Playlist: Five songs we think should be played during a Wes Anderson film

Sep 24, 2014 at 1:00 am

Yeah, his song selection is cool, but what about these songs?

"Fertilizer" | James Fauntleroy

Before Frank Ocean sang a cover of it and placed it as an interlude on his excellent Channel Orange album, this James-Fauntleroy-penned song was floating around the internet in limbo, never to be heard by the masses. With a sound reminiscent of a Sergeant Pepper-era Beatles throwaway, this song would most definitely be perfect for one of Wes Anderson's films, since, you know, he's kinda into that whole era.

"Hannah Hunt" | Vampire Weekend

Remember that bus station scene in The Royal Tenenbaums when Richie and Margot met back up? Of course you do. Well, instead of Nico's minimalist guitar riff and strings, what if we had Vampire Weekend's rolling bassline, drums, and vocals until an absolutely exquisite climax at 2:40?

"Wolf (intro)" | Tyler, the Creator

It's simple: a beautiful chord progression (and xylophone) that gives way to an expansive orchestral assault with Tyler spewing hatred in every direction. Max Fischer from Rushmore would be proud. Never have the words "fuck you" sounded so sweet.

"Cheree" | Suicide

After hearing Alan Vega crooning over serene organs and an understated drum machine about his "comic book fantasy," you could've easily guessed that this one would be a great fit for Moonrise Kingdom. Sure, it would've been somewhat of a revisionist's approach to history, but meh.

"In Our Prime" | The Black Keys

Though bright colors, typography, symmetry, and deadpan dialogue have long since become Wes Anderson's cinematic calling card, one thing that people often forget about is the complex, often dark elements in his characters. From Richie Tenenbaum's breakdown to Steve Zissou's fall from grace, you can play this slow-burner during any solemn scene in Wes Anderson's films and it wouldn't feel out of place.

BONUS: "Dial Up" | Childish Gambino

So this isn't really a song; it's more of an interlude. That being said, can't you just see this being played during the opening credits of one of Anderson's films? Or better yet, during one of his segues? —