[unrecordednight]

there is something about lips at night that reminds me of like 2000s indie...maybe the shins first album? bright eyes? cant place it exactly

[Cooper]

unrecordednight wrote:

there is something about lips at night that reminds me of like 2000s indie...maybe the shins first album? bright eyes? cant place it exactly

Yes, a lot of the album has the smug confessional confidence of that era

[coral lord]

Sweeper's Grin is the Saturdays of this album for me, just right up my alley.

[Allatrobles]

Long time lurker. Just got thru my first vinyl listen.

Really, really digging this.

[r_o_s_s]

Just had my first listen. Not exactly sure what my thoughts are yet but it was a very pleasurable experience all-round. Absolutely love Lips at Night and Cloud Stop. Other stuff will probably grow on me in time.

Some of my all time favourite Avey lyrics on this thing. He’s such an impressive poet. I would really love a book with all of AnCo’s lyrics that I could just flip through and read.

[speen]

sweepers grin is so awesome. hypnotic. the most psychedelic song he’s released in ages imo

[speen]

really thought he was saying “how can you be carefree” at the end

[rohcti]

wrote:

Darling, you can beat it. You can beat the thing that eats you. Before it eats you. Drives you crazy. There's no hope in all the stats and all the "winning"

I guess winning isn't really all that it's about...

[Fovrodi]

Cooper wrote:

unrecordednight wrote:

there is something about lips at night that reminds me of like 2000s indie...maybe the shins first album? bright eyes? cant place it exactly

Yes, a lot of the album has the smug confessional confidence of that era

[scrambledgreggs]

I think for the first time I agree with Stan's criticisms of this album, it feels more like a collection of outtakes from the past decade rather than something new, even though a lot of the songs are gems. the only really new-sounding thing here is Cloud Start Rest Stop which still hasn't grown on me, I find it to be kind of dull and lacking a good melody. hoping a few more listens will change my feelings though

[Allatrobles]

Personally, my ranking goes Eucalyptus > Down There > 7's > Cows. Everything Stan said about 7's I feel about Cows.

The 1 2 punch of Sweeper's Grin and Nerons is fanastic tho, really holds this up high for me.

[andthephantom]

7s is definitely reminding me of how much of an outlier Eucalyptus is. It sounds like nothing else he's done solo. All the others are at least in shouting distance of each other stylistically.

This doesn't mean that it's my favorite . . . it's actually my least favorite. But I appreciate its distinctiveness.

[destiny]

The jauntier songs are fun enough, and the core of Bog-Sweepers-Neurons is truly good stuff and carries the album for me. It's great to hear a tune like sweepers recorded again haha, just pure strummin goodness.

Eucalyptus is my dream avey album, just takes it's time and delivers on this idea of an acoustic album i had in my head all throughout AC's 2010s electronic era. Stuff like season high, selection of a place, when you left me, so amazing. It helps that when it came out, most of my listens were on a boat (the ferry to rockaway through the new york bay!) Looking up at the verrazano bridge with stuff like roamer and boat race was almost too fitting

[dio]

Musical and Darlings are weirdly still growing while Bog kinda de-grows ; /

People might think Musical is corny or whatever but I just love the rhythm of the lyrics on that and Darlings. Reminds me of WWIWS or even Water Curses almost in how satisfying his rhymic ass singing is and how all the lyrics lock into place like so.

[Sputnik Monroe]

Sputnik Monroe wrote:

I think Invisible Darlings and Hey Bog are my favorite from the album. Invisible Darlings is just such a pretty and sweetly tinged song. It is incredibly uplifting and I cried a bit when I listened while reading the lyrics. I needed that encouragement. Also, that bright sweet piano lick is just so enjoyable, and all of the other sounds and vocal effects he uses in his palette for the song are really interesting. When I first listened to hey bog it started out pretty weak for me, but then it just explodes emphatically into such a euphoric romp. I don't know how he makes such a swampy murky-sounding song so bright and euphoric at the same time. It is like floating down some murky southern bayou on a big paddle steamer boat while some Lousiana Cajun jug band performs gayly just as the sun sneaks out.

