[Fonz]

PolarBear wrote:

So I've finally listened to the album enough times to where I think I can give some thoughts and opinions on it. I don't know how to do the spoiler thing so sorry...

There was a lot of nervousness leading up to this record. From personal anxieties, and as a fan of Animal Collective, I knew this album was going to be a huge moment in my life and their careers. After a quick hit of some Tangerine Dream, I knew it was time to begin the journey…

1. As soon as I pressed play, I was immediately filled with joy, and a grand smile covered my entire face. Soul Capturer’s groovy guitar strums and hypnotic drums make me feel like I’m marching into a grand psychedelic ceremony. The beautiful harmonizing and dancey instrumentation gives the vibe of a modern indie anthem. One that could possibly be used in a film, like Arcade Fire with “Where The Wild Things Are.” Such a strong opener, and once Avey started doing that “eeeerrrrraaaarrrreeeerrrr” I knew I was in for a wild ride. During that moment I stared at the cover art and it appeared as if the colorful tiles were the Soul Capturer casting a spell. Reminiscent of a Kamek from Mario, or Wizzrobe from Zelda, or even a Black Mage from Final Fantasy.

2. The transition between Soul Capturer to Genies Open is one of the greatest transitions in their discography. I physically and mentally felt as if my soul was captured and sent into the woods of a medieval era to be put on a spiritual trial. The nautical, cartoony atmosphere of this song perfectly encapsulates their ability to imitate a childlike sense of innocence. I also love how the melody almost reminisced of a moment earlier in their career when they made indie synth-pop music. A moment of better days and carefree joy. The way Avey and Noah’s voices imitated waves in a sea absolutely blew me away. It made me want to believe in the Sea of Light. However, the last line slaps me in the face with a sense that the Sea of Light is just a mirage and there is much more to endure ahead.

3. Broke Zodiac is a fun track that simply just makes me want to groove. Even though it is foreshadowed by the destructive force that is Defeat, I enjoy the uplifting instrumentals showing the character in this journey is trying to stay strong and keep their head up. Avey and Noah yet again show how well they can harmonize together. I love the bounciness of the drums and how the hip-hop drum break compliments Noah’s rap-inspired lyrics amidst an album of renaissance sounds. This song is just a straight-up jam that made me wish I had a friend to sing this with.

4. For me, it seems like Magicians From Baltimore is a slow grower. I am enjoying it a lot more on my 5th listen. However, I still do find some of Avey’s line delivery a little bit awkward. Besides that, I enjoy how the sounds, the emptiness, the scorching guitar, all exemplify the feelings of being misplaced in a town you grew up in, but no longer recognize. Although I am not from Baltimore, I heavily resonate with the statement of wanting to grow and get away from the city that no longer serves you or makes you feel welcome. A definitive powerful track that will grow over time and be a staple in their career.  I also just wanted to quickly note how amazing Deakin’s vocals replicate heat waves on the Magnolia. Lots of onomatopoeia (idk if that’s the correct word) in this album and I am loving it!

5. There’s not much more I can say about Defeat that hasn’t already been said. This song is not only a climax within this album, but Animal Collective's career as a whole. I’ll just briefly go over some moments I really enjoyed. I love how the beginning almost sounds like a binaural ambiance with twilight stars twinkling through Avey’s somber notes. I felt as if I died, and my sad spirit was flying over a decaying world. Almost as if I was about to witness a horrible moment in Moby Dick or Noah’s Ark. The build-up to the second part has some vocal samples that give me goosebumps every time I hear it. It heavily reminds me of a Pogo song, like an angel or a fairy godmother calling out to wake up after being swallowed by Monstro. Avey always does an amazing job of writing lyrics that speak to younger audiences going through tough times. It’s hard to see the light when you’re coming of age. Being depressed, out of it, not in the moment can really feel like the end of the world. When will things get better? Why isn’t it now? Defeat…

6. Gem & I is such a beautiful track. You can take the lyrics any way with this one. I love how Noah keeps his wording so vague. You can look at this as a commentary on the band. However, I love to view this as a commentary on my relationship with my partner. As long as I have them by my side and we can see the sun rise another day, maybe things aren’t as bad as they seem. This is the one. And maybe it has been now all along.

