Collected Animals

Guys I just need to say:

09 9:30 club Chocolate Girl is the stuff of life itself. Goosebumps.

Guys I just need to say:

09 9:30 club Chocolate Girl is the stuff of life itself. Goosebumps.

Listening to this now. It rocks.

I'm wanting to go through those live shows that jfw7 posted, but there are so many and it's pretty intimidating actually lol.

Hellomark wrote:

Guys I just need to say:

09 9:30 club Chocolate Girl is the stuff of life itself. Goosebumps.

Listening to this now. It rocks.

I'm wanting to go through those live shows that jfw7 posted, but there are so many and it's pretty intimidating actually lol.

Just ease into it, I typically listen to boots while im working or driving. I pick an era (album) I want to listen to and just pick a random one. nyctaper and two sails boots are some of the best ones quality wise.

It can def be intimidating but there's a lot of great stuff in there. if you read through the All Live Recordings thread you can see ppl recommend their fav boots so that could be a good place to start

been a while since I listened to any but I remember liking these, HQ audio and great performances
Melkweg 2007
Liquid Room 2008
9:30 Club 2009
Henry Miller Memorial Library 2009

I was driving in my car this morning thinking about the production of the records, how the boys have gotten Ben H. Allen, Rusty Santos, Sonny DiPerri, Scott Colburn, etc.. and that they went to EastWest Studios where they did Pet Sounds for Painting With.
I thought very quickly how Rick Rubin would be their adrenaline kick in the face if they were to do the Music Box Village record through him. "He's a reducer, more than a producer" kind of idea.. And I thought about all of the insanely large scale records Rubin has done over the years.
That would be quite the publicity for the boys, no doubt, as well as it'd make the Music Box stuff sound.. more hyper-real than it does already.
I have a big feeling, nevertheless, from hearing the MBV recordings, that this will be the most easy listening record they've ever done no doubt in my mind. Farther up than MPP and PW together, just calm and collect. With Magicians From Baltimore, Defeat (A Not Suite), DownDownDown, etc.. These songs are super super fragile, and with whatever they have in mind for them I know it's going to be absolutely terrific.
Either way, I digress - I'm just incredibly excited for everything to come this year.
Buoys, Cows on Hourglass Pond, Music Box, etc..
Happy 2019 homies

guess what avey tare song this tweet reminded me of

lol

call home (farm grapes)

There's still an obscene amount of their material I've never heard, and some of it is incredibly hard to find, but I'm tracking it all down little by little. I managed to get ahold of a download of the Avey Tare/David Grubbs 12" split, and "Crumbling Land" is pretty damn good. The coda of "FEELING LIKE A WEREWOLF" is like an instant classic moment.

Abyss Song is grand


The other pre-Down There solo Avey tracks out there are Judy Biworker and I'm Your Eagle Kisser if you can find those

Those are both on YouTube so I can just do mp3 rips of those, though I try to avoid that when I can because the audio quality tends to be lousy from YouTube rips, and organising can be annoying.

Like, I couldn't find the Japanese version of Berserker for the life of me, so I had to download "Pop" from YouTube and add it onto the album. I wonder why they left it off to begin with, that song rules, and it's the main reason why I finally decided to check out Jane.

And yeah, I was relistening to Down There earlier and I forgot how fucking good this is.

Grimes check out soulseek if you've never used it. Pretty easy way to dl music without using torrents or anything like that

I thought slsk technically was a t0rrent system? And yeah, I've used it before, but haven't in ages. I know it's great as a last resort "I can't find this anywhere else" system. Found lots of obscure shit on there through that.

I think it's different from t0rrents because you're just downloading from one person directly, not from multiple ppl. but yeah it's great, figured I'd check if you've used it cuz prob easier than ripping stuff manually

Those are both on YouTube so I can just do mp3 rips of those, though I try to avoid that when I can because the audio quality tends to be lousy from YouTube rips, and organising can be annoying.

Like, I couldn't find the Japanese version of Berserker for the life of me, so I had to download "Pop" from YouTube and add it onto the album. I wonder why they left it off to begin with, that song rules, and it's the main reason why I finally decided to check out Jane.

And yeah, I was relistening to Down There earlier and I forgot how fucking good this is.

It's one of the best albums

Abyss Song is an all-timer

I'm looking at a lot of their early-ish history, and I reckon their ambition is the main thing that launched them. They were part of this broad collective of New York musicians, and could have easily been buried in obscurity were it not for the fact that they were putting out a crazy amount of material in the early-to-mid 2000s. I'm sure at the time They Keep Me Smiling came out they weren't significantly more well-known than a lot of their counter-parts, but they were releasing at least 1 album (or EP) a year as Animal Collective, appearing on compilations or as guests on albums with a bunch of artists, doing side projects, releasing solo stuff, and just generally working non-stop on musical projects.

