomed to be ignored by most casual fans.

Now, Animal Collective is repeating history on Fall Be Kind, a five-song collection that features “What Would I Want? Sky,” which is easily one of the group’s career highlights. A two-part suite, it opens with three minutes of swirling synths, start-stop beats and wordless vocal chants. Then, halfway through, it changes completely, as a Grateful Dead-sampled vocal hook takes over and the percussion eases into an almost-but-not-quite-danceable groove. The real treat is listening to the way singer Avey Tare interacts with the vocal sample, playing off its melody and even borrowing its lyrics, finishing his verse asking, “What what you want? Sky.”

Although it’s the clear standout, it’s hardly Fall Be Kind’s only treat. “On a Highway” is a riveting description of life on tour, its echoing keyboards and dark, bubbling ambience transforming the mundane details of a long drive (motion sickness, needing the bathroom) into a haunting daydream. “Graze” starts off with three minutes of shimmering synth washes, sounding a bit like a futuristic version of the score to a Disney film (with Avey Tare singing over top). In the last two minutes, it suddenly explodes into a goofy flute jig, similar in tone to Spinal Tap’s “Stonehenge.”

Of course, since it’s only EP, Fall Be Kind is unlikely to reach the same audience as Merriweather Post Pavilion reached earlier this year. It’s a shame, since these songs are worthy of the same attention as “My Girls” or “Brother Sport.” Still, knowing Animal Collective, there will be more brilliance right around the corner.

Fall Be Kind is available now as a digital download. It will be released on CD and 12″ vinyl on December 15 via Domino.
 
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Animal Collective @ the Commodore Ballroom, 5/25/09

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The last time I saw Animal Collective, it was on the Feels tour, and the group looked almost like a regular rock band: Deakin rocked out on guitar, Panda Bear provided thundering tribal percussion, and sort-of-frontman Avey Tare spazzed out like he was on catnip. And the burly, bearded Geologist looked like a bass player, even if he actually served the role of sampler from behind a synth deck.

But the 2009 incarnation of the Baltimore experimental outfit looked like a slightly more animated version of Kraftwerk, its members spending almost the entire show hunched over tables piled high with synthesizers and looping machines. Now reduced to a trio (Deakin is sitting out this album and tour), the group had scarcely any live instrumentation, with Avey, Panda and Geologist acting primarily as button-pushers and knob-twiddlers. To compensate for the lack of action onstage, the show featured a flashy, psychedelic light show, with swirling colours projected onto a huge white beach ball hanging above the stage.

Ironically, by eschewing traditional rock instrumentation, Animal Collective’s sound has become more palatable than ever. Like this year’s (comparatively) pop-friendly Merriweather Post Pavilion, the performance emphasized the group’s Beach Boys-style harmonies and incessantly catchy melodies. “Summertime Clothes” got the crowd bouncing early with its buzzy synth loop and relentless four-on-the-floor beat. A few songs later, “My Girls” provoked such an enthusiastic singalong that the audience nearly drowned out the band during the choruses. Best of all was the pulsing techno of “Brother Sport,” which featured percussive shrieks and reverb-soaked chanting from Avey Tare and Panda Bear.

The show was dominated by Merriweather tracks, but the band also included reworked versions of a few older gems, including “Lablakely Dress,” the set-ending “Slippi,” and a dense electro version of “Who Could Win a Rabbit” that was almost unrecognizable as the same song that appeared on 2004’s Sung Tongs. “Fireworks” was one of the only songs of the night to feature live guitar and drums, its pounding middle section stretched out into an epic jam. Despite being reduced to ¾ of its usual lineup, Animal Collective’s live show was better than ever, balancing boundary-pushing experimentalism with tight musicianship that emphasized the group’s ever-increasing songwriting prowess.

The show was opened by Grouper, a waifish singer-songwriter armed with only her guitar and an array of effects and loop pedals. Her set was dreamy and atmospheric, overlaying haunting ballads with ambient swirls of heavily manipulated guitar sound. It was pleasant performance, but the highlight came near to the end, when a guy standing near me affected a booming British accent and yelled “You’ve satisfied us! Indeed!” I’m not sure if he was expressing genuine appreciation or requesting that she get off the stage, but it was brilliant either way.
 
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