Collected Animals

Fonz wrote:

Hellomark wrote:

This might come off kinda weird but idk if people who weren't there at the time can fully understand how special and magical the 07/08 MPP stuff was.

This felt like something in the music world being done for the very first time, which is extremely rare nowadays. The wash of sounds in the mix was like liquid ecstasy for the ears and it felt like the 21st century of music would be kicked off in a magical way with this album. Not much has matched this since as far as bands or albums but Time Skiffs comes close. Overall a masterclass of mixing and creative decisions. I was a sophomore in college at the time and saw them live after this album came out. Felt amazing being a fan at the time.

This may seem pedantic but I don't think you guys are talking about the exact same thing...




What was crazy for me as someone who'd only just got into them in late 2006 was the fact that they were playing a bunch of brand new songs before Strawberry Jam had even freebirded.

But yeah once really good quality bootlegs were coming out, like the Midi festival videos and the NPR recording of their 930 Club show, I listened over and over again and had so much fun.

I was just reminiscing about this era: I saw them in Boston in early Fall 07 at the old Avalon, a really great venue, and the insane thing about it--what really speaks to the level of fervor and insanity around this band at that time--was that it seemed like EVERYONE knew the lyrics and WAS SINGING ALONG to the MPP songs, which would not be recorded and released for nearly two years. Of course I knew them because I had been consuming the bootlegs straight into my veins, but did not anticipate everyone else in the crowd being on the same level. It blew my mind, and was such a special time.....

Laying to rest the weeks-old discussion of who does backing vocals on the Strung verses

Nice! That song is so big sounding. Very amazing live concert feel in it.

Why did they slow down car keys? I like the studio version but something was weird about it to me. One argument I could see is that in the slower studio version there is more attention put on the little synth interaction/tradeoffs that happen in the main verse. its interesting cause its changes the last section completely too. its slowed down and aveys vocal part has that sick effect where he goes doo doo doo doo. it sounds more soundscapy to me then the jammy live versions. car keysss

Walker is one of my favorite songs by them. The bass with the vocal melody is blizzzful. The mix is raw as fuck. Also was listening to it on my old ipod earbuds, and the mix sounded great in a different way (the mids felt a lot more accentuated and I overall heard more details due to the low end missing cuz the earbuds are crappy. it also makes me appreciate the mix even more and want to seek out the person who mixed it's other stuff)

It really sounds pretty clearly like Deak is saying "with a passion for a little giving" like we thought for a while, not "lift to give it" in recent boots, so not sure where those lyrics came from

As with most releases, I have an even more fond appreciation for Skiffs after catching this tour. These songs are just plain great.

Walker has grown on me quite a bit as well as We Go Back since the freebird.

Oh and I can confirm I heard Deak singing "With a passion for a little giving."

Just spent the weekend in New Orleans for a wedding and was only a few blocks away from this cool spot, had to take a picture for CA

was it named after that intersection?

Sick, yeah. Idk if we've gotten confirmation that it's named after this crossroads but seems obvious given that this is pretty close to the Music Box Village and in the song he mentions "Bywater rain" and the Bywater is the name for that part of new orleans. So pretty this time of year there, before everything turns to summery hell

that's awesome

This album is awesome, now that it's settled a bit for me I think the only thing is that I have strong demoitis from Car Keys and Passer-by, I just prefer the 2019 versions for reasons, and some slight reverse demoitis with Strung (bc studio Deakin parts aren't loud enough). Other than that it's A+, potentially S rank tier.

Yeah albums for sure settled in a really solid way. Fantastic studio document of an amazing imo live era and instrumental mode for them

All the songs kinda just been steadily growing past 2 months or else topped out at a high

Passerby is mostly the one I would have demoitis for but that all faded.. tho I do wanna hear current passerby live, wasnt played in Nashville tho I do think it's shown up at least once recently

Also, the way avey is singing at end of Cherokee climax live might get me re reverse demoitis (he was kind of riffing and hitting higher notes with the autotuney effect, so good)

its just comfortably nestled amongst their greatest albums now. already feels like i've known it and loved it forever.

AC doesn't come up but this is a great podcast with Marta Salogni talking about production if that's of interest to you. Conversation starts just after 27:30

https://podcasts.google.com/feed/aHR0cD ... ODky?ep=14

Do I hear a loud "yeah" in We Go Back? Total grower

yes there is a "yeah" on the 10th beat

Sounds more like 'back'

We Go Back immediately felt to me like a good but average song just making up the numbers, but for some reason is probably my 2nd most listened to song at this stage (excl. when I spammed Prester John after it was released). For all my Passer-by demoitis, it's probably my 3rd most listened to, possibly because it offers a really nice change of pace.

