homsar_rb's Last.fm Journal

Album: Tunng - ...And Then We Saw Land

Tue, 2 Mar 2010 22:47:51 +0000

Tunng
...And Then We Saw Land
(Full Time Hobby)

Tunng’s fourth album sees them operating as a full five-piece band rather than simply the personal project of Mike Lindsay and the now-departed Sam Genders Thinking cynically, this could be an attempt to finally shake off the ‘folktronica’ tag, a tiresome label which presumably gets as much welcome as a one-star review to the bands lumped with it. But of course, that’s not the case (though it might be a nice side-effect): this is a natural evolution, and it’s yielded some joyous results.

‘...And Then We Saw Land’ is by far Tunng’s most accessible work yet, its bigger scope allowing Lindsay’s ear for melody to take centre stage. In ‘Hustle’ they have their first radio-friendly hit, a cute shuffle flavoured with banjos and African-flavoured percussion (they’ve clearly been taking some notes since touring with members Tinariwen last year). Elsewhere they take their trademarks of delicate fingerpicked guitar and nature imagery and apply them to their most memorable tunes yet.

But this is by no means a reluctant bid for commercial appeal. It is a shame to see a curtail of the liberal use of samples and electronics which made their earlier albums so distinctive - the bleepy refrains which make up the second half of the album will be greeted warmly by their fans – but the songwriting is stronger than ever and the fact the band has been fleshed out never compromises the songs’ intimacy. There’s none of the grating filler that 2007’s Good Arrows suffered. “Don’t look down or back” sings the 15-person ‘Mega Chorus’ of mates on the epic track of the same name. It’s a philosophy that the confident and fully-formed Tunng of this fine fourth album clearly shares.

4/5

Top 10 gigs of 2009

Thu, 24 Dec 2009 01:08:41 +0000

1. Monsters of Folk - Cardiff Coal Exchange, 16 November
This extraordinary supergroup of Conor Oberst, M. Ward, Mike Mogis and Jim James made absolute no pretensions to modesty: they delivered a 3-hour set spanning all members' back catalogues, with plenty of inter-band in-jokes and rock posing. But the four of them are so ridiculously talented, the pomp is instantly forgiven. For fans of any of the three bands making up tonight's feast, it was excellent. For a fan of all of them, it was unforgettable. (review)

2. The Mountain Goats - London Queen Elizabeth Hall, 10 October
John Darnielle is one of the most captivating, enigmatic and inspiring performers in indie-rock. he's friendly and frequently hilarious, but the energy and passion when he sings and attacks his guitar makes him almost intimidating. This was a long and emotional show, climaxing with a clutch of intensely personal songs from his latest, 'The Life Of The World To Come'. Just him and a guitar or piano - though the immortal line, "Hi, we're The Mountain Goats" remains - Darnielle made this large show as intimate and beautiful as ever.

3. Animal Collecitve - Bristol Trinity, Sunday 22 March
The omens weren't good. The support band is a tiresome semi-ironic ukelele act, and Animal Collective's set is interrupted by a power shortage during first song 'Guys Eyes'. But everyone trusts them to deliver, and they turn their fortunes around effortlessly. The sound is perfect, and allows them to fill the Trinity with blissful waves of noise. And there's none of the standing-with-arms folded you might expect: 'Brothersport' sends everyone into dancing fits. Yep, even the hipsters. (photo from their previous show in Bristol, 2007)

4. St. Vincent - Bristol Thekla, Monday 6 July
St Vincent's magnificent 2009 album 'Actor' made its impact through its dramatic, unusual and frequently beautiful arrangements, and when Annie clark is joined by a full band, she somehow translates them perefctly to a live setting. And that voice loses absolutely none of its deceptive prettiness and power.

