Music Video Monday: Devendra Banhart's "Baby"

Track: Baby

Artist: Devendra Banhart

Album: What Will We Be

Year: 2010

The premise of Devendra Banhart's "Baby" video isn't exactly forthright, but we'll give it a whirl anyway. Basically, Banhart and his hipster pals (which include The Strokes' Fabrizio Moretti and MGMT's Andrew VanWyngarden, among others) are just walking down the street when they're suddenly abducted by some sort of large cylinder. The cylinder then blasts off into space, where they arrive inside some odd pink planet of-sorts. Once there, they are surrounded by H.R. Puffinstuff-type cartoon characters, whom they interact with here and there. To top it all off, GZA is the king of this whole realm (totally makes sense), which he rules from his iPhone.

And that's the long and short of it. We never get an explanation for any of these actions-- especially GZA's appearance, which may only be because he's a Banhart fan. Yet, in a way, you don't really question the whole ridiculous affair. I, for one, stopped being surprised when the cartoons showed up, but maybe others felt differently. Either way, it's worth a look below.

Music Video Monday: She & Him's "In the Sun"

Track: In the Sun

Artist: She & Him

Album: Volume Two

Year: 2010

Without going any further, you should know that the video for She & Him's "In the Sun" is incredibly hokey. That being said, it's that hokiness which makes the duo the charming, pseudo-throwback it is. Fittingly, this visual presentation takes place in a high school, supposedly circa the 1960s. If it weren't for the countless hallway song-and-dance numbers we've been subjected to over the years, from Grease to High School Musical, perhaps this one would resonate even more. Once again though, the fact that said concept is so tired somehow makes it more interesting when used by She & Him here.

The fact that Zooey Deschanel screams 1960s wherever she goes helps matters. While most female recording artists would look slightly out of place dressed in the more conservative school dresses and other outfits of the era, Deschanel fits in perfectly. The fact that she is an actress also pays big dividends as the song-and-dance never seems oversold. Instead, her leading a group of supposed teens in song just looks right, and M. Ward's persona as the artistic loner airs out just as well. Sometimes a video and a song are just a perfect fit. Check it out for yourself below.

[Previously on Animal Noises: Pre-Screening: She & Him's Volume Two]

Music Video Monday: Yeasayer's "O.N.E"

Track: O.N.E

Artist: Yeasayer

Album: Odd Blood

Year: 2010

This video may make sense. Matching their eclectic, haphazard musical arrangements, the visual representation of Yeasayer's "O.N.E" is equally so. Among its many themes-- facial morphing, neon, warehouse raves and people either grabbed from NYC's underground club scene, or just generic Euro trash. Yet, all of this works out fairly well.

Overall, "O.N.E" is kind of reminiscent of one of our culture's many presentations of a dystopian future. Lights function as musical instruments, and means for bartering, while everything else is mostly in a dreary mess. It's an uncivilized society, at least by the standards we see in the video. The only spoken words are through the lyrics, so sadly these visual cues are the only things we have to surmise the plot. Unsurprisingly, we're left wondering what the hell just happened at the end-- not completely unlike parts of Odd Blood. Check it out below.

[Previously on Animal Noises: Pre-screening: Yeasayer's Odd Blood]

Music Video Monday: Summer Camp's "Ghost Train"

Track: Ghost Train

Artist: Summer Camp

Album: Ghost Train 7"

Year: 2010

Simplicity, or at the least the appearance of it, seems to be the norm in 2010 thus far. Same goes for Summer Camp's "Ghost Train," a track that whistles with the breeze as it methodically floats through its progressions. Yet, the song still manages to capture the imagination. Maybe its the goofy nostalgia, corny 70s background, or even "Reading Rainbow" (the show, not the band) vibe it seems to give off that makes the song just so enthralling. But the wispy dream pop track nevertheless manages to capture all our your senses and never let go.

This effect is achieved tenfold on the video for "Ghost Train." Taking its footage from 1969's Last Summer, the images of young love and the joys of teen beach vacations touch a nerve with most viewers, and keep you attentive. It's a wonder we don't see techniques like this employed more often. But then again, it's probably not all that easy to gain the rights to non-indie films, so the dearth of videos like this one probably makes sense. If you'd like to purchase the single, you can look forward to it coming out in April, via Moshi Moshi. Both the video, and the track can be found below. Plus, check out the band's blog for all kinds of odd pieces of yesteryear.

