听Animal Collective《Merriweather Post Pavilion》
一个比较奇怪的实验乐队。其电子音效令人印象深刻，类似于梵音。这mtv一看就知道是学matthew barney的人弄出来的东西。我觉得我也爱上这个乐队了。
表演者: Animal Collective
唱片数: 1
条型码: 5034202021629
发行时间: 2009-01-13
版本特性: Import
出版者: Domino
介质: Audio CD
In the Flowers My Girls Also Frightened Summertime Clothes Daily Routine Bluish Guys Eyes Taste Lion in a Coma No More Runnin Brother Sport
Animal Collective is a group of four best friends who grew up playing and recording music together in Baltimore County Maryland. Why Animal? Cause it's the only word we could think of that made any remote connection to what we thought our sound was and of course, we love our fellow animals very much. Why Collective? Cause we have always wanted to be the ones who define what and who AC is. Two people? Four people? Why not? Don't be surprised if you come to see us and it's not what you thought it would be, and try not to get too upset. AC continues to make music after seven years, six studio records and one live record, that combines a love of sonic free form electronic horror gospel hip hop soul pop madness and brings it all together into something that is (hopefully) at times totally pleasing and at others completely scary and confusing but most importantly is refreshing in this crazy crazy world.
Animal Collective have brought the celestial down to earth with each record, but they've never sounded simultaneously otherworldly and approachable quite like they do on Merriweather Post Pavilion. Their eighth studio LP, it finds them at their best -- straining farther away from conventional song structure and accompaniment, even while doubling back to reach lyrical themes and modes of singing at their most basic or child-like. Where before AC expertly inserted experimental snippets into relatively straight-ahead songs, Merriweather Post Pavilion sees them reach some kind of denouement where pop music ends and pure sonic experience begins -- the sound is the only structure. Dismantling the framework of a pop song almost entirely (but using recurring passages in a very poppy way), the group offer a series of overlapping circular elements, all of which occasionally come together for a chorus but then break apart just as quickly. The music itself, at least what's describable about it, consists of deep bass pulses and art-damaged guitars with overlapping vocal harmonies that rise in a holy chorus. This may sound much like previous Animal Collective highlights, but where those records seemed like a series of accidental masterpieces -- the type of work that sounds brilliant only because it's been culled from hundreds of hours of tape -- Merriweather Post Pavilion is a perfectly organized record, not a note out of place, not a second wasted. It has the excitement and energy of Sung Tongs, the ragged sonic glory of Feels, and Strawberry Jam's ability to make separate parts come together in a glorious whole. Like the best experimental rockers surging toward nirvana -- from the Beach Boys to Mercury Rev -- Animal Collective have not only created a private soundworld like none other, they've also made it an inviting place to visit.
Comprising a loose collective of avant-garde musicians, Animal Collective was established in New York City by Avey Tare (aka David Porter) and Panda Bear (aka Noah Lennox). Spirit They're Gone, Spirit They've Vanished marked the group's first release in 2000. Issued on the musicians' own Animal imprint, it was the first of a flurry of captivating, occasionally frustrating releases exploring the fringes and intersecting boundaries of folk, noise rock, ambient drone, twisting psychedelia, and — ultimately — pure melody. Joined by their friends Geologist (aka Brian Weitz) and Deaken (aka Conrad Deaken), Tare and Panda Bear released Danse Manatee (issued on the Catsup Plate label) in 2001, followed by a live album documenting their debut tour alongside Black Dice. Here Comes the Indian (Paw Tracks) was issued in 2003 to considerable acclaim, and the Collective backed it up with the droning, folky simmer of Campfire Songs, again for Catsup Plate. (FatCat also became the group's European sponsor, issuing their first two albums as a package and signing them for future releases.) Animal Collective returned in May 2004 with Sung Tongs, a mysterious, fragilely melodic album that garnered even more critical acclaim and spawned a series of tours. Panda Bear issued Young Prayer, his solo debut, in September 2004. The Prospect Hummer EP, which featured a collaboration with Vashti Bunyan, appeared in May 2005, and the full-length Feels followed in October of that year.
