Vicariously Through Me – Animal Collective

The thing about Animal Collective is it’s a labor of love. The subtleties of each song take time to pull out; though once out, the listener is transported to a place where harmony and melody follow rules not yet fully tested. This came to me after seeing “Blue Sky” for the first time (I purposely never listened to it online to get the new-song-concert-vibe from it.) Early on in the song I was lost with conflicting melodies, following the sample but trying to understand Avey’s lyricism as well. About half way through something clicked and the melodies met up in a disjunct beauty that grabbed hold of my body and transfixed my thoughts on the juxtaposed harmonies that seemingly caught up with one another, only to build through each other. This was only the fourth song of the set, a set that was delayed over a month, only allowing those who cared to build the anticipation up to the cathartic release that is known as Animal Collective.

We arrived at the venue a good hour before the doors opened, leaving me time to shoot the shit with the other hipsters in the line (the average age was quite low it seemed.) The inevitable CD vender walked up and tried to hawk me some of his tunes, in effect insulting me because I would not buy his 3$ EP without a preview, claiming collaborations with the likes of DOOM, Kweli, and … DMX? After I successfully rid myself of his entrepreneurial tendencies I was offered an edible from a homely looking dude (I questioned, then felt that there’s no trust left in the world and decided to gamble 5$.) The brownie was delicious and I got to chase it with a gigantic bag of sour patch kids being communally shared (The future is near.)

We got inside (the guy actually touched my bag o’ weed but didn’t do anything) to see some swanky little horseshoe booths. I already liked the Fonda as it was my first time visiting the venue. Democratically discussing our options, the group decided to walk upstairs to the stadium section and get some epic fucking seats right in front of the soundboard (I knew the clusterfuck downstairs wouldn’t be worth the body contact.) We marked our territory via jackets and walked outside on the roof to see the other amenities. The roof looked like the type of place where some jelled up mother fucker would smoothly try and bag a chick via 9$ drinks – I got a 21+ wristband only to find out that it was 7$ for what looked like an 8 oz beer (this is where the Fonda slowly started loosing my respect.)

After exploring the premises a bit it was time for Lucky Dragons to start off the night. These two got me thinking about what is experimental music. It seems that we’re slowly transitioning into the “praise of folly,” or an encapsulating heroic view of the awkward. You have to respect someone who can go against the grain and make something they feel powerful without consideration of an audience. I only heard two different songs, one based off a rattling wand and light swoons, while the other a more upbeat cymballed chant with cool looking half-coconut like twangy things (technical term appreciated if anyone knows.) Overall they lost the audience near the end of the first song, as we could audibly hear the conversation level rising.

After the ambient set of Lucky Dragons it was time for the Coachella bound eclectic rock n’ roll pop of Ariel Pink. I wasn’t really up to date with my Ariel Pink so I was just interested in seeing some antics (eco-fiendly bag included.) There were definitely some antics, first, Ariel came out in an all-black-skin-tight-bell-bottomed jumpsuit, and within the first two songs the keyboard lost power, leaving only 2/3 of the keyboards powered. Ariel decided to sit it and quit it, as he bantered to the crowd that it was the houses fault (I’d have to say it looked like it, but who knows, strike two Fonda.) Ariel’s backup band was ordinary looking kids who jammed to classic rifts, switching frequently to the whistle and screams of Ariel. Between songs I couldn’t understand if the inaudible ramblings were a purposeful segue way or a failed attempt to draw in the crowd. Overall the set started off with some bumps but finished on a high note as the anticipation only built with 20 minutes left until the main event.

The roof patio beckoned. I met some kids up there who were toting a pipe and ended up smoking out a group, including a couple over the age of 40 (I can only hope I’ll be like that.) The roof patio was surreal and all, but it was getting close to 11 and I knew the show was about to begin.

When the lights dimmed and the curtain raised all I remember seeing was their background lights and remembering how essential they were to the Pitchfork festival experience. The one problem with this show was the house lights (strike fucking three Fonda, you suck!). The beauty of an Animal Collective show is that there is no need for flashy lights, the 6 or something stand up lights they own can carry their own weight in the visual experience. Instead I was watching rotating cream savers and bright house lights (not only on the stage; they didn’t even turn out the overhead seating lights.) Safe to say I was disappointed, but the sound made up for it. They started the show off true to Merriweather Post Pavillion, blasting the crowd with the climactic “In the Flowers” and transitioning into “My Girls.” “Summertime Cloths” was melded into an raising hymn; releasing itself in one of the two best build-ups of the show (the melody and flow of that song never fails to amaze me.) Next came the metallic break beat beginnings to “Blue Sky,” churning up confusing melodies with vocal harmonization’s to meet somewhere between sublime and chaotic. Once the song stomped through the first half I had adjusted and realized the shear beauty that it contained. That followed with an improved version of “Slippi,” slapping to a harder beated bass, only to transition into the gentle cooing of “Guys Eyes,” the utmost ode to the body and soul. When the drum machine kicked on to provide the intro of “Fireworks” I knew I was in for a treat as the Collective extended the jam to encase an “Essplode“ing intro. The jam (Panda was tearing apart the floor drums and cymbals) was the perfect way to lead into the more upbeat anthems of “Brother Sport” and “Lion in a Coma.” The end of “Lion” signaled the band to go off stage and set up the anticipation for the encore (as I was excited to see older songs, I’d read of “Winter’s Love,” “Leafhouse,” and “Banshee Beat” all being dusted off to provide the closing remarks of their latest sets.) What followed was an encore to destroy all encores as they came back out and started a slow jam of guitar and soundbites to transition into a more downtempoed, drawn out “Banshee Beat.” This song holds all the raw emotions that Animal Collective can offer in a toned down, almost naked psalm. It was beautiful. The slowed beat transitioned into the crawling, pounding chant of “Comfy in Nautica.” Staying close to its roots, it was an entertaining middle song (I thought it was the last one) only to hear the vocal scales of “Leafhouse” climb into the picture. Not to diminish the experience into phonetical form, the ending screech of “KITTIES” closed the night in the most appropriate and orgasmic way.

For all that is to come, I praise Animal Collective for bringing LA a great show, I only wish I could be there tonight for the Troubadour.

Lucky Dragons

Ariel Pink

Animal Collective

Thanks