Merriweather Post Pavilion

Let me start off by saying that this is a record for people with rather advanced styles of musical enjoyment. Despite this album being amazingly immediate in it's own way, new fans to Animal Collective might find this record a bit different. To get a better understanding of this record, I highly suggest listening to Animal Collective's records prior to this one, first. This goes with every other Animal Collective album.----------------------------------------------------------------Merriweather Post Pavilion happens to mark Animal Collective's highest point in their musical career. With prior experimental albums such as "Feels" and the intense "Strawberry Jam", Merriweather Post Pavilion really "floats". Lead vocalists Panda Bear and Avey Tare have never sounded better together. Sample musician Geologist has picked sounds that have never sounded so interesting. With trippy opener "In the Flowers", a druggy guitar strums, then followed by pretty vocals from Avey Tare. After a minute or so, the song bursts without warning. The "burst" of the song then dies down, and the song fades out with the sound of wind. The wind segues into the second track, "My Girls". This is by far the most appealing track on the record to the common music listener. The song starts with triplet sprinkles of pop noise, which is soon followed by Panda Bear's main vocals, backed by Avey Tare. As the song carries on, it becomes more involved. The tempo changes throughout, many layered vocals are added, and even the occasional floor tom is added during the verse and chorus of this great song. With a catchy hook and enticing beat, "My Girls" is not here to disappoint. "Also Frightened", the third track, flows in. Although the title of the song sounds dark and eerie, the song's context is quite the opposite. "Also Frightened" is another appealing track including lead vocals from both Panda and Avey. In my opinion, the best vocal harmonies are presented here. The vocal pair soars above the dreamy instrumentation, creating an ideal atmosphere for the album itself. The song fades out with quiet animal-like noises. Track four, "Summertime Clothes", my favorite track off of this album, comes in like a stampede. Many different samples are used on this song, with lead vocals from Avey, followed by beautiful backing vocals from Panda. The song paints a picture in the listener's mind, making them feel as if they are walking in the city on a summer night. A gorgeous centerpiece for the record. Track five, "Daily Routine", is a rhythm interest, featuring lead vocals from Panda. The main "tune" is carried throughout the entire song. The vocals are upbringing, the atmosphere is bright. Track six, "Bluish", is a beautiful song with compassionate lead vocals from Avey Tare. This track happens to be very "watery". Occasional sounds of a flowing river peek their heads during the song. This track is really heartfelt and meaningful. It is romantic and is executed perfectly. Track seven, "Guys Eyes", is a song that makes you feel as if you are standing in the middle of a forest. Vocals alternate between Avey and Panda. The song is mostly held together by the main lyric "I need her". The song includes many hums and vocalized harmonies. Track eight, "Taste", is a rhythmic/electronic pop song that presents vocals from the same pair. This is a very appealing song to the everyday listener. Track nine, "Lion in a Coma", is the most experimental track on the record. This track is the most rhythmically complex compared to the others. It features samples of a jaw harp. Vocal duties are held by Avey Tare. Every time I listen to this song I feel as if I am in the middle of the jungle. This track is easily a personal favorite. The song unexpectedly jumps to dream pop in selected parts, however, the intensity of the track is always consistent. Other sounds like heavy breathing and whispering can be heard in this track as well. Tenth track "No More Runnin'" really sets a slower pace for the album, especially after the previous track. This track is built around an appealing sample. It is slower and features beautiful vocal harmonies from the pair. This song also contains a "wilderness" feel. This slow pace lasts only until the last track, "Brother Sport". This track is a real monster. It is intense and fast paced, with gorgeous vocals and a broad atmosphere. This song takes a few listens to get used to. The track starts off with heavy drum beats and dreamy pop jumps, but is then delayed by a long middlesection featuring a redundant "shriek" noise, which is then ended off with a Brazillian infused beat to finish. This song marks the end of a long and eventful musical trip.Merriweather Post Pavilion is a very involved record, however, it is striking in how fast it is to get used to it. With only three men holding this record on their backs, they have pulled off an astonishing feat of creating a "different" kind of music but also still glancing back at world sounds and influences. "Merriweather" is a real highlight in the music world at this time, and just doesn't seem to get old.

