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Still, these are the artists that often hit hardest with their words, whether they’re wrapped in endless layers of mellow instrumentation, as heard on the haunting tales of Sufjan Stevens and Bon Iver, or suited up with fresh pop hooks, like the sing-along anthems of Hozier and James Bay. Nothing to compare it to, it’s gonna be great.” This time, he isn’t talking about Vietnamese ravioli.By the 2010s, even the most understated singer/songwriters of the decade proved to be multitasking masters, weaving heartfelt confessions and witty quips around myriad styles as seemingly disparate as folk and hip-hop. “Hopefully people can see the video because it’s gonna be cool. “Every time you watch it’s going to be a strange new thing,” DeMarco says. “This Old Dog” is also on YouTube, which allows you to interact with it on your desktop or mobile device, as well.īy the time the visuals end, viewers should be sure to look up to see the structures building up above them, as the Mac-dog floats heavenward. The Inception app is also iOS- and Android-enabled, so people can experience it on their phones with a Google Cardboard viewer or simply by moving their phones around.
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The best way to watch is to download the Inception app and use a dedicated VR headset, such as Oculus Rift, HTC Vive, or Google Daydream. To take part in the “This Old Dog” visual experience, viewers have a few options. “You have to choose your path, choose your point of view,” Inception CEO Benny Arbel explains. The company previously teamed with Boiler Room to produce a VR streaming experience of a DJ set from a Berlin club, allowing users to move through the space and check out various rooms, from various perspectives. Inception, for its part, sees music as a natural fit for this emerging technology. “What we’re going to do in the VR space will vary with each artist.” “You have these pairings where people with very specific aesthetics come together and create something unique together,” Bentler says. Antony and the Johnsons’ video for the title track from the ANOHNI-led group’s 2013 live album Cut the World was directed by Nabil Elderkin and stars Willem Dafoe. Animal Collective collaborated with filmmaker Gaspar Noé on their video for “Applesauce” from 2012’s Centipede Hz. When the site launched a YouTube channel in 2012, Bentler’s team directed and produced some videos themselves and commissioned others. “As this new era of VR starts and there’s an extreme sophistication with the modeling, the animating, and the CG,” he notes, “they were going for a punk-rock VR aesthetic here.”įor Pitchfork, this leftfield sensibility has precedent in traditional 2D videos, as well. RJ Bentler, Pitchfork’s vice president of video programming, says the hope is for the experience to be accessible in the same way DeMarco’s music is accessible. The technical process was time-consuming, but the results look effortless. DeMarco explains, “We got a lotta baloney in there, in the best possible way.” Directed by Rachel Rossin, a renowned painter and VR artist, the result places viewers in an imaginative world of retro-style computer graphics. The interactive, 360-degree visual experience for his album’s breezily beautiful title track, which went live today, is the first project in a new partnership between Pitchfork and immersive-content company Inception. When DeMarco was offered a chance to work in virtual reality, he was just as game to take advantage of the opportunity.
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The latest, 2017’s This Old Dog, was the longtime tape devotee’s first full foray into digital recording, and it’s the sharpest refinement yet of DeMarco’s nonchalant sense of craft. Over the past few years, the Vancouver-born, Los Angeles-based singer-songwriter has emerged as one of the most beloved names in indie rock, in large part because of albums he recorded himself at home.
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“I have no idea.” He knows how to learn on the job, though.
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“I’m not the most up-to-date with technology,” admits Mac DeMarco.
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