Tag Archives: Avey Tare

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Animal Collective Stretch the Limits at Brooklyn Steel on Tuesday

May 24th, 2017

Animal Collective – Brooklyn Steel – May 23, 2017


We have arrived at the stage where there is absolutely no telling what you’re going to get at an Animal Collective show. Essentially, they are the computer-generation equivalent of the Grateful Dead and Phish when it comes to live-performance unpredictability. Impulse and whim stir together with rote knowledge of every song in their nearly 15 years of recordings that have traveled through woods and rocketed into the space age. Their familiarity with one another’s moves from playing on- and offstage is such that the holy triumvirate of Avey Tare, Panda Bear and Geologist can wander off trail to blaze another, then find their way back without a compass. The collective experience akin to being tugged into velvet, open-lake waters, a first time water skier on their rippling currents of electronic sound.

Last night, Animal Collective swam about the confines of Brooklyn Steel like betas in a fish bowl, stretching the limits. Releasing a deluge of strawberry electro jams that oozed outward like they’d been left out in the sun, the band treated the opportunity as kids would a new neighborhood playground, sonically leaping and bounding and beckoning others to join in the frolicking. Over the course of the run of shows since releasing last year’s Painting With, it’s been each member at his control station of sound backed by a drummer. The character of their live performances, without fourth member Deakin, has then taken on the more cubic and elastic tone of Painting With, which didn’t feature Deakin.

From the quicksand of cosmic slop Animal Collective create emerged the type A–personality bounce of “FloriDada” and “Hocus Pocus,” and staying in that key, the wild bunch stretched out their legs on the subsequent The Painters EP by hurling “Peacemaker” into the room to bounce about in a manner resembling Atari’s Breakout. Avey Tare and Panda Bear’s vocal interplay formed a snake dance on “Lying in the Grass” before the gang took us back to older fare like “Summertime Clothes” and “Guys Eyes.” Songs melted into one another as an up-tempo trance-hop version of “Bees” spread over the sizeable room. On some of the set’s jumpier tunes, Tare came forth to dance loosely along with his animalistic vocal calls. When Animal Collective returned for the encore, it was to extend the evening for as long as they could hold their breath under their water world of experiments. Thanking friends and family for coming out to see them at a new playground, the band plunged back in, to the delight of all. On this night, Brooklyn Steel was where the wild things were. —Charles Steinberg | @Challyolly

Photos courtesy of Charles Steinberg | charlesosteinberg.com

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Animal Collective Deliver in Spectacular Form at Terminal 5

November 3rd, 2016

Animal Collective – Terminal 5 – November 2, 2016

Animal Collective – Terminal 5 – November 2, 2016
There’s only one thing that could have competed with the Cubs finally winning the World Series (in extra innings of the seventh game, no less) last night and that was seeing Animal Collective do a serious deep dive at Terminal 5. For one thing, there’s the instinctively staggered vocal interplay between Avey Tare and Panda Bear, whose bird calls from an alternate universe boomerang in and out of one another’s in transfixing patterns. For another, there’s the fortitude of recreating and reshaping their recorded material with peerless imagination—and there are like nine other things that leave you speechless, a happy party to the wild rumpus that gradually builds into a human wave.

Terminal 5 turned into an aquarium of the rolling, swimming Animal Collective faithful last night, an ideal setting for the almost unfathomable set that drew broadly from their discography of distinct aural treasures now 13 years in the making. The wonderfully wacky impressionist art onstage immediately let you know who you were there to see, and older songs from masterpiece albums like Sung Tongs, Feels and Merriweather Post Pavilion filtered in to the set list. It all played like a warped journey into the group’s projected creativity, marvelous departures that danced and floated like a laundry line of sheets in the winds of their fancy. Particularly entrancing were long, winding plays of “Loch Raven,” which sent all into dreamland, and an electro-dub-warped variation of the originally acoustic “Kids on Holiday.” It’s really up in the air with a live Animal Collective set: There’s no telling from which corner of an album or obscure EP they’ll pull a song to play—or how the version will unfold and materialize.

