DEERHOOF

— First review of this album —

Reviewing my favorite albums of 2012 from while being on base during the weekend? You bet!

Frankly, I think I have a bit of a connection to this album considering it been released during the very first weeks of my boot camp and enlistment. Music was very much escapism at this point of my life, and frankly you can't find much better escapism than Deerhoof. Songs here tend to bring up memories of a time where I was challenged physically and mentally in ways I had never been before. But these days this songs give me a bit a feeling of triumph- I can look back at a time I was just enjoying life much at all as a time that was and will never be again, with 'Breakup Songs' carrying me through this tough time.

But yeah rambling over- on to Deerhoof!

This album released September of this year is Deerhoof's 11th album. Deerhoof has been one of the best bands in the last decade, and by changing their sound and revising their take on pop music, they've been managing to keep things as fun and engaging as they were with their earlier more noise-oriented albums. I feel that in many ways 'Breakup Songs' is a couple of steps back along with a couple of steps forward. Deerhoof return to a lo-fi production more in the style of 'Reveille' and 'Friend Oppurtunity' and leave the very clean sound of later albums such as 'Offend Maggie' and 'Deerhoof Vs. Evil' behind (both great albums, I should mention). With that, Deerhoof has shifted into a much more electronic, midi/sample, kind of band- with the same sugary melodies and quirky lyrics, Deerhoof's trademark some would say, now presented in what I would almost call dance- pop tunes that went through the blender with a sprinkle of acute noise and jangly, angular guitars and other such noises. Greg Saunnier's drums have never been less prominent in a Deerhoof album. Drum Machines now take up most of the drumming- with Saunnier's manic drumming much less present. While I think Saunnier's is one of the most interesting and just plain energetic drummers out there, the drum machines work great. And when Saunnier is drumming, there are no more manic drum fills anywhere. It's simple, to the point, groovy- but it's effective. The rhythm in this album is infectious. It is the strong dance element that makes this album irresistible, and the lo-fi sound and noisy presentation which make this album worthwhile.

Deerhoof are so successful at doing what they're doing that it's not surprising for me to that this album is one of the better Deerhoof albums to date. They're all worth a listen, more likely probably even two, but this one shows is a clear sign that Deerhoof are still having fun and still have that drive to take pop music and morph it into something delightful and thoughtful. Recommended warmly to those interested in pop music done different.

Also, they do parties.

I didn't plan to do much reviewing, (and this is my second one, so I hope this is what people look for in a review) but I think it is important that there are reviews from the people who really get what Deerhoof is doing here just as I think it is important that there are reviews from people who rate this album poorly as well because people will find both kinds of reviews to be useful. It would be silly to call people who don't like Deerhoof 'close-minded'. I think for the most part it is because of Satomi that people find them obnoxious. I happen to be able to tolerate (and enjoy) lo-fi music done by poorly trained musicians instrument-wise, but these are not poorly trained musicians. I admit though, I don't know what makes a singer considered well trained. So while I see it as perfectly understandable that someone wouldn't like them, I suggest that everyone should give them a chance.

Moving on though to the actual album: Friend Opportunity. I may have been generous with some ratings, but this is one of my favorite albums of all time. Perhaps my second favorite, so I do not exaggerate my love for this album.

Almost all albums take time to grow on me, usually starting with one or two that I like on first listen, and then I begin to appreciate the subtleties of the rest. This happened fairly quickly for me here, although there were a few songs that took a while to grow on me: Choco Fight and Kidz Are So Small. Although I always love kooky things, these songs just bugged me. I apologize for not being able to be more descriptive here, but I simply began to enjoy them after a while. That's it. Although I have to say, I always loved the bass in Choco Fight. It really makes me want to walk in around a city, late at night, with that playing through the alleyways. Then there's +81 which is the only one that doesn't do a whole lot for me still, however it doesn't ruin anything for me since it's only the second song.

Pretty much everything else blows me away. After +81 is when Deerhoof really takes off to show you their madness, beginning with Believe E.S.P, the first song of theirs to catch my interest. I think half of these songs have brainwashed me in one way or another because they really all sound like it. I believe this is how Satomi really uses her vocal style to her advantage - not to attempt being a pop star, but to either be a.) a fun pop singer, or b.) a creepy, crazy, cult-like creature of the deep.

And boy, do I wonder how they write these songs. It seems clear that most songs are not done by just one member as they have such a bizarre mixture of sounds and style. Greg can be anything from a sloppy, free rock drummer to an ambient drum wizard; John always compliments the spacey and/or creepy sounds just right; and it is the one Satomi who turns it into what the finished piece is. I always wondered what their real creative process is, though. I guess you'd have to be there!

My favorite song here: Caste Off Crown. Here is where Greg Saunier shows us his vocal skills. This song is stunningly beautiful and Greg really makes it that way. The transitioning between the heavy, noisy parts, and the cool, airy verse really mystifies the whole experience. I won't give it all away though.