I really like Sweepers Grin as well. There is something apocalyptically melancholic about how it sounds. The banging repetitive drum beats sound like someone trying to manically run from something despite knowing that it is futile.The parts he sings "Happy to be carefree. Do tell? Just round the bend so shall it be. Happy to be, where are the bells? Happy to be carefree. Do tell? Reapers at end so shall it be. Maybe we flee to the bells," is so haunting and effective it makes me feel a kind of nebulous dread. This song is like visiting friends, but visiting friends is the stoned relaxed version, whereas sweepers is frantic, stark, and of manic disquietude.

Lips at night is another sweet little bright tune with Avey's signature endearing poetic lyrical sappiness that comes with a lot of his songs regarding love and intimacy. Love the samba guitar, the simple inflections, and the back-and-forth chant effects of his vocals.

I love the distorted glee on Neurons. It has that crunchy distorted guitar with some blown-out beats, but the rest of the sounds are very crisp and clear. All in all, it is a very fun song with all the sort of marching band percussion with the claps and Tamborine.

Cloud stop rest start is very discordant and seeped with a kind of depression. Kinda feels like a song fighting for clarity, with the moments where he really belts out his lines "did you holler at the earth" almost like he is trying to command something, to climb out of that depression and reach for a sort of clarity. The song sounds something new for Avey and it is effective in my opinion with its overall atmosphere and vibe.

The Musical for me is my least favorite. Something about it doesn't really hit for me. It feels really contrived, like Avey Tare trying to write and Avey Tare song. There are some interesting parts sonically, and it has been growing on me a bit, but overall, I go back to it the least.

I overall really like this album. I was a big fan of Cows and Birds and even though it captures some of the things from those albums, especially with Birds, I think it is different enough to be interesting and a worthwhile record in his discography.

Next paged! This album just keeps getting better with each listen. The musical is growing on me more and more.

[rohcti]

Great writeup, I feel strangely similar on your thoughts, I even have the same favorites. I really liked what you said about Hey Bog, "I don't know how he makes such a swampy murky-sounding song so bright and euphoric at the same time. It is like floating down some murky southern bayou on a big paddle steamer boat while some Lousiana Cajun jug band performs gayly just as the sun sneaks out." I don't get the exact image you do, but I like this description a lot. Actually, if I can share something, after I saw the lyrics I instantly thought of something that happened as a kid.

When I was about 3 or 4, some kids at my apartment complex called me over to look at some candy down a drain. They were probably close to 10, so much older. I didn't want to leave the swing I was on, but after they continued coaxing me, I decided to check it out, even though I don't like candy that much. They ended up smashing my head against the brick wall that was by the drain. I don't remember if I went to the hospital or anything, but there is still a Harry Potter-esque scar on my forehead. Anyway, the line "If someone told you that you would see an image in a bog, well you would think twice. But why can't you just trust it?" makes me think of that incident now lol

[roopn]

fuckin hell that's full on

[Dusty]

Lips at Night feels like a Taylor swift song

[blindmowing]

the immediacy of the first 3 tracks of the record is a really nice re-introduction into Avey's world, and then he submerges us in his vintage moon bog worlds for the next 3 tracks, then Cloud Stop comes in and gives us a really vibey, lyrical wonder of a track. it's a psychedelic cartoon that started out happy & care-free then hit the bad trip and found God amidst the dark night of the soul

[Allatrobles]

The Sweeper's Grin / visiting Friends comparison is spot on.

[Hellomark]

Listed The Musical as my least favorite track a couple days ago, but for some reason today it's hitting super hard. Great song. Least fav now might be Lips, it's a good song but I don't really like the "again and again" break, feels kind of lazy.