5. Bill Callahan - Bristol Thekla, Wednesday 26 August
Bill Callahan is one of an elite group (alongside Low and Mark Kozelek) who has earnt the right to be professionally miserable. This show, which focused mostly on devastating new album 'Sometimes I Wish We Were An Eagle' alongside some Smog classics and his knockout, tearjerking Kath Bloom cover 'The Breeze', was only further proof of his unmistakeable knack for getting us all down.

6. Grizzly Bear - Bristol Anson Rooms, 6 November
'Veckatimest' was one of the most impeccably detailed, meticulously-pieced-together albums of 2009, and Grizzly Bear's live show managed to live up to this reputation. This show in Bristol's Anson Rooms was enchanting - their ultra-close harmonies instantly wiped away any negative vibes from the usually-sterile venue.

7. Dirty Projectors - Bestival, Saturday 12 September
Much like Grizzly Bear, Dirty Projectors are unabashedly fussy both on record and live. The girls' backing vocals, the intricately off-kilter guitar lines were all present and correct in this cosy mid-afternoon slot, and they were matched with an impressive energy and, in Dave Longstreth, an almost scarily intense stage presence. (photos)

8. múm - Brighton Loop Festival, Sunday 12 July
múm's latest album lacked the boundless originality which made 2007's 'Go Go Smear The Poison Ivy', but their live show was an absolute revelation. Cute and quirky but technically impressive, they radiate a unique type of cosy warmth. They look like they're having the time of their lives on stage too, which is refreshing when the standard for bands of their quiet ilk is strictly static poses and concentrated-looking frowns. (photos)

9. Kraftwerk - Bestival, Saturday 12 September
Whatever it is, Kraftwerk still have it. Only one original member remains, but what the hey, this is pure retro-futurist escapism. The awesome robotics and projections of crappy '80s computers may suggest a resort to gimmickry and nostalgia, but the songs remain stunning and - for a band whose vision of the future should have been oudated a long, long time ago - timeless. (photos)

10. Wild Beasts - Bristol Louisiana, Thursday 19 February
A very quick turnaround for these guys. After a solid debut album in 2008, this show was the first we got to hear of this year's 'Two Dancers'. Looking already more confident, tight and focused, this intimate show whetted appetites a treat. (photos)

More dewey-eyed end-of-year reminiscing:
Top 10 albums of 2009
Top 10 gigs of 2008
Top 10 gigs of 2007

Live review: Fionn Regan

Fri, 13 Nov 2009 00:31:55 +0000

Fionn Regan
(support and backing band: Danny and the Champions of the World)
Clwb Ifor Bach, Thursday 12 November 2009

Fionn Regan, despite a long absence of late, is still revered for his sparse, isolated and beautiful folk songs. So it's nervewracking when we find out he'll be backed by a full band, Danny and Champions of the World, whose support slot of unremarkable folk-rock has all the subltety of a sledgehammer.

Fionn's set tonight in this suitably cosy venue opens with a rollicking new track, and it's immediately clear he fancies a bit of a shake-up (and a shakedown). Much of the songs presumably from his forthcoming album 'Shadow Of An Empire' are loud and bluesy, with some moments of genuine gutsy power. One particularly impressive track sees him let out a howl which didn't even seem possible from a man whose voice rarely rises above a hushed drawl.

But that's also his main problem: Danny and his Champions just can't do justice to the much-loved ballads from his 2006 debut 'The End Of History'. Perhaps this is just a Dylan-at-Woodstock grumble, but it's painful to watch a heartwrenching and delicate song like 'The Underwood Typewriter' get transformed into pub-rock halfway through. A jaw-dropping solo rendition of 'Put A Penny In The Slot' only serves a wistful reminder of how powerful he can be when left all alone.

All this is by no means justification to shout "Judas!" whenever he dares to use electricity, but for Fionn and his often fragile songs, it seems a shame to ignore the reality that less is very often more.

Photo taken in Bristol in 2007. More at my Flickr page.

