Animal Collective / Marnie Stern
The Coronet; London, UK
During live shows, some bands like to perform songs that the fans pooled before them have heard before that night — favorites that engage and inspire, setting in motion infectious sing-alongs and a sort of dancing that sheds any indication of self-awareness. Some bands even like to return to the stage for encores. Apparently, Animal Collective does not fall within the ambit of some bands. This is a different sort of group, a truth made evident from just a single glance through their fascinatingly unpredictable catalog (one that includes a collaboration with a British folk singer whose first LP hit wax in 1970 and this year’s polarizing solo album, Avey Tare's Pullhair Rubeye).
Unfortunately, the queue outside the venue was so tremendously long that it prevented me from catching all but the last bit of Marnie Stern’s opening set. I enjoyed what little I heard, particularly, as it tied into her easy stage presence and her irreverent sense of humor. Following her set, she dispensed of her musician persona and became a fan herself, lurking visibly through the darkness on the side of the stage to witness the future of Animal Collective.
Just after 10 PM, Animal Collective spread across the stage in a row of three. Looking like a spelunker with his electronics awash in the light beaming from his headlamp, Geologist occupied the left of the stage, while an unassuming Panda Bear hunched over his equipment on the right. Avey Tare, peering out from beneath a hat cocked coolly to one side, grabbed the center position, leaving himself room to switch feverishly between some sort of equipment standing at the rear of the stage and a partial drum kit parked between Panda and he. Save the drum kit, all of the night’s music was to be generated electronically.
Three songs into the set — just after “Who Could Win a Rabbit,” which followed devastating renditions of “Doggy” and “Hey Light” that had Avey destroying a cymbal with one hand while steadying a bobbing microphone near his lips with the other — Avey announced that the trio intended to perform some new material. The guy behind me quickly called out “#1” (which is, for the uninitiated, one of nine tracks from the forthcoming full-length Strawberry Jam), assuming aloud that we were about to be showered with pieces of the great new record. They couldn’t possibly ignore the fanboy buzz that’s surrounded “Fireworks” during the past week, nor could they escape rocking “Peacebone,” which is slated as the first single from Jam. Well, in typical AC fashion they resisted these seeming inevitabilities, choosing instead to unleash a barrage of even more recent material, presumably to be released at some point, on some label, and in some format. And so went, at least for a bit, the possibility of massive sing-alongs and fits of cathartic fist pumping.
For the most part, the new songs sounded fantastic set against the backdrop of lush and choppy electronic soundscapes. The band was tight throughout, and the audience seemed to really take to the material, despite struggling with a ponderous unfamiliarity. The tracks were properly and expectedly diverse, and they succeeded at keeping AC relevant and exciting for at least a couple more years. When the band finally ripped into some older tunes near the end of the set, the crowd was quick to release the energy it had conserved while the newer stuff ran its course. “Leaf House” was a particularly lively closer. Suddenly, the guy with the black tank top and the terrific odor was not the only fan showcasing some wonderfully awkward dance steps.