BEGIN:VCALENDAR VERSION:2.0 PRODID:-//wp-events-plugin.com//7.2.3.1//EN TZID:America/New_York X-WR-TIMEZONE:America/New_York BEGIN:VEVENT UID:355@jointherevolution.net DTSTART;TZID=America/New_York:20220708T190000 DTEND;TZID=America/New_York:20220708T230000 DTSTAMP:20220616T150716Z URL:https://www.jointherevolution.net/concerts/animal-collective/ SUMMARY:Animal Collective DESCRIPTION:Animal Collective has partnered with PLUS1 so that $1 from eac h ticket goes to support organizations advancing justice\, equity\, and di gnity\, including Serve Your City DC and National Harm Reduction Coalition .\n\n \;\n\nAt the beginning there were two of them -- Avey Tare and P anda Bear -- banging drums and tweaking synths in their bedrooms\, singing strange and sometimes heartbreaking songs about imaginary friends and chi ldhood pets. Carried along by washes of squalling feedback\, the music was noisy\, and it was weird\, but it was\, at heart\, pop music. This was th e start of Animal Collective. For fifteen years Dave Porter (Tare)\, Noah Lennox (Bear)\, Brian "Geologist" Weitz and Josh "Deakin" Dibb have been r ewriting the musical map\, their line-up and aesthetic shifting with each astonishing release as they continue their pursuit of a new psychedelia. T heir wild path has taken them from cramped concrete basement shows and for est floor singalongs to immersive installations at the Guggenheim and perf ormances to millions on national television. So where now from here?\n\n"C aveman circles\," says Lennox\, discussing the vision for their eleventh f ull-length album\, Painting With\; "Caveman circles\, the first Ramones re cord\, early Beatles and electronically produced. I think that was kind of our starting point." Dizzyingly upbeat and gloriously realised\, their la test LP bounces and pops with an urgent\, ecstatic energy\, propelled by p olyrhythmic beats and gurgling modular synth\, with Lennox and Portner's v ocals gleefully falling in and out of syncopation and off-kilter harmony. The songs are as experimental and deeply textured as anything that has com e before but sound as sharp and snappy as chart hits\, finding the band at both their most minimal and most ambitious: "The idea with cavemen was ab out being more primitive -- the way we sounded when we were first playing together in New York" says Portner. "I feel like what we were doing with t he last record [2012's Centipede Hz] was something a little more complicat ed. This time we wanted to strip it down and simplify it\, like techno and punk... And then put the Animal Collective filter on it all."\n\nWorking as a trio\, Portner\, Lennox and Weitz began trading demos in early 2015\, pursuing a goal of what Portner calls "really short pop songs: no B.S\, g et in\, get out material..." The three met up in Ashville during that Spri ng and began exploring the songs together. "I feel like lyrically there's some really tough stuff" says Lennox\, "but the intention was for the song s to have the spirit of trying to work things out. To make things better." The group made a conscious decision not to tour the songs first in an att empt to keep them fresh\, something Weitz found to be "a freeing process. That shift in perspective contributed to how much space is on the record." \n\nRecording took place in the legendary EastWest Studios in Hollywood\, home to sessions by The Beach Boys and Marvin Gaye. Making the space feel like home was essential: they lit candles on lily pads and projected a two -hour reel of dinosaur movies -- spliced together by Dave's sister Abby -- on a constant loop. A baby pool was set up to help add to the vibe of the room\, but the group soon discovered it sounded amazing when thudded and treated with effects. "Everything sounded good in that room" says Weitz.\n \nYou can hear it. Everything about Painting With feels crisp and direct a s though delivered in super high-definition Technicolor\; the pitter-patte ring handclaps of Lying In The Grass\, the delirious arcade-hall rave of B urglars\, the galloping bass and piano of the radiant On Delay -- even Bea Arthur's introduction to Golden Gal seems to shimmer. The interplay betwe en Avey Tare and Panda Bear's vocals (recorded while sat on high pedestals to lend the singing an "airy" quality) is brought front and centre with a n uncharacteristic clarity: "With the vocals\, it's not like a typical cal l and response or harmony." says Lennox\, "It's like two voices become one . Without one singer it doesn't really work the same way. They dance with each other." Portner interrupts: "Both vocals are meant to complete one th ought." The band put much of this down to their close collaboration with e ngineer Sonny Diperri: "He played a big part in how the vocals sounded. We didn't put a lot of effects on the voices like in the past... We tried to be really careful about reverb\, to not make everything washed out. When there is echo on the album almost everything is acoustic reverb. It attest s to the greatness of those old studios -- it's cool you can record in you r apartment\, plenty of great music has been recorded that way\, but there is something to say about the time that went into crafting these rooms. I t feels like a lost art form."\n\nIn their search for more organic sounds\ , the trio challenged themselves to incorporate elements they usually find off-putting\, either structurally or sonically "I remember specifically w e brought up saxophone and brass instruments" recalls Portner. They enlist ed the services of multireedist Colin Stetson -- whose resumé includes co llaborations with Arcade Fire\, Godspeed You Black Emperor\, Bon Iver and Tom Waits -- to appear on the album's rapturous\, swirling opener\, FloriD aDa\, an ode to breaking boundaries and not seeing any separation in peopl e or places: "We were huge fans of Colin's and the sound that he has is su per unique. We don't notate a score for somebody\, so it was cool to have him come in and lay down a bunch of ideas while the song was playing." Aft er discovering John Cale was a fan of their music\, the group invited him down to the studio to record drones for Hocus Pocus -- a slow-burning coll age of stroboscopic vocals and bleeping\, squelching modular synth that gi ves way to delirious release. Discovering the song wasn't in a key the vio la could be tuned for came as "a happy surprise" as they found themselves working with Cale's material in new and exciting ways\, his bowed tones an d electronic manipulations forming a hypnotic transition into the beautifu lly sun-warped Vertical.\n\nIt's just that that kind openness to playing w ith expectation and experimenting with form that lies at the heart of this personal and human album. "When we were doing (2007's) Strawberry Jam\, I thought it would be cool to literally rename ourselves The Painters." rec alls Portner\, "Everyone kind of rolled their eyes at that one. But Noah b rought the idea back [this time]. We talked about painting -- cubism\, Dad a\, these distorted ways of looking at things..." It's all there in Painti ng With: the sound of artists finding vivid new ways to shape their ideas and challenge their own conventions\, creating music that is at once start lingly fresh and still recognisably\, uniquely Animal Collective. ATTACH;FMTTYPE=image/jpeg:https://www.jointherevolution.net/wp-content/upl oads/2022/06/Animal-Collective-with-sham-1_square-posrt-1080x1080-1.png CATEGORIES:All Ages,Concerts LOCATION:Revolution Live\, 100 SW 3rd Ave.\, Fort Lauderdale\, FL\, 33312\, United States GEO:26.121358;-80.1461974 X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=100 SW 3rd Ave.\, Fort Laud erdale\, FL\, 33312\, United States;X-APPLE-RADIUS=100;X-TITLE=Revolution Live:geo:26.121358,-80.1461974 END:VEVENT BEGIN:VTIMEZONE TZID:America/New_York X-LIC-LOCATION:America/New_York BEGIN:DAYLIGHT DTSTART:20220313T030000 TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT END:DAYLIGHT END:VTIMEZONE END:VCALENDAR