"Ghost Train" -- Summer Camp (via Pitchfork)

Music Video Monday: Pantha du Prince's "Stick to my Side"

Track: Stick to my Side

Artist: Pantha du Prince

Album: Black Noise

Year: 2010

The shortened video for the nearly eight-minute "Stick to my Side" is as strange and random as the sounds that inhabit it. The track, off of Pantha du Prince's latest-- Black Noise-- is a layered, jangly piece that zigs and zags through its bells and background beats with the help of Panda Bear. On the song itself, his vocal stylings are more the sidebar to an otherwise instrumentally-focused number. However, in its visual presentation, one may see that his presence is more of an influence on the video itself.

Watching the happenings of some sort of tree person, we see oddness and mystery. He lives in the woods (obviously), and interacts with another tree person, and this human being. The human being doesn't find it weird that he's a tree person (somehow), only because this is Pantha du Prince's music video, and he can do whatever he wants with the world he's created. Overall, the entire, random affair kind of reminds me of a mix between Grizzly Bear's "Ready, Able" from last year and Animal Collective's "Peacebone." Being that Panda Bear is part of Animal Collective, and had a hand in the video for "Peacebone," I wouldn't think it'd be too farfetched to draw a comparison. Would you? Check it out below, and make your own assumptions.

[Previously on Animal Noises: John's Track of the Week: Pantha du Prince's "Stick to my Side"]

Music Video Monday: Vampire Weekend's "Giving Up the Gun"

Track: Giving Up the Gun

Artist: Vampire Weekend

Album: Contra

Year: 2010

It's safe to say this can be filed under "ridiculous," or perhaps will just stand as more evidence of Vampire Weekend's continued encroachment into the mainstream public's consciousness. Either way, the video for Vampire Weekend's latest single "Giving Up the Gun" serves as an entertaining, albeit confusing look into what's been going through the band's mind as of late.

There's a lot to take in with this one, so we'll get right to it. RZA is playing line judge to a tennis match between band pal Jenny Murray and Joe Jonas, who's not even the least-likely participant in the affair (somehow). Running through her competition, Murray eventually gets to play a whiskey-swigging Jake Gyllenhaal (how? why? all of the above?), yet defeats him handily. Lastly, she faces her own self-- usually the largest obstacle for most. After Lil' Jon gives her a pep talk in French she gets all charged up and destroys her alter ego. What follows is a celebration out of a Japanese game show. Mass confusion ensues as the internet explodes over searches for all the aforementioned role players, specifically Murray who just put herself on the map big-time. Enjoy below.

[Previously on Animal Noises: Pre-Screening: Vampire Weekend's Contra]

Music Video Monday: Surfer Blood's "Swim"

Track: Swim

Artist: Surfer Blood

Album: Astro Coast

Year: 2010

The video for Surfer Blood's "Swim" springs upon viewers as unexpectedly as the track itself did last year. Adding an appropriately random collection of images to the haphazard and intense song, it is a narration of events which literally make no sense. Yet, given how caught off guard many were and have been by Surfer Blood's sound, perhaps it's appropriate, and almost expected for their video debut to act accordingly.

At the onset, lead singer John Paul Pitts is kidnapped from his bed and seemingly thrust into the day, without a clue (or pants). The subsequent events involve him attempting to find his bearings, watching his bandmates assault an old man and steal an ice cream cone from a little girl. This gives way to a chase scene that ultimately leads to Pitts thrusting himself into his own band's show, and taking the stage. Surely it won't make sense now, or ever, but I couldn't think of a better way to display the band's thrashing surf rock sound than the randomness that becomes this video.

[Previously on Animal Noises: Pre-Screening: Surfer Blood's Astro Coast]

Music Video Monday: Spoon's "Written In Reverse"

Track: Written In Reverse

Artist: Spoon

Album: Transference

Year: 2010

The grainy, black and white presentation of Spoon's "Written In Reverse" may seem like nothing special at first glance. In fact, even after watching it all the way through, most viewers will probably have little to say about it other than the fact that it was fun watching the band in studio. However, I feel the video is much more than that. It seems to be a statement to the band's different approach, both on this track, and the album as a whole.

While Spoon's latest album Transference appeared simple on the outside, it ended up being a fairly experimental and complicated endeavor once you spent some time with it. "Written In Reverse," the first single, seemed to be the epitome of this vibe, as the disjointed, rough piano number banged away at the keys amidst off-kilter guitar riffs. Less pop-oriented, and more bare-bones than projects past, the music could be heard in black and white. Literally, this translates to the video below, in a presentation that matches perfectly with the song it looks to represent. Check it out.