Live review: Swn Festival 2009

Mon, 2 Nov 2009 22:11:28 +0000

Thursday

Them Squirrels
Far too immersed in geekily fiddling with samples to work on their stage banter (the show begins after the bassist has checked his phone), Cardiff locals Them Squirrels nevertheless impress with their ability to invent and confuse. Their 30-minute set is packed with vocal quirks, like chopping up samples of themselves whooping and sucking their microphones and opening a song with the drummer repeatedly slapping his mouth, sometimes recalling the impact Wild Beasts' eccentricism first made. The music's varied too, with second track 'Daddy Long Legs' built around an 'Odelay'-esque riff, and the final song concluding with an awesome freakout. In spite of their lack of overt charisma, it's truly charming and surprising. They're worth keeping an eye on, especially since they're bound to reach their potential to match their creative energy with some truly great tunes soon.

Zwolf
Arriving at Clwb Ifor Bach early in the evening, us milling punters are politely told to go upstairs for some light, time-killing entertainment while they set up the next act. What we get is thankfully nothing of the sort. The room is shrouded in smoke, the projectors are showing creepy diagrams of babies and Zwolf is pumping out dark but pulsating electronica. The vocals range from Zwolf's own vocodered contributions to full live remixes, occasionally lulling us into ambience before unleashing more menacing electro.

Totally Enormous Extinct Dinosaurs
"Good evening, I'm Totally Enormous Extinct Dinosaurs, this is your rave for 8 in the evening", announces our host as he takes his place behind his table of laptops and samplers in full dinosaur garb. Staying true to tonight's template, he delivers a solid set of electro. His samples are diverse and perhaps divisive - the little flicker of 'Big Pimpin'' brings smiles all round, the second half of the set's deterioration into dated eurodance probably doesn't. Extra marks for use of party streamers and, well, being dressed in a dinosaur costume, but his visible frustration at being unable to turn a half-empty room into a full rave ("I'd really like it a lot if someone danced. With their right leg.") seems to sour the experience a little. After all, there's not much point blaming an intigued early-evening festival audience for the lack of shape-throwing.

Drums Of Death
After a (superb) evening of one-man electronica acts in comedy outfits, Clwb Ifor Bach headliners Drums of Death feels like the end-of-level boss as he walks on stage in genuinely terrifying silent-movie horror makeup. Despite (or because of) his fearsome appearance and slightly intimidating wanderings into the crowd, his set is hugely enjoyable, and it's hard to tell he's jetlagged and 'not himself' until he mentions it. Once again he faces a largely unresponsive crowd for a headliner, so it's hard to tell if he's angry at them or just angry in general. His showmanship once he leaves his table and takes to the stage is nevertheless superb, clearly a potent combination of his own eccentricty and his time spent collaborating with the similarly extravagant Peaches. Perhaps belying expectations from the Nosferatu-in-a-hoodie appearance, too, is a great sense of melody, rounding off a terrific end to day one.

Saturday

Talons
Talons' two violinists and two guitars take to the stage in a line, saying little but making a restless but impeccably precise racket. From the first few notes it's clear this Hereford outfit are in thrall to 65daysofstatic and other instrumental bands who eschew the classic quiet-loud-quiet post-rock template in favour of something more urgent: with a couple of twinkly exceptions, it's pretty much loud-loud-loud for thirty minutes. Luckily they are all hugely talented musicians and weave some excellent guitarwork into the noise. When they do calm down, they reveal their delicate violin lines (they are barely audible when the band are in full swing), hinting that amongst the chaos there's some true beauty to be found. Intensely powerful yet only just about to release their first single, we're left with the exciting thought of what they might achieve next.

