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The adventurous group from Baltimore reappears with a tranquil songbook with a magical aura after a six-year hiatus
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The new LPs by Mitski, JP Bimeni & The Black Belts, Jeff Parker and Rojuu were also reviewed
In the final phase of the first decade of this century, Animal Collective encouraged us to dream of an ideal of magical, three-dimensional doll, a ‘non-genre’ that stems from the collision and crushing of all, with a classic melodic substrate and an avant-garde mutant gene. Since then, the Baltimore Group has failed to deliver a work as enchanting as this. ‘Merriweather post pavilion’ (who in 2009 recorded record of the year honors of several titles here and there), but his new sign of life, this ‘Time shift’, invites us to follow them with consideration.
Six years have passed since the last episode, ‘Painting with’, which was received warmly, and Animal Collective leaves behind several parallel projects to continue to present itself as a moving artifact, which should not be surprising if we remember how it already in its first seasons, two decades ago, evolved through the ‘new strange America’ and cosmic noise as a kind of chaos tribe celebration. ‘Time Skiffs’ moves the piece by reducing the electronic substrate and showing more natural fibers in this series of compositions that tend to be calm, fluvial, launched by the vocal tandem of Avey Tare and Panda Bear, which runs with exotic frugality from the baptismal walk of the opening theme, ‘Dragon Killer’.
Dissertation with Scott Walker
‘Time skiffs’ progress and give off star dust on songs like ‘Prester John’ (although the standard of The Flaming Lips soars in its sweet vocal dynamics) and that ‘Strung with everything’ with an entrepreneurial journey and remnants of The Beach Boys, one of his old obsessions. ‘Car keys’ envelops a certain ‘lo-fi’ brutalism in fantasy boundaries, with touches of marimba and synthesizer, and ‘Walker’ pays homage to the guru Scott Walker (deceased 2019) with a meaty bark and the ringing of costume jewelery, a message with a view of the last resting place: “I appreciate you can not wait / We see you there.”
Although Animal Collective conveys the feeling that it knows the ground on which it walks, compared to the leap into the void effect that some of his old works have produced, It can not be said that these songs are comfortable or predictable. The space for the most extreme abstraction is still there: listening to ‘Cherokee’, a floating entity with choirs of angels and an almost world tour lasting up to almost eight minutes, in which Avey Tare shares his impressions after riding a Jeep of that model management, Cherokee, for lands previously inhabited by the indigenous community.
And even another focus of attention comes before the album expires: ‘Royal and desire’, with its slow closing song, which resonates and reminds us that Animal Collective is still there, ready to assist us whenever we feel to lower our heads into another reality because we are tired of it. – Jordi Bianciotto
Other albums of the week
The Japanese-American Mitski Miyawaki amazes us again (after the award-winning ‘Be the cowboy’, 2018) with his way of making pop an exciting place, both accessible and rich in dynamics that elude universal highways. He catches so much in his floating calm scenes (‘Everyone’) as in the most overwhelming invectives (‘Stay soft’ or ‘Should’ve been me’, this one with an adventurous Motown rhythm), drive emotional chiaroscuro with synth-pop tools and a measured theatrical sense. – JB
‘Meesterklas’ de Stax school classic soul in charge of a descendant of the royal family of Burundi refugee in Britain and supported by a group of musicians from the Madrid scene. Bimeni and his Black Belts shine when they suggest a retro-style exercise (in ‘Not in My Name’ they sound like Otis Redding and the Bar-Kays), but they are also right when they explore somewhat less orthodox areas, such as e.g. Afro Jamaican Rhythms of the song that gives title to the LP. A present. – Rafael Tapounet
Alone or in company – he had many and varied, but he is known for his days in Tortoise– It’s like Jeff Parker never said more than necessary. As if he knew a lot and just explained what was fair. modest, wise, patient. Small rock and roll virtues, okay. “Foremen” is him with his guitar and little; some sound effects, loops. And it’s enough for him to make imperfect and fragile songs that resonate with references to a lot of music. But to the important thing: ‘Forfolks’ is beautiful. – Roger Rock
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Rojuu es, seguramente, the most unique voice of his generation. Always before what it says on his birth certificate, he has released a packaging album – first with the Sonido Muchacho label – which comes to introduce doll to the year 2022. Endowed with a special sensitivity to convey emotions to the lyrics, everyone flips through the different layers of the album, which a great finale that even includes hardcore. Rojuu’s universe is growing at the rate of its star. – Ignasi Fortuny
Reference-www.elperiodico.com