February 7, 2012

Animal Collective Stays Relevant with the Re-Release of “Campfire Songs”

While you may have first heard Animal Collective by way of a blog post, dancing to “My Girls” at a party, or on a television commercial (Crayola has always been awesome), you probably had not yet come across any song from Campfire Songs. Recorded in a single session on an outdoor porch, the five dreamy songs making up this 2003 release do not shine for their commercial quality, but for their acoustic freedom and ambient effect.

One might assume that this acoustic release would get more popularity than their other releases that combine electronic instruments with wild lyrics and hypnotic effects, such as 2009’s Merriweather Post Pavillion. But their mild guitars accompanied by Panda Bear’s honestly beautiful vocals went relatively unnoticed. Released originally in 2003 by Catsup Plate, Campfire Songs was reissued by Paw Tracks in January, aiming to keep the  CD in print for as long as possible. Upon listening, it is clear this was the right decision.

“Queen in My Pictures” introduces the calming essence of the Maryland porch environment, with insect and water noises accompanying the light guitar strumming. The beat picks up towards the end and the lyrics become an almost tribal chant.

The transition into “Doggy” is seamless, and leads to a feeling different from that of “Queen in My Pictures.” “Doggy” is fast-paced and catchier, a song that you want to sing along to. About halfway through, Panda Bear’s vocals encompass you with their beautiful “ooohs” and “aahs.”

As you begin listening to “Two Corvettes,” you start to pick up on the campfire feel of the album. These guys become your friends, playing music for you outdoors while you just appreciate your natural surroundings. Even the lyrics speak of going for a ride in a Corvette while your hair blows in the breeze. But as the guitars become frantic and the rain falls more heavily, the atmosphere changes, leading into the next track.

“Moo Rah Rah Rain” begins with the chanting of the title, with the actual rain and thunder easily heard in the background. The lyrics themselves seem to float above the music, a wistful soundscape driven by the water and bird calls. This 11-minute song is perfect music to fall asleep to, relax to or hike to.

The album reaches its end with “De Soto De Son.” Interestingly, Panda Bear’s voice here at times reminds me of WHY?’s Yoni Wolf. This song doesn’t drag on as many 11-minute songs from contemporary bands seem to do. Though it is the last track on the album, I wish it were not. I just want there to be more.

Go pick up a copy of Campfire Songs, unless, of course, you already did seven years ago.

- Kelsey Perry

Animal Collective

“Doggy”

Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

Sundancer

This past January I was fortunate enough to attend the Sundance Film Festival in Park City, Utah, along with about 30 other USD students, including The Vista’s own Ryan Sidhoo and Maggie Klos. I had always assumed that this prestigious event was for the rich and/or famous only. But, much to my surprise, I, a starving, overworked and underpaid college student, was able to purchase a festival pass online. Easy peasy! Once I received my “Guide to Cinematic Rebellion” in the mail, the excitement began to set in.

Oscar's soul travels throughout Tokyo's nightlife in Gaspar Noe's "Enter the Void," which features a score created by Thomas Bangalter of Daft Punk.

I have always been a fan of weird, slightly uncomfortable yet thought-provoking films, and Sundance tends to serve as an outlet for them. My favorite film that I saw was Enter the Void, a disturbing take on the afterlife from the point of view of an American drug dealer living in Tokyo immediately after he is murdered.
What made this film so incredible was the way in which it was made. Every single scene was from behind the main character, Oscar’s, eyes, and then eventually his soul. It was an innovative way to create this film and it made the subject matter that much more affecting and disturbing. The visuals, colors and sounds (the score was created by Thomas Bangalter) were amazing. The best part of my experience watching this film? Seeing old couples walk out of the theater before the film ended because they couldn’t handle the content.

Adrien Brody harvests marijuana in "HIGH School," whose soundtrack boasts artists like Metric, The Dead Weather and MGMT.

But then there were the not so amazing films, like HIGH School, a stoner comedy starring Adrien Brody and Colin Hanks. I had high hopes for this film, which boasted a plot filled with risk: the two main characters had to get their entire high school high on marijuana in order to avoid expulsion (it makes more sense when you read the full summary in the Sundance feature in the Feb. 11 issue of The Vista). The deciding factor for me when deciding whether or not to see this movie was that Adrien Brody played a rasta’d out drug dealer/lawyer. The film’s storyline didn’t hold up so well, but the film was held together by the soundtrack, which made me realize that any bad movie becomes more bearable with each hip song that’s played in the background.

HIGH School opened up with MGMT’s “Time to Pretend,” which was very fitting for the film’s premise and target audience. Other songs in the film that got me excited include The Dead Weather’s “3 Birds,” Metric’s “Help I’m Alive” and Kid Cudi’s “The Prayer,” which samples Band of Horses’ song “Funeral.”

Robots fall in love in Spike Jonze's "I'm Here," which features the music of Girls and Animal Collective.

Another film with a great soundtrack was Spike Jonze’s short film “I’m Here,” which featured Girls’ “Hellhole Retrace” as background music for a robot party and Animal Collective’s phenomenal “Did You See The Words.” Adrian Grenier’s (of “Entourage” fame) documentary Teenage Paparazzo also succeeded in song choice by featuring my favorite song by The Kills, “U.R.A. Fever,” and Ratatat. Fortunately, these two films were actually good, so the music made the experience that much better.

Ryan Gosling and Michelle Williams examine how a relationship begins and ends in "Blue Valentine," which features the music of Grizzly Bear.

As far as music goes in the films I didn’t see, I wouldn’t normally be able to tell you if it was good or not because how would I have known? But when it comes to Blue Valentine, which stars Ryan Gosling (check out his band, Dead Man’s Bones) and Michelle Williams, I heard that Grizzly Bear did the entire soundtrack for the film. Needless to say, it’s sure to be incredible.

All in all, Sundance was a great experience
for me because it was film heaven and music heaven at the same time, which is every former A&C editor’s dream come true.