[jusswerjk]

Sport Brotha wrote:

I’m not saying I want anyone to freebird this to me. But if they were to send it to my inbox I might appreciate the music.

same

[tdegenaro]

oh man, I had it going in the car and was loving it but now I have it going in very good headphones - can't decide which is better. what a great album what an exciting time.

thoughts on mode yet?

[Enn Eye]

7.4

[dud]

inner monologue sounds so profoundly sad to me, gets me pretty choked up. so many songs of his are so positive, all about rising to the occasion and being the best you can be for the people around you. but inner monologue sounds so defeated, so sad and so beautiful! i can't...be one......OOONE. he can't become one

[roopn]

There's a permeating stillness to this album...
everything is mixed so transparently, which me feel this is more brain music than body music - even on the grooviest tracks (probably Buoys and I know I don't know). At the moment I'm pinning this on the bass pretty much only existing in the sub frequencies, which leaves this massive space in what's normally the low end.


I also kinda love/hate the delay on the vocals throughout...
I think token and home free use it really well to kinda extend/augment the melody
But on the other hand I'm finding the super upfront persistent delay in Buoys and cranked distracting

The down pitched bursts of vocal harmony are amazing tho, love that

[poop]

Not really a fan of the crying in Inner Monologue. It would be alright if it was just at the start, but it's kind of distracting being throughout the whole song.

The 'OOONE's are amazing though.

[lucasmoreira]

I think crescendo could be a better closer, would have switched with home free on the tracklist


here is the Buoys bio that came with the freebird:

Spoiler: show

From the opening minutes of Buoys, Noah Lennox's sixth solo album as Panda Bear resembles something both wholly new and intimately familiar to fans and followers of the musician and Animal Collective member's body of work. Lennox's bright, sincere voice is still front-and-center, along with his beatific approach to melodic structure and vocal phrasing—but there's miles of space surrounding it, a guitar and a few textured samples here and there fleshing out Buoys' dubby sparseness. The off-white loveliness of his 2011 LP Tomboy is recalled, as well as the sampledelia of 2007's landmark Person Pitch—but Buoys otherwise represents a surprising and intimately pleasurable new direction for an artist who's embraced not repeating oneself as its own creative ethos.

The latest Panda Bear release since 2018's vinyl-only release A Day With the Homies and the follow-up to 2015's kaleidoscopic Panda Bear Meets the Grim Reaper, Buoys began gestating in late 2017, as Lennox joined up with producer and frequent collaborator Rusty Santos (Animal Collective, DJ Rashad, Eric Copeland) in the former's current home of Lisbon, Portugal. "He came over for some work of his own and spoke about music he’d recently been involved with—mainly sad trap and reggaeton productions," Lennox explains on how Santos became involved with Buoys. "We spoke about contemporary music and the production processes and techniques used in its creation. I hoped to translate the new songs into music that might, if only at the surface, feel familiar to a young person's ears."

One approach the pair took was dialing back the guitar-heavy structure that Lennox's early versions relied on: "When I wrote the songs, it was just guitar and singing and a simple rhythm arrangement. Rusty's first move was to mute the guitar. That was the biggest change that took place before the finished product." Another was introducing Auto-Tune as a studio tool, which was the first time Lennox had worked with the program since his 2015 remix of Eric Copeland's "Cheap Treat," and a fruitful device for exploring the limits of his own sound. "It was a long journey we went on—I wasn't expecting to before we got together, but it was fun," he explains. “I was trying to find a single vocal take to drive the whole album—not too many harmonies—and the Auto-Tune let that happen. It gave it this texture and thickness to my voice that I was otherwise using reverb or doubling to get." Lennox also cites Atlanta ("A lot of sub-bass and 808 kicks") as an influence on Buoys' sound—a logical extension of the rhythmic and sample-based work Lennox has engaged in through the Panda Bear project since Person Pitch.

Alongside Santos, Buoys also features collaborators in Chilean DJ/vocalist Lizz and Portuguese musician Dino D'Santiago, both artists who came to Lennox via Santos’ recent trap and reggaeton production work; the former contributes arrangements throughout, and both lend their vocals to the mercurial album cut "Inner Monologue." "Lizz and Dino are people Rusty had been working with in the months leading up to Buoys," Lennox explains. "Dino does a lot of work at Big Bit, the studio where we recorded Buoys, and Lizz was also around Lisbon. She had some great arrangement ideas— the snare on 'Dolphin' became a water drop sound thanks to her, and she also added crying to 'Inner Monologue,' of which I dug the connection to the crying on Person Pitch's 'Bros'."

Thematically, Buoys is concerned with both the present-day climate and the future that younger generations hold promise to. "What's going on in the world definitely influenced the album," Lennox states. "It's tough for me, because I'm not the kind of person who likes to get up and tell people how to think. I don't like shouting at people. Rather than combat the stuff in the political sphere, I'm hoping to dig a little deeper.”

This gentle, prescriptive perspective comes through on penultimate cut "Crescendo," which finds Lennox imploring to "Ripple with friends/ That ripple with you" over stretched-out guitar and layers of echo, as well as the ecstatic opening lines of the title track: "It comes to me/ It's plain to see/ Not only me, nowhere to be/ I got a ride." "It's the fulcrum for the album, lyrics-wise—the album's humility battle-cry," Lennox explains regarding the song, which was one of the first cuts written during Buoys' creative gestation. "'Leave it on the ground' is a reference to all that unpleasant stuff we've got inside us all—the unintended fruits of instincts warped. So we're all buoys, markers floating on an expanse hinting at a treasure buried deep."

