Animal Party

Wow, I suck. Apologies to all my writers and readers (who may actually be the same people) for my lack of blogtivity. While spending time camping in the Florida wilderness, concurrently starting a job and internship, and attending school has kept my plate overflowing, I should not get it twisted, as the kids say, and keep this blog humming along.

Without further ado, here's two reviews that were given to me so long ago that you've probably listened to, worn out then rediscovered the albums. More to come soon!

Animal Collective - Merriweather Post Pavilion
By Sarah W.

Merriweather Post Pavilion is the ninth full length release from this collection of musicians originally from Baltimore. Following the critically acclaimed Strawberry Jam, fans of Animal Collective were left wondering how this group could really top themselves. The build-up for release was quite enormous, and somehow, someway, the boys managed to escape the wrath of the interwebs and avoided early leaks of the album (a December 25th one was rumored, but the quality was awful). The album title was released, along with the album art—a mind tricking fish that made the viewer wonder if someone had slipped some acid in their coffee (or was that just me?), as well as the track listing. Musical foreplay, if you will.

With the vinyl released on January 6th and the digital and CD versions released on January 20th, Merriweather Post Pavilion was met with the same critical acclaim as Strawberry Jam, but has also been acknowledged as easily the most accessible Animal Collective effort to date.

MPP is an album of songs that the band had been performing live for a while, with reworked beats and shiny new titles. Arguably the shining star of the record, “My Girls”, has been performed as “House” for a while now, but the power that it has on MPP is near euphoric. I may very well label it as one of the single greatest songs I’ve ever heard.

“My Girls” goes into “Also Frightened,” which, with it’s rain forest-like sound effects, makes me think of walking through the children’s book, Where the Wild Things Are. “Summertime Clothes” (My favorite, Ed.) is a song that is essentially about the disgustingly hot and humid nights that those of us familiar with the Mid-Atlantic summers know. But, for some reason, it strikes me as the love song of the album, if only for the chorus:

I want to walk around with you
I want to walk around with you
I want to walk around with you
I want to walk around with you
I want to walk around with you
I want to walk around with you

Just you just you just you just you
Just you just you just you just you
Just you just you just you just you

“Taste” is a song that really grew on me. First because of the amazingly blissed-out feel of it…it’s haunting and echo-y, and the listener feels as though they are in an empty banquet hall and this is being sung to them and only them. But again, after the actual sonic beauty of this song goes over, the lyrics are truly what distinguishes this as a great: “Am I really all the things that are outside of me? Would I complete myself without the things I like around?” Perhaps “Taste” can be written off as a self-indulgent, indie introspection at it’s finest, but that’s okay with me.

If there is a weak spot on this album, it’s certainly the latter half. It’s not as sonically complex; however, this is sort of shattered in a live atmosphere. “Lion in a Coma” is a powerful show opener (which they did at the Metro in Chicago) and “Brothersport” serves as an equally powerful bookend as a show closer (see the Grand Ballroom recording for proof).

When all’s said and done, this album has already earned my Album of the Year spot. It’s beautiful, it’s immaculately produced, it’s complex, and it’s just so unique. And despite my usual penchant for discounting awesome bands who produce albums that hurl them into mainstream consciousness, I just feel like a proud mama for Animal Collective. I’m glad they made an album that is technically “experimental” in nature, but is as accessible as Merriweather Post Pavilion is. Bravo!

P.S. The real treat is to see these fellas live. Their full US tour was announced! If you can get tickets (they’ve sold out almost everywhere already), get them and go!!!

Bloc Party - Intimacy
By Gaurav K.

Another Blast... and this time it's to an outer space dance party. At least that's how "Mercury," the first single off Intimacy, will have you feeling. The pounding rhythm takes one small step for man and one giant leap for house music in 2009. But that's not all this album has to offer. For those of you who've come in late on this band (where the hell have you been?), the post-punk Brit rock band took half the concept of their second album, A Weekend in the City, with its musings on the life of twenty-somethings in an urban environment, returned to their roots of driving drums and guitar riffs from their Silent Alarm days, and added ominous horns to reach entirely new outputs. It's dark, it's airy, it is in fact intimate.

Lines like "Paralyze me with your kiss, Wipe those dirty hands on me, Maybe we're looking for the same thing, Maybe you're the one who'll complete me", coupled with heavy drums and geared up guitar from tracks like "Halo" penetrate your ear and offer a good introduction to their sound and soul. And the epic "Ion Square" will have you nodding your head to synthesizers while crooning into the eyes of your significant other. E.E. Cummings provided the hook.

There's something here for everyone: Found your dancing shoes and in the mood to bounce around? Check out "Flux," "Mercury," or "Talons." Confused about love? Skip to "Better Than Heaven" and "Letter to My Son" (you'll think your listening to The Smiths). Heartbroken and bitter? "One Month Off" and "Your Visits are Getting Shorter" will have you simmering in self-pity. This album lets you take yourself seriously (or not), and rock out while doing so.

Blast From The Past

Man Man – Rabbit Habits

By Jason C.