[Previously on Animal Noises: Tuesday's Releases (1/19): Now Streaming]

Music Video Monday: Local Natives' "Airplanes"

Track: Airplanes

Artist: Local Natives

Album: Gorilla Manor

Year: 2010

When just listening to the track itself, Local Natives' "Airplanes" doesn't necessarily sound like a haunting, mourning ballad. Rather, the track simply teems of regret and the desire to restart a once-lost love. A noble cause, the song is pleasant and simple, sticking out only at random instances, and keeping to the tempered pop flow of the rest of the record.

However, the video for "Airplanes" is an entirely different story. Opening up directly into a strange abandoned home, a haunting, haphazard song comes to fruition. Suddenly, the highs soar higher, the more quiet moments appear more desolate amidst the dust and picture frames. The stop-motion animation moves in time with the music and flitting strings, jumping eerily and elegantly at the same time. It's not a frightening turn of events, but rather, a natural one. These ghosts, for whatever reason, have some unfinished business, and thus are meandering throughout the house and their former belongings. The situation is filled with intrigue, as it transforms the song into a living, breathing soundtrack to the events unfolding. For those who'd like to check it out for themselves, please do below. Local Natives' Gorilla Manor is out February 16 via Frenchkiss.

[Previously on Animal Noises: John's Track of the Week: Local Natives' "Camera Talk"]

Local Natives | MySpace Music Videos

Music Video Monday: Beach House's "Silver Soul"

Track: Silver Soul

Artist: Beach House

Album: Teen Dream

Year: 2010

Noted not so much for flash, but rather it's stark and simple, yet slightly unnerving presentation, Beach House's "Silver Soul" is this week's featured video. Directed by the band's own Victoria Legrand, it explores a perpetual sense of motion, without purpose or direction. The hula-hoop, in this case, continues to spin with no regard for the world around it. Though dismal, the arena of smoke and people painted silver do indeed exist, regardless of how much they might lack any semblance of excitement.

So is this a statement of hopelessness, or insecurities? Can't really tell, to be honest. Perhaps it's even more existential than that. Or maybe it's just silver girls hula-hooping amidst smoke and creepiness. One can never tell from the outside looking in, and this may go double for "Silver Soul." Still, check it-- one of the ten videos which accompany Teen Dream's physical release tomorrow via Sub Pop-- out below.

[Previously on Animal Noises: Pre-Screening: Beach House's Teen Dream]

Music Video Monday: RJD2's "Let There Be Horns"

Track: Let There Be Horns

Artist: RJD2

Album: The Colossus

Year: 2010

Even though it's only January, RJD2's video for new track "Let There Be Horns" will probably stand as one of my favorites of 2010. Witty, entertaining and downright ridiculous at times, the video chronicles a typical day in the life of a minotaur that lives in a human world. Of course, the mythical beast doesn't behave as he was depicted in ancient lore. Rather, he's an incredibly flawed individual, dealing with rage and relationship difficulties, while popping pills all day. His work life and home life are guided by his need for medication, and as he progressively saunters through his day, he gets himself into more slightly comical, and almost sad situations. It also doesn't hurt to have a great, dynamic backing of heavy electronic beats and instrumentation-- but regardless, this one's worth a view.

Music Video Monday: Jay-Z's "On to the Next One"

Track: On to the Next One (Feat. Swizz Beatz)

Album: The Blueprint 3

Artist: Jay-Z

Year: 2010

To kick off everyone's New Year (I know, a few days late), Jay-Z's got a new video for his droves of fans across the web and elsewhere. "On to the Next One," featuring Swizz Beatz, presents the upbeat, bouncing track in the classic style Jay fancies all of his work to be in. Entirely in black and white, the album is also surprisingly art-oriented. Intertwined within the homages to power and money, are tons of other, odder images. Flaming basketballs, moving inkblots, clowns and more jump in and out of the shot, leaving the viewer both intrigued and puzzled. Still, a worthwhile video to start off 2010. Check it out below.

[Previously on Animal Noises: Most Prolific Artists of the Decade: #1-10]

Music Video Monday: "Modern World"

Track: Modern World

Artist: Wolf Parade

Album: Apologies to the Queen Mary

Year: 2005

Wolf Parade's "Modern World" doesn't make the grandest statement of all the tracks on 2005's Apologies to the Queen Mary. Rather, on an album full of great songs, it functions, through no fault of its own, as part of the larger picture. However, the video for said track, on the other hand, is a completely different story.

