Tag Archives: Animal Collective

Animal Collective Weirded Out by Old Dudes

Animal Collective‘s Noah Lennox (a/k/a Panda Bear) talks to Variety and reveals that he’s a little creeped out by old dudes writing about his band:

There’s an area of music journalism that has gotten more interested in this one. I don’t think ‘mainstream’ is the right word for it, but maybe an older journalistic world? An older group has gotten more excited about and that’s kind of weird.

Hey man, you’re talking to fucking Variety! What do you expect?

I’m happy to see Lennox acknowledge that there are bands besides the Beach Boys who’ve done multi-part harmonies. This sets him apart from most of the people writing about music these days:

The quality of the chord changes becomes a touchstone for the Beach Boys, so perhaps that’s another staple. We like all kinds of singing groups from the Zombies and the Beatles, to the Mommas and the Poppas [sic] and the Everly Brothers, but I guess the Beach Boys have become the poster child for multi-part harmony pop groups. It’s certainly flattering to be likened to a band like that; I’m just curious why it’s always them!

I’m curious, too. Whenever a band does harmonies, they’re always compared to the Beach Boys. The intern from Variety who typed up this interview doesn’t even know that it’s Mamas and the Papas, not Mommas and the Poppas. Come on!

Andrew Bird Outsells Animal Collective

The big news out of this week’s album sales is not in the Top Ten (nine of which were already there last week), but just beyond that into the 11-20 range. Specifically:

12. Andrew Bird – Noble Beast (Fat Possum) – 26,000

13. Animal Collective – Merriweather Post Pavilion (Domino) – 25,000

16. Bon Iver – Blood Bank EP (Jagjaguwar) – 23,000

Noteworthy is the fact that Merriweather Post Pavilion “debuted at No. 38 two weeks ago on the Top Independent Albums chart purely on vinyl sales.” Clearly, they found their “room of bros to buy t-shirts and vinyl albums for bros who don’t have record players.”

If you give a crap, you can see the Top Ten after the jump…

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Animal Collective – Merriweather Post Pavilion

Animal Collective - Merriweather Post PavilionAnimal CollectiveMerriweather Post Pavilion (Domino)

I was high when I reviewed the last Animal Collective album. Not that it changes what I ultimately thought about the album—it stands up incredibly well—but I will admit that a “higher” state of mind helps with how the album sticks to your grey matter.

For Merriweather Post Pavilion, I decided to take on the listening session with nothing more than a glass of Cranapple and some residual Vicodin floating through my bloodstream. I’d like you to think that the new found sobriety was intentional, so let me make myself perfectly clear: if I had any evidence of weed or usable resin to scrape, I would have gladly complemented the new Animal Collective record with a few hits. Since I didn’t, the latest was reviewed as clean as the ice that’s currently sealing my backyard.

As it turns out, recreational enhancements aren’t really needed with Merriweather. I’m sure they’d enhance things just fine, but the harsh edge of AC’s psychedelia now have smooth edges and (gasp!) accessible, user friendly passages. It’s the best album for new fans to gain familiarity with the group, and it just happens to be their most perfect album.

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New Animal Collective video: My Girls

Video: Animal Collective – “My Girls”

Produced by Knowmore Productions, animated by Jon Vermilyea, edited/VFX by Chad Von Nau. From Merriweather Post Pavilion (vinyl), out now on Domino.

So this is what all the fuss is about? Okay, it’s a nice psychedelic pop song with a great hook. It sounds great, especially the drums. The lyrics are pure dad rock: “I don’t mean to seem like I care about material things like a social status / I just want four walls and adobe slabs for my girls.” That’s what the kids are into these days? Songs about supporting your family? Huh. I thought you didn’t start to get all defensive about your success until your mid-30s…

Animal Collective: web, myspace, wiki.

Hipster Runoff vs. Animal Collective

Dear Mom/DadThis is the first thing I’ve ever read by Hipster Runoff, and I’m impressed. If he wasn’t so verbose, I’d probably go back and read his archives, but dude, that shit is long! His hyper-meta-meta-consciousness might not be for everybody, but he makes a lot of interesting points about what it means to be a b(r)and in the FIRST!-dominated internet world today. Animal Collective is a Band Created By/For/On the Internet:

Animal Collective is an important band because they are one of the first ‘transcendent’ independent bands to gather most of their acclaim on the internet. While they probably had a few recordings before every one turned utilized the internet to find the newsest, alt-est music, you can’t really deny that they grew at a healthy rate in internet-acclaim-perception over the past couple of years. If you grow too fast, you will be discarded as inauthentic (The Black Kids). If you grow 2 slowly, no1 ever really identifies with ur brand and think that you are just a newsbit that has been around 2 long for no good reason. The internet is a difficult environment in which to grow because virality rates are difficult to control.