7. I’m not sure if Deakin was inspired by Frozen with this track, but it feels like a more grounded, adult version of that song and I just think that’s kind of cool lol. Anyway, this song makes me cry every time I listen to it. Deakin has such an amazing range and strong storytelling abilities. The wintery instrumentation with Deakin’s warm vocals makes me feel like I’m being hugged by a huge heated blanket after waking up from a frozen enchantment. This track is just straight-up beautiful, a great bittersweet wake-up call. I love how these 2 tracks act as a response to Defeat. Noah and Josh appear as mystical guides heading you toward the light after being torn apart by your innermost demons.

8. ACAB struck me as odd the first time I heard it. Narratively, I believe this song may be the Soul Capturer’s spell wearing off. You are beginning to wake up and realize the spell is broken. I doubt this is supposed to be a fun track, lyrically. With the song's repetitiveness, Avey’s “Grim Grinning Ghosts” rhythm, and Geo’s Scooby Doo bat-like samples, this song feels like you’re on a theme park ride that has broken down and you can now see past all bullshit. All the neon lights, fried foods, drugs, sex, and money. Things that keep you hypnotized and stuck in a low vibrational trance. I also believe this just from the track straight up being titled ACAB. It’s been awhile since AC has been straight up political like this. Calling this song a fun reminder of the journey just feels off and uncanny.

9. I’m not sure if Kings Walk is supposed to be Avey’s final response. However, hearing Avey, Deakin, and Panda singing all together illustrates that they are all in this together. They are the preachers and leaders of the modern-day world. They are here to deliver the divine message. I do not find this song to be AC self-parody. It is very evident that this album is meant to be taken very seriously from its theming and its messages. It seems with this final song the boys are taking their stance and realizing they are in a very powerful position, as musicians and influencers on society.

CRITICISM: Although I love this record, I do have a slight criticism. The replayability on this record is very low. I hear many others mention the same thing and it has nothing to do with age. On a normal day, commuting to work, playing songs for friends, or doing whatever, there are only about 6 songs that can be replayed. And although that is 6 out of 9 songs, once you factor in the length of one certain song, you have about 33 minutes of repayable songs out of a 65-minute album, which is about 50% replayability. Compared to Time Skiffs, which is 47 minutes, and is fully fine for casual listening, that is significantly less music to replay. I do think this album is a masterpiece, however, that is just something that slightly bums me out.

As far as your criticism goes I think Defeat is a journey that slowly reveals more of itself with subsequent listens. Definitely replayable.

[Alcohol]

Loving all the long-form deep takes thx everyone. Kinda surprised to find the one song I keep returning to after all is “Defeat.” Sometimes I’ll fall asleep listening to it and “Gem” wakes me up with a jolt. “Optimistic” always did that when I’d fall asleep during “Treefingers” as a tired teenager.

[Fonz]

I’d have that same experience as you. Second half of that LP is such a banger.

And Defeat really lingers in my brain when I’m not listening to this album.

[floats]

lhtd wrote:

man genie’s open is such a companion to moby dick for me

Amazing book, curious to hear more about this thought if you ever get the time and desire

[ann_frankenstein]

Sometimes Deakin's voice sounds like freakishly like ed crawford's voice from Firehose. Anyone ever clock that?

[PolarBear]

Fonz wrote:

PolarBear wrote:

CRITICISM: Although I love this record, I do have a slight criticism. The replayability on this record is very low. I hear many others mention the same thing and it has nothing to do with age. On a normal day, commuting to work, playing songs for friends, or doing whatever, there are only about 6 songs that can be replayed. And although that is 6 out of 9 songs, once you factor in the length of one certain song, you have about 33 minutes of repayable songs out of a 65-minute album, which is about 50% replayability. Compared to Time Skiffs, which is 47 minutes, and is fully fine for casual listening, that is significantly less music to replay. I do think this album is a masterpiece, however, that is just something that slightly bums me out.

As far as your criticism goes I think Defeat is a journey that slowly reveals more of itself with subsequent listens. Definitely replayable.

