Releasing a modern classic can be a blessing and a curse for an artist. Animal Collective, an immensely talented group of psych-pop musicians, released what many consider to be their magnum opus, Merriweather Post Pavilion, in 2009, becoming one of the most acclaimed albums of this generation.
For many (myself included), Merriweather Post Pavilion served as an introduction to the genius that is the works of Avey Tare, Panda Bear, Geologist, and (sometimes) Deakin, providing a degree of accessibility to their profound sound of experimental song structures and angelic vocals. Compared to their previous work, Merriweather Post Pavilion is a positively mainstream album, and skyrocketed the group to fame.
However, with the substantial acclaim for Meriweather Post Pavillion came massive expectations for any subsequent records they would release. The followup, 2011’s Centipede Hz, is, in my opinion, an album that fits nicely in with their eclectic discography, but it’s just not as good as Merriweather Post Pavilion. There was a collective sense of disappointment among fans of Animal Collective due to Centipede Hz not living up to their unreachable expectations.
With this disappointment came hyperbole—maybe Animal Collective had peaked and would only decline from then on. Similar to Centipede Hz, reception for Painting With has been lukewarm at best—against linking to the narrative that maybe Animal Collective have simply “lost it,” or “peaked.” Painting With might not be their best record but it is still an excellent record that is worth your time provided you haven’t already dismissed it.
Beginning with the bouncy single “FloriDada,” all the way until the excellent closing track “Recycle,” we are presented with an album that is fun and lighthearted but ultimately immensely well put together. As is signature for Animal Collective and each member’s solo work, it’s difficult to find a single sound out of place on this record. Each track is loopy, sparkly and distinctly chaotic sounding—there’s a lot coming at you, with energetic, overlapping vocals by both Panda Bear and Avey Tare combining with unusual synths, drums and samples.
While seemingly chaotic at first, the more you listen to each track the more they begin to make sense, which is the best part of listening to Animal Collective’s music. They have the unique ability to craft songs that are seemingly absurd and chaotic at first listen, but gradually evolve into eye-opening examples of the possibilities of music in today’s electronically saturated world.
One of the most immediate, striking aspects of Painting With has to be how joyous it sounds. Similar to their magnificent 2004 record Sung Tongs, every song on the record works as a celebration of life of youth and of sound, and why shouldn’t it? All three participants are nearing their 40s at this point, and while they’ve allegedly grown apart over the years, there’s no denying they share a unique chemistry that allows them to get together and actually enjoy making music as they so evidently are on Painting With. It almost seems like within the indie/alternative/underground music scenes it’s a prerequisite to be unhappy—when something like Painting With comes along, with its joyous, colourful collection of tunes, a lot of people don’t know how to react, particularly when it’s coming from a band that is allegedly already “past it.”
If you give it time, Painting With is an eye-opening wave of positive energy—something I think many of us need once in a while.