"I wanted to think more universally, like behavioral psychology — why people do the things they do," he elaborates on the lyrical content of Buoys. "I'm interested in thinking about that stuff a lot, and it shows up in the lyrics. Sometimes behaviors of mine show up in the lyrics, but I'm trying to think more universally." Most surprising is the occasional lustiness that emerges throughout Buoys—specifically, on the gorgeous and cascading "Token," which finds Lennox referencing "A slap on a jelly ass" in his high register over swaths of guitar. "There's sexual interjections here and there—never a literal thing, but more representing the sexual impulse and how it can show itself in times when you might not want to think about that stuff," Lennox ruminates on the thematic territory.

"The last three records felt like a chapter to me, and this feels like the beginning of something new," Lennox states while surveying how Buoys relates to his estimable catalog so far. "It feels like I'm turning the page a little." Indeed, Buoys is full of fresh ideas from one of modern music's most fascinating, innovative, and emotionally generous artists—intoxicating in its straightforwardness, holistic in its approach to the current state of humanity, and unforgettable as the latest installment in Lennox's unbeatable career.

[memememe]

can someone post what the final titles are and what their working title in live sets was? are there any songs he was playing live that didn't make the cut?

and if I can get a DM link that would be great thankssss!

[dud]

everything he played live made the cut

woken = token
sabbath = inner monologue
calling in sick = master

[yoko bono]

I have only listened to the first track and I did no less than four double takes.

Whoa! those samples!
Whoa! Acoustic guitar!
Whoa! that bass!
Whoa! That vocal effect!

I am excited.

[Tropic]

Hidden track = Sunset

[jerry wonder]

thotz:

now I am getting real into it. faves so far are Token, I Know, Cranked, Crescendo, Dolphin. And I am surprised but I like the chorus in Master, which I was not into from the boots. Is Master about him and Sonic Boom?! Home Free is pretty good too, I like the use of delay on the vox. Buoys is kinda bizarre to me, but I think I am getting used to it.

When I hear this it reminds me of hearing My Girls for the first time and hearing that pristine alien Noah voice for the first time. Also there is something really unself-conscious about these lyrics; the sexual overtones and he's chosen some different syllabic sounds that I think he would have written out in the past--like the chorus of cranked. In some ways they remind me of Homies, which I disliked, and unsure how much I like it here. But overall he sounds like he's writing in a more straightforward way. I think Dolphin's got the best lyrics of the bunch.

[memememe]

who's got a link please

[Fovrodi]

Andrew_VB wrote:

since some people already seem to need a reminder:

jetski wrote:

Alright y'all important announcement-
Please don't spam the thread with P.M requests! Just P.M someone directly to ask for it (you can P.M me)

Can't wait to get home from work today and listen to this woooo

[doggyinacoma]

love having this album stuck in my head

[terrestrialjane]

imagine if it never freed

[jetski]

anybody need a link just slaP My jelly ass

[dud]

[popadam]

gave it quite a few listens and not feeling it at all. i guess im not much of an auto tune guy... much more of auto mine guy

[Fovrodi]

Too bad

[Lacrimosa]

Love this album so much. Only Crescendo and Home Free are not clicking with me yet, but maybe that's because of the emotional impact IM has, so everything after that sounds a bit less. I Know I Don't Know is becoming my favorite.

[Gool Aid]

Damn. so good.

[speen]

definitely in love with this album. i really love the vocal production (although its a bit loud on buoys). Every single song has been stuck in my head

[Lacrimosa]

Take it off
Writ in the sky
Anyways
I would give you
All I have

And it’s one more tip with a feathered cap
One more trip to the habitat
One more whip of a cheeky slap
One more dip in the natural sap


Thaaaaaaaaaaaaaaaaat’s

that

[FAF]

it's a wheeeeeel

[destiny]

EEEEEEEEEENDDD OF THE LIIIINEEEEE

[MrAirplane]

I think there's a skip at 0:29 on "I Know I Don't Know" but I can't tell for sure. Feels very messy

[scrambledgreggs]

haven't been this addicted to an album in awhile. every song is perfect

[FAF]

can't stop thinking about "that's that"

[lust_in_phaze]

Could the skip on IKIDK be the watermark for this particular version? I don't know how that stuff works, or whether that would be something in the album's metadata, but maybe it's something to think about.

[jetski]

Ive heard the "skip" u guys are talking about, I don't think it's an actual skip because it seems like the beat is still steady there, but it does sound weird. I thought maybe it was just a weird vocal chop or something

[maromi]

Man, "I Know I Don't Know" has to be one of the most beautiful melodies (and lyrics) that Noah's ever written. It's stunning.

[partner]

Home Free...

[speen]

I assumed that skip in IKIDK is intentional, i think it sounds sick

[preacherben]

baaack of the drawer is the best AC moment in yrs

[roopn]

Listening in a quiet park and this shits knocking my socks further off
I gotta stop listening to new music on noisy trains lol

[lucasmoreira]

Spoiler: show

[Lacrimosa]

WHY DID I FLY

SO HIGH.

[Lacrimosa]

lucasmoreira wrote:

Spoiler: show

[jetski]

lucasmoreira wrote:

Spoiler: show

lol