Anybody who say they just got lucky or that they're sellouts need to shut the hell up. (Not saying anybody here says that, it's just something I see people say).

I'd say their diversity is also really significant. That they manage to keep a particular identity or sensibility or 'energy' (in modern parlance) across such a diverse series of records is pretty amazing. They have managed to sound like perhaps ten different bands across all their stuff and so they constantly had new jumping on points (and jumping off, as they've referred to themselves). As much as I'm a total Stan, I genuinely can't think of another band that has so successfully transformed in so many different ways.

[youtube]https://www.youtube.com/watch?v=q-SzcXLano4&feature=youtu.be&fbclid=IwAR3jF0LOTl3t7_T48VMHJWa9wqgVwqmkdttTfV8fL_WiIigIcMOBVSRyaxQ[/youtube]
ohhhh
edit : from 08'

I'm pretty surprised Zach has never worked with somebody from the group, considering how much he reaches out to other people. I could see an Avey Tare/Zach Hill collab being really chaotic and mind-numbing.

[youtube]https://www.youtube.com/watch?v=q-SzcXLano4&feature=youtu.be&fbclid=IwAR3jF0LOTl3t7_T48VMHJWa9wqgVwqmkdttTfV8fL_WiIigIcMOBVSRyaxQ[/youtube]
ohhhh
edit : from 08'

Hell fucking yes

Sonny DiPerri did an interview with TapeOp and about halfway through talked a little bit about recording Painting With. Did you guys know about AC's "inversion" technique? They record a song a bunch of different times with totally different instruments/tempos/etc. I'm curious if that was a new technique for that album. It would be interesting to hear those other versions too.
Also, it sounds like Sonny is the luckiest dude in The Biz. He obviously put in the work and has the talent, but without any experience, he got a job working with Flood within a week of moving to LA and has been working with huge names ever since

I feel like they may have done something like that that for Centipede Hz, going by the KEXP interview they did that featured some acoustic versions of "Pulleys" and "Wide Eyed" they performed.

[soundcloud]https://soundcloud.com/kexp/animal-collective-live-on-kexp[/soundcloud]


I don't think that sort of thing is an old thing for them though, at least going by the details I've read about their older albums. For MPP the main thing was them taking the songs they stitched together over the internet, and playing them live to work out the kinks and figure out what they wanted the eventual album to sound like. It was more of a structure thing for that album than an instrument or sound thing from what I understand. I'm pretty sure they didn't record any of those songs multiple times over anyway, because of the way it was recorded. The Strawberry Jam time lapse on Vimeo makes it look that the recording process was somewhat similar when it comes to them stitching it together with a clear idea of what they wanted the instrumentation to be; again, not really any evidence they recorded the same songs over and over in different styles. And, for Feels, they went in knowing that they wanted the piano to have a particular sound to it, and for the guitar to have a lot of reverb to it, so I'd say that album also didn't have the instrumentation thing either. They probably did a lot of re-recordings to get everything right, but probably not any re-recordings for that reason you were talking about.

it's been a few months since I listened to this. Almost forgot how beautiful this live is.
[youtube]https://www.youtube.com/watch?v=EOHZGglVtSI&fbclid=IwAR2F2qgr1MYHySHyuARYQI1_oG9YeZZTBRD9VCLF-GJ42s59vS6-xRmgkBw[/youtube]

hoo yeah that's a goodie

Too good
Haven’t heard it enough
Will relisten tonight
Already got it downloaded because of this place

I feel like they may have done something like that that for Centipede Hz, going by the KEXP interview they did that featured some acoustic versions of "Pulleys" and "Wide Eyed" they performed.

[soundcloud]https://soundcloud.com/kexp/animal-collective-live-on-kexp[/soundcloud]


I don't think that sort of thing is an old thing for them though, at least going by the details I've read about their older albums. For MPP the main thing was them taking the songs they stitched together over the internet, and playing them live to work out the kinks and figure out what they wanted the eventual album to sound like. It was more of a structure thing for that album than an instrument or sound thing from what I understand. I'm pretty sure they didn't record any of those songs multiple times over anyway, because of the way it was recorded. The Strawberry Jam time lapse on Vimeo makes it look that the recording process was somewhat similar when it comes to them stitching it together with a clear idea of what they wanted the instrumentation to be; again, not really any evidence they recorded the same songs over and over in different styles. And, for Feels, they went in knowing that they wanted the piano to have a particular sound to it, and for the guitar to have a lot of reverb to it, so I'd say that album also didn't have the instrumentation thing either. They probably did a lot of re-recordings to get everything right, but probably not any re-recordings for that reason you were talking about.