I think Deerhoof is one of the best bands at being consistently good, while always changing in sound. No two tracks on Friend Opportunity even sound like they were obviously written by the same people. With the eerie sounds of Believe E.S.P and Choco Fight, the beautiful, relaxing sounds of The Galaxist, Whither the Invisible Birds?, and Caste Off Crown, the intensity of The Perfect Me and Matchbook Seeks Maniac, and then to end it all with the eerily beautiful intensity of the 11 minute-45 second, Look Away, this highly experimental album is like nothing else!

10/10 - easy

Deerhoof are a unique band, a band that most prog lovers will not like. Offend Maggie, however may be thier most palatable and proggie release to date Family Of Others utalizes more acessable and harmonically complex singing and more upbeat rythims with psychadellic acoustic guitar that might remind some of classic 70s prog. Chandelier Searchlight should be right up the alley of more accepting kraut heads and Snoopy Waves will sound fermiliar to lovers of math-rock. That being sayed this is still Deerhoof and fans will still find rediculous little girl vocals and lyrics "bunny jump, bunny jump, bunny jump, go go champions speed speed champions." Greg Sauniers just plain strange drum lines and decidedly non-linear rythims also remain in tact. So what makes this particular album different than others in the Deerhoof catalouge? Well, the cheesy 80s synth pop element thats characterized their music of late but they have not gone back to the surreal Rolling Stones gone mad sound of their early recordings, instead their sound recalls experimental giants like Sonic Youth, Yo La Tengo and Velvet Underground as well as the outer reaches of 70s prog rock. I strongly Reccomend this to any prog fan who is getting tired of the genre and looking for somthing to shine a new light on the subject.

Deerhoof isn't well received by most reviewers here, and I can see why. Not only are they as good a definition of oddball band as any, but they really aren't prog at all, at least not as we know it. They're strange, unique, and very experimental- but they'd probably be better classified as art punk. All of the songs here up to Look Away are very nice, enjoyable and quirky tracks. Childish, simplistic, probably aesthetic lyrics are delivered by a demented yet strangely friendly voice. Around it is drumming as precise and mechanical as those of Can, and guitar work that seems to be more pop-oriented than the rest of Deerhoof's sound, relying on riffs to give it a more accessible rock/punk feel. The exception is Look Away, a long, freakish avant-jam somewhat reminiscent of Peking O or maybe the more experimental parts of Sound Chaser. So, Friend Opportunity is a very good and enjoyable album, though some may find it simple and uninteresting. I think I'll give it three stars, because while I enjoy it, it really isn't my thing.

I did a double take. "The Tears and Music of Love" opened with driving hard rock, like something out of the seventies, and I did a double take. I was expecting frenetic drums and zany dual guitars and weird samples with nonsense "engrish" vocals. Well, that came in later. Deerhoof like to shapeshift their songs, and what starts out as traditional hard rock becomes a little more strange, and (odd for Deerhoof) just a wee bit somber.

On "Offend Maggie" gone are all of the cheesy synths of their past few albums. Things are a tad more direct here, although there is at least one experimental noise excursion, "This is God Speaking", that I play when I'm driving so people will think I'm being abducted by aliens.

My favorite song on Offend Maggie is "Chandelier Searchlight", a jaunty little number with an adorable chorus--I think the song is about death.

I think that Deerhoof are trying to be a little more mature on this album, although I'm not sure by how mature a band can get when they have written songs like "Basket Ball Get Your Groove Back" which is an enthusiastic song about basketball (and little more than that). It's probably my favorite quality to Deerhoof--the childlike innocence; Deerhoof can either sound like a bunch of six year old that have broken into a studio, or a bunch of progheads making intentionally messy, epic, two-minute masterpieces (sometime they can do both at once).

This is not quite entry-level Deerhoof, I would give that award to Friend Opportunity (for its conciseness), and I think I think Offend Maggie drags a little towards the end, but it is a quality album for those interested in a completely capable, completely strange, mix of "college rock", experimental weirdness, and prog.

I have not reviewed an album for a while and i would not normally consider rating an album like this that is so underground and that i am not yet entierly familiar with. It however has occured to me that the majority of reviewers on this site have missed the point of deerhoofs music, and understandably so at that. Deerhoof, to me, seem to be a better fit for Avant or Math Rock (as they are often catagorized) and as another reviewer pointed out they have little if anything in relation to Crossover. Deerhoof is a band focoused on creating catchy pop tunes out of dissonance and dancable beats out of odd time signatures and quirky phrazing. Their vocalist is meant to sound untrained, she lends a bit of legitimacy to their twisted nurcery rhymes. The greatest intrest however lies in Greg Saunir, their conservatory trained drummer who lends a more intelligent rhythmic touch to their otherwise punkish sound.

The symplistic melodies lend to the music rather than detract, but only if you consider the purpose behind the music. To create an epic? not likely. To tell a story? Obviously not. To show off technical playing? laughable. To explore different musical outlooks? I like to think so. The reason this band has been recieving such low ratings is that its music is being viewed through the wrong lens, partly because of its genre placement in this site.

As for this CD its self I enjoy it, i think it contains many interesting ideas and unusual playing. Standout tracks include Cast Off Crown, Look Away, and The Galaxist. A great CD, but far from Deerhoofs best work, four stars!