可以很理直气壮的说，Animal Collective绝对是近十年来最出色的Indie乐队之一，而且走到今天仍然还有很可观的上升空间。希望这个观点可以有很多人认同，因为事实上，认同这个观点所需要的技术含量并不高。首先，看看近十年来貌似全盛的Indie界吧，其中真正出色的乐队确实少的可怜；其次，再看看Animal Collective本身吧，它往这个圈儿里一站，想不出挑确实是件很难的事。而之所以说 Animal Collective仍有很大上升空间，这不外乎是因为他们的音乐
成立至今6年，Animal Collective以大于平均每年一张的速度总共发了7张专辑，反复跳跃于两大知名独立唱片厂牌 Paw Tracks和Fat Cat之间。去年的Feels发于Fat Cat旗下，今年10月又在Paw Tracks发了全新专辑 Hollinndagain。说到这儿就忍不住要再夸两句去年的Feels。那真是2005一整年中很难让人忽略的一张专辑。在去年的所有Indie唱片中，Feels确实过于惊艳了。它比04年突然为Animal Collective招来很多人气的Sung Tongs更为招人喜欢了，它几乎把 Animal Collective身上的所有优点一点不浪费的展现的淋漓尽致：多变、多样、神经质、胡闹、轻剂量的先锋色彩、永远让人捉摸不透。我现在还记得当时第一次听完Feels时的感慨：Animal Collective这几个小伙子太不俗气了，他们太有前途了！时隔一年的今天，当再和朋友提起这张专辑，大家还是对它余兴未尽的赞不绝口。06年过到今天又差不多见底儿了。如果说Animal Collective的Feels是05年 Indie唱片里的第一，那今年我还真没发现一张能有实力和它拼一拼的专辑。所以当Hollinndagain出来时，我的期望就空前的热切起来了。然而有点失望的是——其实也不完全是失望，Hollinndagain并不是真正意义上的新专辑，它是一张Animal Collective在遥远的 2001年在美国一场演出的现场录音，而且只限量发行300张。
那张Hollinndagain肯定又要吓着很多Animal Collective的乐迷了。随时让人意想不到这就是 Animal Collective最爱乾的事。当无数人在期待着他们能在Feels之后再做出怎样惊艳的专辑时，他们却冷不丁的忆了回往昔岁月，这无疑太有胆量也太不靠谱了。谁都幼齿过，谁都有过沉溺在自己那点小情怀里无法自拔不管不顾的时候。但当你已经走出了那段时期，如果决定再把当年不成熟的旧帐翻出来“吓人”时，你就真要好好掂量掂量了。
表演者: Animal Collective
唱片数: 1
条型码: 5034202021629
发行时间: 2009-01-13
版本特性: Import
出版者: Domino
介质: Audio CD
In the Flowers My Girls Also Frightened Summertime Clothes Daily Routine Bluish Guys Eyes Taste Lion in a Coma No More Runnin Brother Sport
Animal Collective is a group of four best friends who grew up playing and recording music together in Baltimore County Maryland. Why Animal? Cause it's the only word we could think of that made any remote connection to what we thought our sound was and of course, we love our fellow animals very much. Why Collective? Cause we have always wanted to be the ones who define what and who AC is. Two people? Four people? Why not? Don't be surprised if you come to see us and it's not what you thought it would be, and try not to get too upset. AC continues to make music after seven years, six studio records and one live record, that combines a love of sonic free form electronic horror gospel hip hop soul pop madness and brings it all together into something that is (hopefully) at times totally pleasing and at others completely scary and confusing but most importantly is refreshing in this crazy crazy world.
Animal Collective have brought the celestial down to earth with each record, but they've never sounded simultaneously otherworldly and approachable quite like they do on Merriweather Post Pavilion. Their eighth studio LP, it finds them at their best -- straining farther away from conventional song structure and accompaniment, even while doubling back to reach lyrical themes and modes of singing at their most basic or child-like. Where before AC expertly inserted experimental snippets into relatively straight-ahead songs, Merriweather Post Pavilion sees them reach some kind of denouement where pop music ends and pure sonic experience begins -- the sound is the only structure. Dismantling the framework of a pop song almost entirely (but using recurring passages in a very poppy way), the group offer a series of overlapping circular elements, all of which occasionally come together for a chorus but then break apart just as quickly. The music itself, at least what's describable about it, consists of deep bass pulses and art-damaged guitars with overlapping vocal harmonies that rise in a holy chorus. This may sound much like previous Animal Collective highlights, but where those records seemed like a series of accidental masterpieces -- the type of work that sounds brilliant only because it's been culled from hundreds of hours of tape -- Merriweather Post Pavilion is a perfectly organized record, not a note out of place, not a second wasted. It has the excitement and energy of Sung Tongs, the ragged sonic glory of Feels, and Strawberry Jam's ability to make separate parts come together in a glorious whole. Like the best experimental rockers surging toward nirvana -- from the Beach Boys to Mercury Rev -- Animal Collective have not only created a private soundworld like none other, they've also made it an inviting place to visit.
