The first week or so was just free-form jamming, trying to see what kind of sounds we could conjure up. Then it was clear that we needed more actual songs, so we started to break up the work a little bit — Noah and I might go off and work on some melodies while Josh and Brian might work on some drum sounds. We recorded everything. We all had handheld recorders with us. We might take a section of one jam and try to build a song around it.
Everything was labeled — all the recordings — and I think there were 13 or 14 hours of just stuff like that from the first week or so. It was a lot of work, but a day spent wearing headphones and working on new stuff is never a bad day. We were also working in a pretty ideal spot, working in a place where we had done a lot of our early recording and playing together.
We tended to be kind of on top of each other in the studio, but if you needed a breath of fresh air you could just walk outside and suddenly be out in a meadow wandering around. It was nice in that way. Stereogum: And how long into that process was it before the songs started to really take shape?
Or until you could see the parts of the album start to finally reveal themselves? And eventually it did. Weitz: Yeah, I think it was during that last month that it started to happen.
You know, we wanted to put together a fun set that would really connect with everyone, but it took time trying to merge the new material with some of the older stuff. We spent a couple of weeks just figuring that out.
I remember getting so much work done that day — going through each of the songs and seeing that each one had some really cool parts happening — and that I went to the Super Bowl party feeling really psyched.
I remember thinking, finally this thing is really coming together. Portner: A big part of our process has always had to do with figuring out a live set that includes the material. We never really feel comfortable until we get to a place where we can go from point A to point B pretty seamlessly in a way that makes sense. And you really have to play the song a bunch of times for those things to become hardwired into your brain.
Stereogum: The sequencing of this album must have been difficult. How do you work that out? Lennox: We knew the sequence fairly early on, I think. Then Ben Allen got in touch with us. To do that we needed to have the sequence figured out, which basically had done by … last November? When we play live we sort of do the songs in sections — like three or four songs together — so we thought maybe we could approach the recording that way.
Portner: No. From an engineering standpoint — because our settings change so drastically between songs, it was just impossible. Get fresh music recommendations delivered to your inbox every Friday.
Centipede Hz by Animal Collective. Aaron Gable. David Murray-Stoker. Robert Ginkgo. Bill Bodega. Wyatt Baker. Anfon Dang. Clevelan Cummings. Adam Barnes. Purchasable with gift card. Moonjock The LP's promo 'Today's Supernatural' is a tornado of reverbed guitars and pounding drum beats, accompanied by Avey Tare's shouts and wails. The song segues into the somewhat poppy 'Rosie Oh', and then into the crazy, wonderful and colourful 'Applesauce'.
The latter half of the album takes a quieter tone than it's excited, jumpy other half, though it's not without it's moments, particularly the closer. Overall, Centipede Hz doesn't quite reach the dreamy, psychedelic heights of it's predecessor, but it's a damn sight close. A bit harder than their previous effort. Songs on here have a vaguely A bit harder than their previous effort. Songs on here have a vaguely brazillian sound to them and a tad more aggressiveness.
Its an interesting contrast to the rather soft, wet and wavey sound of Merriwather. It kind of fits Animal collective's tradition of changing their tone and sound with each new album while still retaining their basic style of thick sonic density. However, in the end, it just does not have the same effect on me emotionally that their last four albums had on me. In my opinion, Animal Collective peaked on their last album, but if this album is any indication, their descent into mediocrity will be a slow but still rather enjoyable one.
Although, maybe in the future, when they try and reinvent themselves again on their next album, they will pull out another MPP and prove they have yet to hit their real peak. Good album. Typical Animal Collective stuff, very experimental, full of energy, and all over the place. It is quality material but compared to Good album. It is quality material but compared to "Merriweather Post Pavilion", it does seem to fall short.
Still, a good album worth buying. Typically half-baked dribble from one of the most overrated bands of all-time. It's a real shame that this is the kind of alternatives hipster Typically half-baked dribble from one of the most overrated bands of all-time. It's a real shame that this is the kind of alternatives hipster culture comes up with in reaction to the Katy Perry's out there, when there are so many talented bands that never get a fair shake from Pitchfork.
Essential Links. The band's latest album is to Merriweather as Strawberry Jam was to Feels -- the anxious flipside to an ecstatic predecessor. But its execution is even more relentless. Animal Collective have always embraced a certain back-to-nature ethos, but Centipede Hz is noticeably urban in feel. Beyond the references to their native Baltimore, these bustling songs are tied together by radio broadcast snippets and ad samples that feel very much like a comment on 21st-century sensory overload an experience presaged by the band's own recent experiences as free-form radio hosts.
Even the album cover looks like an interstitial from U2's Zoo TV multimedia blitzkrieg. With multi-instrumentalist Deakin re-joining the band after a four-year hiatus, they've never before hit with such blunt force.
The rippling rhythms and aquatic ambience of Merriweather is displaced by industrial-strength ballast: Lead-off track "Moonjock" announces itself with a morse-code crunch that could practically pass for Sleigh Bells, while stuttering lead single "Today's Supernatural" closes with the sort of drum-set-toppling flourish that arena-rock acts use to stretch out their last encore.
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