According to Amazon.com, Animal Collective will be releasing a new record on December 8th. Visits to Domino’s US site have turned up devoid of any information… so far. Presumably, this will end up as an E.P., given Amazon’s $11.38 and $9.98 price tags for vinyl and C.D. respectively.

Back in August, fan site Collected Animals posted that a new EP would be coming sometime this year with live tracks “From a Beach” and “Grace” making appearances on the EP.

UPDATE:

Avey Tare confirmed the EP during an interview with Pitchfork. Other topics discussed include a tour hiatus and their upcoming film.

Animal Collective – Fall Be Kind EP

Tracklist:
01. Graze
02. What Would I Want? Sky
03. Bleed
04. On a Highway
05. I Think I Can

Run time: 28 minutes
Label: Domino
Release Dates (unconfirmed):
-Digital: mid November
-CD/Vinyl: December 8th

UPDATE 2:

Artwork:

UPDATE 3:

Animal Collective are set to release the new five track studio EP, Fall Be Kind, on November 23rd 2009 (digitally) and 15th December (physically).

First Impressions gives you some insight into some of the most highly anticipated releases. This first piece was cooperatively written by Evan Kaloudis and Aidan Galea.

Scissor

“Scissor” opens with mournful backing vocals, that are reminiscent of a funeral choir. Lead vocals are then overlaid, “I found her with my scissor…” and the choir-like vocals slowly replaced with strings; not a quartet, but more of a lone cello and violin. Abruptly, the song shatters and all hell breaks loose, guitars run rampant, and the drums enter a stage of insanity.

No Barrier Fun

This track is more obvious, with the instrumentation being clear and distinct. The track revolves around a bass riff which could easily be mistaken for something on Beck’s Modern Guilt or The Good, the Bad and the Queen’s self-titled effort. However, over the bass riff is a very subtle oscillation of a looped delay pedal. Very jazz-like drums are introduced, with a lone violin interjecting at the end of the now recognisable bass line. It’s a very bare bones song in that regard. It’s one of the most immediate songs that Liars have ever made, but it still possesses their doom and gloom undertones, which, in this track, is conveyed mostly through the vocals, “I wanna make it up.” The bass riff continues over and over, through out the whole song, but it never grows tired.

Here Comes All The People

“Here Comes All The People” relies predominantly on the guitar, bass and drum formula that Liars have manipulated and distorted throughout their career, leaving room for strings in the bridge to rise maniacally. The menacing bass line teases and taunts, almost ensuring listener will be having nightmares the next time they sleep.

Drip

One of the more subtle tracks on Sisterworld, “Drip” begins with a dark ambience, of a lone piano note fading in-and-out over feedback and a single tom drum. Angus Andrew opts in, brooding incandescently, “Don’t you ever check me out, because I’m all alone.” The percussion gradually picks up, giving the track some speed, but “Drip” maintains static, until dispersed piano is overlaid, confirming the theme of paranoid mania that runs throughout the album.

Scarecrows On A Killer Slant

“Scarecrows On A Killer Slant” is an extremely up-tempo affair; a pure rock out. “Scarecrows” is the “Plaster Casts of Everything” equivalent of Sisterworld. While it may simply be three chords going back and forth, accompanied by a droning bass line of two notes, “Scarecrows On A Killer Slant” is almost hypnotic; a fuzzed out rock pendulum, swinging back and forth casting you under its spell.

I Still Can See An Outside World

Following the destructive path that “Scarecrows” set, “I Still Can See An Outside World” pulls the reigns, and slows down. Soft guitar flickers up and down, with all three Liars singing in unison, before bass becomes intermittent, and the distorted post-punk that was seen in “Scarecrows” returns. While not as fast paced, it’s still pleasant to hear Liars go into overdrive, even if it is short lived, as the song concludes, reprising the soft introduction.

Proud Evolution

“Proud Evolution” plunges into a delayed riff that one might expect the album to burst into a pop anthem. However, this is Liars we’re talking about here. The delay riff desists, and is replaced by a subtle bass riff and soothing vocals over a sustained chord. A rhythmic slice of drum and bass pleasantly break the tedium, creating the foundations of “Proud Evolution.” The ear candy that was the delayed riff in the introduction thankfully returns, as Andrew repeats beyond, “Proud Evolution/You Should Be Careful.” “Proud Evolution” is perhaps the most accessible Liars track to date.

