Panda Bear

Panda Bear


Fri, April 10, 2015

Doors: 8:00 pm / Show: 9:00 pm (event ends at 12:00 am)

Las Vegas, NV


Tickets at the Door

This event is 21 and over

Panda Bear - (Set time: 10:30 PM)
Panda Bear
When Panda Bear met the Grim Reaper, they jammed. Noah Lennox, a.k.a. Panda Bear, a.k.a. one-fourth of the founding members of Animal Collective, has had a far-from-quiet few years since the release of his fourth solo record, 2011’s Tomboy. Since the breakout success of 2007’s universally-adored Person Pitch, each new Panda Bear release is a highly anticipated event, and with a high-profile Daft Punk collaboration later, that’s more the case than ever. But if the title of his fifth solo album as Panda Bear seems to portend certain doom, think again. Taking his inspiration from ‘70s dub duo albums like King Tubbys Meets Rockers Uptown and Augustus Pablo Meets Lee Perry & the Wailers Band, Panda Bear prefers to frame his latest work as less of a battle and more a collaboration. “I see it [as] more comic-booky, a little more lighthearted,” he says. “Like Alien Vs. Predator.”

Panda Bear Meets The Grim Reaper finds our hero leaving the airy minimalism of Tomboy and unpacking his sonic toolbox again, rearranging the multitude of his disparate influences into the ever-morphing concoction he refers to as “the soup.” Old school hip-hop textures and production techniques meld with the intuitive, cyclical melodies he has become known for, for a sound that is at once dense and playful. The slithering beat of “Boys Latin” is topped with a campfire-ready chant that wouldn’t be out of place on an early Animal Collective record; on album centerpiece “Mr. Noah”, a pulsing swamp of buzzes and squeals blossoms into a rousing, immediately infectious chorus. “Tropic of Cancer” punctuates the album with a head-turning horn intro and an ethereal harp sample taken from, of all places, Tchaikovsky’s The Nutcracker Suite. He experiments with balladry even further on “Lonely Wanderer,” a dreamy piano haze laced with a foreboding synth growl. Noah has taken the effortless pop sensibilities he showed the world he was uniquely adept with last year’s Daft Punk collaboration, and gone back to the laboratory with them, twisting them into something darker and more tactile.

It’s a layered, at times wholly unidentifiable soundscape, and so it may come as a surprise that Panda Bear utilized readymade sample packs throughout almost the entire record. “I got into the idea of taking something that felt kind of common — the opposite of unique — and trying to translate that into something that felt impossible,” he says. Breaking with his previous practice of largely creating each album in a fixed environment, Noah says the recording process was “really disparate, I was all over the place.” The textures for the album came together everywhere from El Paso, Texas, to a garage by the beach near his home in Lisbon, Portugal, where he has lived with his family since 2004. In a relationship that already proved fruitful on Tomboy, Panda Bear partnered again with Pete “Sonic Boom” Kember, this time in a more top-to-bottom production role. “He brings stuff to the table that I wouldn’t think of,” says Noah. “You not only go to [new] places, but you figure out things about yourself that you wouldn’t have otherwise.”

Ultimately its dynamism, not death, Panda Bear is tackling. “Some of the songs address a big change, or a big transformation,” he says. “Meeting the Grim Reaper in that context I liked a whole lot.” Panda Bear Meets The Grim Reaper signifies a pivotal point for an artist who has proven he can continue to evolve while remaining at the top of his game. “It’s sort of marking change — not necessarily an absolute death, but the ending of something, and hopefully the beginning of something else.”

Over the last year, Panda Bear has been touring with what is his most developed live show yet, featuring eye-popping, candy-colored visuals by frequent Animal Collective collaborator Danny Perez, ever complimenting his vivid sonic palette. Panda Bear Meets The Grim Reaper comes to hyper-real life in this live context, melding the emotional melodicism of the album with the dizzyingly affective light and video show, creating a deeply connective fan experience. Panda Bear meets the Grim Reaper in these live shows, and we are all witness
Ducktails - (Set time: 9:00 PM)
Ducktails, the increasingly less solo endeavor of Real Estate's Matt Mondanile, is set to release The Flower Lane, which is the project's fourth album and his first for Domino. Recorded and mixed over the summer of 2012 with Al Carlson (Peaking Lights, Oneohtrix Point Never) as Mondanile's hectic schedule as a concurrent member of Real Estate began to wind down after a year in support of their Domino debut album, Days, the ten track album will hit the streets on January 29th to be preceded by the single release of effervescent pop gem "Letter of Intent."
Taking a tangential turn away from solo home-recording of past releases toward the more collaborative environment of the studio, Ducktails' Matt Mondanile roped in close friends and colleagues to make something more adventurous yet easy-going. The ten songs on The Flower Lane move across a range of expressive pop songs that are bright and expansive, but venture even further with forays into saxophone leads, synth lines and piano accompaniment that would have been at home on the early records of sophisticated guitar pop icons such as Aztec Camera and Prefab Sprout.
With brooding seducers "Under Cover," "The Flower Lane," and "Sedan Magic" along with a stunning cover of founding Clean/Chills member Peter Gutteridge's "Planet Phrom," the ambient pop of The Flower Lane is, from start to finish, as spirited as the time these folks had recording it. Support came in many forms, from the backing of the New Jersey band Big Troubles to contributions from Daniel Lopatin (Oneohtrix Point Never), Joel Ford (Ford + Lopatin), Madeline Follin (Cults) and Sam Mehran (Outer Limitz), to name a few, The Flower Lane defies the cliche of "embracing the big studio" by successfully making the songs feel immediate on an emotional level after they've passed through the dozen other wizardly minds of the studio collaboration while still conveying the fun they had working together.
One of the standouts on The Flower Lane is the duet between Future Shuttle's Jessa Farkas and Big Trouble's Ian Drennan on "Letter of Intent." As with Felt's "Primitive Painters," where the contrasting voices of Lawrence Hayward and Cocteau Twin Elizabeth Fraser exchange pained verses or with Tom Petty's seductively plodding collaboration with former Eurythmic Dave Stewart on his synth-driven hit "Don't Come Around Here No More," "Letter Of Intent" is proof of the expanding range of Ducktails' song craft.
Venue Information:
124 South 11th Street
Las Vegas, NV, 89101