Daily Archives: April 7, 2009

Animal Collective – “My Girls” (Unofficial Alt. Video)

Merriweather Post Pavilion has somehow managed to rocket Animal Collective into that blissful paradise known as Mega-Backlash.  A paradise city where the grass is weak and the beer is shitty (we get it, we get it…you’re only drinking High Life ironically). The band didn’t suddenly become less great (or strange) just because your brother heard them at a frat party. My friend, Nick, wore female clothing at a frat party and climbed into a tree…and then was nearly murdered by testosterone mutants. The girl Nick acquired his wardrobe from grabbed my crotch right next to the ice luge. Ice luges are gross and kind of awesome. And kind of slutty. Cold regret. 

Yes, it’s weird that Animal Collective seem about as ubiquitous as the fucking Killers, but it’s way past time to quit complaining when a good band becomes popular.  So the next time a more pretentious-than-thou kid tries to tell you Animal Collective jumped the shark after Here Comes the Indian, shove a Six Finger Satellite up his ass. 

Nick’s roommate, Rob Chesnutt, made his own video for “My Girls”. It’s better than twenty ice luges.

Chris

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Review: Dan Deacon “Bromst”

Bromst

In 2007, Dan Deacon released his first proper studio LP, the oddly-named Spiderman of the Rings. Listening to that album is best envisioned like a trip to Toon Town. But in Deacon’s Toon Town, there is no maniacal Judge Doom. So, instead of fearing death by “The Dip,” all the toons just took copious amounts of ecstasy and held raves in Toon Square.

Sounds like fun.

It is.

So, Deacon took two years and a lot of studio time to record his follow-up, Bromst. A meticulously-crafted electronic odyssey that feels slightly more grown up. But only slightly.

Bromst begins with the slow-build up entitled “Build Voice.” Well played, sir! “Build Voice” sets the standard for the rest of the album: intricately layered cuts that continue to swell for the next 4-6 minutes. Every track is like a countdown to ignition, with a payoff that takes you to another world.

Deacon’s music evokes this child-like splendor. The album’s cover is dead on: a lone tent in the woods, filled with this warm glow for it’s inhabitants. Bromst sounds cute and blissful (“Of The Mountains,” “Woof Woof”) most of the time, but it can also be a deeply intricate brain-feast (“Slow With Horns/Run For Your Life,” “Get Older,” “Snookered.”)

Yeah, I’m gushing over this record, but it is well-deserved. Deacon built off the good foundation he laid with Spiderman of the Rings and made a fantastic record. His song-writing has matured, and he hits on every track. It’s infectious, good-natured and, overall, completely danceable. It’s a great contender for Record of the Year.

So pack your friends inside that happy little tent, and let Bromst take you on a fantastic voyage.

You bring the flashlights and Skittles. I’ll bring Benny the Cab for transportation.

-Chase