Comprising a loose collective of avant-garde musicians, Animal Collective was established in New York City by Avey Tare (aka David Porter) and Panda Bear (aka Noah Lennox). Spirit They're Gone, Spirit They've Vanished marked the group's first release in 2000. Issued on the musicians' own Animal imprint, it was the first of a flurry of captivating, occasionally frustrating releases exploring the fringes and intersecting boundaries of folk, noise rock, ambient drone, twisting psychedelia, and — ultimately — pure melody. Joined by their friends Geologist (aka Brian Weitz) and Deaken (aka Conrad Deaken), Tare and Panda Bear released Danse Manatee (issued on the Catsup Plate label) in 2001, followed by a live album documenting their debut tour alongside Black Dice. Here Comes the Indian (Paw Tracks) was issued in 2003 to considerable acclaim, and the Collective backed it up with the droning, folky simmer of Campfire Songs, again for Catsup Plate. (FatCat also became the group's European sponsor, issuing their first two albums as a package and signing them for future releases.) Animal Collective returned in May 2004 with Sung Tongs, a mysterious, fragilely melodic album that garnered even more critical acclaim and spawned a series of tours. Panda Bear issued Young Prayer, his solo debut, in September 2004. The Prospect Hummer EP, which featured a collaboration with Vashti Bunyan, appeared in May 2005, and the full-length Feels followed in October of that year.
可以很理直气壮的说，Animal Collective绝对是近十年来最出色的Indie乐队之一，而且走到今天仍然还有很可观的上升空间。希望这个观点可以有很多人认同，因为事实上，认同这个观点所需要的技术含量并不高。首先，看看近十年来貌似全盛的Indie界吧，其中真正出色的乐队确实少的可怜；其次，再看看Animal Collective本身吧，它往这个圈儿里一站，想不出挑确实是件很难的事。而之所以说 Animal Collective仍有很大上升空间，这不外乎是因为他们的音乐
成立至今6年，Animal Collective以大于平均每年一张的速度总共发了7张专辑，反复跳跃于两大知名独立唱片厂牌 Paw Tracks和Fat Cat之间。去年的Feels发于Fat Cat旗下，今年10月又在Paw Tracks发了全新专辑 Hollinndagain。说到这儿就忍不住要再夸两句去年的Feels。那真是2005一整年中很难让人忽略的一张专辑。在去年的所有Indie唱片中，Feels确实过于惊艳了。它比04年突然为Animal Collective招来很多人气的Sung Tongs更为招人喜欢了，它几乎把 Animal Collective身上的所有优点一点不浪费的展现的淋漓尽致：多变、多样、神经质、胡闹、轻剂量的先锋色彩、永远让人捉摸不透。我现在还记得当时第一次听完Feels时的感慨：Animal Collective这几个小伙子太不俗气了，他们太有前途了！时隔一年的今天，当再和朋友提起这张专辑，大家还是对它余兴未尽的赞不绝口。06年过到今天又差不多见底儿了。如果说Animal Collective的Feels是05年 Indie唱片里的第一，那今年我还真没发现一张能有实力和它拼一拼的专辑。所以当Hollinndagain出来时，我的期望就空前的热切起来了。然而有点失望的是——其实也不完全是失望，Hollinndagain并不是真正意义上的新专辑，它是一张Animal Collective在遥远的 2001年在美国一场演出的现场录音，而且只限量发行300张。
那张Hollinndagain肯定又要吓着很多Animal Collective的乐迷了。随时让人意想不到这就是 Animal Collective最爱乾的事。当无数人在期待着他们能在Feels之后再做出怎样惊艳的专辑时，他们却冷不丁的忆了回往昔岁月，这无疑太有胆量也太不靠谱了。谁都幼齿过，谁都有过沉溺在自己那点小情怀里无法自拔不管不顾的时候。但当你已经走出了那段时期，如果决定再把当年不成熟的旧帐翻出来“吓人”时，你就真要好好掂量掂量了。
