Animal Collective - Centipede Hz

Over the last decade, Animal Collective’s journey has been characteristically bizarre, feeling their way through various shades of psychedelic noise pop. Though what they do is pretty hard to pin down, from the gorgeous psych-folk of Feels and Campfire Songs to the whacked-out madness of Strawberry Jam and 2009’s critics’ choice Merriweather Post Pavillion, psychedelia seems a pretty strong place to start when trying to make sense of it all.

That said, making sense of it all is absolutely the last thing you should do with an Animal Collective album. On Merriweather opener ‘In The Flowers’, the line ‘if I could just leave my body for the night’ turns an uncertain, washy picture of a chance meeting with a dancer in a field into a bursting, intense dreamscape that shoots off into the sky and, for an hour’s sensory onslaught, never really comes down.

And here, three years later, after a year and a half of doing whatever the hell it is they do when working on an album, is Centipede Hz. When asked how he would describe the sound of the new album, multi-instrumentalist Deakin helpfully went for “Centipede Hz”. Also, here’s a still from the video for single Today’s Supernatural:

So, there’s that.

Gratifyingly, Centipede Hz winds on in much the same vein as Merriweather. The familiar sonic blitz and sense of curious exploration are intact, but Centipede Hz is its own beast. It’s frantic and noisy, and a lot grander than anything that’s come before. Opener and possible album best ‘Moonjock’ kicks straight into an apocalyptic 7/8 sprawl with Avey Tare and Panda Bear sharing vocals. With Deakin back in the line up and after varied solo efforts, the band is more collected and resolute than ever.

There’s frequent spots of magic through the album – Deakin’s first songwriting credit and lead vocal ‘Wide Eyed’ bounces to its own irresistible groove, and ‘Tomorrow’s Supernatural’ is an organised mess of organ bursts and Avey Tare’s trademark snarls and shouts.

After becoming established in their own special way, every release seems to be hailed as Animal Collective’s most coherent effort to date, or the album that could finally break them into the mainstream. Though Centipede Hz does feel that little bit more like a more lucid and focused collection of songs, replete with catchy hooks and radio-friendly structures (see ‘Wide Eyed’ and ‘Amanita’), it’s as dense and mystifying as ever. Despite having their feet more firmly on the ground, their heads are still up in the clouds.

Read More

Mixtape #7

Obligatory summer mixtape, promise I'll be back soon.

x

Read More

Festival Preview - Latitude

For those of you still bitter about Glastonbury’s obligatory year off, Suffolk’s Latitude festival might just be your best bet.

Now in its sixth year, Latitude has rightly made a name for itself in the festival calendar. This year the line-up includes headliners Bon Iver, Paul Weller and Elbow, among other favourites like M83, The Horrors, The War on Drugs, Battles, SBTRKT and Wild Beasts.

Music not your thing? Well, probably don’t go. But if music is your thing and you’re in the mood for something different, Latitude’ll probably have it covered. Their comedy tent this year will house Tim Minchin, Jack Dee and Reginald D. Hunter, and apart from that there’s the poetry, cabaret, dance and film tents, as well as art exhibitions and late-night DJ sets in the woods.

Since it’s pretty family-friendly, you might need to be prepared to act sober on cue, but don’t let it put you off. Complete with neon sheep and extensive arts events across the site, there’s more than a weekend’s worth to get involved with.

Read More

Laura Marling & Timber Timbre - Manchester Apollo (9th March)

★★★★

“You guys ready to rock n’ roll tonight?” Timber Timbre’s Taylor Kirk asks the steady collective murmuring of a restless support crowd. “…yeah I don’t think that’s going to happen.”

Kirk’s extraordinary brand of spooky swamp folk, sounding like a cross between age-old delta blues and the ghost of M. Ward, unfortunately failed to really capture the imaginations of the seated Apollo crowd. As a big fan, I spent most of the set sulking to myself about this, but the 3500-capacity hall was admittedly a strange environment for a sound that relies so heavily on its own macabre atmosphere and intimate boneyard charm.

