Animal Collective returns to earth with solid, not stellar Centipede Hz

I had a hard time getting into Animal Collective, until a friend gave one of the best pieces of advice ever about this band. You can't be preoccupied with what your expectations are or what you think their music should be. Each album is its own unique journey, and the listener has to be willing to let the band take them where they want you to go. They aren't the only band this applies to, but for a band as out there as Animal Collective it's non-negotiable. Take their music on these terms or not at all.

Naturally, this requires the ultimate test of open mindedness on the listeners' part. But few bands are capable of taking you to such exotic, otherworldly locales as Dave Portner, aka Avey Tare, and crew.

Coming off the career affirming success of 2009's Merriweather Post Pavillion, the band found itself in a dilemma. Merriweather was not wholly representative of the sound they had been issuing on the eight albums that preceded it. Do they be true to themselves, or streamline their sound further?

Those who jumped on the Merriweather Post Pavilion bandwagon may be less thrilled with the route they chose. Centipede Hz is a return to form for the Baltimore psych rockers, while still signifying they understand the importance of melody. It presents a dizzying blend of fuzz, static and radio waves, while projecting an image of being stranded in deep space.

Opener "Moonjock" clatters and sputters to life like a projector that hasn't been used in a long ages, then kicks into gear with a series of sharp buzzing percussive cymbal clashes before launching into a tune that sounds like Avey is broadcasting from space. It ends with a joyous climax that gives a hint of the party that Animal Collective is gearing up for.

Some songs sound like they were written by someone with severe ADD. "Applesauce" and "Monkey Riches," in particular, are a massive clusterfuck. They are characterized by an ever shifting, ever evolving gyroscope of different hooks and melodies. Keeping up with the structure of "Monkey Riches" can trip up even the most steadfast listeners; at over six minutes it can't sit still for any significant length of time. Even Avey Tare seems in awe of the staggering collection of riffs he's assembled here, as he sings: "It makes me wonder how I even wrote this song/ Does this not occur to almost everyone?" In truth, the lyric actually reflects more upon trying to make it through a tough day to day existence, but one could be excused for thinking it a comment on Portner's songwriting.

Both Panda Bear tracks are loopy slow burners. "New Town Burnout" in particular sounds like he's suffering from a drug burnout as he slowly meanders his way through the song. It captures the droning atmosphere of pieces like "Scheherazade" and "Drone" from Tomboy while also possessing a watery, fluid sound like something from Down There. The instrumental break feels like The Little Mermaid on acid. It isn't the only song with fluidy, watery beats. "Pulleys" and "Father Time" also fit into this mold, seeming to draw influence from Down There.

While Panda Bear's voice sounds very similar to Avey Tare's, there's no mistaking Deakin, who takes lead vocal on "Wide Eyed." His voice is flat, but gives the track a psychedelic Indian vibe. The track gets loopy at the end with maniacal laughing and tape loops running over each other.

There are even progressive elements in play at certain places. "Today's Supernatural," for example, goes through several clear phases, and when it ends it's clearly a different type of song than it was in the beginning. The opening verse is bolstered by a demented buzzing riff which is reminiscent of the organ grinder guy in the windmill who teaches you The Song of Storms from The Legend of Zelda: Ocarina of Time. But it gets spacier and more thoughtful as it progresses, ending with Portner musing: "Today feels so supernatural."

Another key element on this album is transitions. It's something the band has been obsessed with ever since flawlessly merging together the first two tracks on Campfire Songs, and over the years they've further refined the technique. Songs seamlessly flow into one another, often assisted by spacey, radio wave effects that earmark the album. "Moonjock" and "Today's Supernatural" both float around in a warbly spacey wash of radio wave effects before transitioning into the next piece. Recognizing that the audience needs a breather from time to time, however, the band does insert clear start and end points at the end of songs at regular intervals.