Two thousand nine is still pretty fresh, so while we give it a little time to bloom, I felt we should look back on another album from ought-eight. This hidden jewel comes from the strange audio-scribblings of Philadelphia's Man Man. Their latest album, Rabbit Habits, puts the band in a very good light, as it is their catchiest and most pop-sensible one to date, but showcases the qualities that make their live shows so enthralling. This is a surprising dichotomy for a band with such an unclassifiable style. The most accurate description of these guys that I've read was "gypsy-swamp-rock-carny-soul- viking-vaudeville-punk." Quite a mouthful, I know.

These experimenters have a penchant for using a wide variety of instruments, along with many non-instruments (such as kitchenware and toys), to conjure up a sound that truly puts them in a genre of their own. While this record seems to be the logical continuation of their last release, Six Demon Bag, it displays more mature song writing and is, on the whole, much more accessible (God, I hate using the word "accessible" but there was really no other way).

The album kicks off with the spastic dance-a-thons of "Mister Jung Stuffed" and my personal favorite, "Hurly/Burly." It then veers into piano ballads such as "Doo Right" and the title track, sails the chaotic seas of live-show dynamite with "Harpoon Fever" and "Top Drawer, " and closes with the lounge-act magnificence of "Whalebones." All in all, this is a thoroughly entertaining album, but it requires the proper mood and mindset. So, picture a world where Frank Zappa is president and Tom Waits is VP. In that world, Man Man's Rabbit Habits would be like Nirvana's Nevermind.

Chad VanGaalen – Soft Airplane
By Sean B.

Not unlike many retro sounding bands like MGMT, Chad VanGaalen rehashes and updates older music - however, C.V. seems to channel one artists' nuances rather than a whole genre or era. It’s hard to listen to Chad VanGaalen’s Soft Airplane and not hear Neil Young throughout. From the warbly nasal voice, the melancholy ballads and the crunchy garage rockers it seems as if Chad is a modern channel for Neil.

VanGaalen peppers his songs with loops, blips and keyboards but nowhere enough to consider this an “electronic” album. Death is a common theme throughout, from the plucky banjo opener “Willow Tree” (in which VanGaalen requests a Viking funeral), the surprisingly upbeat “Cries of the Dead" (nuff said), and the eery “Molten Light” (a story about a girl who is either a ghost or was nearly murdered and… okay, it’s getting morbid). The album isn’t nearly as depressing as I’m making it sound, but that’s not to say its all puppies and rainbows either.

I prefer the more garage rocky tunes like “Bones of Man” and “Bare Feet On Wet Griptape” along with the most “produced” song, “Phantom Anthills,” but I enjoy many of the folksier ones as well. Since I've never heard of Chad VanGaalen, I decided to do some in depth investigation. He’s a Canadien who has been signed to Sub-Pop since 2005 and has released one previous album called Skelliconnection along with a few EPs. I have no idea where I found this album, or how it got onto my computer, but I do know that Soft Airplane is damn good enough that now I’m going to track down this Skelliconnection.

EP Phone Home

Happy Winter. Listen to these two EP's to tide you through the cold, gray season. One will make you move, thereby keeping you warm. The other will help set the mood for some winter-time chillaxing.

PS - As always, we appreciate and encourage comments!

Passion Pit - Chunk of Change EP

By Sean B.

Remember the Postal Service? Sure you do. Their moody, yet buoyant tunes were all the rage, and still haunt us to this day. But if you've been holding your breath for a new mail-made work of genius, you are probably dead. And if you're not dead (1) you should try this and (2) you've been turning purple for nothing, as you won't be getting a follow up Postal Service album. Fortunately for you, Passion Pit has arrived with an updated take on catchy electro pop.

It's an old story, really: your typical "home made album for your girlfriend because you're too cheap to buy a Valentine's Day gift, which soon finds its way through a series of interconnected tubes resulting in instant online indie fame." You know, that old chestnut.

Now signed to a legit record label, touring to support their EP, and being touted as a rising act of 2009, P.P.'s ascendency has come quite quickly. But don't get too attached to my P.S. v P.P. comparison. Singer/song writer Michael Angelakos sounds nothing like Ben Gibbard, vocally nor lyrically. Most of his songs revolve around amorous feelings (it was a V-Day gift, after all) and his high pitched, warbling voice is a total contrast to Gibbard's steady and measured delivery. This brand of electro pop is more rousing, even ecstatic at times, with its handclaps, tweaked vocals, and shimmery synths. The standout is clearly "Sleepyhead," which is so driving that it dares you not to dance, and the whole album follows a similar, if more subdued, vein. Another favorite is "Cuddle Fuddle" with a super awesome sample, which I won't give away other than to say this.

Chunk of Change is not perfect, but seeing as how this was a one man bedroom recording it signifys good things to follow. It is, however, so undeniably fun that you're guaranteed to get caught up in it. Just don't forget to breathe.

Bon Iver – Blood Bank Ep
By Jason C.

It was a long time coming, but Justin Vernon is finally getting the respect he deserves. "For Emma, Forever Ago" (the musical equivalent to Henry David Thoreau's, Walden) made the #2 spot on our year-end album list. The biggest problem with his cathartic debut's success is that it's momentum was largely based on it's backstory, which grew into mythical proportions and spread like ivy.