Most ‘revolutionary’ bands that douchebaggy music blogs+news sources+magazines cover have a life before and after the internet. Kind of like college rock bands around the year 2000. Bands like INTERPOL that were ‘good’ but then had to find a new life in an inauthentic altradio context. Or other bands kind of shriveled up and died after the internet made bands ‘release content+memes more frequently’ and some bands were unable to respond. If you think about AnCo, much of their ‘acclaim’ has come in the post-p4k era. Probably gaining a lot of steam back when Pitchfork anointment meant a little bit more to the ‘standard pre-altbro music fan’ who still J.O.ed while reading p4k/there weren’t as many other sources that were ‘unearthing’ bands at the time.

Some might consider the “texty” spelling conventions a little too precious (or something), but it’s hard to deny the awesomeness of a sentence like this: “If u can’t tour + get a room of bros to buy t-shirts and vinyl albums for bros who don’t have record players, then u can’t ‘make it big’ in altville.”

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Notes from the Pitchfork Music Festival

Pitchfork Music FestivalPitchfork Music Festival

Chicago, July 18-20, 2008

So I’m standing around early on Friday night while Mission of Burma rips through Vs., and out of the backstage VIP area walks this short guy wearing a giant Professor Griff t-shirt. You know those tribute shirts where the whole shirt is a picture of Biggie‘s face? Like that, but with a picture of Public Enemy‘s alleged anti-Semite, Professor Griff.

It takes me a moment to realize this guy is, of course, Professor Griff. He’s walking around the crowd before his set, begging to be noticed. And this weird moment of awesome bravado and icky self-promotion is a pretty fair metaphor for the entire P-Fork Fest.

This yearly congregation of college radio nerds, fashion victims, art students, burnouts, baristas, and meatheads in Chicago’s Union Park is getting bigger and bigger. With an overstuffed line-up of hipster favorites and a smart, well-ordered setup, this is still the best-run festival in America. But it wasn’t without headaches, creeping corporate sponsorship, and a shit-ton of humidity.

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Pitchfork Music Festival 2008: Photos

MuddyThe Pitchfork Music Fest was doused in rain this year. But that didn’t keep GLONO photographer Alan M. Paterson from getting his feet muddy in order to get some good shots.

We’ll feature more coverage of the bands over the next few days, but for now you can feel like you were there by looking at the following photos…

Update: Day One; Days 2-3.

Dirty

See the photos after the jump…

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Animal Collective – Strawberry Jam

Animal Collective - Strawberry JamAnimal CollectiveStrawberry Jam (Domino)

I don’t know how often a guy can get away with throwing around a word like “genius” or “groundbreaking,” so let me just say this before I put my foot in my mouth and get sided with The Boy Who Cried Wolf: After four hits off a bat filled with fairly docile Mexican brown, Strawberry Jam is a groundbreaking work of genius that should be cited as the Smile for the Ritalin generation.

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Coachella 2006

Yeah Yeah YeahsI was somewhere around Indio, in the apex of the desert, when Tommy Lee kicked in. As I walked through the manicured grass, happily eating corn on the cob, the thin and dust-caked Motley Crue drummer ran up to me, weaving his arms and torso in a spastic model of the Axl Rose snake dance. I continued gnawing on the corn, and flicked my eyes upward in annoyance. He chuckled and regrouped with his bleached-blonde entourage to continue down the field, toward the throbbing bass of Daft Punk.

Even without the icky hair-metal run-ins, this year’s Coachella Festival still would have been the strangest one yet. The cultural oasis of the Colorado Desert (held May 29-30) featured a predictably strong lineup of eclectic indie artists but, pivotally, an additional interest in capturing the mainstream crowd. From Kanye West’s shining ego on Saturday to Madonna’s short-and-skanky dance tent appearance Sunday, the indie snob’s once-safe haven was taken over by squealing strangers – and two sold-out days later, it’s hard to tell whether Coachella will continue down the beaten pop path.

Whatever. For the most part, Coachella still retained its joyous communal atmosphere, a kaleidoscopic place where alternative art reigns and nobody knows your name. (And there are celebrities under every rock.) For me, it was The End: the final fling before graduation, the last irresponsible trip with my best friends. But it was also the beginning, as I discovered thanks to some artists, some new opportunities, and a chance meeting with my very own Yoda, though taller and with some ketchup in his beard.

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