The Twilight Sad
Though they're part of an emerging elite of Scottish hyper-emotional indie bands alongside Frightened Rabbit and We Were Promised Jetpacks (who pull out at the last minute tonight), there's something really special about The Twilight Sad. Judging by their performance tonight, it seems that nothing - especially not playing miles away from the rest of Swn festival to a half-empty room - can stop The Twilight Sad's live show from being one of the most epic and powerful live experiences offered in Britain right now. The Kevin Shieldsian tremolo guitar-playing stirs up an immersive sound, but it's the inimitable stage presence of singer James Graham that truly sets them apart. In between bellowing his enigmatic but powerful lyrics, he skulks around the stage, occasionally kneeling down and staring into space with an unreadable expression. He has us all in his grip, and it becomes easy to understand why the two superfans here are punching the air and religiously singing along to every word. Shame, then, that more people aren't here to be converted.

Sunday

Super Tennis
This angular trio are by far the best of a noisy afternoon line-up upstairs at The Model Inn. Weaving hyperactive guitar, bass and drum lines in with their shared shouty vocals, Super Tennis make an impressive racket (excuse the pun). The band also look like they're actually having fun on stage - a refreshing sight in when we're so used to shy shufflers and moody scenesters - and their stage talk can rightfully earn the label 'banter'. Considering the band on before them end their set with a bad Green Day cover, they're a reward for anyone venturing out here for a new discovery.

The Leisure Society
There's a lot of love in the tiny room holding Brighton eight-piece The Leisure Society tonight. The usual crowd of ironically-attired hipsters is nowhere to be seen, replaced by an unusual amount of couples. "You're a really nice group of people," says frontman Nick Hemming. "Let's swap numbers at the end. It'll be really complicated but rewarding. Like sex." If this all sounds dangerously nice, The Leisure Society counter the slushiness with some outstanding indie-folk songcraft and beautiful instrumentation. Mike Siddell (formerly of Hope Of The States) helps channel the spirit of classic British folk with some mean fiddle-playing, as well as contributing to the lush background of strings and woodwind which helps the likes of 'Love's Enormous Wings' and the heartbreaking 'The Last Of The Melting Snow'. A warm atmosphere and gentle but powerful folk songs: that love is fully justified.

Written for Epigram
More photos at my Flickr page

Album review: Yo La Tengo - Popular Songs

Thu, 3 Sep 2009 21:06:51 +0000

Yo La Tengo
Popular Songs
(Matador)

As Yo La Tengo reach their sixteenth album and twenty-fifth year, the end seems nigh. Not in the usual sense of fizzling out into indie-rock old age, though: they appear to be cramming so many ideas and styles into their recent albums as possible, seemingly in preparation for some kind of implosion. Gone is the uniform sedateness of previous albums And Then Nothing Turned Itself Inside Out or the relaxed vibes of Summer Sun. Their recent work (not including this year's fuzzy covers record as the Condo Fucks) has been borderline schizophrenic.

'Popular Songs', like its better-named predecessor I Am Not Afraid Of You And I Will Beat Your Ass, could be mistaken for a mixtape were it not for Ira Kaplan and Georgia Hubley's trademark breathy vocals. As ever, Yo La Tengo's music nerd credentials are paraded about through the variety of loving homages. 'Periodically Double Or Triple' - the first mp3 released from the album - is possibly the first YLT song that could ever be labelled 'boogie', with its bluesy rhythm and 'Green Onions' organs. Elsewhere, 'If It's True' is a note-perfect Motown pastiche, and also the most adorable duet they have ever recorded.

The true highlights of 'Popular Songs' come when the band match their magpie tendencies with master songwriting and atmosphere-building. Opener 'Here To Fall' is all '70s soul strings, paired up with one of their finest songs in years. Ira kieeps an epic song understated through his soft vocals, whispering the comforting but dark, "I know you're worried/I'm worried too/But if you're ready/I'm here to fall with you" while the stirring strings and keys bubble away. The later instrumental tracks - notably the stunning 'The Fireside' which is reminiscent of their gorgeous film soundtracks - also do a fine job of creating a diverse range of moods, though why the album ends with three epics of nine, eleven and sixteen minutes is anyone's guess.

