In this fifth edition of Poptometry, we survey some of the best – if sometimes unheralded – side projects around and about.
Panda Bear (Noah Lennox of Animal Collective)
This may seem like an obvious choice, but I’d be remiss in not including Lennox, the creative core (that’s right, I said it; apologies to Avey Tare) of Animal Collective, on this list. I am one of the extremists who believe that Panda Bear is better than Animal Collective. But regardless of whether or not you would agree with that statement, it’s imperative that you listen to Panda Bear; he’s undoubtedly one of the best artists out there today. Lennox’s masterful unification of atmosphere and landscape give his records – especially his most recent effort, Person Pitch – an ethereal yet thoroughly grounded feel, which presents as infectious melodies swirling in a lush sea of reverb and samples. He’s a pop songwriter at heart, with a strong command of melody that always manages to seep through his more experimental impulses.
Apostle of Hustle (Andrew Whiteman of Broken Social Scene)
Broken Social Scene side projects are all over the place. But while Brenden Canning, Kevin Drew, and Feist get the bulk of the attention (and all of the adulation), guitarist Andrew Whiteman flies far beneath the radar. It’s a shame, because National Anthem of Nowhere, his second record with Apostle of Hustle is actually better than any of those other side projects. Whiteman’s ability to tap into other musical influences is more convincing than any of his bandmates. This album relies heavily on global influences – I know World Music is a term that is thrown around with great haste these days, so I’ll refrain from using it – to define itself. But the internationality of the record isn’t a crutch, it’s a sensibility, a guiding principle that gives the music spice and wit. The opening track, “My Sword Hand’s Anger”, is proof enough of Whiteman’s ample capability as a songwriter, and we all know he can play the guitar. With Apostle of Hustle, he adds a dimension that we never would have known about from his work with Broken Social Scene. In this case, that’s something about which to be thankful.
Atlas Sound (Bradford Cox of Deerhunter)
I’ve always thought of Atlas Sound as the logical counterpart to Deerhunter. The latter is dream pop with an underlying sense of energy, while Atlas Sound is far more relaxed, more resigned, more peaceful than Deerhunter. In my Never Learned to Swim review of Let the Blind Lead Those Who Can See but Cannot Feel, I said that Cox used a relatively thin layer of esoteric atmosphere to cover a reservoir of emotion underneath. This project is far more introspective than Deerhunter, and in a lot of ways, more stimulating. Cox isn’t after the hook or the slick production here. Everything is muddy, disorganized, but much more organic. If nothing else, this act stands as a testament to Cox’s own ability to generate many different musical manifestations of his own persona.
St. Vincent (Annie Clark of Sufjan Stevens’ old troupe)
Is it really fair (or accurate) to term Annie Clark’s solo work as St. Vincent a “side project”? After all, it certainly occupies most of her time these days (in case you were wondering, a review of Actor, her just-released sophomore record as St. Vincent, is in the works and fast on the way). While the label is debatable, the quality of the act certainly is not. She’s just so damn good, it’s a wonder that she was willing to occupy the background for so long (though I suppose if I had the chance to play anywhere in the vicinity of Sufjan Stevens, I would do it, and in a heartbeat). But Clark was born to be in the spotlight; she’s a natural songwriting talent, and she doesn’t do anything to hide it on her records. She’s not too big on the bells and whistles, opting instead to let the raw strength of her songs and her performances shine confidently through. And that’s the best thing for her.
Department of Eagles (Daniel Rossen of Grizzly Bear)
Again, some might take issue with the term side project here, because technically (okay, actually), Daniel Rossen was in Department of Eagles before he joined Grizzly Bear. But again, it’s not really important. Freak-folk, as is called anything that incorporates electronica elements into folk music, is a genre that has long been popular in Europe (Germany’s Morr Music [The Notwist, The Go Find] is dedicated to it), and is starting to gain some stateside traction. And while Grizzly Bear’s footprint is very evident in the music of Department of Eagles (partially because there’s the imminent link provided by Rossen’s vocals and the participation of other members of Grizzly Bear, Christopher Bear and Chris Taylor), there is something more earthy about the Department. They sacrifice polish for rawness, even letting a little exuberance shine through (“No One Does It Like You” is a foot-tapper, of all things). It’s Grizzly Bear that’s loosened its tie and kicked off its shoes. Which is awesome.
