Posts Tagged ‘animal collective’

Back To The Trees Mix

November 26th, 2014 | The Mix | 0 Comments

Sometimes, living in New York, I miss forests and mountains and greenery. Here are some songs (that aren’t too new agey or hippie or anything) that remind me of the natural world.

Have You Heard The New…Animal Collective Album?

September 8th, 2012 | Features | 1 Comment

Ok, so my internet sitch isn’t so great yet – working on it! Then there’s gonna be more posts. Posts galore, I say! In the meantime, some quick thoughts on the new Animal Collective album, Centipede Hz.

Centipede Hz is a really cool album. As has been the case for the last couple albums, they don’t repeat themselves but fuse the samplegaze of the last album and the energy of their mid-period albums (Sung Tongs, Feels) into something more aggressive, swampy, and, in some case, exciting. There aren’t any songs that are as mindblowing or accessible as “My Girls”, but they’re all pretty deece, some more than others. “Rosie Oh” is definitely my fav.

Maybe right now we’re not gonna think it’s so revolutionary because Merriweather really was a revolutionary album, but once the rest of music catches up and we can judge these albums on the basis of their content alone, Centipede Hz is gonna be up there with the best of their stuff. It’s classic AC – innovative, exciting, fun, etc.

Modern Rivals

May 21st, 2012 | Mp3 Posts | 0 Comments

Apparently these guys Modern Rivals are friends with New Yorkers Caveman. Stuff sounds great – it’s that kind of exciting, almost  tropicalia-esque brand of samplegaze, similar to like Animal Collective circa-five years ago minus Portner’s yelps and stuff…and yeah, bit more tropicalia-esque…I know I already said that…

Norwegian Arms

May 14th, 2012 | Mp3 Posts | 0 Comments

Apparently, Norwegian Arms are actually from Philadelphia, but despite the less-exotic locale, this freak-folk/experimental band still sounds wonderfully weird in the hip way we’ve all been digging the last couple years, since Animal Collective kinda came around.

Have You Heard The New…Jack White?

April 25th, 2012 | Features | 0 Comments

Jack White – Sixteen Saltines

So finally, the inevitable Jack White solo album arrives. But even though I’m like the number one Jack White fan on earth, I’m not celebrating this album, but actually, kind of mourning. Because Jack White’s just not cool anymore. I said it.

Back in the early 2000s when The White Stripes bust out on the scene, they were cutting edge. Two people. Guitar and drums. Mutant-blues garage rock. There were actual debates about The White Stripes. Some people could not get over the fact that they didn’t have a bassist. It was almost like some kind of heresy to these people, while others felt that way about Meg White‘s drumming. You don’t hear people saying stuff like this anymore. But Jack won the debate. He was and still is the rock star of my generation and he’s still doing what he’s always done: playing the music he loves and doing it well. But indie or alternative rock has changed. It’s divided even more, with, on one hand, rock bands that have moved towards accessibility, while others have moved towards experimental sounds and arrangements.

By accessible, I’m not talking about Nickelback, which was “accessible” or mainstream five, ten years ago (and really still is), I’m talking about Gotye and Foster The People. While on the other hand you’ve got the Animal Collectives, the Dirty Projectors, and many, many more who are the experimental rockers. In this current musical landscape, The White Stripes would still be to the left of ‘accessible’, but only because of the off-kilter-ing effect of Meg White‘s drumming. She was the key to The White Stripes‘s genius and Jack knew it. But without her, Jack’s songs and general ‘rocker’ persona slides into the field of ‘accessible’, and thus boring.

Blunderbuss as an album is everything about Jack White that is in the right context endearing and enjoyable, but is otherwise annoying and kitsch-y. I’m talking about his folk-yness, his love of old school blues and country music, his showmanship, etc. Blunderbuss is all these things let free, unbalanced by other personalities and restraining influences. And it’s just not very interesting. Even the album’s most badass song, “Sixteen Saltines” – which features some awesome pedal effects that figure prominently in the song’s composition – lacks the chutzpa it would otherwise have gained from less technical sanding. That’s not to say that White’s gifts are not on display throughout, though. His jovially bombastic guitar theatrics are wonderful as usual and take various forms on the album in songs like “I’m Shaking” and the aforementioned, while his producer and arranger skills lend the perfect touch to songs like “Love Interruption” in the form of a well-placed organ or slide guitar in “On And On And On”. But ultimately the whole thing is too cozy, too comfortable, and White hasn’t yet found a way to balance the honesty of the old time genres he loves with his natural showmanship.