Sinister Grift

Noah Lennox used to feel as though his solo work as Panda Bear was, in his words, “disparate and separate” from the music he’d make with Animal Collective. But now, over two decades on, it seems more like one continuous project. “Playing drums in AC, singing in AC, writing songs for AC, doing features, doing remixes, doing this record where I’m collaborating with all these different people or getting these different flavors from different people,” Lennox tells Apple Music, “it all kind of feels like part of the same creative wave.” “This record” is *Sinister Grift*, the first Panda Bear album to feature contributions from all three of his Animal Collective bandmates—David “Avey Tare” Portner, Brian “Geologist” Weitz, and Josh “Deakin” Dibb—not to mention collaborations with Patrick Flegel (aka Cindy Lee) and SPIRIT OF THE BEEHIVE’s Rivka Ravede. Recorded at his home studio in Lisbon and in his hometown of Baltimore, it’s meant to feel like a contemporary take on an early rock ’n’ roll record, with Lennox opting to illuminate the natural qualities of the music, rather than distort or deliberately obfuscate them, as he did on 2019’s *Buoys*. “It still feels very contemporary, very plug-in, very digital audio workstation to me,” he says. “There’s echoes of older music that I love in there, but there’s no retro-ness to it, I hope. I’m not a big fan of that kind of thing.” Front to back, the album is meant to mirror what Lennox calls the “playful menace” at the heart of its title—an idea he’d had before he’d written a single lyric. Before falling into the abyss of its second half, the music feels effervescent even when the songs themselves are anything but. “‘Sinister grift’ is this lie that we tell ourselves, that if we’re just careful enough or if we’re ‘good people,’ we can somehow avoid suffering or regrets, mistakes, hurting ourselves or people—this very inevitable part of living,” he says. “I like contrast. I feel like the light is lighter when it’s put against darkness, or things are funnier when they’re addressing something really dark. But it really started just because I liked the title. I like how it sounded, I like how it looked on paper. It sounds kind of dumb, but sometimes things start really simply like that.” Here, Lennox takes us inside a few songs from the album. **“Praise”** “It kind of started as a song thinking about my son—the anecdote about him not picking up his phone is very real. But then it became a song more about fatherhood and then a song about parenthood. There’s this fire driving the relationship, where it feels like no matter what the kid does, he’s not calling you back. If he’s maybe being a little difficult or acting up, there’s this sense that there’s an underlying force, that unbreakable thing that drives the relationship.” **“Anywhere but Here”** “I stole pretty wholesale the idea from a \[The\] Louvin Brothers song called ‘Satan Is Real,’ where there’s a vocal refrain, and then he preaches or tells the story for a second. I’m a huge fan of that record, but that song specifically. I thought it would be cool to try to do my own version of that. I think my original idea was to ask my daughter Nadja to do the spoken-word part, which she wrote. But then I asked Dean Blunt to do it, and he was down, but he couldn’t. Ultimately, I was so excited about getting my daughter onto the thing and, lucky for me, she was down to do it eventually—as long as I paid her.” **“Ends Meet”** “This song always reminds me of ‘Monster Mash.’ It’s a song about appreciating life, including the more difficult things. The ‘Monster Mash’-iness comes from the sense that there’s something coming to get you—these difficult things in life are going to happen to you, no matter what you do. But it’s said in this very playful way, which I hoped was fun. I find that telling a joke is a way to enter into a difficult conversation. A spoonful of sugar helps the medicine go down.” **“Just as Well”** “I’m a huge reggae fan, huge dub fan, and I’m always looking for a way to do something that feels reggae without explicitly being reggae, and there’s a couple attempts on this record. I’d say ‘Just as Well’ is one and the other ‘50mg,’ which feels a bit like a cross between a reggae track and a country track to me. I feel like this song is maybe the best attempt I’ve made at doing something that feels like an impression of reggae. It’s something that I feel like is always in me, but doing a version of it that feels genuine is difficult.” **“Ferry Lady”** “There’s a lot of percussion in it, but it’s not actually a drum kit playing, unlike most of the other songs. It feels kind of like the gateway to the second half of the record to me. It’s in between the lightness and the dark, the ferry from one side of the record to the other. It’s about any type of relationship that has ended and hasn’t ended like you thought it would, about people growing apart.” **“Venom’s In”** “‘Venom’s In’ is about having a reality thrust upon you in life and not wanting it. It feels like the character in the song can tell that change is coming and wants to stop it, but knows it’s impossible. So the venom is already in the body, the change is going to happen. It’s a pretty desperate song to me—it feels very low.” **“Elegy for Noah Lou”** “That one represents the original vision for the record, insofar as I thought we were going to do these straight-ahead recordings: guitar, bass, drums, singing, and I would play everything. The original idea was to spend months following the recordings, abstracting those forms or blurring them. But as we worked with the arrangements, we got the structures and the tone of the stuff really right, so a lot of the stuff felt like it was done, like it didn’t need to grow into anything else. So that idea of blurring everything we left behind, except you hear it a little bit in this wasteland section of the record. ‘Elegy for Noah Lou’ is where it kind of feels like the song is sort of there, but it’s muted and more like an impression of the song than a song.” **“Defense”** “I was a huge fan of Patrick \[Flegel\]’s, from Women forward. He had played some shows with the rest of the AC guys at some point, had stayed at Josh’s place coming through Baltimore once or twice. We actually recorded right before *Diamond Jubilee* came out, so I kind of feel like I snuck it in a little bit. It was just one of those things where Patrick was the first person I thought of to do it. I knew Patrick could handle the guitar work and, thankfully and very luckily for me, Patrick was down to do it.”