On 2010′s Skulltaste, his first album for Ghostly International as Mux Mool, Minneapolis-gone-to-Brooklyn downtempo producer Brian Lindgren created IDM-tinged, electro-flecked tracks that roamed around the sound-field. You could hear everything from Planet Mu (the swampy bass and tinny breaks of “Breakfast Enthusiast”) to Mo’ Wax (“Morning Strut”) in its DNA, but on Planet High School, Lindgren’s tightened the reins – his tempos are generally meditative and his compositions are less meandering. Yet the music traverses lines as easily as ever: “Palace Chalice” is the kind of track you might have ripped from that pile of mostly-useless trip-hop comps back when you got your first CD burner, but the cooled-down Jan Hammer synths also let you get away with calling it “Balearic.” Those synths are key here: Lindgren makes them sing, be they running in soft-focus on “Ruin Everything” (think Black Moth Super Rainbow at their cloudiest) or attacking like funk guitars on “Hand on the Scantron.”
By Andrew Parks on 09.04.12 in Icons
Not to pull an I-was-there or anything, but the first time I saw an Animal Collective show – eight years ago at a decrepit art space in Philadelphia – I thought the whole thing was an elaborate joke, an Andy Kaufman-esqu...
By Mary Kinney on 02.06.15 in Features
For all of NYC's history of folk music, a giant metropolitan city with no recent rural history to speak of is an odd place for a comeback to take place.
By Marc Hogan on 11.07.14 in News
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By Judnick Mayard on 09.13.14 in Features
To celebrate the 20th anniversary of the Notorious B.I.G.'s iconic debut Ready to Die, Judnick Mayard shares her memories of growing up in the borough then and now through the lens of the album.