What I meant to say is that, for some people like myself, who work 9-5 (in my case 12-13 hours a day) I just don't simply have time to listen to a 22 minute song. I love Defeat. It's one of the greatest tracks they've ever made. I just don't always have time in my day to sit down and listen to the full thing. I either have to skip some parts, or go to a specific section I want to hear. I just don't have the time, which is more of a personal problem and nothing to do with AC.

[r_o_s_s]

Still pretty surreal to be listening to this album. In a lot of ways, it feels a lot like the AC record I have been waiting for since I got into the band almost a decade ago. Magicians and Defeat are just both so spectacular. Excited for this album to live with me for a long time.

[soothsailor]

Lyrics to Soul Capturer are so good man, Avey was locked in on that one. Guitar tone is just heavenly too

[Fonz]

I did mine now - my review of Isn’t It Now?

https://www.airdriftsignals.com/2023/10 ... eview.html

[foxtrot]

Nice review!

Not much to add but I’m just playing this album all the time and loving it.

I am so incredibly grateful to an AC fan atm. Just the best.

[BoomCheese]

As much as I think Kings is a bit mediocre, I love the nostalgia it gives me for the Sung Tongs era. It is undeniably Animal Collective. I will always cherish Avey-Panda vocal harmonies. What a special band!

[tdegenaro]

Fovrodi wrote:

A (18:45)
1. Prester John
2. Magicians from Baltimore
3. Broke Zodiac

B (21:58)
4. Defeat

C (17:39)
5. Car Keys
6. Genie's Open
7. King's Walk

D (20:01)
8. We Go Back
9. Dragon Slayer
10. Strung with Everything
11. Royal & Desire

E (15:47)
12. Cherokee
13. Gem & I
14. Passerby

F (17:05)
15. Walker
16. All the Clubs are Broken
17. Stride Rite
18. Soul Capturer

just wanted to share this sequence fucking rules, fov idk how you do it man. gotta ask though: is this an evolution of your Isn't it Time for Skiffs? sequence from 9/5?

Spoiler: show

1. Prester John
2. We Go Back
3. Dragon Slayer
4. Strung with Everything
5. Royal & Desire
6. Cherokee
7. Car Keys
8. Passerby
9. Walker
10. Genie's Open
11. King's Walk
12. Magicians from Baltimore
13. All the Clubs are Broken
14. Stride Right
15. Defeat
16. Gem & I
17. Soul Capturer
18. Broke Zodiac

Curious to hear about your process for putting these together

[Alcohol]

Some favorite moments on the record: the key/chord change in “Soul” right before “ooh don’t tempt me,” the bassoon in the first few minutes of “Genie’s” that sounds like a weird broken synth and the overall funhouse mirror vibe of that section, Geo’s dreamy hurdy gurdy washes in the bridge parts of “Broke,” the otherworldly first 38 seconds of “Magicians,” the super blown-out drums and bass at 2:06 and elsewhere in the first half of “Magicians,” “douse the sheets/they’ll turn to ash,” the sax and everything swelling at 12:49 and 13:06 in “Defeat,” Panda goat boy at 1:24 in “Gem,” Deak’s soft lilting vox at the very end of “Stride,” Geo’s ocarina/whistle sounds in “Stride,” the delay on the last word of mostly every line in “Clubs” that rings/distorts into the next line, the way Avey sings “is” after “this old wererererld” in “Kings.”

[blindmowing]

OMG FOV.

That's...perfect. I played that album "in my head" just now and it flowed really well in my brain.

[jerry wonder]

Alcohol wrote:

Some favorite moments on the record: the key/chord change in “Soul” right before “ooh don’t tempt me,” the bassoon in the first few minutes of “Genie’s” that sounds like a weird broken synth and the overall funhouse mirror vibe of that section, Geo’s dreamy hurdy gurdy washes in the bridge parts of “Broke,” the otherworldly first 38 seconds of “Magicians,” the super blown-out drums and bass at 2:06 and elsewhere in the first half of “Magicians,” “douse the sheets/they’ll turn to ash,” the sax and everything swelling at 12:49 and 13:06 in “Defeat,” Panda goat boy at 1:24 in “Gem,” Deak’s soft lilting vox at the very end of “Stride,” Geo’s ocarina/whistle sounds in “Stride,” the delay on the last word of mostly every line in “Clubs” that rings/distorts into the next line, the way Avey sings “is” after “this old wererererld” in “Kings.”

