Showing posts with label Splice Today. Show all posts
Showing posts with label Splice Today. Show all posts

Soda Superposition




There was a girl in my English class—a loud, flirtatious girl who volunteered to be my high school’s fur-suited mascot, possibly out of her love of doing somersaults—who had recently come to America from Romania. “When I first got to America,” she said, “my family went to Cub Foods.” Something about the way she said it made me listen from across the room. Maybe because I had never heard anyone call it “Cub Foods.” To us, it was just Cub. Cub, in some way, meant food. “I could not believe how huge Cub Foods was!”

I pictured what a grocery store in Romania might look like: small, cramped, a tall counter full of pieces of meat wrapped up in white paper. The idea depressed me. What’s the fun of going to buy breakfast when you can’t pass by the row of economy-size Malt-O-Meal bags, consider saving a dollar, and then decide not to?

I had forgotten about the whole idea until I heard about Mountain Dew’s new “Dewmocracy” campaign from my boyfriend, Josh, who probably gets about half of his calories just from pop. (In Minnesota, we call it “pop,” mostly because we aren’t very good at saying “soda” and not sounding Norwegian.) Josh often talks about how there was just “something about Mountain Dew that makes it the best,” and he and his roommates were all in the thick of the Dewmocracy craze, buying the three new flavors: Supernova (strawberry and melon), Voltage (raspberry and citrus), and Revolution (the ambiguous wildberry).

Josh has a catalogue-like memory for different kinds of products. He has long kept track of all obscure flavors of soda, running to Taco Bell to get Mountain Dew Baja Blast (available only at Taco Bell) and reminiscing about the days of Pepsi Blue. He could handle it if Mountain Dew added three new flavors.

But the premise of the Dewmocracy suggests that most consumers can’t. For a certain, sure-to-cause-future-nostalgia amount of time, all three flavors will be in trial mode. Dew enthusiasts will have time to work them into their new daily routines, to chase vodka with them, to substitute them for real food. But after that trial period, the flavor that gets the most votes on their website is the one that will stick around. *

Some of Josh’s friends think they should keep all the flavors, but I wonder how many flavors a company can sustain economically. Assuming that Mountain Dew’s spending habits are the best indicator, they can probably only spend enough to throw one more flavor in the mix and see a return, at least in the long term. Already, there are Mountain Dew Code Red, Mountain Dew Live Wire, Mountain Dew Baja Blast, and diet versions. (And also Amp energy drink, which basically is Mountain Dew, but with more caffeine, and a taller, uglier can. I think it is for drinkers, as it is a competitor of Red Bull and Rock Star energy drink.)

Even if the company could afford to make everything from Mountain Dew Cinnamon Roll to Mountain Dew Lavender (and generate enough vending machines to sell it all), the marketers have a symbolic issue to worry about. It is the simple principle of consistency. You see a logo one place; you see it somewhere else. After awhile, you get a concept of a brand, a totality that is somehow infinitely reproducible no matter if you are in a high school hallway in Kentucky or a doctor’s office in Seattle. There’s got to be a point where Mountain Dew splits into so many variations that what exactly Mountain Dew is becomes unclear. Another example of this is the introduction of the new Mango Mojito cooler from Bacardi Silver. (That product confused me, because I was under the impression that a mojito was a lime and mint drink, and that introducing a mango into the mix would make it something other than a mojito.)

The essentials of Mountain Dew, to me, are that Mountain Dew is yellow, citrusy, and has more caffeine than the regular soda. So I can understand adding other fruit flavors, and the color changes that they cause. But Mountain Dew will always be less, let’s say, flavor-soluble than a cola, because it has to maintain its status as citrusy, whereas a cola can adapt to more from-the-bakery flavors, like Vanilla Coke Zero or Diet Chocolate Cherry Dr. Pepper. Admittedly, Pepsi Blue seems like a contradiction of all of this.

What makes the Dewmocracy important is that it openly acknowledges that Mountain Dew has reached its saturation point. Consider almost any product that you buy—most have some subdivision, and that subdivision is further subdivided. Take Nabisco’s Oreo cookie: when Oreos were introduced, there were lemon meringue and cream flavors. Cream was more popular, and lemon was cut out. Today, there are Double Stuf, Golden, Mini, White Fudge Covered, Halloween Orange, Pure Mint Chocolate, Spring Purple Crème, Banana Split, and limited edition Strawberry Milkshake. That list doesn’t count variations like organic, low-fat, or slight deviations like the Oreo Cakester.