Animal Collective's lyrics are often bizarre and rambling, but despite that they do manage to get a clear theme across. It's like reading an essay paper from a slacker student; there's often a bunch of excess and extraneous verbiage that doesn't seem to relate to their central point, but you can see what they're getting at. "Today's Supernatural," for instance, contains imagery including dressing yourself up in chains and paint dripping from a canvas on an easel. But the real story is told by the central refrain let-let-let-let go; the song at its core talks about relaxing, easing up, and taking things as they come.

Some songs provide more clarity. "Applesauce" is quite clearly about the awesomeness of eating fruit, while "Moonjock" charmingly tells the story of a long backseat ride on the way to a family vacation. "Amanita" is the best representation of that childlike parading off into the forest vibe they championed on Spirit They're Gone, Spirit They've Vanished. Portner sings: "What are you gonna do? Go into the forest/ Until I can't remember my name/ I'm gonna come back and things will be different/ I'm gonna bring back some stories and games."

Animal Collective have employed a masterful range of sounds and musical concepts throughout their career. Their albums have focused on everything from gentle campfire acoustic music to sounds fully drenched in electronica, and some albums have even bordered on freak folk. Centipede Hz sounds like a logical progression from Feels and Strawberry Jam, with Merriweather being the true outlier in the band's catalog.

Yet Centipede Hz, which was influenced by CDs of radio station call signs, doesn't live up to some of its predecessors. Some of the ADD pieces, particularly "Monkey Riches," get a bit wearisome  and some of the drone/burnout pieces don't quite hit the right notes. Yet Animal Collective succeed in playing to their key strength. The new album is every bit as endearing and charming as anything they have put out. Though it isn't perfect, it fits in perfectly with the rest of their output.

Score: 82/100

Totally Unauthorized: 2011 Album of the Year Awards

I've learned a great deal in my first full year publishing to this site. I've managed to listen to and review
a great variety of music and draw from a considerable amount of resources, which was one of my goals for the site.

But I've entertained the notion of possibly narrowing my focus, or streamlining my processes in some way. I suppose it's somewhat of a reaction to the year in music. Despite it being a solid year, I don't feel like it captured the magic of 2010.

Last year featured legendary releases from Arcade Fire, Deerhunter, Orphaned Land, and Crystal Castles, and very solid albums by Best Coast, Kanye West, and Jamey Johnson. So what did this year bring us? I've laid out my top 10 albums, but first a few miscellaneous categories to touch on:

 

Best New Artist

James Blake

This was a pretty tight race between James Blake and Yuck. I had to side with the UK dubstep DJ due to his unique perspective and sense of innovation. Blake possesses a deep and creative mind, and it shows on his debut LP. 

Characterized by minimalist electronica and soulful vocals, it's an album that leaves you with something new to discover with each new listen. Each note is like a watercolor brushstroke upon a downbeat canvas. I usually have to be in the right mood to fully appreciate this record, but the potential shown here is more than enough for Blake to grab the Best New Artist crown.

Biggest Disappointment of 2011

  Lupe Fiasco

Lasers

 
The third album can often be considered a make or break moment in an artist's career. It appeared that Lupe Fiasco was on schedule to launch himself into the stratosphere following a pair of albums that were critically acclaimed but flew under the radar commercially.

But a funny thing happened along the way. Lupe found himself saddled with Atlantic Records. Lasers presented Lupe the opportunity to develop his voice and take his sense of introspection to new heights, but Atlantic instead opted to deliver an album mostly filled with soulless pop rap. It's designed to be good for a weekend on the dance floor but little more.

Very little about this record feels like Lupe Fiasco, save for maybe "Words I Never Said" and the stunning "All Black Everything." Lasers should have been Lupe's chance to unveil his talent to a wider audience. Unfortunately, corporate greed and politicking doomed that vision from the start.
 

 Most Overrated Album 

 Bon Iver
 Bon Iver

Don't get me wrong; this is still a good album. However, since its release this summer, Bon Iver has witnessed a gargantuan groundswell of support that I can't find myself getting on board with.

