i wonder what it must be like/to be on fire/and so hot/on fire
Even though I am a whore for apocalyptic visions of our civilization's future, I didn't watch the Earth 2100 thing on ABC because I think I was out and about at the time (or alternately at work) but the Panda Bear shoutbox on last.fm just alerted me to the final scene, the last two minutes of which was epically soundtracked with his Comfy In Nautica, which I've always thought sounds like an army of angels singing and setting off rockets so ...fitting, I guess. It's just funny, I guess when people say what kind of music I like I suppose I should just say the kind that is used in documentaries, because apparently that is very accurate.
I think what gets me about this album so much is exactly what Noah Lennox intended -- it feels like the summer sun. From what I heard, he started to work on this album after he moved to his wife's home country of Portugal, and wanted to recreate what it felt like to live there. I'm about to start my third summer listening to Person Pitch, and it just doesn't get old. The march of Comfy In Nautica into the skateboarding, subway noises, Scott Walker, and soft lapping guitar of Take Pills (i don't want for us to take pills/because we're stronger/and we dont need them).
And when it gets to the 5:30 mark as the Cat Stevens sample starts coming into Bros and the two movements and rhythms fight each other, I turn up the volume with my big Sony headphones and it is exactly like what it feels like when you are knocked off your board in the ocean and you are caught by two different currents, swirling and tumbling you about.
I'm Not echoes like waves in a swimming pool with Noah's odd choice of a mangled recording of Rose, liz, printemps, verdure (a 14th century French composition) and seems to radiate heat from your speaker. Good Girl/Carrots is the eleventh hour show, its three movements more subtly moving into each other, from the insane tabla dance party to the to the more straightforward jam in the middle to the final section which frankly sounds like wandering around stoned at 5 AM and finding Lee Scratch Perry in an old car in the middle of an empty lot blasting some dub reggae and Kraftwerk.
And then there's that moment in the dreamy Search For Delicious when softly the sound of sprinklers slides in. That is one of if not the most evocative moments in the album, and one you certainly don't realize at first. The first time I really noticed them had to have at least been a year after I got the album, and it hit me like a brick, that nostalgia of childhood summers and neighbor's lawns.
It closes with the simple Ponytail:
when my soul starts knowing
i am as i'd want to be
and
i know i never never will
stop caring
Check out this YouTube link, which features a bunch of what he samples for the album, and what he turned them into. And, if that doesn't impress you -- he has the voice of an angel and can play the drums like a motherfucker. (Go to an Animal Collective show sometime.)
I think what gets me about this album so much is exactly what Noah Lennox intended -- it feels like the summer sun. From what I heard, he started to work on this album after he moved to his wife's home country of Portugal, and wanted to recreate what it felt like to live there. I'm about to start my third summer listening to Person Pitch, and it just doesn't get old. The march of Comfy In Nautica into the skateboarding, subway noises, Scott Walker, and soft lapping guitar of Take Pills (i don't want for us to take pills/because we're stronger/and we dont need them).
And when it gets to the 5:30 mark as the Cat Stevens sample starts coming into Bros and the two movements and rhythms fight each other, I turn up the volume with my big Sony headphones and it is exactly like what it feels like when you are knocked off your board in the ocean and you are caught by two different currents, swirling and tumbling you about.
I'm Not echoes like waves in a swimming pool with Noah's odd choice of a mangled recording of Rose, liz, printemps, verdure (a 14th century French composition) and seems to radiate heat from your speaker. Good Girl/Carrots is the eleventh hour show, its three movements more subtly moving into each other, from the insane tabla dance party to the to the more straightforward jam in the middle to the final section which frankly sounds like wandering around stoned at 5 AM and finding Lee Scratch Perry in an old car in the middle of an empty lot blasting some dub reggae and Kraftwerk.
And then there's that moment in the dreamy Search For Delicious when softly the sound of sprinklers slides in. That is one of if not the most evocative moments in the album, and one you certainly don't realize at first. The first time I really noticed them had to have at least been a year after I got the album, and it hit me like a brick, that nostalgia of childhood summers and neighbor's lawns.
It closes with the simple Ponytail:
when my soul starts knowing
i am as i'd want to be
and
i know i never never will
stop caring
Check out this YouTube link, which features a bunch of what he samples for the album, and what he turned them into. And, if that doesn't impress you -- he has the voice of an angel and can play the drums like a motherfucker. (Go to an Animal Collective show sometime.)