Consider that the average American grocery store must accommodate not only several brands but also a generic no-ad brand. It’s no wonder that someone from a different country would think Cub Foods was the strangest thing they’ve ever seen. Every time we go to buy food, we encounter several choices of the same thing. What obvious point is there to stocking five different versions of the same product?

Mountain Dew can be forgiven for creating the obnoxious and tacky word “Dewmocracy.” At least once our food aisles reach the point where they can’t fit any more variations, we might get a say in what stays and what goes. Strawberry? Wildberry? Revolution!


*This may seem like a ploy to get kids to go to their website, and it might be. But the website is oddly free from outside advertising, being so much an ad for itself that the Dewmocracy would simply be taking people who already drink Dew, having them go online and look at pictures of Dew, and make them want to drink some more. It probably costs a lot to run.

Animal Collective's New Instant Classic



PHOTO COURTESY DOMINO

With the release of Animal Collective’s last LP Strawberry Jam, it had become apparent that a group that had once been regarded as avant-garde experimental freak-folkers had actually become pretty good at marketing themselves. Emerging from the gritty and miraculous lore of their former releases Feels and Sung Tongs, Strawberry Jam was a highly engaging, far more accessible record. The title was a tongue-in-cheek admission that they’re a “jam band” inspired by a revelation of how “synthetic” and “sweet, almost in an aggressive way” the PB&J staple was. The album came packaged in a crisp white case filled with images of spoiled fruit covered in blotches of bright paint—a photographic concept so interesting in itself that it could have stood alone. After launching a beloved album that proved the band had mastered their psychedelic essence, it seemed unlikely that Animal Collective’s next LP could ever measure up. Luckily for all those who iTunes classifies as a “freak-alt-folk” fan, it does.

Merriweather Post Pavilion is to Animal Collective what Rubber Soul was to the Beatles: the album that not only proves that a band is capable of maintaining an identity while making ever-morphing sounds, but also establishes that the band has the power to define a season on the charts, and the sound of a decade.

At first glance, Merriweather doesn’t have quite the unified totality that made Strawberry Jam so iconic. Named after a mainstream concert venue in suburban Maryland, the title doesn’t help to clear up any associations between Animal Collective and artsy pretentiousness. The cover art is an awkward purple-green combination of a leaf pattern that looks like a nerdy 1990s screensaver at first glance… but should a fan embark on staring at it in a drug-induced haze, they would be pleased to find that it is an ever-morphing optical illusion that ripples back and forth.

Despite the lackluster packaging, Merriweather produces an all-new flavor. Serene harmonies invade almost every track, along with thudding, danceable bass lines and plenty of sonic explosions tweaked and stretched to the point of revelation. From the first track “In the Flowers,” which starts with whispers and bursts into a nostalgic epiphany as layered as a wedding cake, to the final track “Brothersport,” their particular brand of magic is everywhere. One of the best tracks is “Summertime Clothes,” which begins with a dirty, back-and-forth beat and howling vocals and later turns into a jaunty warm-weather dance song. “Taste” is another standout track, with scattering bubble sounds and stilted industrial noises that lead to a catchy chorus where the band asks, “Am I really all the things that are outside of me?”

While all of Animal Collective’s previous work has captured an adolescent frustration by means of complex lyrics and clashes between sonic beauty and disturbing shouts, Merriweather Post Pavilion embarks into themes of adulthood. Gone are the obtuse lyrics of Water Curses and Strawberry Jam; this album centers on women—most specifically mothers and children. This new inspiration is likely due to Noah Lennox (Panda Bear) and his experience with his daughter Nadja, as well as other band members settling down into married life.

The lack of tension on the album is disconcerting at first, but with the expertise of long-time artists, the band quickly settles down into their new themes and proves that they can just as poignantly and beautifully explore the idea of fatherhood. “My Girls,” the album’s first single that is already a hit on the blogosphere, is a twinkling declaration that chants, “Is it much to admit I need/a solid soul and the blood I bleed/with a little girl and by my spouse/all I want’s a proper house.” “Daily Routine” also deals with fatherhood, singing about the tasks and dangers of helping a child get to school, all amongst stretching vocals and a trickle of rhythms struggling to find themselves.

Even though the ethereal Merriweather Post Pavilion is a departure from Animal Collective’s initial fascination with the emotional value of ugliness, this album proves that the band will never lose their ability to evoke the most private of life’s moments. “My bed is a pool and the wall’s on fire/soak my head in the sink for a while/it chills my neck and it makes me smile/but my bones gotta move and my skin’s gotta breathe,” the band sings in “Summertime Clothes.” In their uncanny method of working poetry out of a bunch of samplers, this century’s most interesting act proves they’re still here, and eminently so.
http://splicetoday.com/music/animal-collective-s-ne