Wow, thank you, everything here is (lol goatboy) and...

When Panda's drums kick into gear at the beginning of Soul, "prepare our arms in flight", the deep bass and combo voices of AV and Panda on the "Neighbors" line of Broke, Avey's bass melody at the very instrumental end of Magicians, "ate from a palm/ ate from the shore/ but I just stopped growing in Baltimore", how old AV sounds in his voice on the "one day friend, we'll meet again" line, Deak's pulsewidth synth stabs on the chorus of Gem, the intro of stride when the melty and dripping piano sounds bubble up from their spring, the psychotic earworm that ACAB is entirely, and the 'chorus' of Kings beginning at 1:16 when the voices crescendo with the hurdy gurdy.

[Dudders]

So turned on by the delay in Clubs

[dansemanatee]

jerry wonder wrote:

how old AV sounds in his voice on the "one day friend, we'll meet again" line

Fuck dude I’m gonna cry

[Fovrodi]

tdegenaro wrote:

just wanted to share this sequence fucking rules, fov idk how you do it man. gotta ask though: is this an evolution of your Isn't it Time for Skiffs? sequence from 9/5?

Spoiler: show

1. Prester John
2. We Go Back
3. Dragon Slayer
4. Strung with Everything
5. Royal & Desire
6. Cherokee
7. Car Keys
8. Passerby
9. Walker
10. Genie's Open
11. King's Walk
12. Magicians from Baltimore
13. All the Clubs are Broken
14. Stride Right
15. Defeat
16. Gem & I
17. Soul Capturer
18. Broke Zodiac

Curious to hear about your process for putting these together

Thank you, that means a lot! It's definitely an evolution, one I wouldn't have considered if it weren't for blindmowing's encouragement/challenge hehe. Biggest thing is probably doing at least one attempt to figure out the order in real time as I listen. Figuring out where to put Car Keys probably took the longest time to arrive at, I was never particularly satisfied with where it sat on either of my previous mixes/playlists.

blindmowing wrote:

OMG FOV.

That's...perfect. I played that album "in my head" just now and it flowed really well in my brain.

Cheers! Would love to get your thoughts if you get the time to give it a try.

[Alcohol]

jerry wonder wrote:

Alcohol wrote:

Some favorite moments on the record: the key/chord change in “Soul” right before “ooh don’t tempt me,” the bassoon in the first few minutes of “Genie’s” that sounds like a weird broken synth and the overall funhouse mirror vibe of that section, Geo’s dreamy hurdy gurdy washes in the bridge parts of “Broke,” the otherworldly first 38 seconds of “Magicians,” the super blown-out drums and bass at 2:06 and elsewhere in the first half of “Magicians,” “douse the sheets/they’ll turn to ash,” the sax and everything swelling at 12:49 and 13:06 in “Defeat,” Panda goat boy at 1:24 in “Gem,” Deak’s soft lilting vox at the very end of “Stride,” Geo’s ocarina/whistle sounds in “Stride,” the delay on the last word of mostly every line in “Clubs” that rings/distorts into the next line, the way Avey sings “is” after “this old wererererld” in “Kings.”

Wow, thank you, everything here is (lol goatboy) and...

When Panda's drums kick into gear at the beginning of Soul

This. Such an iconic opening—up there with that decelerating woosh that kicks off “Leaf House” and those swarming glitchy stabs at the beginning of “Peacebone” for AC’s best, I’d say.

[roopn]

Question to non-boot listeners, do time skiffs and IIN feel particularly distinct from each other?

I feel like knowing all the songs from the live shows has meant for me that all the song from the two albums are really inseparable as one big family of songs. I know many will agree with that but I've also read some thoughts differentiating the two albums, so curious what people think. Does it just come down to production?

[Night Park]

Fov I’m also loving that sequencing. I went to the Cain’s Ballroom show and listened to that boot a handful of times over the years, and in my mind, the last note of Broke Zodiac IS the first note of Defeat. It’s such a simple but powerful transition and every time I finish broke I expect to hear defeat creeping in

[foxtrot]

Gotta give this Fov order a run. Not happy with mine.

