High-res Spotted this recruitment flyer “on the floor” at NYU ITP yesterday. It’s a call for mobile developers that appropriates the artwork from Animal Collective’s Merriweather Post Pavilion for some reason? It’s clearly intentional, since the creator of the flyer acknowledges the original source of the artwork in the text along the side (also, note to whoever designed this: stating that you do not “claim copyright or ownership of the image” does not change the fact that you are almost certainly violating the original owner’s copyright). What does it all mean? Fingers-crossed that this is a teaser for the Geologist’s new mobile startup. Either way: 9.6, Best New Flyer.

Spotted this recruitment flyer “on the floor” at NYU ITP yesterday. It’s a call for mobile developers that appropriates the artwork from Animal Collective’s Merriweather Post Pavilion for some reason? It’s clearly intentional, since the creator of the flyer acknowledges the original source of the artwork in the text along the side (also, note to whoever designed this: stating that you do not “claim copyright or ownership of the image” does not change the fact that you are almost certainly violating the original owner’s copyright). What does it all mean? Fingers-crossed that this is a teaser for the Geologist’s new mobile startup. Either way: 9.6, Best New Flyer.

DRM is Dead, Long Live DRM

Note to labels, major and indie alike: stop sending DRM and watermark-laden music to journalists plzkthx. Mike Riggs has a great piece in the Washington City Paper this week, which sheds light on the practice of sending “protected” promos to critics. My response to Riggs’ piece—wherein I recount the time that a Death Cab For Cutie promo tried to kill my computer—can be found here. P.S. have you heard this new Atlas Sound/Panda Bear song? It is totally rivaling the Dirty Projectors’ “Stillness is the Move” for the all-important title of Summer Jam ‘09. Here is a DRM and watermark-free MP3 for your listening pleasure.

High-res On Monday night, I saw Animal Collective play the 9:30 Club. The last time I saw the band, I was quite disappointed. It was the summer of 2004 and while Animal Collective was, ostensibly, touring on Sung Tongs, their set consisted entirely of a series of extended drone experiments. Even worse, the band seemed to take an almost confrontational stance toward their restless audience. It was bad vibes all around (not to mention terribly boring) and I swore I would never go see them again. Of course, I’m not very good about sticking to my guns when it comes to embargoes on bands, so when I heard that Animal Collective planned to actually play songs from their albums on this tour, I decided to give them another chance. This time around, the band fared far better, thanks in no small part to the strength of the material on Merriweather Post Pavilion. Sure, there was still a good bit of repetition, improvisation and psychedelic noodling but thankfully, the more tedious bits were tempered by a fantastic light show, some serious low-end and a handful of eminently danceable renditions. Check out my full review and photos at DCist.

On Monday night, I saw Animal Collective play the 9:30 Club. The last time I saw the band, I was quite disappointed. It was the summer of 2004 and while Animal Collective was, ostensibly, touring on Sung Tongs, their set consisted entirely of a series of extended drone experiments. Even worse, the band seemed to take an almost confrontational stance toward their restless audience. It was bad vibes all around (not to mention terribly boring) and I swore I would never go see them again. Of course, I’m not very good about sticking to my guns when it comes to embargoes on bands, so when I heard that Animal Collective planned to actually play songs from their albums on this tour, I decided to give them another chance. This time around, the band fared far better, thanks in no small part to the strength of the material on Merriweather Post Pavilion. Sure, there was still a good bit of repetition, improvisation and psychedelic noodling but thankfully, the more tedious bits were tempered by a fantastic light show, some serious low-end and a handful of eminently danceable renditions. Check out my full review and photos at DCist.