Animal Collective "Feels" (Fat Cat) Sounds Like: A further out-there Mercury Rev or Spiritualized A
Avey Tare, Panda Bear, Geologist and Deaken (members of Brooklyn's loosely-defined Animal Collective) have always been exceedingly human, even if they sound like manic creatures of the forest or frolicking toddlers. For the last five years they've explored all of the forms of human emotion through unique arrangements and diverging approaches. 2003's "Here Comes the Indian" was frenetic and haphazardly affecting, while last year's "Sung Tongs" was deservedly praised as a masterpiece of campfire authenticity. "Feels" comes off as a fusion of those two sides with a little more restraint (see Panda Bear's album "Young Prayer") and conventional structure (although A.C. virgins wouldn't be able to fathom this development).
This album has a generally woozy feel that can break into enormous climaxes at any moment to thrill and shock the listener. The nine songs on this record range from first single "Grass" and its attempt at uplifting pop (which is at least as strong as Sung Tongs' "Who Could Win A Rabbit?") to the extended stomp and passion of "Purple Bottle." While still experimental, most of these songs develop into recognizable structures and even include distinguishable vocals. The album's biggest highlight is the eight-minute "Banshee Beat," which begins solemnly with contemplative vocals and slowly flows into cathartic-yet-controlled tribal percussion and myriad voices. This work will be referred to as part of the freak-folk movement, but it is far more than a journalistic gimmick; it is a truly unique work of art.
What sets "Feels" apart from everything else on record shelves is its emotional complexity coupled with its welcoming vulnerability. This may be the album of this year (at this point only Sufjan Stevens' "Illinois" can challenge it as 2005's other complex, challenging, and rewarding masterpiece).
-JOSH LEVITZ
Annie Hayden "The Enemy of Love (Merge Records) Sounds Like: Tegan ditching Sara to start a solo project, and leaving half of her instruments behind in the process. C+
Annie Hayden's album, "The Enemy of Love," is the veteran indie rocker's sophomore release on Merge Records. It isn't bad, but with label mates like the Magnetic Fields and Neutral Milk Hotel, the listener is left hoping for something that isn't there. Hayden's twangy indie-pop lacks the lyrical depth that she needs to complement her simplistic instrumentation.
For instance, on the second track, "Hip Hurray," Hayden walks her way through a pseudo-religious jazz song with a light chorus of "Hip hooray/In the Christian way/Make me a channel of your peace." Her lyrics fail to finish the race where her lackluster jazz composition leaves off: very, very close to the starting line.
Thankfully, the whole album isn't burdened with the same lifeless match up of lounge music. "Starring In The Movies" is a standout track where Hayden lets her voice lead a quiet piano and subtle guitar picking, letting herself find vocal freedom unmatched elsewhere on the album. Her words sound more introspective and less produced, like her voice is coming from outside your window and not from within your speakers. The simple backup instruments add to the genuine feel of the track. It's as if Hayden is trying to restrain herself on the rest of the album, both vocally and instrumentally. On an otherwise quiet and endearing record, brief glimmers of light like "Starring in the Movies" leave the listener wanting more, and Hayden just doesn't deliver.
-JEFF LAMBERT
Depeche Mode "Playing the Angel" (Sire/Reprise/Mute Records) Sounds like: Scripture from the Books of the Cure and Duran Duran. B
On 2001's "Exciter" LP, the membership of Depeche Mode became a cohesive unit again, daring to fuse their synth-pop nightmares with lush forays into the wilderness. "Playing the Angel" brings the titans of British club rock back to the gothic romanticism of 1990's "Violator." Their tracks burn again, like a Kraftwerk box set thrown into a volcano.
There's something really odd about noting new Depeche Mode at this point. Their ubiquity is unlike anything seen at any point in the band's 25-year history. The foursome's music bleeds easily into shiny new remixes, DJ sampling, live records, mastered recordings and obscure EPs raining down from any warehouse with a makeshift dance floor.
So what's the whole picture of the myth on "Playing the Angel?" Well, there is none to speak of. "John the Revelator" reconnects the dark spirituality thought lost to synth pioneer Martin Gore, putting Pet Shop Boys hooks back into Depeche Mode's repertoire. Meanwhile, "Damaged People" and "The Darkest Star" paint a more experimental picture, ditching pop beats altogether to lock any potential dance party in a wine cellar while its attendees ferment. Maybe they too will be more exquisite with age.
While old habits are firmly back in the forefront with the new LP, Depeche Mode really hasn't kicked their farsighted songwriting or punchy strength in execution to the curb. Maybe they can't be everyone's "Personal Jesus" anymore, with too much history behind them to become vile, slithering juggernauts again. But, as "The Sinner in Me" laments, fans should take comfort in the fact that they'll never be saints, either.
-NEAL FERSKO
The Mobius Band "The Loving Sounds of Static" (Ghostly International) Sounds like: A cross between the Postal Service and complete mediocrity. C
The Mobius Band is a rock band. But they are a rock band in a most recent tradition: they make use of drum machines and synthesizers. Certainly, this is not a terrible thing for a modern band to be doing. It can be immensely artistic and popular. But on their first full-length album, "The Loving Sounds of Static," the group fails to do anything interesting or even substantial. Even when they stick to a more "traditional" tradition and employ solely drum, bass, guitar and vocals, they fail to do something great and it appears repetitive.
The lyrics and singing are a bit contrived and uninspiring, but the members of the group are certainly adept at playing and arranging rock instruments. Also, they are fine at employing electronic elements. They just don't use them like they could, so every part of their sound ends up seeming mediocre.
Synthesizers, for better or worse, have been used by musicians for a few decades now, and there are quite a few that have really done objectively well with them. Take for instance the Magnetic Fields, !!!, Flock of Seagulls or even the much-compared-with Postal Service, all of whom employ interesting and varying beats with their synths.
Some tracks on "The Loving Sounds of Static" are interesting, like the closing "Philadelphia," but there is nothing to dance to, think about, relish in or dream to, and it comes off as pretty unsatisfying. The music is not terrible, and not great, but just pleasantly there.
-JOSH KRAMER