Still, even with a draging end and a tendency for thievery, Yo La Tengo continue to avoid any kind of saminess, even as they hit their silver jubilee. These songs may sometimes resemble pastiches and parodies, but who wouldn't want them to create twelve new pigeonholes rather than comfortably curl up in one?

4/5

Available to stream at NPR
Yo La Tengo live photos at my Flickr page

Album review: The Fiery Furnaces - I'm Going Away

Mon, 13 Jul 2009 23:02:34 +0000

The Fiery Furnaces
I'm Going Away
(Thrill Jockey)

The Fiery Furnaces have so far built a career out of suprising people. Their 2004 magnum opus Blueberry Boat was a sprawling, beautiful and occasionally terrifying masterwork, with half the songs over 10 minutes long and divided into short sections which would shift entirely with no notice. They followed it with an album recorded with Matthew and Eleanor Friedberger's grandmother, 80-year-old Olga Sarantos, and the eccentricity and unpredictability (which often translsates into genuinely original music) has since become their defining characteristic.

So much so, then, that one of the biggest shocks they have delivered so far is putting out an album of relatively straightforward "'70s piano pop" (their words), with no grandmothers or ludicrously complicated storylines in sight. Clearly this will cause anxious ripples amongst their fanbase, but 'I'm Going Away' both flirts with mainstream success and works hard to cement their reputation as master songwriters of catchy and - yes - unpredictable pop songs.

It's an album of piano ballads, seemingly using one of their most memorable songs - 'Evergreen', from their stunning 2005 collection EP - as a template. They are short and accessible, yet manage to mostly be as thrilling as their any of their prog explorations. 'Keep Me In Dark', a triumphant jam built around menacing riffs from the piano and Matthew's beloved wah-wah guitar, disintegrating into a disjointed but beautiful instrumental breakdown. 'The End Is Near' - tantalisingly released as an entry-point mp3 a month ago - is another highlight, a slow-burner which sounds best enjoyed in a smokey underground jazz club, cigarette in hand.

Matt and Eleanor continue to populate their songs with a colourful cast - 'Charmaine Champagne' ("She'll sing you the squarest thing on the jukebox") and 'Ray Bouvier' continue Eleanor's talent for wonderfully enigmatic character studies. There's still an abundance of playful lyrics and musical u-turns for fans to fall in love with again, but there's no need for any further comparisons to their previous work: 'I'm Going Away' stands alone as a finely crafted and original pop album, which will surely be one of the best surprises of the year.

4 stars
(originally published at God Is In The TV)

Live review: Jeffrey Lewis & The Junkyard

Tue, 5 May 2009 21:53:06 +0000

Mon 27 Apr – Jeffrey Lewis & The Junkyard
Bristol Thekla

Despite being known mostly for lazily-strummed folk songs, Jeffrey Lewis has some of the strongest punk credentials in music today. Everything he does is executed with an admirable DIY spirit, right down to the sleeping arrangements: as he explains in one of his superb comic books on sale at the merch stand, he'll be trading a faceless hotel room for a kind fan's floor tonight.

Tonight, backed by his band The Junkyard which includes his brother Jack, he indulges his inner punk. He treats us to two folked-up versions of songs by Essex anarcho-punk band Crass (one hardcore Crass fan, waiting patiently at the side of the stage, is visibly overjoyed when the first one arrives halfway through), and his encore is mostly comprised of shoutier cuts from his two most recent, full-band albums, like call-and-response classic 'They Always Knew'. Rarely does he remove his trusty acoustic guitar - he'd rather mangle it through pedals to achieve those noisy riffs than go (fully) electric.

When he does take off the guitar, he picks up a giant, dog-eared comic book. The audience goes wild - this little storytelling corner is the most anticipated section of his live-shows, where his skills as cartoonist and singer-songwriter merge. Tonight he weaves the history of 20th Century Korea through cute cartoons. It's impressively accurate and unbiased, at least until he starts imagining Kim Jong-il being beaten up by his father's tumour. It gets a laugh, of course, but take it out and we'll be able to add 'historian' to Lewis' enviable list of talents.