It seems as though Justin Vernon's sole purpose was to impress people by showing them how emotional he can be. An endeavor like that is flawed from the get-go. True emotion is something that should just show through naturally in your music without having to do anything special.

The sense I get is that Vernon was trying to be emotional simply for the emotion's sake. It's like he's saying, "Hey, look at how emotional I am! Isn't that awesome?" I know many people have deeply connected with this record, but ultimately I just can't feel what he's talking about here.

Parody of the Year

Brock's Dubs

Jenna Haze - My Jeans

Culled from the ashes of Rebecca Black, Jenna Haze sought to wreak havoc on our ears with -- what else? An ode to designer jeans. At least the good news is that's incredibly easy to poke fun at, and Brock's Dubs has time and time again proven to be one of the best at insightful criticism and gut busting humor.

Brock replaces Haze's saccharine auto tune screech with a throaty, deep pitched voice while mocking the superficiality her clothing obsession. If you also happen to like seeing cars drive off cliffs, this might be the vid for you.

Best Live Show

    Tune Yards at Exit/In

Merrill Garbus of Tune Yards experienced a breakout year with the release of w h o k i l l, and she was even awesome enough to bring her live set right up to our doorstop in Nashville. Garbus is an artist now hitting her stride, and that fact alone was enough for the Exit/In to crackle with intensity.

Not only did we get the chance to hear almost all of the songs on the album that night, it also became evident that there are several elements in the music that are much more clearly defined when hearing it live. Those thick basslines and the raw power of her ukulele are obvious examples. Innovation, personality, and originality make Tune Yards an act you won't want to pass up.

10. Cities Aviv - Digital Lows

When Gavin Mays released his debut album, Digital Lows, on his bandcamp account, it went virtually unnoticed. This is a real shame, because Mays has managed to put his own spin onto the genre and put out a product that feels fresh, unique, and full of life.

The main attraction of the album are the beats, which move around from 70s soul to banging, clanging electronica to the downbeat backing sounds of Memphis horror rap. Digital Lows is also striking because it manages to capture a broad variety of feelings.

Sometimes you are going through hell, sometimes you feel jubilant, other times you may find yourself getting wistful over past loves, and every now and then you just want to say to hell with everyone. All this is delivered through Mays's steady tone and unflinching flow. It's a promising start for a great young artist who should only continue to improve.

9. Yuck - Yuck

A band like Yuck raises an interesting debate. How closely can you emulate your influences before you lose your own identity? UK rockers Yuck wear their influences on their sleeves, taking cues from Sonic Youth, Pavement, Dinosaur Jr., The Stone Roses, and a whole host of other badass 90s rock outfits.

The instrumentation is solid, but nothing groundbreaking. So are they really just a case of a band riding the coattails of a previous generation of superior bands? The big chink in that argument is that the songwriting here is just too damn good. The aural assault of "Get Away," "Holing Out" and "The Wall" bring to mind the sun soaked joy of a summer day and the unbridled excitement of youth, while softer touches like "Suicide Policeman" and "Sunday" show off the Pavement style alt rock balladry the band has managed to capture so well. It's true that Yuck borrows heavily from their influences, but it's also clear that there is no one else capable of interpreting these sounds quite like this.

8. Opeth - Heritage

Like last year, there hasn't been much in metal that has excited me. I feel that I am losing interest in this form of music. Amon Amarth and Obscura put out technically sound releases, but I find myself coming back to Opeth as my favorite.

The first half of the album is a delicious cornucopia of sounds and senses; there's a quiet melodic piano piece, vibrant and driving hard rock, delightful blends of folk and rock, along with Opeth's own patented blend of progressive metal. The second half is more folky and progressive, and I admit I tend to space out a bit on these tracks.

But there's also sludgy Sabbath sounding riffs and twisted flute solos. What's not to like? Heritage stretches itself out in front of our imagination as the perfect embodiment of Mikael Akerfeldt's1970s inspired dreamland.