WGB is also my most-listened, I think it’s the most infectious earwormy song of the bunch. There’s so much going on that it’s hard to parse it all at first but it really opens up the more you listen

my relationship to WBG is strange... it features one of my favorite rhythms on the album (animal collective in non-4/4 rhythms is animal collective at their most infectious) and yet i can hardly hear the song without a somatically overwhelming trauma response as i was listening to WGB when i was crashed into on a freeway. i've been carefully doing exposure therapy with myself and have been able to listen to the song in its entirety a few times now without freaking out. but... it's now a meta-song for me. "over and over [their] song on my brain, i go back..." :')

Damn lhtd, I hope you're doing alright. I've never had that bad of a crash but I have a few traumatic experiences associated with some AC songs lol, so I can sorta sympathize.. It can be hard to go back and listen to some stuff from that time. As for the song itself, it's one of my biggest growers as well. I didn't like the 10/4 or whatever rhythm at first but now I love it (it's pretty fun to dance to lol) and the ending is sublime. It's quickly becoming one of my most listened to songs as well

my relationship to WBG is strange... it features one of my favorite rhythms on the album (animal collective in non-4/4 rhythms is animal collective at their most infectious) and yet i can hardly hear the song without a somatically overwhelming trauma response as i was listening to WGB when i was crashed into on a freeway. i've been carefully doing exposure therapy with myself and have been able to listen to the song in its entirety a few times now without freaking out. but... it's now a meta-song for me. "over and over [their] song on my brain, i go back..." :')

Time will correct that as you make more positive memories associated with the song. Hope you're doin' well!

ah thanks y’all. i’m doing a lot better now. the accident even helped make some overdue lifestyle decisions so all is well and getter weller and time keeps on skiffin

ive been listening to skiffs in the car mostly, but last night was drunk and stoned and decided to listen to cherokee on headphones. and it sounded so strange. theres. so, many, fucking, things going on in that song. but they aren't continuous, just like little notes here and there, and i think. i usually like that but last night it was more like cluttered than that feeling of passing heaps of things while driving, idk it was a discombobulating experience. its a great song why dont they just trust that sumtimes u kno? not sure if i know

Just spent the weekend in New Orleans for a wedding and was only a few blocks away from this cool spot, had to take a picture for CA

sick

ive been listening to skiffs in the car mostly, but last night was drunk and stoned and decided to listen to cherokee on headphones. and it sounded so strange. theres. so, many, fucking, things going on in that song. but they aren't continuous, just like little notes here and there, and i think. i usually like that but last night it was more like cluttered than that feeling of passing heaps of things while driving, idk it was a discombobulating experience. its a great song why dont they just trust that sumtimes u kno? not sure if i know

must have been the weed, no? That's a pretty lean track, esp the verses. I mean this whole album seems better balanced than anything since like ST in terms of the mix feeling clean and decently spare.

The chorus still gets me in terms of phantom noises.... there's all these were auto-tuney sounding vocal flourishes, but the main part is so big and dynamic I can never hear them well so they remain phantom sounds. Like the audio equivalent of a floater in yr eye. But that I kinda like.

Why do the first three tracks on this and on FKA Twigs' CAPRISONGS mirror each other ?

in the song he mentions "Bywater rain" and the Bywater is the name for that part of new orleans.

By the way, there's also a Throwing Muses song called 'Bywater', written, I think, when Kristin Hersh lived in New Orleans.

this album just sounds amazing, especially on vinyl and headphones... wow

love dragon slayer>car keys so much

noah's drumming on slayer is so evocative in a subtle way

really liking how his different playing style connects all of the songs on the album together including these two

enjoying walker and we go back the most otherwise

love dragon slayer>car keys so much

noah's drumming on slayer is so evocative in a subtle way

Yeah I've been appreciating these two more and more, esp the drumming. Also Passer-by has been making me

What instruments are making the bassy/muffled xylophone-type sound throughout Dragon Slayer?

This album still slaps. I'm purposefully trying to stay away from it which is mostly easy given just where im at in terms of its release window and coming down from the show I saw in March but I decided to throw it on in car the other day and Dragon Slayer is still kind of shocking.

DS and Passer-by are the ones calling to me at this point, but I'm sure the whole thing-- esp Walker and SWE-- will be as amazing as ever next time I indulge.

But yeah I'm chillin on em until the end of the month when I see them twice in Denver and Kansas.

What instruments are making the bassy/muffled xylophone-type sound throughout Dragon Slayer?

According to the press kit

1. Dragon Slayer
Avey Tare - Vocals, Bass, Autoharp, Electric Guitar
Geologist - Synthesizers (Nord, Iris, Eurorack), Samples, Lap Steel Guitar
Deakin - Synthesizers (Nord), Vocals
Panda Bear - Drums, Vocals

Thanks Fov. Is it Avey or Deakin making it in this video (https://www.youtube.com/watch?v=HDSA4S1 ... =Pitchfork)? Looks like Avey right? The video and audio are a bit desynced so it's hard for me to tell.

its the nord doing the vibraphone bit

yea I'm pretty sure it's the nord, but even studying that video it's hard to tell. deakin seems to be doing a lot in dragon slayer, p crazy

Cheers guys.

new remix from dennis bovell

this is great! Cherokee single incoming it seems