[Dusty]

My current ranking is

1. Sweepers Grin
2. Hey Bog
3. Lips at Night
4. Neurons
5. The Musical
6. Invisible Darlings
7. Cloud Stop Rest Start

[rohcti]

Love the xylophone on Neurons lol

[clearwaters]

I love this album so much. Right from the first song, the lyrics and mood clicked. Thanks avey :p

[foxtrot]

Yeh, it all clicked for me immediately too. Maybe because the style is quite familiar for the majority of the record. Very easy to get into the songs. Hopefully they don't age quickly as a consequence.

[DownthereSwampthing]

Invisible Darlings (C)
Lips at Night (B)
The Musical (A)
Hey Bog (A)
Sweeper's Grin (A)
Neurons (B)
Cloud Stop Rest Start (B)

This is an overall good album, but the middle stretch of The Musical > Hey Bog > Sweeper's Grin is really what it's all about for me. These are the songs I see myself returning to over and over again and holding dear to my heart. On first listen, Invisible Darling and The Musical sound similar to the ears, but the former just hasn't grown on me the way the latter has. I honestly think The Musical is perfect. It puts me in such a fantastic mood every time I listen to it and I'm beginning to know the (catchy, was contagious) lyrics by heart. Lips at Night is pretty, but that's about all I can say about it. I think it makes a good companion to Panda Bear's Danger. Hey Bog is just so fantastic in the way it sneakily builds, finds its groove, makes a sharp left turn into something even groovier, before finding its way home again. It's a stand out. The first time I listened to Sweeper's Grin, I was driving down the highway at dusk with some sinister looking clouds on the horizon. The atmosphere could not have been more perfect. A simple, brooding track with flawless execution. I wish I could say the same for Neurons. It has so much interesting stuff going on in the mix, but never seems to add up to much. Like, I get the impression this song is supposed to be a banger, and played live it probably is, but the studio recording feels oddly restrained to me. Shame. Cloud Stop Rest Start is interesting... which is good! Fees like a proof of concept for a new songwriting direction. If this is the case, consider me in!

Overall, I'm noticing an unfortunate trend of Avey's albums feeling more and more disjointed with each new release. Down There and Eucalyptus are transformative listening experiences that I want to engage with from start to finish. I just can't say the same for Cows or 7s, despite some amazing tracks on both those albums. I think time may be a factor. Avey's first couple albums had time to peculate, to find themselves. His later albums feel rushed in comparison, like he felt the need to get these songs recorded and out the door before they started feeling stale to him. That's probably healthy for him as a person and working artist but, personally speaking, I don't mind waiting for his next masterpiece.

[flare]

DownthereSwampthing wrote:

Invisible Darlings (C)
Overall, I'm noticing an unfortunate trend of Avey's albums feeling more and more disjointed with each new release. Down There and Eucalyptus are transformative listening experiences that I want to engage with from start to finish. I just can't say the same for Cows or 7s, despite some amazing tracks on both those albums. I think time may be a factor. Avey's first couple albums had time to peculate, to find themselves. His later albums feel rushed in comparison, like he felt the need to get these songs recorded and out the door before they started feeling stale to him. That's probably healthy for him as a person and working artist but, personally speaking, I don't mind waiting for his next masterpiece.

For what it's worth, the info online about Down There suggests it was recorded just four months before release. So it would have been much more "rushed" than his subsequent albums, all of which had significantly longer gaps between when the songs were debuted/recorded and when the albums came out. I think 7s feeling more disjointed is a deliberate creative choice (and imo a good one, but everyone is going to have a different opinion on this)

[speen]

Man i love this album

[DownthereSwampthing]

flare wrote:

For what it's worth, the info online about Down There suggests it was recorded just four months before release. So it would have been much more "rushed" than his subsequent albums, all of which had significantly longer gaps between when the songs were debuted/recorded and when the albums came out. I think 7s feeling more disjointed is a deliberate creative choice (and imo a good one, but everyone is going to have a different opinion on this)

I don't think the time between recording an album and releasing it is as significant as the time spent songwriting, experimenting with new themes and styles, and knowing when you finally have something fresh and interesting to say. But then I suppose time cuts both ways. Projects can be under baked or they can be burnt to a crisp. I wouldn't be surprised if Down There was a fast turn around if the iron was striking hot for him that year. I think I just overall care about the big picture when it comes to AC and their side projects. Basically, I've been spoiled rotten by this band. They've raised the bar in terms of what an album can be and I try to hold them to their own standards with every new release.