Drop Dead

Perhaps one of the album’s weaker tracks, “Drop Dead” is a bit of a mess, with guitars and bass encountering in somewhat of a violent confrontation. It alludes to Liars earlier days of unorganised havoc. The classical aspects of the album which were very predominant in the earlier tracks make a subtle return, as strings softly compliment the traditional guitar, bass and drum combination. “Drop Dead,” interestingly enough, can speak volumes for the album, as while it is not particularly a stand-out track, it does emphasise the notion that the album is seemingly very short. Every track surpasses the three minute mark with ease, but as each song concludes, you sit back and wonder where it just went. It’s fleeting.

The Overachievers

“The Overachievers” can be described as dancing hand in hand with “Scarecrows on a Killer Slant,” as it increases the tempo, and makes use of simplistic, and almost shoegazing like guitar, to create that desired rock out. Lyrically, “The Overachievers” is perhaps the most interesting track of the entire album, being somewhat of a diatribe towards Los Angeles, with references to surfing in Malibu amongst other things. It’s catchy too, with an invigorating melody, followed by a reprise of shouty, “L.A. L.A.” being repeated over and over again. It’s definitely one of the album’s easier moments to absorb.

Goodnight Everything

It’s evident that Liars truly were monitoring the pace with Sisterworld. The fluctuation of fast paced songs followed by slower tracks is blatantly obvious, and it comes down to personal choice as to whether it is perceived as consistent or not. What should be noted, is that “Goodnight Everything” is deceiving. It reintroduces the classical instrumentation of the earlier parts of the album, with what almost sounds like a bassoon, beginning slow. However, in what is becoming expected within Sisterworld, “Goodnight Everything” evolves, with drums and a repetitive guitar riff working hand in hand to spark interest. The bassoon like sounds that resided in the songs introduction, become even more predominant during the rockier moments of the song, and just as quickly as it began, it’s over.

Too Much, Too Much

Closing track, “Too Much, Too Much,” is perhaps the most abstract moment of Sisterworld. While conventionally it subscribes to the album’s established criteria of employing distorted and delayed guitars, in association with classical instrumentation (in this case, the bassoon returns), it stands out as sounding the most optimistic, which can most likely be attributed to “Too Much, Too Much” residing within a major key. Although it is void of any predominant percussion, with only minor clicks and clacks hiding in the songs background, it’s the underlying synth line and vocals that truly make this song something special. It’s a delightful way to conclude, what is in essence, quite an astonishing experience.

Sisterworld is due out sometime in early 2010 via Mute.

via Chunklet:

Jerry Fuchs, drummer extraordinaire, illustrator par excellence, Chunklet contributor and rock solid friend, died last night. I’m still awaiting to get more news, but here’s what I know: Jerry was at a party in Brooklyn and fell down an elevator shaft. He was immediately rushed to the hospital where he was admitted in critical condition. Shortly after, he died in the early hours of Sunday, November 8 while an entire waiting room of friends were there for him.

As the new millennium started gearing up, there was a obvious reason why Jerry started playing with all the DFA-affiliated bands (The Juan Maclean, !!!, etc.) as time went on: He was an invaluable monster on the drums that could recreate those motorik-like disco beats and make it sound human. Goddamn, the hair on the back of my neck stands on end when I think about it. Recent years saw him reaffirm his roots in Athens as he became the incredibly propulsive backbone to Maserati after they gave their original drummer the boot. And man, again, watching Jerry perform was always a treat. ALWAYS.

Matthew & the Judes perform their songs, “Eight Lives Left” and “Some Day” for PSU Original Music’s Tunnel Tunes. Consider it a preview of their upcoming album A Happy Medium, coming soon.

Over two years ago, I was posting on the fansite of a band that I loved dearly, but realized that not many people on that board knew the other music that I loved. I thought about it for a while and decided to take advantage of new technologies and make podcasts (using Audacity) and upload them (using sites like YouSendIt and SendSpace) so that anyone could download them and find out about the bands and artists I was constantly discovering (or rediscovering in some cases). It caught on very quickly, and before I knew it, respectable members of the message board were tuning in hear what I had to share. This most recent edition wasn’t necessarily made for OneThirtyBPM, but I shared it with the editors here and they enjoyed it immensely. I hope you do too. Enjoy!

