I said it on Twitter but I’ll say it again: Oneohtrix Point Never’s “Remember“, taken from last year’s Replica album, reminds me of an untethered and even-more-beatless take on Animal Collective’s “#1”. No bad thing: both tracks share hazy, lazy and gorgeous chord sequences and befuddled sonics. In the case of the AC track, the cyclical synthesizer-work spirals inexorably heavenwards; on “Remember”, its place is taken by massed choral chanting, like a demonic version of 10CC’s “I’m Not In Love”.
… are good. I’ll post a review of both Tonight: Franz Ferdinand and Merriweather Post Pavilion a bit later but, for the moment, here are some initial thoughts.
Tonight is crisply produced and comes with the right kind of aesthetic that Franz Ferdinand have been hinting at, but they only ever plunge head-first into one of these new directions on one track, the 8-minute Moroder-aping “Lucid Dreams”, which features an extended synth workout. The rest of the album is solidly written, with characteristically catchy hooks and typically insightful, witty lyrics. What will probably strike me to a greater extent on further listens is the pacing and structure of the album. Certainly, it appears to run on a continual upward slope, heading towards the peak of a night out, which occurs during the aforementioned “Lucid Dreams”. The final two tracks definitely represent the post-night comedown, their being much more blissful and hungover, and also more sincere. Beyond that, I’ve yet to gauge a true understanding of the structure during the first half, except that “Ulysses” is an invented drug, and that “No You Girls” cleverly inverts the naïvety of first love halfway through the song.
Merriweather Post Pavilion has absolutely astonishing production. Far from the murkiness I was beginning to associate with Animal Collective, the album fizzes and sparkles and, most importantly, sends thunderous quakes of bass through my subwoofer. That’s important, because it appears to accentuate the more dance-orientated direction the band have taken. It’s not necessarily music to dance to, just music that bears more than a passing resemblance to dance-music forefathers. The songs themselves are complex in structure, with a myriad of samples and synths that somehow don’t ever get lost in a fog of meandering. Though this is their longest proper album yet, the songs appear more focused and rooted, though they don’t observe conventional pop song structures. Lyrically too, the album sees AC mature the themes first evoked on Strawberry Jam – those of childhood innocence; the simple love of others; and the essential mysterious wonderment of being alive. They’re well-expressed through not overly catchy lyrics, with minimal sonic meddling, and the whole combination of music and voice coalesces best of all on “My Girls” and the closer, “Brother Sport”.
More to follow, definitely.