[r_o_s_s]

roopn wrote:

Question to non-boot listeners, do time skiffs and IIN feel particularly distinct from each other?

They do feel distinct to me - but I think it's just because of the production, and the generally moodier tone on IIN. I can't really imagine the two tracklists being converged into one big project - but I also can't imagine the albums totally separately. They balance each other very well.

[time5sumranch]

roopn wrote:

Question to non-boot listeners, do time skiffs and IIN feel particularly distinct from each other?

I feel like knowing all the songs from the live shows has meant for me that all the song from the two albums are really inseparable as one big family of songs. I know many will agree with that but I've also read some thoughts differentiating the two albums, so curious what people think. Does it just come down to production?

I would say they do feel like distinct companion albums. the mixing and flows of the albums are different. Skiffs is so breezy and spring feeling and now is so much more low end-y and autumnal feeling. Like they don’t just feel like the same album with one recorded remote, one recorded in a room. More like two very different flavors following the same base structure of their instrumentation. Like a chili cook off. Skiffs is Cincinnati Skyline chili (in a very positive way) and Now is your grandmas thick as molasses ages old recipe.

[destiny]

The gurdy doing work in Defeat pt 3. The finest song they mightve made yet. Sax + synth + vocals, the water... they tried their hardest for it to sound as it deserves to sound. Just gotta be grateful. Feels orchestral much like its infancy in that box in new orleans. Same song.. but its weathered and older now.

Wish dragon slayer was done on this record.

Gotta echo the NAYBURRS on Zodiac. One of my favorite moments on the album!

[BoomCheese]

r_o_s_s wrote:

roopn wrote:

Question to non-boot listeners, do time skiffs and IIN feel particularly distinct from each other?

They do feel distinct to me - but I think it's just because of the production, and the generally moodier tone on IIN. I can't really imagine the two tracklists being converged into one big project - but I also can't imagine the albums totally separately. They balance each other very well.

This. They feel distinct but it is also clear that they are of the same era, with IIN being a bit more meditative in its pacing/mood.

[Slippi's Applesauce]

BBC interview? https://www.bbc.co.uk/sounds/play/m001q ... -m1z0FGlB8

[Alcohol]

FEEL ON1NE!!! wrote:

The gurdy doing work in Defeat pt 3. The finest song they mightve made yet. Sax + synth + vocals, the water... they tried their hardest for it to sound as it deserves to sound. Just gotta be grateful. Feels orchestral much like its infancy in that box in new orleans. Same song.. but its weathered and older now.

100%. Some people here are miffed the band released it as a single—I think doing so was kind of a nod to the diehards. In terms of commerce and marketing, it’s, of course, a head-scratcher. They had to know how pumped the heads were to hear the studio version, how so many considered it something akin to the Holy Grail of their discography. And you’re right—it’s a towering achievement, the recording. It can’t be lost on the band, the stark contrast between Domino’s ambivalence about Isn’t It Now? and our hyper-obsessive fanaticism. I know wheeter doesn’t post anymore, but I’d bet he lurks in the woods and catches wind of our BS now and then.

[phodicae 2]

Lovely take f33l online w defeat. I was not disappointed, they even made up for cello loss with the stunnin' 3rd section. I was like imma ascend.
One thing is though, as a drummer, hearing the snares on 1 and 3 in Gemini fills me with rage

[Hellomark]

I feel like my opinion of this album is staring to solidify, which boils down to: Genie's through Defeat is one of the best runs of their whole career. The rest are basically just perfect studio representations of songs that were never really my favorite from this era.to begin with. Will probably be day dreaming about an Elevado produced Dragon Slayer and Cherokee for the rest of my days..

[roopn]

time5sumranch wrote:

roopn wrote:

Question to non-boot listeners, do time skiffs and IIN feel particularly distinct from each other?

I would say they do feel like distinct companion albums. the mixing and flows of the albums are different. Skiffs is so breezy and spring feeling and now is so much more low end-y and autumnal feeling. Like they don’t just feel like the same album with one recorded remote, one recorded in a room. More like two very different flavors following the same base structure of their instrumentation. Like a chili cook off. Skiffs is Cincinnati Skyline chili (in a very positive way) and Now is your grandmas thick as molasses ages old recipe.

