Animal Collective can’t recreate past

Animal Collective have forged their own mythology in their 17 year stint as a band. The members, known by the monikers Avey Tare, Deakin, Geologist and Panda Bear, all hail from Maryland in some way, shape or form. Their current claim to fame is the ability for each of their albums to sound vastly different from that which came before and this remains true with their tenth album, Painting With, which was released on Feb. 19 by Domino.

Animal Collective developed drastically between their debut album Spirit They’re Gone, Spirit They’ve Vanished and 2005’s Feels as well as before their 2009 release, Merriweather Post Pavilion, which has made its way into the indie rock canon. Animal Collective is as eclectic and abstract, and their brand of experimental psych-pop is often described as two Beach Boys albums playing over top each other. Some see this as a detriment, while the majority of their fan base appreciates the Beach Boys-esque vocals that are delivered on their tracks and the hypnotic sounds that accompany the songs.

The band is also known for their place in the so-called “hipster canon,” with not only their 2009 album contributing to an increase in the experimental nature of indie music at that time, but also the contributions of the members in their solo projects. Perhaps the most memorable is Panda Bear (or Noah Lennox) who kickstarted the “chillwave” trend during the 2000s with his critically acclaimed album, Person Pitch.

After a great amount of hype (mostly generated by the album’s lead single and opener, “Floridada”) and a bizarre album unveiling in the bathrooms of the local BWI Airport this past winter, Painting With has finally officially dropped. Yet the album has managed to be both disappointing and relieving in some ways. Coming off the heels of The Life of Pablo (which is still in the process of being released) it’s surprising that another divisive album has dropped in terms of public response.

Painting With is a venture into shorter, more pop-like songs, which feel like a departure from their previous album Centipede HZ (not to mention the rest of Animal Collective’s Discography). Yet the album feels similar to Centipede HZ in the sense that it gives off a feel that perhaps we’re past “prime” Animal Collective. Neither Painting With nor Centipede reach the heights of the Sung Tongs to Merriweather Post Pavilion stretch and at best feel reminiscent of those albums.

That isn’t to say that Painting With does not have highlights of its own. Particularly the track “On Delay” which feels like a callback to adeeper cut in Animal Collective’s library, Fall Be Kind, a 2009 extended play that managed to cash in on the hype of Merriweather Post Pavilion (a task which was thought to be impossible at the time). The song touches on some of the themes that the band returns to often in its examination of everyday life.

The layered vocals of “Hocus Pocus” also work well, creating an echo effect that gives off a hazy feel when combined with the poignant electronic sounds that follow behind it. “The Burglars” feels reminiscent of the more psychedelic era of The Beatles and through that influence it is a fun song that stands out as fast-paced and droning.

Although some songs are hits, there are a few misses, such as “Golden Gal,” which feels a bit monotonous and “Lying in the Grass.” There are several times during this album when it feels like the band may just be going through the motions, and it might be because they currently lack the energy that they had during the stretch of albums that came to define them.

Painting With isn’t a boring album by any stretch of the imagination, but for Animal Collective it feels disconcertingly routine, as if a formula for the band’s success has been found and is now being reaped for all it’s worth.

Overall Painting With is hard to quantify within the discography of Animal Collective. It falters due to the sheer strength of their past work, not to mention the fact that some of their songs have to be heard in their live renditions to be fully embraced. Perhaps that’s the problem with Painting With. It may be an album that plays better live than it does in the studio. At least that’s what most fans should hope because without that saving grace, Painting With suffers as a follow-up to the band’s previous albums, which were some of the best albums the aughts brought us.