Appearing like something out of a Tim Burton-animated film, the video depicts the band as clay-type figures, being put out of work by modern technology. The visual, more than the words themselves, function as an interestingly fantastic social commentary. What happens if technology gets so advanced that human beings are no longer needed to make the stark and sprawling musical landscapes which we enjoy today? All of the sampling and electronic experimentation here are substituted by some gaudy, monstrous music machine, but the question lingers just the same. Whether the band actually harbors these fears or not is irrelevant, as the production makes a simple, yet powerful statement to be considered at the least.

[Previously on Animal Noises: Weekly Top 10: Ghost Songs]

Music Video Monday: "All The Pretty Girls"

Track: All The Pretty Girls

Artist: fun.

Album: Aim and Ignite

Year: 2009

The video for this fun.'s "All The Pretty Girls" came out fairly recently, so I figured it'd be worth giving a look for today's Monday feature.

Functioning mainly as an ironic commentary on both band life, and their own lives as well, "All The Pretty Girls" depicts the members of fun. running from a crazed group of females. Originally running away from separate crowds, members Nate Ruess (The Format), Andrew Dost (Anathallo) and Jack Antonoff (Steel Train) eventually meet in typical comedic fashion, and then proceed to run together, before being trapped in a building. Suddenly, the three are talking pinatas of themselves, and are subsequently beaten by the mob with sticks. This is where the irony vanishes, since the songs more works to convey a version this point, than the previous one.

The other brief point of interest is the band's selection of attire for the video. Really skinny jeans, moccasins, white pants, a jean jacket, a cut-off plaid shirt and a pseudo-Sgt. Pepper's jacket all make appearances-- perhaps a further commentary, or just random clothing selection? Regardless, the wardrobe choices do stand out, which I suppose is one of the points of a video to begin with. Check it out below if you haven't already.

[Previously on Animal Noises: Weekly Top 10: Album Closers]

Music Video Monday: "Day 'N' Nite"

Track: Day 'N' Nite

Artist: Kid Cudi

Album: Man on the Moon: The End of Day

Year: 2009

There's nothing new about Kid Cudi's "Day 'N' Nite," I know that. Everybody's heard the song at least once since it premiered many months ago. However, since realizing its video was never featured here on the blog, I felt it was appropriate.

The lead single off of Cudi's stellar debut album, Man on the Moon: The End of Day, "Day 'N' Nite" pulses with a club beat that shot it to instant radio play. In actuality though, the song has a much more somber subject matter, as exemplified in this video (rather than the Crookers remix video).

We start with Cudi walking toward us in an almost cartoon form-- a theme of the entire video. He is alone, but we soon discover him to truly be on a street. It is with that representation, and similar ones that appear throughout, that the true meaning of the song comes out. On the track, Cudi addresses loneliness and insecurities, and these factors come out in the isolation and hallucinations of the video. Though some are more realistic than others (imagining playing a concert is believable, but the pirate guy, not so much), the point is still made quite well. Check it out below.

Music Video Monday: "Comforting Sounds"

Track: Comforting Sounds

Artist: Mew

Album: Frengers

Year: 2003

As visually intriguing as the video for Mew's "Comforting Sounds" is, to me, it more lends itself to thoughts of what this video could have possibly meant for the band's career if things had worked out differently. If released today, what would the effect have been on the Danish band, and why didn't it happen that way?

The song, off of 2003's Frengers, is the epic closer on what many refer to as the band's best effort to-date. Soaring through spacious and sprawling solos, the music is emotional and in many ways functions as the perfect end to the effort as a whole. As a stand-alone track, its ongoing crescendo is a focal point of its appeal, and what drives the song to its triumphant conclusion. The video is basic-- just a simple representation of what (symbolically) makes the human body function, followed by some power chords, but that's where it draws its strength from. By lacking unnecessary details, it brings better attention to the music itself, in a focused statement.

If "Comforting Sounds" had come out today, there's no doubt it would have vaulted Mew from their current marginal fame to a stratosphere few alternative artists currently occupy. Here, their similarities to the likes of Coldplay and Snow Patrol are uncanny, yet Mew accomplishes the aesthetic so much better. The music reaches emotional high points, but ones that are artistically motivating and honest, and lack that sort of mainstream, Grey's Anatomy appeal to turn it into a breakout hit amongst everyone age 18-40. So, I guess, for the most part, thank God that didn't happen, otherwise I'd hate the track instead. To make your own judgement call though, check it out below.