Interview: The Thermals

Sun, 3 May 2009 08:58:04 +0000

Portland, Oregon trio The Thermals returned in April with their fourth album of punchy DIY indie-rock, Now We Can See. Having swapped labels and drummers since their 2006 breakthrough The Body, The Blood, The Machine, singer Hutch Harris talks about where they’re heading next.

As we speak, you’re in the period where you’ve recorded a new album but it’s not out for a good three months. Does the wait get frustrating? Are you excited about people hearing it?
It is incredibly frustrating, yes! It's the worst time I think for a musician, the time between completion and release of a piece of work. Your mind goes back and forth so many times between knowing people will love and it fearing people will hate it, it's quite dizzying.

Your last album had a confrontational mood, making several stabs at organised religion and the state of America. With the election of Obama, does the new record reflect more hopeful times?
Kind of. You have to know all the lyrics were written and recorded before the election, so in a terrifying alternate reality, this record is the soundtrack to the first four years of the McCain/Palin administration. Shudder to think! I did, however, write the lyrics thinking that a change was coming to the US. Thankfully I was right, as usual!

You’ve moved from Sub Pop Records in Seattle to Kill Rock Stars in Portland. Does it feel good to go back home?
It is a new home for us, but one that we like very much, so far.

You said in an interview last year that you switched because you wanted to do things yourselves. Now the record’s coming out, has the new label enabled you to do this?
We did get to do everything we wanted to do on Sub Pop, creatively at least. We always had full creative control at Sub Pop, and we have it now at Kill Rock Stars. We wouldn't have it any other way.

How does a typical Thermals song come together? Has your songwriting method changed for the new record?
I write on an acoustic at home, bring some riffs to Kathy. We try different arrangements, then record demos on cassette machines. I then tear my hair out writing and rewriting the lyrics for months on end.

Your next visit to the UK finds you supporting The Cribs again (with a few headlining shows). You guys must be pretty good friends now. What made you choose this instead of a full headlining tour?
Love those guys, we were just hanging out in Portland before we came over for this trip. We're supporting them instead of doing a headlining trip because our record isn't coming out for two more months still. If we weren't over here to play with them we wouldn't be here at all right now, we'd be waiting to come headline once the record is out here.

Do you find British audiences react differently to your performances from American ones?
They say things like "jolly good" and "bloody brilliant", and eat fish and chips while we play. At home, everyone is shouting stuff like "killer, dude!" and watching Nascar on TV in between songs.

You’ve developed a very distinctive album-art style of DIY collages. Do you feel it’s important for your artwork to reflect the music?
Totally, we like the music and art to work together, to complete each other. We always want the artwork to describe and compliment the record.

The video for A Pillar Of Salt is one of my personal favourites. How did the idea for that come about and was it difficult to make?
It was the director [Whitey McConaughy]’s idea. It was difficult for him to make, he built that room himself! All we had to do was jump around, wear dresses with no underwear, have pillow fights, etc.

Can you give us an update on the Thermals dolls [which the band posted on their website last year]? Will we ever be able to buy them?
The Thermals dolls are doing quite well, thanks. We will never sell them for fear people will stick pins in them or try other "voodoo magic".

Finally, what does the rest of 2009 hold for The Thermals?
I hope it's holding a nice fat joint cause dude, I need to get baked.

Album review: Super Furry Animals - Dark Days/Light Years

Thu, 26 Mar 2009 08:38:46 +0000

Super Furry Animals
Dark Days/Light Years
(Rough Trade)

After 2007's solid but unremarkable Hey Venus!, the individual Super Furry Animals clearly agreed with the critics: it was time for a break and an adventure. Since then, drummer Dafydd Ieuan pissed about with Rhys Ifans in The Peth, and singer Gruff Rhys teamed up with producer Boom Bip made an '80s synth-pop concept album about a millionnaire car designer as Neon Neon.