Animal Collective are one of the most acclaimed indie bands around. They're also one of the most polarizing. You don't often hear someone say, "Animal Collective? Meh. They're okay." It's either, "Man, they're freaking awesome," or "Ya, I just don't get it. What's the appeal?" I was a longtime member of the latter group until about a year ago. Admittedly, I hadn't heard too much of their stuff, what I had heard was mostly their oldest (read: weirdest) stuff, and I had never really given them the time of day. Then I heard the song "#1" from the album 'Strawberry Jam' and really liked it. I listened to the rest of the album and it all just clicked. From there, I fell in love with the band, dutifully scrounging up their past albums.It was with great anticipation that I listened to 'Merriweather'. I had never heard any live versions of these songs at all before playing this album. I went in with completely virgin ears, free of any expectations or preconceived notions. IMO, this is their greatest album to date, and frankly, it isn't even close. That says more about the quality of MPP then it does of their previous albums.This has more of an "electronic" sound (for lack of a better word) than past albums. It's not electro-pop or anything like that (maybe "Summertime Clothes" is), but it is very bassy and beat driven. You could almost put this on for a dance party (almost.) I could even imagine an avant garde hip-hop artist rhyming over some of these beats. After finding out that this album was produced by Ben Allen, who has worked with the likes of Gnarls Barkley, P. Diddy, and Christina Aguilera, it made total sense.It starts off mellow enough, with the wonderful "In the Flowers." It's all beautiful ambiance until about 2:00 in, when Avey Tare says the words, "If I could just leave my body for a night." Then all hell breaks loose. Huge, epic, bassy, synthy awesomeness ensues, until it all simmers back down towards the end."My Girls" is probably the catchiest song they've ever recorded, with an amazing, club-ready beat and a chorus of: "I don't mean to seem like I care about material things like a social status/I just want four walls and adobe slats for my girls," followed by a sick drum fill and a shrieking "Woooo!" that would make Ric Flair proud. Not sure if it was intentionally meant to be ironic or not, but I couldn't help but notice that a "social status" isn't really a material thing at all, while "four walls and adobe slats" most certainly are material. Maybe I'm just over-analyzing. Either way, you'll be re-playing that song over and over in your head for some time after hearing it."Summertime Clothes" just might be AC's answer to M83's masterful album from 2008, 'Saturdays=Youth'. The first 30 seconds sound very similar to the beginning of the Battles song "Atlas", then it veers into territory that is definitely 80's-ish, but not in a cheeseball way at all. It's a super-catchy tune and is probably the second single behind "My Girls"."Bluish" is easily the most beautiful song on the album, with a repeating refrain of, "I'm getting lost in your curls," intermingled with lines like, "I like your lips when you get mean." It's a wonderfully ethereal song that evokes memories of high school crushes that felt like they were the only thing worth living for.The two closing songs, "No More Runnin" and "Brother Sport", couldn't be more different, but they work together wonderfully. The former is a very mellow, sparse, piano driven song that serves as a nice contrast to the rest of the album. The downtime doesn't last long, as "Brother Sport" goes right back to the deep bass and big beat sound, with Panda Bear telling us, "You've gotta open up your, open up your, open up your throat!" It's bouncy and crazy, building layer upon layer to create an incredibly awesome house beat. It's a fantastic end to a fantastic record.Those are all the highlights, but there aren't really any lowlights to speak of. Whether it's the "#1"-esque synths of "Daily Routine"; the metaphysical musings of "Taste" ("Am I really all the things that are outside of me?" asks Avey); or the didgeridoo driven excitement of "Lion in a Coma", I really can't find any fault with this album. It might alienate some of the hardline, old-school AC fans, but it's just their loss. For anyone who has previously ignored them or just hasn't been feeling this band, give this album a chance. Once it sinks its claws into you, the grip will hold on for quite some time.

このキラキラサウンドはアニコレならでは。作品を出すたびに聴きやすくポップになってきたが、今回は劇的な変化をしたと言える。エレクトロニカを前面に出した最高にポップな作品だ。アニコレはもうアングラなサイケバンドではない。彼らはこの作品で一気に大衆化していくだろう。しかし今までにあったアングラ感が薄れても、コアなファンが離れていくとことはないだろう。聴いた人全員が支持できる傑作！

Cars carrying The Beach Boys, Pink Floyd with Syd Barrett, Pere Ubu and Boards of Canada collide at an intersection and accidently exhange band members One carload stops to get stoned at Syd Barrett's house. Syd attempts to put his vinyl copy of "Endless Summer", only to discover it has melted in the sun, and fused with his copy of "Piper at the Gates of Dawn". He plays it anyway. Everyone goes in the studio next door, where the drummer passes out from too much wine and is replaced by a drum machine, calliope, and retro synths submersed in an endless ocean of reverb. Everything gets too much Digital signal processing and is slowed down by half speed, after which the Beach Boys lay down vocals. Truely great and will be remembered as a classic. Both totally pop, and totally wierd at the same time. Track densities approach "King's Lead Hat" by Eno in some cases, and if you like textures, this is for you. Nice package too.

I bough this CD after hearing a few bits and finding some remote similarity to Pink Floyd. But the whole thing is repetitive, dull and definitely not worth a purchase at any price. The CD itself is produced in a cheap bothersome package with unreadable font size 3 captions.