What if that Moor Mother collage had been the only pre-release material we’d gotten? That would’ve been tantalizing and so fun to pick apart. A dream for the next album: to get some mashup of the full album and NOTHING ELSE.
Apparently that's kind of what PB had in mind for Mix Ticks but Domino put the kabosh on that
It still kinda happened with the pbvsgr.com loops
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Buuuuuuudhaaaaa
Let me know if this is a stretch. I know Noah is a fan of Stewart Copeland. I was listening to “Tea in the Sahara” today. The production and sonics on that record remind me a lot of the Skiffs/IIN? era, especially the way the Skiffs songs were rendered. And Noah’s style on the kit, of course. Another connnection: lead singer on bass. Love both groups, at any rate.
this example is great; so are the earlier ones. PB seems to like the concept. so maybe i need something like this AND the willpower to resist any singles that get released. so, it's on me that i didn't have this experience with buoys lol
i think the moor mother collage takes it a step further (or more sideways) though - pieces from different tracks are woven together so closely that, freed from knowledge of the album, it would be hard to tell whether sounds are from the same songs or different songs. pretty trippy
i don’t understand the point of the moor mother collage quite honestly.. i could see how it would work to bring some hype being released before, but it’s not an enjoyable piece of music to listen to. people seem to like it, but it sounds like amateur dogshit. am i really the only one?
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Paul Giamatti wrote:
You are absolutely free to describe me as a turtle or something.
I was pretty excited about it before I heard it, just cause I'm a big fan of Moor Mother's stuff generally. A few neat ideas in there, but yeah no reason to listen more than once lol.
gave this album a full spin for the first time in several months the other day while gently tripping on mescaline. previously i was kinda mixed on this tracklist, feeling like there were some a+ songs (soul, genies, magicians) and some songs that i wanted to like more but didn't totally land for me. and also kings which i never particularly liked listening to at all. lo and behold, with the right drugs, this thing is 10/10 with no dull moments. i cried during the first section of defeat, recovered, then cried again during the third section. i always thought stride's melody was slightly unintuitive and impeded the emotional weight of the lyrics, but this time it felt totally organic. broke zodiac and gem landed like pop perfection. i even loved kings. the album was patient, rewarding, perfectly paced. crack open a cactus juice for this one folks.
Yo central Ohio anco heads, magnolia thunderpussy in Columbus has two signed copies of isn’t it now, one by Avey and one by geo and avey. My bet is they are from when the dudes were in town last fall.
gave this album a full spin for the first time in several months the other day while gently tripping on mescaline. previously i was kinda mixed on this tracklist, feeling like there were some a+ songs (soul, genies, magicians) and some songs that i wanted to like more but didn't totally land for me. and also kings which i never particularly liked listening to at all. lo and behold, with the right drugs, this thing is 10/10 with no dull moments. i cried during the first section of defeat, recovered, then cried again during the third section. i always thought stride's melody was slightly unintuitive and impeded the emotional weight of the lyrics, but this time it felt totally organic. broke zodiac and gem landed like pop perfection. i even loved kings. the album was patient, rewarding, perfectly paced. crack open a cactus juice for this one folks.
Happy belated birthday to this one! Cannot believe it’s been a whole damn year since this got released and even longer since the freebird. Also can’t believe I’m still a little burnt out on these tracks but it has future classic written all over. I’ll come back to this in a few years and probably adore every minute. Defeat and Magicians you are still my children. ATCAB…. See you in a few years lol
I have a weird connection with this album because last year around the time of its release I thought I had found my soulmate and he also loved Animal Collective and we listened to the album together when it came out... but then our relationship fell apart shortly after and I started to associate the album with intense grief and feeling distraught. but I've gone back to it every month or two since and I've been able to reclaim it for just myself. listening again today because it's so autumnal and it really is a beautiful and unique album, despite being kinda sprawling and messy at times (which kinda fits my emotional experience with it)
all this to say yes it is another classic, it holds up with the very best of their work
Yeah this is up there for sure. Great example of how important the timbre of a record is just as important as the compositional elements. I loved Time Skiffs, but this record has an immediately clear sonic identity that is in itself so inviting and warm, and also unique in AC’s discography, and compared to many other artists discography’s too. One of the things I really love about this band is the care they typically put into the character of their recordings. Every record from Spirit to CHZ has an a sort of overall master texture that all of their compositions live within, that immediately give the records a sort of conceptual distinction from their contemporaries. For me, that quality felt absent on PW and Time Skiffs, which to my ears sound pretty blandly digital despite both containing great compositions. IIN? feels like it returns this idea that the recording itself can be an instrument, the tape sound, the room sound—everything just sounds unique. Modern yet vintage. More from a place of non-time than Time Skiffs, which sounds extremely
2020s to me in production.