7. Ott - Mir

I have a sneaking suspicion that Ott always dreamed of being an astronaut or scientist, but he ended up producing electronic music instead. His third album, Mir, is a veritable smorgasbord of ideas. Like an all you can eat buffet; each track gives you a little of this, a little of that, and then a little something different.

He moves around from dastardly dubstep to tripped out techno reggae, and even makes time to slow it down and get insightful at times. But what doesn't change throughout the record is Ott's zany and bizarre sense of personality. This may have been a banner year for electronic music, but you won't find anything more bizarrely enchanting as Ott's Mir.

 

6. Steven Wilson - Grace for Drowning

This also takes the cake for most underrated album of the year. Why is no one talking about this record? It's so great! Anyhow, Steven Wilson, genius songwriter behind Porcupine Tree, takes advantage of the opportunity to go all King Crimson on us and releases one of the best progressive rock records in a while.

Each song has plenty of mellow and heartfelt verse/chorus parts in that are reminiscent of Porcupine Tree, but the defining trait in most songs is the darker, twisted, more experimental solos of various nature. The sound is sometimes dramatic, like you're gearing up for some epic battle. Sometimes it's subdued, and sometimes it's downright unnerving. But it will always make you think -- precisely what progressive rock is meant to do.

5. The Decemberists - The King is Dead

Colin Meloy is a master architect of sounds and melodies. Part wordsmith and part mad scientist, he's crafted overblown colonial epics and dramatic rock operas, but The King is Dead sees him opting for a different route. The formula employed is much more simple here, drawing your attention to the warmth of the bright, vibrant harmonies.

This music is much like a sugar rush, but it's also very organic and earthy at the same time. Violins, steel guitars, and other assorted instruments provide a very folky yet also countrified feel. The lyrics possess a layer of density, but are also intriguing and well worded. Meloy proves that sometimes cutting out the fat can be a highly effective method for moving forward.

4. The Black Keys - El Camino

After releasing their breakthrough, Brothers, last year, it seemed that the Black Keys 2011 release, El Camino, would be one of the best pure rock records of the year. Focusing on their love of blues, along with some slight tinges of soul, El Camino establishes itself as a very straight ahead record. The formula is predicated upon large, catchy choruses designed to get your foot tapping and have you humming along. Along the way you get great guitar work and the catchy and driving drum beats of Patrick Carney. No matter your preference, there were few artists able to match Dan Auerbach's sense of cool in 2011.

3. Panda Bear - Tomboy

The electronic genre had an incredible showing in 2011. James Blake, Ott, Balam Acab, and Toro Y Moi all had great releases, and then there was a Sepalcure album that came out of nowhere and blew my mind. But the spoils will go to Noah Lennox for the terrific Tomboy. He draws from his experience in Animal Collective, elaborately and meticulously layering his audio files to create a lush and vibrant backdrop.

In fact, I can't think of when I've heard a record with a sound like this. There's a very fluid feeling, as though I'm riding an inner tube down a river while listening to the album. But he also takes cues from the Beach Boys in the way the harmonies are gloriously constructed. These two elements combine to forge a sound that is deeply moving and instinctively unique.

2. Tune Yards - w h o k i l l

It is fitting that the original title of this album was Women Who Kill. In 2011, Merill Garbus of Tune Yards proved she was capable of slaughtering pretty much anything in her path. W h o k i l l is a fascinating blend of several different genres that come together in a way that is bold, full of personality, and totally unique. Garbus seamlessly merges Caribbean, African, and pop styles to create a blender blowing combination.

"Gangsta" and "Bizness" show off the patented power and aggression in Garbus's compositions, "Powa" gives us a peek at her emotional prowess. At times, w h o k i l l is a bit out there and may not be for everyone. But if you love innovation and creativity, it's hard to do much better.

1. Fleet Foxes - Helplessness Blues

The ultimate album of 2011, Helplessness Blues masterfully combines folk, melody and emotion in a way no one else could. The Fleet Foxes expand on the pastoral promise of their debut by crafting increasingly complex harmonies and by forging challenging and unique instrumentation. Permeating through it all is the mellow and melodious voice of Robin Pecknold, as clear and crisp as a cool glass of amber wine.