I read somewhere recently that they remixed Strawberry Jam because they weren't happy with the first mix. Would be really interesting to hear the initial album mix.

Other than that, I know they initially wanted to record Centipede Hz live in the studio in a couple of long takes but it was deemed too complex. Would be a cool idea to attempt this in a live stream or something for the album anniversary.

Sonny DiPerri spoke briefly of recording Painting With in TapeOp's latest issue (No. 129, Feb/March 2019, p. 24).

When you produced Animal Collective, you would take a song, deconstruct it, and re-record it with different instruments and arrangements.

I had never worked with an artist like them before. We would record something, let it sit for a few days, and then bring it back up and start to do different versions of it. One version where there's no drums, a version where the guitar is now the keyboard, the bass is a Moog instead of a Höfner, or vice versa. We called it doing "inversions." It became really, really, important to me, and I had never worked like that before. Before the sessions with Painting With, I'd get together with Dave [Portner] and he showed me demos that sounded totally different from where we ended up. They went and jammed those songs on their own, reworked them, and relearned them with all new instruments. They showed those to me; when we got to the studio, we did even more. That turned into doing versions of songs until we found the right one.

Can you remember a particular song on that record that changed drastically because of this process?

Oh, yeah. For the first single, "FloriDada," the original version was slower, if I remember correctly. It was almost like a cheapish drum machine with a guitar. If you listen to that song now, it's a four-on-the-floor drums with a massive two and four clacking of the backbeat, and it's way faster and way brighter. I remember thinking that I never thought we would go with that. A funny fact of the majority of that record that most people don't know is that it's live. They all had these workstations, and the fundamental takes are totally live.

Oh shit #UTAfam

"I found an ad on the UTA [United Talent Agency] job list.

“Working” from Oddsac is so damn good. Haven’t heard/felt that melody since I was a wee boy and it’s hitting me hard rn

I am relatively sure this fits better here than in the BUOYS or Cows threads;

We were wondering for a while whether the CA V banner would ever be updated, but, somehow the current albums have come full circle. It did still fit with all of the others but especially now: maybe moreso with the BUOYS artwork style but in certain ways with both!!

listening to gg the improv segment
reminded me of a drumspace trib

So weird. On the animal collective store if you scroll down they have Ease Down The Road by Bonnie Prince Billy. But if you click it... It takes you to Live at 9:30 which is apparently now back in stock.
https://animalcollective.dominomart.com/

Hope Pandas all right

So weird. On the animal collective store if you scroll down they have Ease Down The Road by Bonnie Prince Billy. But if you click it... It takes you to Live at 9:30 which is apparently now back in stock.
https://animalcollective.dominomart.com/

https://pitchfork.com/news/listen-to-av ... alm-beach/

Brighton 2003
Other Music 2004
Bowery 2005
Tavastia 2006
Webster 2007
Lux Fragil 2008

Defeat is the new Alvin

is slow words secretly the best breakup song of all time?? was just listening to it and the bridge alone just floored me:

"And my lady just had some friends pass on by,
watching her suffer and watching her cry
I'll stare at the ceiling and I'll figure it out
squeeze on my hand and you'll squeeze out the doubt
blow me out candle, like a fluorescent light
melt like God’s snow in the blackest of night
all i can do is make a path through the fall
better say something than nothing at all
cause I found that slow words, they're fine
but they always take their time to hit the mark
and I'll probably get that it's fine
I gotta get there
even though this day, it'll pass"

how can you not record/release that?? like damn

I really try not to get nostalgic about songs they didn't release but doggone it if it isn't the hardest with this song

I always heard "I've gotta get there/even though it's in the past"

Both are really good

is slow words secretly the best breakup song of all time?? was just listening to it and the bridge alone just floored me:

"And my lady just had some friends pass on by,
watching her suffer and watching her cry
I'll stare at the ceiling and I'll figure it out
squeeze on my hand and you'll squeeze out the doubt
blow me out candle, like a fluorescent light
melt like God’s snow in the blackest of night
all i can do is make a path through the fall
better say something than nothing at all
cause I found that slow words, they're fine
but they always take their time to hit the mark
and I'll probably get that it's fine
I gotta get there
even though this day, it'll pass"

how can you not record/release that?? like damn

i was fucking obsessed with this song and these lyrics for a long time. At least we got mountain game.

when he screams i laid down and i missed it

:'(