Panda Bear's (aka, Noah Lennox from Animal Collective) Perfect Pitch is one of those albums that requires full and complete listening to appreciate. If you are lucky enough to experience a live show of the work as we did in Panda Bear's home town of Baltimore then it becomes clear how the music impacts people and how song to song the moods flow. Ultimately an optimistic and uplifting American album, a true rarity. Here's an interview with Mister Panda himself from Cyclic Defrost an Australian publication:
How does this apply to your solo albums? Do you view them quite separately or do you think there’s something that ties them together?
Well, I think the approach I’ve taken for everything I’ve ever done is that I always like the music to be an accurate representation of who I am at that time: the kind of things I’m thinking about, the kind of things I care about. And that’s never changed, really. Obviously with Young Prayer it was written after a significant death. I tried to be as positive as I could about the experience of making the album. Whereas with this one it was a mixture of making a conscious decision to try and do something that was way more casual - that didn’t take itself quite so seriously, I guess – and also wanting to reflect what’s happened to me in the past couple of years. I feel like I’m a much happier person, much more positive. And the environment I live in is a super, super sunny place, so I think that it would be impossible for that not to come out somehow.
Do you think that Lisbon was the place you were trying to evoke on the record, or was it some place different? Because there’s the place where you record an album, which obviously has an impact on the sound, but then there’s the place that you’re trying to evoke.
I don’t know that that’s what I set out to do; I wasn’t really trying to capture this place. But at the same time I was referencing experiences and thoughts that I’ve had while I’ve been here, so I was trying to represent this place in a roundabout way.
For me as a listener there might be a real space, but there’s also a totally dream-like, fantastic space that the record has as well. And that comes through visually.
I feel like a lot of my favourite music is music that takes the edge off reality in some ways, and again that’s not something that I consciously set out to do, but I feel like it’s my sensibility with music and with sound, to try and make it feel like I’m dreaming or – it sounds cheesy – like some kind of alternate reality.
How did it feel to make? Was it an enjoyable, energetic process to make the record?
Yeah, totally. When I was done working with Animal Collective or touring with Animal Collective and I had free time, I’d work on it. I never really had any agenda or schedule with it: I was without deadlines. I didn’t have to be doing it if I didn’t want to be, so I was only making music when I wanted to be making music.
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