[Previously on Animal Noises: New Mew Video: "Repeaterbeater"]

Music Video Monday: "Evil"

Track: Evil

Artist: Interpol

Album: Antics

Year: 2004

The puppet featured in Interpol's video for "Evil" isn't creepy, as much as he is intriguing. "Norman," as he was dubbed by fans of the band, is the star of the video, from the opening post-car crash mutilation to those final seconds on the operating table. But even though you get very little information about him, since he's simply singing the track, you can't help but feel the guy's got a fair depth of character behind the stuffing.

At the onset, Norman is not necessarily the main attraction. I'm guessing they let "evil" refer to either death or possibly a drunk driving message (probably not, but it's a possibility). Behind our singing puppet friend is a horrible car accident, focusing on the anguish of family members. Eventually, Norman himself is rushed to the hospital and brought to the operating table, before he performs some add puppet dance, before presumptively dying. All-in-all it works though, as the choppy percussion and guitar riff trade-off works perfectly in kind with the staggered, awkward movements of Norman. Check it out below.

[Previously on Animal Noises: Weekly Top 10: Greeting Songs]

Music Video Monday: "Son of Sam"

Track: Son of Sam

Artist: Elliott Smith

Album: Figure 8

Year: 2000

With all this talk of balloons lately, I figured the video for "Son of Sam" would probably be appropriate here.

It's interesting how eerily Elliott Smith's video, which has nothing to do with the "Son of Sam" killer, David Berkowitz, seems to reflect the end of his life. Throughout the entire video, Smith simply chases a red balloon, which in this case can be seen as symbolism for a dream or goal. From the moment he spots it in the first few seconds, he's intent on following it in the awkward stop-motion chosen for the video. In the end, when it pops, it feels as if the dream has died with the balloon's demise.

Though not necessarily about death, one can't help but see some creepy similarities to Smith's own life. After chasing a dream for so long, it just ended, abruptly. However, unlike the balloon's existence, Smith's continues past his demise. We've seen two complete posthumous albums from him, as well as countless appearances by his songs in film. Add in other singles and tribute albums, and it's evident the man has gained a cult following through the years. It may have never been intended to be this way, but unlike the video, Smith has outlasted his own destruction.

[Previously on Animal Noises: This Week's Top 10: Albums of 1998]

Music Video Monday: "On the Water"

Track: On the Water

Artist: The Walkmen

Album: You & Me

Year: 2009

On an album full of standout songs, sometimes a few can get lost in the shuffle. Appearing right before You & Me's signature track, "In the New Year," The Walkmen's "On the Water" may be a prime example of this disappearing act. As a stand-alone song, it howls, eerily pacing through its progressions, and careening off the walls as it bounds. However, by the end of the 14-track effort, it ends up melting into the scenery somewhat, with so many staggering, single-material submissions.

But the video for "On the Water" works in many ways to set it apart. Utilizing some mesmerizing computer animation, it takes a simple story of two rabbits, and splashes it onto a sensational canvas. The constantly-panning camera takes us through the perils of their existence, with dogs, guns and hawks close by. Finally, one of our main characters meets his unfortunate demise in a colorful display of confetti, from the gun of a farmer. His cohort stops back quick, before running off-- leaving us a mystery as to what may happen next, if anything. Check it out below.

[Previously on Animal Noises: John's Track of the Week: "New Year's Eve"]

Music Video Monday: "Beating Heart Baby"

Track: Beating Heart Baby

Artist: Head Automatica

Album: Decadence

Year: 2004

Searching for a video for Glassjaw's "Pink Roses" this morning, I came across two things: First, the fact that for some reason there is no video for the song, and second, the video for "Beating Heart Baby," which I had forgotten all about. For those who don't know, Daryl Palumbo is the frontman for both Glassjaw and Head Automatica, hence why the second video came to mind.

Back in 2004, this song was the larger public's first real exposure to the Long Island band. Many knew of Glassjaw, but besides the local crowd, no one had really seen Palumbo's pop capabilities. It was near the dawning of the current power pop scene-- way before squeaky-clean acts were manufacturing hits. Head Automatica had an edge to them, which was, and still is, hard to come by in pop. Their combination of catchy riffs, spiraling 80s glam rock and Palumbo's snarling vocals was an instant attraction. Of all their work on their two albums to-date, I'm still convinced that this is their best, and most representative work. The video also goes a long way in that demonstration, so check it out.