Originally appeared on the VESSEL music site.



Translucently soaked and suffused with a congruous lapping tide of psychedelic hymns, NOAH LENNOX’s much anticipated follow-up to the reverential applauded ‘Person Pitch’, continues to traverse a similar musical landscape.  Like a shoegazing, acid-ambient remix of the Beach Boys ‘Surfs Up’; the 11-track delphic oeuvre ‘Tomboy’, features the usual trademark Wilson brothers harmonies, which swoon eulogy rich laments to precise love, the ocean, and sands.


A liquid vapour of Korg M3 activated synth and Roland sampler triggered loops leak diaphanous sweeps of sonorous resonating bliss, whilst cyclonic rolling, and fluttering catatonic beats, try their utmost to evade any sort of conformity. LENNOX adds an hallucinating mix of cascading marimba and poly-rhythms, coupled with chasing melodies on ‘Surfers Hymn’, and gargles with a strange reverb, echo-dropped Afro-beat mouthwash on the companion piece of sorts, ‘Last Night At The Jetty’. Elsewhere there’s Fuck Button prog-electronica grinding rhythms, colourfully adorned with a esoteric 80s Moorish flavoured dry-ice soundtrack, on ‘Afterburner’, and disjointed trip-hop, on ‘Slow Motion’.

A love affair with the laid-back Mediterranean lifestyle, saw LENNOX set-up home in Lisbon during 2004; a move which has seen him endorse a certain Latin feel to the dub swirling album, with the last track being an choral trance ode to the cities famous local Benfica sports club.

Despite concerns about the albums supposed new direction – allusions were made that he was taken inspiration from Nirvana and The White Strips, though their influence is hard to fathom – ‘Tomboy’ is indeed a more controlled and contemplative prospect to its predecessor. With the production skills of Sonic Boom on board, the free-roaming Animal Collective soothingly and meditatively produces another empirical, palatial masterstroke.

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