BoomCheese wrote:

r_o_s_s wrote:

They do feel distinct to me - but I think it's just because of the production, and the generally moodier tone on IIN. I can't really imagine the two tracklists being converged into one big project - but I also can't imagine the albums totally separately. They balance each other very well.

This. They feel distinct but it is also clear that they are of the same era, with IIN being a bit more meditative in its pacing/mood.

Thoughtful responses! Thanks. I haven't done much backtoback listening of the two to make a direct comparison yet. Funny how ac's music can exist for so long just in your head. Like I "know" all the songs on skiffs pretty well but I hesitate to judge them in certain ways because I'm weary my memory is fallible.

[soothsailor]

Hellomark wrote:

I feel like my opinion of this album is staring to solidify, which boils down to: Genie's through Defeat is one of the best runs of their whole career. The rest are basically just perfect studio representations of songs that were never really my favorite from this era.to begin with. Will probably be day dreaming about an Elevado produced Dragon Slayer and Cherokee for the rest of my days..

agreed except i would include gem in that run. i don't think they've done a transition as bold as defeat>gem since the really early experimental days

[mildew_on_rice]

I basically took Fov's tracklist as a model but flipped a few things around to my taste and called the whole thing Magicians From Baltimore. I made a spotify playlist for any spotifyers. art is by the woman who did the Defeat cover.

https://open.spotify.com/playlist/5EG2z ... d4c3a142d7

We Go Back ---> Gem & I is so so dope.

[rohcti]

Hellomark wrote:

Will probably be day dreaming about an Elevado produced Dragon Slayer and Cherokee for the rest of my days..

Yeah same...

[rohcti]

Genies is my big disappointment on this I think. It kinda lands a bit like studio Cherokee... fine but lacking energy. I find myself wanting to skip it more often than not. It's a little jarring with how much more lively BZ is right after it

[foxtrot]

Funnily enough Genies has probably become my favourite. It feels like THE era defining track to me.

[Alcohol]

rohcti wrote:

Genies is my big disappointment on this I think. It kinda lands a bit like studio Cherokee... fine but lacking energy. I find myself wanting to skip it more often than not. It's a little jarring with how much more lively BZ is right after it

I wonder if one reason so many fans of the live version feel this way about the studio version is because there is no “lead singer” on the track. On stage it felt like Dave was at the helm, and it felt like he was driving it. In the studio recording, Panda is panned left, Dave right. The middle of the stereo field feels empty. It sorta feels like no one’s at the wheel.

Unrelated note: the transition from “Magicians” into “Defeat”… does it feel clunky to anyone else? A lot of listeners questioning the sequencing of “Defeat” into “Gem,” but that decision, to me, seems solid. Feels like “Magicians” ends with this huge load of energy that doesn’t have enough time/space to dissipate before “Defeat” bubbles up from the muck. Like “Magicians” needs a coda or something at the end mirroring its opening ambiance to bring it down. Like a lock for boats—ahem, skiffs—going between a lake and a sea.

[hedgecore]

foxtrot wrote:

Funnily enough Genies has probably become my favourite. It feels like THE era defining track to me.

Yeah, I really really dig it. They really locked into something. Even if some might feel its derivative or whatever, I love it

[Slippi's Applesauce]

Quick interview with bri bri. Annoying to listen to because it’s Spanish over English but from what I got from it, geo talks a bit about them making longer songs and how some of their recent works haven’t performed up to the label’s and djs expectations (I assume time skiffs?)

Seems like he’s kinda saying domino is very concerned about social media/quick attention grabbing material but he doesn’t feel like the fanbase is into social media etc. so that’s not the best barometer for judging their music. as he and the band get older they appreciate longer music more and he feels like their audience does too. They :want their projects to feel organic and feel lucky that people want to listen

https://www.instagram.com/reel/CyHChIcv ... FlYzFmZQ==

[roopn]

Wow it's absolutely glorious on vinyl. Kings feels like I'm on a mountain