Avey Tare’s voice floats adrift on Animal Collective’s second audiovisual album, Tangerine Reef. Made in tandem with Coral Morphologic, the Miami-based duo who merge art and science by growing and photographing coral, the film’s soundtrack plays out like a defeated, sunken warning. Coral, like the polar bear and the oil-covered seabird, has become a symbol of human recklessness as our species stares down apocalyptic climate change. It’s not cute or warm-blooded, but it’s brilliant with fluorescent color when alive, and it bleaches, like bone, when it dies. As the sea warms, coral acts as an emotional thermometer. Unlike Animal Collective’s more pop-oriented albums, which carry within them a strong, if occasionally flippant, utopian grain, Tangerine Reef feels saddled with existential weight, preemptively mourning a future vacant of the living color Coral Morphologic capture in stunning high-definition video.
Coral Morphologic’s Colin Foord and J.D. McKay first met Animal Collective in 2010 at a screening of the band’s first audiovisual LP, the sticky phantasmagoria ODDSAC. The two groups collaborated on and off over the next eight years and made Tangerine Reef in commemoration of the third International Year of the Reef—an effort by the International Coral Reef Initiative to encourage the preservation of aquatic ecosystems. The album follows AnCo’s Meeting of the Waters EP, another soundtrack to visual documentation of environmental destruction, but it’s closer in tone to Avey Tare’s most recent solo album, 2017’s Eucalyptus. Composed by Tare, Geologist, and Deakin (no Panda Bear this time), Tangerine Reef reckons abstractly with the environmental devastation already wreaked upon the earth, and the potentially horrifying consequences yet to come.
It’s a timely release. Record wildfires are singeing California, and people are dying from heat waves around the world. Global warming should be a hot-button issue, politically, and yet it is rarely spoken of on the campaign trail. A certain fatalism seems to have set in among Americans; Tangerine Reef’s slow, sad notes reflect that ambient despair. Through a soup of effects, Tare sings like he’s watching something precious slip away from him. While his voice was clear and at the forefront of the mix on Meeting of the Waters, he sounds drowned here. And yet it’s beautiful what he’s drowned in, these strange, delicate notes that sound primordial and ancient even though they’ve probably been cranked out of something pedestrian like a guitar. Toward the end of the album’s first track and lead single, “Hair Cutter,” Tare trails off, out of lyrics but still singing, and a bouquet of alien synthesizer notes rise up around him, buoying him. That song boasts the album’s loveliest vocal melody, and its strange melancholy serves as a portal to the rest of the album’s murky psychological excavations.