Record Reviews: Jan-Mar '09

Animal Collective
Merriweather Post Pavilion

In some circles it seemed before 2009 had begun the years best album had already been decided, the strength of four leaked tracks and a constantly improving back catalogue the only ground for this at the time absurd claim. Some justification of these claims is received upon hearing the album in its complete form.

Merriweather Post Pavilion sees Animal Collective reach new accessibility levels, their material has been refined and perfected carving a new chapter into a quite unique musical output. Working through the bands back catalogue you experience the steady progressions that have been made, the evolution of a sound that most great bands have to craft before reaching that hefty status.

Animal Collective’s technically ninth album draws from many era of the bands lifespan all blended seamlessly leaving all influences meaningless, creating a sound that can only be described as their own. Flowing soundscapes and reverb drenched vocals are a plenty, but placed side by side with songs of a classic pop structure and some blissful harmonies it all maps out wonderfully.

Yet labeling this album Animal Collective’s ‘pop’ album still seems silly, although some of the tracks share many similarities with classic pop these tracks will never draw a mainstream audience. Merriweather Post Pavilion may be more accessible than previous work but it still does take a few listens to sink in. There are no standout vocal hooks to be left reeling around your head for days, instead the band has created stunning record in which every track holds its own appeal.

Genrefying this record is surpassed with it crossing so many musical boundaries just no classification would suffice. The heavy hype which surrounded this record has been justified in splendid fashion, it is a special album that may end up record of ’09 it even holds the qualities that will see it go down in some groups as timeless. Still there is time left so jumping the gun will not suffice, just do not be surprised to hear this record talked about for years to come.

Bat for Lashes
Two Suns

There was always something quite lovely about Natasha Khan’s music, 2006’s Fur and Gold carried so much promise, precious songs with an array of sounds from cultural backgrounds quite foreign to her Brighton home. Despite it winning her high profile support slots with Radiohead it did lack something in depth, it did not manage to raise Bat For Lashes above the rest of her contemporaries. Two Suns her second LP sees her find this depth and it should see her lifted high into the consciousness of every music fan.

Two Suns sees Khan explore a more complex path as she gives a much fuller more confident sound. Much of this confidence is focused through her destructive fantasy creation Pearl, whose repeated mentions bring a minor theme to the record helping draw it all together as a complete product.

Khan admits her travels have inspired a lot of the sound on this record and this is certainly evident in the transatlantic electronic feel a lot of the tracks possess. Still a lot of the quaint touches that brought people to adore her debut remain, this enthused with her new found confidence all come together producing what is bound to be one of the best British albums you will hear this year.

Crystal Antlers
Tentacles

‘Crystal’ is the latest word you must use in the name of your new hip underground band, no less than three acts succeeded in drawing a name for themselves last year with its inclusion. Crystal Antlers were possibly the least publicised of these bands at the time but this year sees them make up for it with major tours and the release of their debut LP.

The Long Beach act has strong punk footings, some members having shared bands with former Bad Brains frontman H.R.. Tentacles takes on those footings and attempts to expand on them with a series of varied influences which were showcased through last years self released EP which caught the attention of many critics.

Tentacles although a very interesting and at times enjoyable experience does not seem to have taken too many steps away from potential of their EP. There is too much unrefined noise here for it to be considered great, but it is far from unlistenable there is more than enough promise on here to keep ears pricked for any progressions this band may make in the future.

The Pains of Being Pure at Heart
The Pains of Being Pure at Heart

The Pains of Being Pure at Heart have taken the forefront of the current New York indie pop revival scene and are helping pave the way for success further afield. The bands influences are not difficult to point out, yes the band may drop names of some ultra twee acts but this sound just screams ‘The Smiths’. Being influenced by The Smiths is by no means terrible as they would be listed as one of the most influential bands ever, in fact the Pains of Being Pure at Heart’s take on their influence is quite refreshing if it is not all round unique.

This is a melancholy indie pop album that will no doubt be labeled as twee, but could quite easily be so much more. Tracks like ‘Stay Alive’ come with a dreamy caress that could see it taken to heart of many, Smiths fans or not. ‘A Teenager in Love’ takes more conventional indie pop subject matter and its chirpy keyboard flickers are certain to satisfy many an ear. Throw this in with a few minor shoegazing glimpses and you have a record of charming gems that feels as much in the now as it does reminisce of the past.

Röyksopp
Junior

Röyksopp are one of those acts that everyone has unknowingly heard at some point in their life, there was a time when every second television advert contained one of their tracks. Despite this the Norwegian duos name has gone pretty much unheard of in many quarters. Their haunting and generally quite ambient electronica has seemingly flowed through the mainstream without too much notice.

Junior comes after a four-year gap and sees them return with a more upbeat excitable sound that could possibly see them thrust back into the mainstream again whether anonymously or not. Lead single ‘Happy up Here’ translates perfectly as their ‘Eple’ of 2009 and could easily stick in the head of multitudes of people but thus far has had not enough airplay to blast them into the wider public eye. It is second single ‘The Girl and the Robot’ that holds the most promise of a hit, acquiring the services of Swedish pop heroine Robyn for vocal duties can only aid in this process. The song stretches Röyksopp further towards the pop world than ever before as their gloomy synths are overlapped by one of the catchiest choruses the year will see, as Robyn treats us to her robot romance tale.

The remainder of the album does not lift off any further than the first two tracks, which is a shame as the rest of the material is solid stuff the album just peaks too early. A couple of tracks featuring electropop singer Lykke Li do provide highs on the second half of the record but still there are a lot that will fall off after such a lofty start. Röyksopp promise a partner to this record later in the year, a more ambient effort titled Senior that could provide a well deserved chill out after Junior hits the dance floor.