Editor’s note: Archive of older episodes and podcast feeds coming soon

MP3: The Colourful World of Music 16

#. Artist – title – album – label
1. Ducktails – Backyard – Ducktails – Not Not Fun
2. Pearl Harbor – Lost @ Sea – Calistonia Dreamin’ – self-released
3. Minutemen – Do You Want New Wave (Or Do You Want The Truth)? – Double Nickels on the Dime – SST
4. Zola Jesus – Clay Bodies – The Spoils – Sacred Bones
5. Carl Simmons – Scotty Guffy Things – Honeysuckle Tendrals – Sacred Bones
6. Nodzzz – In The City (Contact High) (Acoustic) – ??? – Yeti 7
8. Times New Viking – Move To California – Born Again Revisited – Matador
-me talking over Antonio Carlos Jobim loop-
9. The Walker Brothers – The Electrician – Nite Flights – Sony/BMG
10. Bastro – Recidivist – Sing The Troubled Beast/Bastro Diablo Guapo – Drag City
11. Dum Dum Girls – Brite Futures – ??? – Yeti 7 CD
12. Moon Duo – Love on the Sea – Love on the Sea 12″ – Sick Thirst
13. Wavves – Cool Jumper – ??? – ???
14. Pyramids with Nadja – An Angel Was Heard To Cry Over The City Of Rome – Pyramids with Nadja – Hydrahead
-me talking over Antonio Carlos Jobim loop-

Sisterworld, the follow up to 2007’s self-titled Liars album, was written and recorded in Los Angeles by Liars and Tom Biller (Kanye West, Beck, Where The Wild Things Are / Eternal Sunshine Of The Spotless Mind soundtracks). The album was recorded in Los Angeles and marks the first time that the group has recorded an album entirely in the USA since 2004’s They Were Wrong, So We Drowned.

Sisterworld tracklist
01. Scissor
02. No Barrier Fun
03. Here Comes All The People
04. Drip
05. Scarecrows On A Killer Slant
06. I Still Can See An Outside World
07. Proud Evolution
08. Drop Dead
09. The Overachievers
10. Goodnight Everything
11. Too Much, Too Much

Sisterworld is due out in 2010 on Mute.

Good or bad, everyone has an opinion about Michael Jackson, and the last decade has not been kind to his image or music, with much of the public’s attention being given to the former at the unfortunate expense of the latter. Prior to his sudden death in June, the King of Pop plotted a return to musical supremacy, booking a run of 50 dates at England’s O2 Arena, described as a final curtain call and given the sadly prophetic title This Is It.

Originally commissioned by Jackson for his own personal library, the footage shot for This Is It was never intended to be seen by the public. This is what sets apart this documentary from a typical planned concert film. The footage is raw and intimate, and has the effect of making you feel like you are there in person spying in on the rehearsals. The movie chronicles the entire production of the tour, down to the backstage rehearsals where Michael is giving his dancers tips how to move to certain beats. Because the filming wasn’t rehearsed, you get a lot of banter, emotions and an inside view of how the reclusive Jackson really works.

By far the most interesting parts of the movie were the backstage sessions Jackson had with his crew. We get to see a side of him we had never seen before previously. The scenes with Michael interacting with his dancers, band, and director show the singer to have a charming sense of humor. Conversely, these backstage sessions also give us a glimpse at what a perfectionist Jackson really was. Throughout the movie he is always at the front when it comes to making decisions. It really shows how much he cared about his music. There is a scene where they are working on “The Way You Make Me Feel,” and Michael keeps making the keyboardist go back to playing the intro until he gets it right. Michael replies, “The audience wants to hear it the way they originally heard it”. Perhaps what the film does best for Jackson is it highlights his humility and kindness. It is true that he is a perfectionist, and that he demands only the best out of his dancers and production crew, but he never asks anyone to do anything without adding, “with love” or “God bless.” Jackson takes on the role of the mentor, and it is evident how much he cares for his dancers and musicians. One scene in particular, where Jackson tells guitarist Orianthi Panagaris “this is your time to shine, and we will all be there with you,” shows how he pushes her to have her moment in the spotlight, even when the show is supposed to be about him.

The rest of the film shows Michael actually performing the songs. No lip-syncing was done, and all the vocal imperfections are left in. While Michael wasn’t always at his best (he points out several times that he’s saving his voice for the actual performances), he shines for most of it. From his beautiful crooning in “Human Nature” to his angry growl in “Smooth Criminal,” this footage proves that he still had it. Not only could he still sing, he moves like no other. While it’s true that Michael has been known to be frail in recent years, on stage he is astonishing. The setlist mostly consists of solo hits, with the exception of a medley of the Jackson 5 classics “I Want You Back,” “The Love You Save,” and “I’ll Be There.” Everything about this show was first-rate, from his band to his dancers to the impressive visuals in songs such as “Thriller” and “They Don’t Care About Us.”

