Collected Animals

the list goes on

it's a list of my favorite songs

yr right but how did u not list Graze/Moonjock

Don't really see why Modern Daze E is level with A Sender, pretty weak chorus in that one.

whatttt, the chorus is like atomic powered, like an explosion. love that descending guitar line

I was listening to A Sender while doing something else but had to stop and come back to my computer to say,

Jeeze I can't believe how hard Avey kills these opening tracks every time.
PEACEBONE
Laughing Hieroglyphic
in the Flowers !
MR. FINGERS
WATER CURSES

i was thinking this earlier while listening to the album. always nails the opening track so hard.

the guitar lines during the 2nd verse in Catchy are amazing. I love that part... "is there a song that I know, that no one does not know..." one of my favorite parts on the album

yeah, his next album should just be an album of all first tracks

also, duplex trip sounds the most down there of all the songs to me. i could hear it being on that album.

that it wont grow just really grew on me in the higher qual

Avey is so into F# major key this lp (daze, sender, catchy and kind of outlaw.. via Clayton), it was all abt E major for chz (applesauce, honeycomb, moonjock)... (at least that what the keys are to me, i'm no theory wiz)

So this album is awful right? Seriously. Does anyone else hate it? Not joking.

We seem to be the only ones who dont actually like it hahah
Stay strong, do not back down

no ya i support yals "choice" to not like it. for a couple of weeks I didn't like it very much, a bit after I looped it for a week when it freebirded. maybe y'all will nvr like it, and hey, that's just fine

Avey is so into F# major key this lp (daze, sender, catchy and kind of outlaw.. via Clayton), it was all abt E major for chz (applesauce, honeycomb, moonjock)... (at least that what the keys are to me, i'm no theory wiz)

i noticed that as well, must be convenient for how his guitar is tuned for these songs

yr right but how did u not list Graze/Moonjock

and did you see the words!

and how could we not mention that dark song from ttg. doctor of fright, killer of rays... (kind of an opener at least)

Myles_Dunhill wrote:

I'm sure if someone dug deep enough we could find a brief moment in high school when Dave teased out his hair and wore red lipstick

he said he never got super gothed though. I mean, I got really into the Cure in middle school but I was never a goth either.

Haha I know, I just fantasized that maybe he was really ashamed of his goth phase which prompted him to clarify that. It'd be even funnier if he added, "I was a total death rocker, but definitely not goth"

I really like this, love the goofy horror vibes
gonna order this tomorrow

Catchy Was Contagious is my fuckin jamma-lamma.

Not that I was really expecting it wholeheartedly but I was a little sad to see when I got my cd in the mail this morning that there was no lyric booklet with it

my favorite moment of the album is at 0:33 in modern days e. one of those avey moments that makes me all giddy on the inside

This record is very emotional, I see a lot of old pain in me while listening to it. Romantic stuff, you know. It's in this desperate chorus of Duplex Trip and in Modern Days E after the flangy instrumental part. There are many such moments which click with my pain. I didn't feel this wounded for a long time, because of music. Nevertheless I like to observe this feeling, rather than avoiding it.

And I enjoy the Outlaw song a lot now.

A Sender, Blind Babe, Little Fang and Outlaw are my favorites.

that, it wont grow is and always has been pure emotion

the robotic section at the end in 9/8 is great

love the flangers on this album, reminds me of this

^Agreed (more of less)

You could apply all of Anthony's criticisms about overuse of effects and obscured vocals to a My Bloody Valentine album, but how come he doesn't complain about them?

You could apply all of Anthony's criticisms about overuse of effects and obscured vocals to a My Bloody Valentine album, but how come he doesn't complain about them?

Maybe because MBV mixes and composes their music in a way that allows all of the instrumentals and add-ons of each track to blend into a cohesive whole?

So many moments on ETSH make you want to find the original ProTools timetables for each track and turn down everything that doesn't aptly compliment the main melodies.

I think that's debatable I have plenty of friends that think MBV just sound like a wishy-washy mish-mash of whale songs.

I think the effects on Slasher House have a cool fun-house vibe and really make the album colorful, kind of the same way a Dan Deacon record can be dense with wacky sounds. However, I think the compression on the album lessens the dynamics, but that's really my only complaint.

An interesting question I've been wondering lately, is the over-saturation of music in a post-internet age killing challenging and dense albums in favor of something more immediate and disposable?

Maybe I need to re-listen to it, but I don't really think this album has any more effects and weird sounds than any other Animal Collective or Avey Tare project. I feel like most of his criticisms could be applied to just about anything Avey's done. I don't have a problem with the effects, there's a lot of them but I feel like the melodies still come through. It doesn't sound overcooked, as he describes it, to me. It's about as much as I expect when approaching a group of Avey songs.

Oh man, the album is fantastic and Abby's visuals are amazing. I've listened to it 3 or so times and it all gets stuck in my head over and over again. I gotta admit that, while I was feeling the boots, I kind of had my doubts that it would come together so beautifully on the record. But it did. Can't wait for Moogfest.

Hard to believe these songs started out on the acoustic.

However, I think the compression on the album lessens the dynamics, but that's really my only complaint.

Is the lack of dynamics just a compression problem or could it also have something to do with the way in which the album was recorded?

An interesting question I've been wondering lately, is the over-saturation of music in a post-internet age killing challenging and dense albums in favor of something more immediate and disposable?

what a fascinating question, to which I'm sure there might be some correlation. However, I want to believe that if the music material is inherently "great" or a "stand-out", it will rise above everything else and will be favoured, no matter what. On the other hand, there does seem to be lots of disposable music on the airwaves these days. Finding the good music is a challenge in itself, and the listener has gotta work for it. This is what I love about Avey Tare, and the rest of Animal Collective and all it's disciples... these artists do little to conform to the lowest common denominator when it comes to their art, and their output is purer for it. For example, one of Avey's trademarks is to warp, distort, flange, phase, etc., his vox. He intentionally invites the listener to listen closely, because his words and meanings are obscured
by all the FX. I can understand why most people could be turned off by this, but in my opinion the music is greater for it, because it requires a more active listen to fully appreciate it. That's why we constantly talk about how certain albums/songs are "growers".

TL;DR so yes over-saturation of music is killing music.

that needle guy is a tool

On the other hand, there does seem to be lots of disposable music on the airwaves these days. Finding the good music is a challenge in itself, and the listener has gotta work for it.

When was this not the case though? The difference now is that it's actually far easier to find good music and it seems like there's been no time when most of the music on the airwaves hasn't been disposable anyway so I don't really see how that equates to music being "killed" by over-saturation.

haha yeah anthony kinda sucks. I can almost guarantee he only listened to the album once.

I can't wait for the post-Joe Biden age, i.e. when he's dead.

LOL

yea eff that guy

Actually, I take that back. Too far, my conscience wouldn't let me sleep.

Maybe because MBV mixes and composes their music in a way that allows all of the instrumentals and add-ons of each track to blend into a cohesive whole?

they do?

So many moments on ETSH make you want to find the original ProTools timetables for each track and turn down everything that doesn't aptly compliment the main melodies.

they do?

Takyon wrote:

Maybe because MBV mixes and composes their music in a way that allows all of the instrumentals and add-ons of each track to blend into a cohesive whole?

they do?

Takyon wrote:

So many moments on ETSH make you want to find the original ProTools timetables for each track and turn down everything that doesn't aptly compliment the main melodies.

they do?

lol takyon ur argument is shaky as a mafucka

which one do you guys think is the most AC song here? for me is That, It Wont Grow

also avey should have hired the person who did monomania for this one