Regardless, he kept up the enthusiasm and crooned his heart out, from the wonderful ‘Demon Host’ to a stomping stripped-down version of ‘Bad Ritual’.

Unsurprisingly, the mood was transformed at the entrance of headliner Laura Marling, who peppered new tracks and fan favourites in with songs from her latest album, A Creature I Don’t Know. Demonstrating a guitar-playing fluency well beyond her years, her on-stage presence is made all the more remarkable by her endearingly reserved and minimal on-stage banter. She seems comfortable, but predominantly humble about her clear success, and from asking each member of the band to provide a “fact for the day” to telling the unlikely story behind the name of her debut album, the atmosphere stayed relaxed and inclusive.

She demonstrates an impressive skill, as a musician as well as a songwriter, and the songs are personal, honest and at times, genuinely affecting. 

Read More

Breton - Other People's Problems

Though south Londoners Breton take a lot of their sonic cues from the late 90s electronica of Mezzanine-era Massive Attack, it’s fans of the Rapture, Foals and the Maccabees that will be the most pleasantly surprised. It’s dark, pulsing electronica for established fans of indie rock, but there’s more to Breton than being the next NME poster boys.

In fact, there’s a lot more. They’ve already built up quite a name for themselves with their talent as filmmakers (based in disused-bank-turned-studio BretonLABS), which now translates itself perfectly to meandering, enigmatic music videos and a reportedly stunning live show. After starting to make and perform music to accompany short films, the band’s reputation grew from their notoriety on the south London squat party scene.

Named after the father of surrealism, Andre Breton, and with frontman Roman Rappak’s compulsive recording and mixing of anything and everything that grabs his attention, the band have set their compositional targets pretty high. That’s not to mention the recording of the album in Sigur Ros’ own studio in Rekyavik, and subsequent full orchestration by German composer Haushka.

So far, it’s all pretty impressive, and gratifyingly, Other People’s Problems pays up. It’s deceptively complex, and the ubiquitous thick, cinematic strings add a rare tension and depth to what could all too easily be dismissed as plain old indie electronica. In fact, the albums weakest points are those in which this influence is over-indulged. There’s always a danger to a band like this taking themselves too seriously, but Breton get away with it through sheer talent and artistic sensibility. Overall, it’s expansive and rewarding, and whatever your initial reaction, will be well worth your while.

Out March 26th on FatCat Records

Read More

The Twilight Sad - Ruby Lounge (10th February)

★★★★★

Having just kicked off the tour with a frenzied show in their native Glasgow, frontman James Graham reminisces: “…we came back to Scotland, and we played in a place called Nice ‘n’ Sleazy, and it was my Mum and Dad, and four of our friends that were at the gig, yet we were in New York the week before, playing to about a hundred-and-something people in a packed out venue”. The journey thus far has not been meteoric, but with steadfast honesty and a clear dedication, The Twilight Sad have gradually built up a die-hard and adoring fanbase.

Despite ditching the accordion because “it broke”, the new album does little to build on their trademark melancholy shoegaze, but this has never been a problem for Twilight Sad fans. In fact their consistency is their most impressive achievement, showcased in an ear-splitting and intensely heartfelt set. “One thing I’ve liked about what people have said about the new album is that it’s pretty much unmistakably a Twilight Sad album… I’m glad that it came across that way” says Graham. “People go through ups and downs, and you need to go through them to appreciate the ups, and I think dark music can be uplifting as well”.

Crowd-pleasers ‘And She Would Darken the Memory’ and ‘Cold Days from the Birdhouse’ from their stunning debut Fourteen Autumns & Fifteen Winters blended sweet vocals and solid drums with a fiercely distorted and amorphous guitar that surprisingly loses nothing in their reduced instrumentation onstage. The set is fraught and monumental, though judging by the crowd’s reaction it seems like they’re preaching to the choir.

On the band’s growing popularity, Graham says “I thought that was quite a cool thing, that people wanted to know who the fuck we were. Worse thing is they still don’t know who the fuck we are.”


http://www.student-direct.co.uk/2012/02/21/live-the-twilight-sad-ruby-lounge/

Read More