Animal Collective: “Merriweather Post Pavilion”

Beginning in October, cryptic messages began to appear on Animal Collective’s website. First, there was a phrase: “Merriweather Post Pavilion,” then a list of words and phrases–perhaps a tracklist?–and eventually, it was confirmed that this was indeed a new Animal Collective record, due out during the first weeks of 2009. The internet subsequently exploded–the buzzers buzzed, the hypers hyped, the hipsters swooned, and then just a couple days into the new year, those folks at Pitchfork gave an outrageously high score to Merriweather Post Pavilion, the first record they reviewed of the year. So, the question on many minds is: “Can it really be that good?”

It’s easy to understand the cause of all the hype and buzz, Animal Collective have been making some of the most interesting and unusual music of the past nine years and their last album, 2007’s Strawberry Jam, made quite a splash in the indie music world. It also didn’t hurt that one of Animal Collective’s members, Panda Bear (aka Noah Lennox), released a solo album in 2007 that was even more lauded than Strawberry Jam. Needless to say, 2007 was a great year for the zoologically-themed group and 2008 wasn’t bad either as they toured the world and released some fine Strawberry Jam leftovers on their Water Curses EP. So anticipation has been building to see what the three-piece/sometimes four-piece would deliver next. And, finally, here it is–a record with a funny title (named after an outdoor venue frequented by jam bands like The Grateful Dead in the band’s native Maryland) and a strange cover that plays tricks on the eyes.

Merriweather reveals the band further developing their penchant for the pop elements that have appeared increasingly in their output–and this time around, they’ve made an album boasting heartfelt words and a vibrant pulse which pounds and beats through the entire record. This isn’t completely surprising as they have been reworking many of their older songs for live performances adding thick beats to the murk of sounds, making the band an unlikely sort of dance-jam band not completely different from some of the groups that play at Merriweather Post Pavilion.

From the creepy sounds that rise and fall in the opening minutes of “In the Flowers,” to the crunchy organ on “Daily Routine,” to the slow, reggae-ish vibe on “Taste,” the Aborigine feel on “Lion in a Coma,” and the West African rhythms that are scattered throughout, Merriweather is a interesting blend of styles that fits together remarkably well. These tunes follow the typical Animal Collective sound in many ways–murky sonic streams flow along the belly of the songs; electronic beats mix with live percussion; guitars, pianos, and synthesizers are looped and mashed together to form textures that feel right at home on an AC record; and the voices of Avey Tare and Panda Bear harmonize, echo, play off each other, and repeat words and phrases like broken records. Yet, there are some noticeable changes to the AC formula here as well. The tendencies towards indie pop which showed up on Sung Tongs, Feels, and Strawberry Jam are found here in abundance. There are more bright vocal harmonies, the electronic noises are less abrasive and generally aren’t in the foreground of the songs, and the song lengths are getting shorter. The longest track here, “Brothersport,” clocks in at 5:59, making this the first Animal Collective album with no songs over six minutes. And yet, at nearly 55 minutes, this is one of the longest efforts by the band.

Here is a record that only Animal Collective could have made and it wouldn’t have been possible without the endless experiments on their previous albums. This is a clear development on their earlier endeavors–all of that experimenting and recording has made them experts in the drama and tension that exists in music. Listen to how “In the Flowers” and “My Girls” build so carefully. In the past, their songs often included sonic walls of sound, but on this record they prove the brilliance of their craft as they slowly build up and peel back layers throughout the songs. This creates a sense of complexity in the music as there are too many sounds and layers to count at any given moment on the album. And yet, its warm melodies make the songs feel simple and inviting. Don’t be surprised when some of the tunes sink their hooks in you and start popping up in your head when you’re cooking dinner or driving to work, an experience less likely with previous AC records.

After hearing this record, it becomes clear what Animal Collective have been doing most of this decade. They have, in some sense, been recreating the evolution of music electronically. Their early work is noisy and primitive, sometimes simply consisting of waves of sounds lacking rhyme and reason. With each album, they have become less abrasive and more melodic, less noisy and more pop-oriented. Their singing has improved along the way as well resulting in sunny vocal harmonies that have earned the group endless Beach Boys comparisons. While the rest of the indie world continues to move to the edges of pop music and become more insular and inclusive, Animal Collective is moving in the opposite direction becoming warmer and more approachable. Strip these songs down and remove all the strange sounds and there are few tracks here that are real pop gems. Yet, simply because Merriweather is more accessible than their previous work, doesn’t necessarily make it very accessible to all listeners. Those who are new to the band will certainly find this the best place to start with Animal Collective though it might still take a few listens to figure them out, meanwhile, long-time fans will quickly feel at home with these new songs (though fans of their avant-garde work may be disappointed).

Merriweather also displays a more mature side of the band in its themes. This is perhaps expected as the guys are entering their 30s, getting married, and beginning to have children. Notably, the internet-circulated “My Girls,” finds Panda Bear longing for “a proper house” and domestic bliss with his wife and daughter over hand claps and stomping beats. Meanwhile, Avey Tare sings about spending time with his wife on a hot walk through the city in the sizzling “Summertime Cloths.” Tare also provides lead vocals on the dreamy “Bluish,” which is probably the best love song recorded by the group and contains words that read like a modern day Song of Solomon: “I’m getting lost in your curls/I’m drawing pictures on your skin…I’m getting crushed out on the things that only I should see/They’re not for boys, they’re just for me.” It revels in and celebrates the intimacy between a husband and wife in a truly beautiful way. The other internet-circulated song, “Brothersport,” features Panda Bear comforting his brother Matt and reminding himself of brotherly affections and responsibility. All of this makes it an album with a surprising focus on family and the joys of personal relationships.

Here is a record that celebrates love, family, and living and is downright fun to play. The release of this bright and optimistic record in January 2009 seems appropriate in coinciding with what many believe will be the beginning of a new age of hope and change. It is a glorious, bright recording that reflects the fresh opportunities and clean slate that 2009 offers and it’s a record that you can sing and dance to.  Merriweather Post Pavilion stands as Animal Collective’s greatest experiment–it’s a bizarre pop album, a record for a party, a soundtrack for a celebration, and a reminder of the power and importance of music in the human life. In other words, yeah, it really is that good–not because the hipsters say it is, but rather, because it’s moving, dance-inducing, and truly a record fit for the times.

Animal Collective
Merriweather Post Pavilion
Domino, 2009
Rating: 5.0/5.0