From the first notes from ''Chatterboxes'', I instantly knew that little had changed under the ''Deerhoof'' sun.

Same lamentations from their (?) lead vocalist, same underground (garage) musical tone, same tasteless music. Should I say useless? I would, but it's up to you to decide as well. Since so few reviews of their ''works'' are available, I guess that they just deserve what they get: very little to no attention at all.

And this is only justice IMHHO. This time, the album is longer than usual (almost sixty (!) minutes) and a few numbers are reaching the four minutes format! A miracle within ''Deerhoof'' concept. But the whole just makes the poor experience longer, not better I 'm afraid.

Satomi Matsuzaki must be one of the weakest vocalist featured on this site. Weak and annoying. All the way through. But even when Greg Saunier takes up her role, I can't say that the track is thrilling (''Oddysey''). It is just less painful and sweeter. Even f I have to admit that ''You Can See'' is bearable. But the following ''Midnight Bicycle Mystery'' ruins it all. Absolutely noisy and poor: press next of course (but this exercise is a common one while listening to this ''prog'' band).

It is very difficult to recommend this album. And to rate it above the one star mark.

I was not really thrilled (to say the least) with ''Deerhoof'' production so far (this is my fourth review from their work).

The first major problem being the song writing and the second one is definitely the role as a lead singer from Satomi Matsuzaki who has been quite disastrous. Needless to say that the very short length of their albums so far is another of the weak ingredients (although I was quite keen on their short works bearing in mind the weak level).

This album shows some better stuff though. No grandiose tracks, but some decent ones like ''Giga Dance''. Their global style is not much different than in previous release and might be of the likeness of some ''avant-garde'' freaks, but I have never been one of those.

Most of the time (''Desapareceré''), the music is too loose, without direction. The nadir being the sometimes punkish like during ''Rainbow Silhouette''. There is really no wonder to expect form this album. The band is very confidential because his music is very confidential and unlikely bound to appeal the masses.

There are truly unbearable tracks in here (''Dog On The Sidewalk'') and I am quite uncomfortable with their inclusion on this site. Anyway, there are so few reviews for this band that I am quite comforted with my opinion. This is below average experimental music, no more.

Tracks are a bit more achieved this time: a bit more lengthy than usual (three minutes average instead of two or so, although the last four tracks are quite short) but there is little new under the blood red sky. No passion, no feeling and no originality.

''Milk Man'' won't propel this band in the Walhalla of prog music, that's for sure. Slightly better than their earlier works. two stars is my maximum rating for such an album.

This fifth album from ''Deerhoof'' won't be remembered as a great one, I'm afraid. Their experimental basic rock music has very little to do with prog IMHHO. This probably explains the very few reviews for their work so far.

What is really exasperating is the weak, disturbing and lousy voice of Satomi Matsuzaki. She is a real pain.

To confirm with their previous works, the band proposed an awfully short album, filled with a lot of ULTRA short tracks. I deeply tried to point out some great number here, but it was a daunting task to be honest. No wonder that this band remains so confidential. You shouldn't really care.

Noisy, emotionless, embarrassing (''Flower'' being a great example of this emptiness): this is how I perceive this album. But I haven't been charmed with some of their previous work either (''Halfbird'' or ''Réveille''). I doubt that the band signed a better record with this one.

These vocal lamentations are really difficult to bear; even the ''melodic'' attempts like ''Apple Bomb'' are just below average. But in the global context, they might sound as pleasant to some ears (but not mine).

I guess that this is a casting mistake on PA. At best experimental as I have said, basic rock for the most. Where does it leads? To the one star rating, I'm afraid. Just listen to '' The Forbidden Fruits'' to be convinced.

Maybe some later work might be more interesting.At least ''L'Amour Stories'' shows some reasons for hope. Unfortunately, these are completely ruined by the ''Panda'' stuff. The only positive point with their albums, is that they are mostly on the very short edge. Some thirty minutes or so. But still.

This effort is about of the same vein as its predecessor. Several ridiculously short numbers (can't call these songs really) of about one minute (but this a trade mark from this band); some others punk oriented ones are the ingredients featured on this ''work''.

This band is quite confidential (on PA at least), and this album just confirms why. They might sound avant garde at times, but tracks as ''Punch Buggy Valves'' or the even worse ''No One Fed Me So I Stayed'' are quite unbearable.

The Japanese ''vocalist'' is not an asset either shall I say. If you would like to experiment some heavy and loud noise, then ''Our Angel's Ululu'' is highly recommended to you. But I'm not in such a mood.

Figure out: there is even an attempt to some Laurie Anderson minimalism during the long (over eight minutes, can you believe?) ''Trumpeter Swan'' stuff. But it falls just short in my opinion. Still, this is the most human track of all available here.

This very short work (thank god again!) conveys a strong boring feeling, believe me. It is best avoided. One star? Yes, one star. A painful experience to tell you the truth. An almost complete ''press next'' exercise. This is closer to garage music than anything else.