This is an album full of daring tales of adventure and regret, daring and disquiet, wonder and introspection. It's awe inspiring how a simple tune like "Blue Spotted Tail" can fill you with the same sensation you get from staring up into the starry night sky. Few have covered as much territory, or articulated it as thoroughly as Mr. Pecknold and the Fleet Foxes did here.

Holy crap, it's been a year already?

As hard as it is for me to believe, today marks the one year anniversary of my posting on this blog as a part of Totally Unauthorized. I started with the desire to express myself on a broad variety of music; I wanted to show off to people what I liked, what I was listening to, and to hopefully open a dialogue about the biggest new record or a new artist with sure-fire potential.

The lack of conversation so far has been a bit disappointing, which leaves a central point of emphasis for the coming year. But most of all, I feel it appropriate to reflect, show off what I've been doing here, and hope to gain some recognition for what I've got going on. Oh, and my first post, you might ask? It was on Arcade Fire's The Suburbs.

In no particular order, here's a look back at some of my favorite albums of this past year:

Amon Amarth - Surtur Rising

Swedish melodic metallers stick to their formula, but turn in another winner with Surtur Rising.

Fleet Foxes - Helplessness Blues

Robin Pecknold & crew guide us on a CSN&Y-themed adventure through indie folk.

 

Panda Bear - Tomboy

 

Noah Lennox keeps the melodies and intricate layering flowing on yet another critically acclaimed LP.

Ott - Mir

Ott mixes, electronica, psychedelia, and dubstep as he takes you on a voyage though your subconscious.

 

tUnE yArDs - W H O K I L L

Merrill Garbus's loud personality and unique approach to songwriting make w h o k i l l a runaway hit. 

 Tyler, the Creator - Goblin

Goblin didn't live up to the hype of "Yonkers," but it still featured great delivery and a fresh approach.

Cities Aviv - Digital Lows

I just discovered this album a few days ago, but it's already made an indelible impression. Memphis rapper Gavin Mays delivers a 70s urban street sound to go along with his laid back rhymes. Definitely an artist to watch.

 Iamamiwhoami - ;john and Clump

While not technically an album, Swedish pop star Jonna Lee has delivered some great stuff under the name iamamiwhoami. The dreamy synth pop of Clump and the energetic dance beat of John are two of this year's most overlooked gems.

Tomboy's densely layered melodies among top treats of 2011

One of the most exciting parts of following music today is finding someone who pushes the envelope.

With all the stale ideas floating around in many music circles today, an innovator, a pioneer is what we need. I jubiliate when I find someone with new ideas, with the potential to push music forward into the future.

I think I've struck gold with Panda Bear.

Noah Lennox, better known as Panda bear, better known as a member of the indie/electronic pop supergroup Animal Collective. Tomboy, Lennox's fourth solo release, highlights his best attributes as a composer and also showcases much of what made AnCo an indie sensation.

You may remember Avey Tare, Animal Collective's other major player, released his solo debut Down There last October. If that disc championed the band's more exotic and experimental side, then Tomboy is a picture perfect demonstration of Lennox's ability to create rich layers and textures upon a musical landscape.

Rich with lush, vibrant, and deeply detailed layering, and featuring Panda Bear's pristine vocal harmonization, Tomboy stands as one of the most exciting works of the year thus far.

There are a couple of remarkable different things he is able to here. Most songs can be classified into general melody based songs. Here, you'll find some real gems, including Surfer's Hymn, Slow Motion, Last Night at the Jetty,and my personal favorite, Alsatian Darn.

Then there are what you categorize as being mood pieces. The sixth track is pervaded by an eerie ominous buzz, with scant vocals that seem to drift along, but you're never quite sure where they came from or where they're leading you.

The vibe and feeling created by the song can be perfectly described as a drone, which is why it's so fitting that that also happens to the the title of the track.