[dio]

Good for Avey hitting solo LP #5 (I count Slasher...). Feels like between this and Cows/Birds, we have a generous chunk of tunes from him past few years outside of incredible band output. Idk if thats worth saying but just... I appreciate him and I'm um. I'm "proud" of him building up this epic solo discog what can I say

I hope Cloud is the start of a weird new post OPN prog folk turn. I wanna hear a whole album of that shit. Just lyrically a little more visceral and um idk how to describe it. Avey talks about how some songs kinda come from short stories and i sense that with Cloud more than usual. Also PJ (literally from a short story he wrote, right?)

I almost want like... a psychadelic Joanna Newsom record from Avey. Or like a through composed, asymmetrical, roccoco song suite that doesnt really repeat verses or anything.

Wind slows... on my clothes/
wind slows, there I blows..

weird. weird and cool af.

[Tropic]

Cloud was a tough first listen but I'm an S-tier fan and this ain't my first rodeo so I knew it would end up sounding amazing. Sorta reminds me of Home Free in terms of album closing-vibes. Last two tracks are really abrasive sounding, sound like Broadcast for sure. I know more than a few of us want AC to get noisy again so I do hope this is indicative of a future direction.

[jordanrandall]

New podcast with Mr. Tare:

https://open.spotify.com/episode/2SeSj6 ... x5VBFCSKXA

[moop]

jordanrandall wrote:

New podcast with Mr. Tare:

https://open.spotify.com/episode/2SeSj6 ... x5VBFCSKXA

Ohhh one exciting tidbit at the end was potentially releasing a reversed Pullhair Rubeye someday!

[Fovrodi]

Foetus Man with lyrics! LET'S GOOOOOOOOOOOOOOOOOOOOOOOOOO

[Stan]

Fuck that would make my decade

[coral lord]

Neurons sounds like a BtQ b-side, especially the delivery of the bridge.

[Hellomark]

Interview was a little disappointing, kinda wish they had gotten a little deeper into the album. He did say something about being more interested in abstraction and "things breaking apart" in regards to songwriting currently, which I find pretty exciting. You can definitely hear that in those Swannatopia clips.

Anyway I've been enjoying this more and more, think I may like this album more than Skiffs. Makes me very excited for the future of AC.

[Stan]

The more I listen, the less I'm getting from most of this, unfortunately. Having been listening to the Phantom of the Paradise soundtrack so much recently, and finding it richer and richer beyond the most immediate magnificent hooks, 7s has already faded into the looser album rotation. Of course, these aren't comparable songs in style or intent but melodically, lyrically, emotionally, I'm getting so much more excitement and pleasure from the 50th listen of Goodbye, Eddie, Goodbye or Faust or The Hell Of It than from the tenth listen to any of 7s.

Granted, this is slightly unfair as we're talking about Paul Williams via Brian de Palma, and a collection of songs that trumps the last fifteen years of Animal Collective, but my response is direct and transparent. I'm not contorting myself psychologically to frame my enjoyment within conceptual parameters. I know what I like and I like it a hell of a lot more. I can contextualise my appreciation of elements of 7s and identify parallels within the wider oeuvre but the long and short is that there are two I love and five that are OK.

[rohcti]

That album sounds like a collection of sleepytime songs but ok, if you really think it's better than anything this band has put out in most of their existence, then that's fine

[rohcti]

Hellomark wrote:

Interview was a little disappointing, kinda wish they had gotten a little deeper into the album. He did say something about being more interested in abstraction and "things breaking apart" in regards to songwriting currently, which I find pretty exciting. You can definitely hear that in those Swannatopia clips.

I really thought that that was going to be what the second half of 7s would be. Like a return to meterless compositions. Hopefully next album! Haven't listened to Swannatopia