As you'd expect after all that, 'Dark Days/Light Nights' (the band's ninth album) sounds like a band who've rediscovered the playful, ambitious spirit which first set them apart from their Britpop peers. First single 'Inaugural Trams' is the album's highpoint of eccentricity, setting a bizarre narrative about opening a tram system to a bubblegum electro-pop melody, then throwing in a spoken-word German cameo from Nick McCarthy of Franz Ferdinand. The end result sounds like The Smurfs covering Kraftwerk.

There are other moments of brilliance scattered throughout the album: 'The Very Best Of Neil Diamond' matches the year's best song title to one of their catchiest, most enjoyable songs in ages, while the slow-burning 'Cardiff In The Sun' and the Krautrock-esque 'Pric' are hypnotic extended jams. The album does, however, occasionally trip itself up with its laid-back feel, especially on 'Mt' and 'Inconvenience' - two forgettable pop songs with lazy, repetitive lryics. Likewise, opener 'Crazy Naked Girls' is an indulgent freak-out which outstays its welcome by several minutes.

'Dark Days/Light Years' has a tendency to become unfocused, but it also brings their psychedelic experimentalism and sense of humour back to the foreground for the first time since 2001 masterwork Rings Around the World. And that's far preferable to playing it safe for a whole album.

3 1/2 stars

Album review: Animal Collective - Merriweather Post Pavillion

Wed, 7 Jan 2009 00:22:30 +0000

Animal Collective
Merriweather Post Pavillion

Before anyone had heard a note of the music, Animal Collective had already set the tone for their eighth album perfectly when they unveiled its artwork. A mosaic of tiny leaves which doubles as an eerie optical illusion, it's a nice reflection of the hypnotic but warm record it represents. Unlike its predecessor, 2007's patchy if frequently astounding Strawberry Jam, 'Merriweather Post Pavillion' is a continuous, otherworldy trip, something evident from opening track 'In The Flowers'' mission statement, "If I could just leave my body for the night", a lyric which is followed by a gloriously entrancing blast of noise.

Animal Collective's sound is constantly evolving, but characterised by its restless experimentalism. Excluding their early albums (basically free-for-all sessions which occasionally resemble an actual collective of animals), they bury their melodies under unsettling waves of noise, incoherent hollering and primitive drums. Featuring songs they've been playing around with in their live shows for two years, 'Merriweather Post Pavillion' sounds like a career high throughout: it's simultaneously their most ambitious album to date and their most accessible.

All the tracks are bathed in layers of swirling synths and some, such as closer 'Brothersport', build on a new-found obsession with dance music which they've been hinting at in recent interviews. But almost all of them centre around Avey Tare and Panda Bear's sweet harmonies, which will pleasantly surprise anyone who's been annoyed in the past by Avey's sometimes grating lead vocals. They haven't completely abandoned their old ways - the stop-start blasts of yelping and squelchy keyboard on 'Daily Routine' would have fit in just fine on 'Strawberry Jam' - but on 'Summertime Clothes' and 'Bluish', they sound like a pop band for the first time, whilst losing none of their psychedelic allure.

The album also shows growing maturity in its lyrics, previously one of the band's main weaknesses. Album highlight 'My Girls', for example, trades impenetrable squawking for genuine emotion. It's Panda's message to his wife and children, which finishes by repeating a defiant cry of "I don't need to seem like I care about material things like a social status." Only on the dire 'Lion In A Coma' - a failed attempt to initiate the digeridoo into indie-rock - do they abandon tunefulness for experimentalism altogether. Otherwise, this is Animal Collective's most coherent and fully-realised album, both original and universally likeable. So the hype is justified: it's every bit as immersive as those trippy leaves.