The crowd was putty in Animal Collective’s hands by the time “FloriDada” hopped into the fold, sheets of vibrant light momentarily revealing a sea of swirling bodies. Through an expansive and extended performance, Avey Tare was the vocal intermediary, periodically checking in and engaging with playful banter. And when the band answered the enthusiastic roar for an encore, he let out a giggle of surprise and humility at the prolonged cheers. He, Geologist and Panda Bear delivered in spectacular form. Only when experiencing a show so voluminous do you recognize how much it transcends ordinary concert experiences. Expectations were toyed with and convention scattered like puzzle pieces and then placed in new order to reveal the land of their design, where colors and characters are at once deceptive and familiar. —Charles Steinberg | @Challyolly

Photos courtesy of Charles Steinberg | charlesosteinberg.com

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Spend 4/20 with Prince Rama at Rough Trade NYC

April 20th, 2016

Sisters Taraka (vocals, guitar and keys) and Nimai Larson (drums and vocals) formed Prince Rama nine years ago, making tribal, lo-fi psychedelic dance pop—and getting discovered by Animal Collective’s Avey Tare in the process. The band has fluctuated between a duo and a trio, with the Larsons now joined by Ryan Sciaino (guitar and synths). Prince Rama (above, performing “Now Is the Time of Emotion” for the Wild Honey Pie) have gone a little less experimental on their most recent release, the extreme-sports-influenced Xtreme Now (stream it below). PopMatters calls it “fun, inventive and exciting in a way that independent music rarely is in 2016.” They keep it local to play Rough Trade NYC tonight. And Pictureplane opens the show.

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No Reason to Fear Avey Tare’s Slasher Flicks at The Bowery Ballroom

April 22nd, 2014

Avey Tare’s Slasher Flicks – The Bowery Ballroom – April, 21, 2014

(Photo: Jeremy Ross)

(Photo: Jeremy Ross)

With a band name like Avey Tare’s Slasher Flicks, you’d figure the music would be weird and spooky. And what do you know, their sold-out show last night at The Bowery Ballroom was indeed just that. The spookiness was mostly provided by the stage setup, which included oversized skulls, like leftover Halloween decorations. These were lit with colorful projections to a somewhat trippy effect while the band remained cloaked in the dark shadows between them, virtually invisible to the crowd. The weird was provided by the music, played by Tare (Dave Portner), from Animal Collective, on guitar and vocals, Angel Deradoorian, formerly of Dirty Projectors, on keyboards and vocals, and Jeremy Hyman, formerly of Ponytail, on drums. The set list was mainly comprised of material from the trio’s lone album, Enter the Slasher House—songs that combine the aesthetics of the member’s musical roots.

As the set began, the music seemed to resist melody altogether, feeling almost like a collage of sounds and lyrics. With Deradoorian and Portner pushing the boundary between an almost doo-wop-y pop and free-form psychedelic, it was Hyman who became the focus, his drumming added to the chaos while controlling it and reining it in. Eventually, the show found its groove without sacrificing its quirky, rotated feel. The Billy Joel–on-acid sound made way for a Blondie-cracked-open-and-scrambled disco feel, with Deradoorian filling in with pulsing basslines on her synthesizer. It was like your eyes getting acclimated to the dark, finally seeing the details of the musicians lurking between the skulls and hearing the music they made for what it was. And as it turns out, the Slasher Flicks are nothing to be afraid of. —A. Stein

 

 

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A Night of Remembrance and Electronic Music

September 13th, 2010

pandabear

Panda Bear – The Beach at Governors Island – September 11, 2010

Earlier this month, Brooklyn Vegan interviewed Noah Lennox—known as Panda Bear and a core member of Animal Collective. Asked about September 11th, he recounted how on that day a woman informed him that the subway wasn’t running and pointed toward the sky where he could see a big pillar of smoke and the buildings on fire. To this day, the images and memories connected to that date are saddening and surreal. It’s difficult to remember how the city and its culture differed before the tragedy. However, with two luminous beams known as the Tribute in Light standing in the place of the towers, the city’s landscape is undeniably transformed, though a change in its people is more nuanced and complex.

For that reason, a fantastic lineup of experimental electronic musicians can play a seemingly perfect show at The Beach at Governors Island while underlying emotions cloud the experience. On Saturday night, fellow Animal Collective member Avey Tare opened with a DJ set followed by psychedelic bands Teengirl Fantasy and Gala Drop. Gala Drop, a relatively unknown group from Lisbon, where Lennox currently lives, opened at his request. The quartet’s trans-like jams were well received from those crowded around the stage. And the atmosphere they created was built upon and transformed when Panda Bear took the stage with a guitar-keys-and-sampler setup.

Lennox, known for sets that blend together old and new songs, played selections from his critically acclaimed third album, Person Pitch, like “Ponytail” and “Comfy in Nautica,” along with tracks from his forthcoming album, Tomboy. He also melded Animal Collective’s frantic “Guys Eyes” into a more mellow and melodic guitar-based version, which delighted the many AnCo fans in attendance. The set was beautifully constructed and the sound adapted to the large, outdoor space extraordinarily well. But, as the show came to a close and the crowd boarded ferries back to Manhattan, the sight of the Tribute of Light served as a powerful notice of what the day means. A beautiful late-summer concert reminded us that our experience of the present is colored and informed by remembrance of the past. —Jared Levy