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The video begins with a tracking shot of dense trees with shades of tropical and forest green. There is a road sign, fifteen miles-per-hour, and maybe the slow speed is something that allows us to connect to the roads that have been rained on earlier.

There are cut-ins of lists and the holding onto them. B Sides. He meditates with the written notes on a chair, surrounded by wood frame windows and the quiet-moving, morning sun. It’s a mid shot without any movement, except for the wild flowers outside the edge of the window.

The camera tilts from a middle of waves to a single wave that crashes along the shore, then back to the room where the camera pans to show him, who before was still, now moving and raising his toes up from the floor.

There is a second tracking shot that is slower than the first. A narrow gap between the dense trees reveals a foggy lake with its misty, mossy gray evening setting in. The room is now dim and the members take a break from individual recordings. A pile of books sit on top the lists and the morning’s notes.

After a busy night, morning comes against the wood frames and a new, blank page is set. The camera is blinded by reflections from tiny dust which show up as little, red hexagons.

Tags: Devendra Banhart, Neil Krug, Northern California, Stereogum

This entry was posted on Thursday, January 28th, 2010 at 5:25 pm and is filed under Writing. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.