Earlier this month, Bon Iver answered this problem with the new EP, "Blood Bank." It is a difficult task to follow up an album like "For Emma...," but Vernon seems to have progressed naturally, without reflecting any of the pressures or expectations put upon him. The resulting songs are a wonderful new addition to the Bon Iver catalog. These four distinctly different tunes, which were all recorded at different places and times, show that Mr. Vernon is more than capable of creating haunting beauty outside of the almost-too-perfect creative setting of an isolated cabin in wintertime. In fact, they prove that the breathtaking quality in his debut was actually radiating from within him, and was hardly the product of his environment. "Blood Bank" may not share the same reverie as it's predecessor, but any true fan of Vernon's work will appreciate the simple elegance and soulful delivery.

I am emphatically looking forward to what he (and his now permanent band-mates) will do on their next full-length. To me, an EP is like a bag of baby carrots: not much of a meal, but a good way to tide you over 'til dinnertime.

Inbloguration

Lame, I know. Anywho, as mentioned several times over the past month, some new friends have joined WWR, which will hopefully allow us to provide more regular reviews. We've already premiered Sarah W., and next in line is Jason C. He has the unique position of being the only real musician amongst us, along with possessing extensive and diverse musical knowledge. Take it away, Mr. C.

P.S. - Welcome to the new millennium.

M83 - Saturdays = Youth
By Jason C.

For my inaugural review, I felt the need to highlight an album that was snubbed by my fellow WWR bloggers, leaving it out in the cold, when it should have been in the warm, cozy shelter of our Top 20 list. I speak of Saturdays = Youth, the latest from French artist Anthony Gonzalez, a.k.a. M83 (named after the spiral galaxy "Messier 83"). For his fifth and finest record, Gonzalez creates a spiritual, sonic landscape that lives up to all of his previous work.

What sets this one apart from his other releases is that it is a concept record. He pays homage to his favorite decade (the 80's) in a unique way: by focusing on John Hughes' films. While this undertaking could have lead to a contrived and derivative musical statement, it actually accomplishes its goal. The songs are simultaneously fresh yet familiar, walking the fine line of tribute and original expression honestly and effortlessly, all the while retaining M83's signature aesthetic stamp.

I, like Gonzalez, was not a teenager in the 80's; we were 90's teens who grew up watching 80's John Hughes comedies. In this aspect, there is an enormous audience of listeners who will hear this album for it's nostalgic charm. But S=Y's grandeur comes not from the execution of it's conceptualization, but from its beautifully written and produced songs. The album opens with the melancholy piano tones of "You, Appearing" which builds into a crescendo of cascading melodies escorting you directly into the 'hit song' of the album, "Kim & Jessie." It then continues with a pattern of well placed tunes, altering between spaced-out ambience, anthemic pop, and dance-y trance beats. The closing tracks act as a decompression chamber, each one drifting more and more into a pillowy cocoon, ending finally with the eternal sprawl of the instrumental "Midnight Souls Still Remain."

So, who is this music for? It is an album for people who A) love catchy, simple pop songs; B) miss long summers and lost loves; C) have a soft spot for John Hughes films; or D) all of the above. I know I fall into the "D" category, which is why, for me, "Saturdays = Youth" is a stand-out record of 2008. For something so time-specific, it is also timeless. It creates a great escape, and just like his moniker, it's a galaxy all to itself.

Andrew Bird - Noble Beast

By Andrew C.

Andrew Bird's Noble Beast seems to be the first in a few albums where Bird seems to be looking back to his more eclectic Bowl of Fire days. There is still plenty of trademark whistling, loops, and violin, but Bird seems happy to dust off sounds from the past that are equal parts folk and juke jazz. "Effigy" and "Fitz and Dizzyspells" both hark back to Weather Systems with the glimmer of a seasoned producer and songwriter. Still, a song like "Not A Robot, But A Ghost" seems out of place on the album, perhaps the victim of overproduction or a lyrical idea that wouldn't go away.

While Bird's trademark sounds are well known, his lyrics are equally spellbinding and identifiable. The guy has a knack for invented words that might as well be real, blending narratives spliced with bizarre commentary on history and nomenclature, all with the self-awareness of a Charlie Kauffman screenplay. In the standout "Anonanimal", Bird's wordplay, self-effacing instructions, and proclivity for elastic tempos all mesh in a way that he's been building up to for years.

After reading about the production on Noble Beast (You are definitely going to want to click that last link, Ed.), Bird seems absolutely embarrassed about being pigeonholed with a "sound", and constantly seems to be challenging himself to organically grow out of his classical and jazz background, often with 14 hour work days and 200 shows per year. Noble Beast is an indication that he should feel vindicated in his hard work. The album feels new, even with all of his trademark tricks in tow—tricks that, at their best, don't ever predicate the predictable.

Starter Tracks: "Oh No", "Anonanimal", "Fitz and Dizzyspells",
Note: An album of instrumentals "Useless Creatures" will also be released in January.