Anyways I’m kind of just rambling. This shit is great!
For me it’s Noah’s big AYYYYY during the first transition in that song. Doesn’t feel the same without it. Also Avey’s dolphin noises always made me chuckle
There will always be a few little demoitis moments like that. But the fact that Dave included a little 'yup' in Defeat makes up for it. Still smile every time.
I kinda wish genies got the skiffs treatment. In general I appreciate the stripped down approach taken on IIN vs TS and the song selection to that end, but genies feels like the one where there’s a lot of room left in the final product for some extra goodies
Took a break from this whole era for a bit and decided it was finally time to do my Era playlist. Bridge to quiet, Time Skiffs, and Isn't It Now? all in one big mix. I tried my best to stick to the recordings rather than reference boots. I also stayed away mostly from lyrically connections. I was going with my gut and how song's transitions felt after one another. I walk a lot and I was looking for as much fluidity as possible, while still evolving the experience over time. Big lurker for over 15 years here and didn't really join in on the fun when the album released. I just couldn't do it then. It's time.
Kings Walk
Soul Capturer
Dragon Slayer
Broke Zodiac
We Go Back
Gem & I
Cherokee
Stride Right
Rain in Cups
Car Keys
Strung with Everything
Piggy knows
Genies Open
Prester John
Defeat
Magician's From Baltimore
Walker
All The Clubs Are Broken
Passer-By
Sux-Bier Passage
Bridge to Quiet
Royal & Desire
EDIT: officially posted in the Mega Mixes thread
Last edited by Allatrobles on Sun Jun 29, 2025 8:58 pm, edited 1 time in total.
looks like a good sequence. skiffs/now mixes always feel jarring to me because of the production difference between the two albums, namely the huge booming kick drum on skiffs. I'll give this a go though
I'm beginning to work on a mix of '21-22 live era stuff, focusing on just the older tunes, of which I think they played 14 over that period. I think it'll fill up a CD nicely
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I pray deep like
Buuuuuuudhaaaaa
Thanks. I do post from time to time. To my embarrassment, usually round pm request time. Tho I've been poking my head out of the water every now and then since Strawberry Jam.
The production differences were my biggest issue, too, and was one of the many reasons I didn't approach this around the released of ITN? I wanted to appreciate all 3 releases for what they were first. But I do this with every AC era. As time erases the imperfections of my expectations and all that's left is the appreciation of what these are, something new comes from the ashes of my hang ups. Like seeing an old friend again and falling in love with all the things i never noticed, and how those things have made them into something new and different from my memories. If following AC has taught me anything over the years about my connection to their music, it's time always leads to appreciation.
I consider the mix to be in 3 movements. Pt1 ends with Stride Right. Pt2 with Defeat. Pt3 with Bridge to Quiet. I wanted it to feel pretty normal at the start. The first few songs are short and conventional, but around Cherokee they get longer, stranger, and more fun. Eventually, things settle to the mulitlayered minimalism of Defeat, while sustaining momentum with the backhalf of Magician's, Walker, and Clubs before going out with a weird ass bang with Passer-By, Sux, and Bridge to Quiet. King's is a mood setter and palate cleanser, while Royal takes things home. Both frame the whole experience perfectly, and when listened to on repeat (all 2hrs and 25 mins of it again, baby!), they compliment each other quite well.
I commend anyone who tackles live mixes. I fall prey to demotitis too often before releases. But I guess I could tackle some past eras one day, especially from the era you're currently working on.
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