"Scheherazade" is even more haunting, with its minimalist techno and elegiac ,subdued vocal that seems to drift up from the depths of Lennox's tortured soul.

Tomboy is also strong lyrically. Panda's main strength is to take a single statement or concept, simple but profound, and to create a rich texture with it.

"Slow Motion" questions conventional wisdom and declares that it's more important to look within yourself, while "Last Night at the Jetty" takes a simple moment spent with friends and turns it into a powerful testament about how happy memories can have a dynamic impact on the fabric of life.

Tomboy floats by like a hazy, half realized dream, which reveals more and more of its subtle nuances and secrets each time you relive it. It sounds like nothing, acts like nothing, and more importantly feels like nothing that I've heard in quite some time.

Score: 90/100

Avey Tare album should tide over fans of AnCo, but not much more.

Genre: Psychedelic/Experimental
Paw Tracks
Running Time: 34:44

2009 was easily the year of Animal Collective. That was the year the avant-garde indie/electronic rockers, to that point fairly obscure, dropped their glittering opus of totally tripped out electronic pop influenced album, Merriweather Post Pavilion, and the rest was history.

The band has spent this year on the sideline, but that hasn't stopped frontman Avey Tare from diving in headfirst with his debut solo album, Down There. Being as Tare is one of the biggest influences on his band's sound, you can expect Down There to offer heavy helpings of the trippiness that makes Animal Collective so unique. The sound you'll hear here is much closer to the signature Animal Collective sound than, say, a Panda Bear album.

The opener, "Laughing Hieroglyphic," features a demented accordion playing over gurgling electronic beats, while Tare's loopy vocal engages you and won't let go. At the same time, there definitely are some departures from Animal Collective. For starters, Avey's disc tends to be much more minimalist in nature than some of AnCo's works.

For those who tried to get into Animal Collective but were turned off by just how over the top it was, you might want to give this one a shot. The relatively subdued nature of the songs means that it's nowhere near as grating as some of Animal Collective's more over the top compositions.

But they also aren't as fascinating, either. Remember how the shimmering wall of synthesizers took your breath away the first time you heard "My Girls?" Or how about the brooding, all over the place vocal melody from "Summertime Clothes?"

Nothing on Down There can come close to the majestic results we get when the foursome of Animal Collective get togehter, but there is a lot here to like. One of the elements that make this album unique is its water theme. Worked into the mix are plenty of dripping, splashing, and tinkling sounds. It's like you're sitting in an underground basement while water leaks out of the pipes, listening to Avey spin his tale.

As far as the vocals go, no one's ever going to accuse Tare of being the greatest singer. But he covers that up a bit by submerging his voice into a myriad of different effects. I swear he's got a new distortion for every song. It gets to be so much that after a while you could start listening to the title track off Radiohead's Kid A album and think it sounds perfectly normal.

Instruments? Well, there's not a whole lot I could make out on this album. It's mainly driven whatever electronic effect Avey's got programmed into the background, thought I wouldn't be surprised if there was a guitar here and there.

Vocal samples also prove to be a considerable part of Tare's repitorie. "Glass Bottom Boat" begins with a guy looking for directions to a cemetery, and a stranger offers to give him a boat ride there. "Oliver Twist" features some guy talking about someone who looked into a rock and saw a skull or something. It's strange, but it fits the mood.

Some of lyrical themes are also pretty out there. "Ghost of Books" is, I'm pretty sure, a song about a guy who wants to make love to a ghost. But there are also some more evolved lyrical themes. "Heather in the Hospital" talks about feelings of depression when a loved one has to go into the hospital, while "Cemeteries" deals with feelings of anger and fear.

Perhps the biggest strength of Down There is its uniqueness. No one can make an album quite like Avey Tare, and you certainly won't hear anything else like this album this year. It comes off as more of an Animal Collective-lite, but if you're a fan you owe it to yourself to check it out. If you've been intrigued by the Collective, but find their sound to be too oppressive, you might find Down There to be a little more palatable.

Score: 70/100