The film ends with a touching group huddle where Jackson calls the crew family, and you can tell how much hard work he and his group put into the show. A lot of things have been said about Jackson over the years, but one thing that can’t be denied is what a caring and selfless person he is. We all knew how talented he was, and this movie only goes to further prove that, but what the movie really does is it gives us a rare glimpse of the man behind the mask.

I had never seen a stage so cluttered as that of the Barbican on the night the London Symphony Orchestra and Grizzly Bear collaborated. Before laying my eyes on the stage it hadn’t quite computed with me that we would be seeing the full orchestra on show. I had expected a stripped down affair, similar to Grizzly Bear’s performance with a string quartet on Letterman earlier this year. I was in for a lot more than I had bargained for.

The stage was so packed support act St. Vincent was forced into a tight area slightly off the centre of the stage and nearing the edge, leaving her little room to maneuver. Nevertheless she slid and writhed around to the music in the little space afforded. Annie Clark has been touring as St. Vincent all year. This happens to be the third time I’ve seen her, and she’s had a different setup each time. On the first occasion she was the sole figure on stage and provided a spellbinding performance in an intimate venue, the second time she was accompanied by a full band which packed more of a punch, but perhaps lost some of the elegance of the songs. This time she was accompanied by only one other musician, who switched between violin and guitar, and her trusty looping pedals. The stripped down arrangements of the songs were nice enough, but would have been more suited to a smaller venue; a lot of the atmosphere was lost in the cavernous theatre.

When it was time for the headline performance, the London Symphony Orchestra sidled on in orderly fashion, took up their positions, and patiently waited for the arrival of Grizzly Bear. The four young men shortly followed them on to the stage, sharply dressed for this special occasion and took up their positions, lined up across the front of the stage. The music began without a word and the orchestra instantly made themselves known, providing a bed of strings to back up “Easier,” the opening track from 2006’s Yellow House.

The surprising thing about the arrangements for the night is that they were generally quite subtle and only fortified what are already a very strong set of songs that Grizzly Bear have in their catalogue. Only on a few occasions did they really wrestle the attention away from the band. On the singles from Veckatimest “Two Weeks” and “While You Wait For The Others” the orchestra took a break and let Grizzly Bear play as they would on any other night, except accompanied by additional grand piano played by Nico Muhly, who also composed the orchestral arrangements for tonight’s show.

The band members themselves were all on exceptional form and in fine spirits. They seemed honoured to have been presented the opportunity but not awkward, they thanked everyone profusely and even joked about the fact that the crowd clapped too early at the finale of “Knife” meaning that the special orchestral ending had to be abandoned. Musically, the band were tight, particularly the singing, which each member played their part in. Lead-singer Edward Droste’s vocals never wavered in quality from the powerful “Central and Remote” to the delicate cover of The Crystals’ “He Hit Me.” The real star of the show though was Grizzly Bear’s exceptional drummer Christopher Bear. Even with dozens of other performers on the stage, the majority of the night my eyes were focused on him. Just as the conductor led the orchestra, Bear truly is the maestro in the Grizzly Bear live performance, keeping perfect time and incorporating fascinating rhythms into their performance without being superfluous.

The main set finished with a stirring performance of “I Live With You” which flowed brilliantly into the beautiful “Foreground.” The band exited the stage, but the orchestra remained in their seats, making it obvious that an encore was planned, and left me wondering why they even bothered to leave. It did mean that the crowd could could give them a standing ovation, which was deserved. The single song encore bookended the night neatly with Yellow House’s closing song “Colorado.”

Once the band left the stage for the final time, the crowd was free to spill out into the foyer of the Barbican and beyond, to gush about the virtuoso performance they had just witnessed, to compare notes about what worked and what didn’t, and to debate about which song was the highlight. On a night when nobody can have been entirely sure what to expect, Grizzly Bear can rest assured in the fact that nobody leaving the Barbican that night was left disappointed.

Set list:

Grizzly Bear

Easier
Cheerleader
Southern Point
Central and Remote
All We Ask
Knife
Fine For Now
Two Weeks
Dory
Ready Able
While You Wait For the Others
He Hit Me
I Live With You
Foreground
——————-
Colorado

St. Vincent

Marry Me
Jesus Saves, I Spend
Actor Out Of Work
Oh My God
Save Me From What I Want
The Party
Marrow
What Me Worry