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DEERHOOF

Crossover Prog • United States


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Deerhoof biography
Deerhoof is a strange and interesting band formed in 1994 by Rob Fisk (guitar) and Greg Saunier (drums) in San Francisco, California, US. The group's first release was the single called "Return of the Wood M'Lady", in 1995 and their full-length debut, "Dirt Pirate Creed", in 1996. The band's music at the moment of these recordings where closer to that of Noise Rock and No Wave. Both Saunier and Fisk decided on expanding the band's sound by adding Satomi Matsuzaki on vocals and bass. Matsuzaki had recently moved from Tokyo to San Francisco when she was added to the band without even knowing how to play bass. After a few weeks rehearsing the band toured for the first time as a trio.

With the band now extended to a trio they released "The Man, The King, The Girl", in 1997. The pop-like singing and bass playing of Matsuzaki was a great contrast to Fisk and Steiner's Noise Rock assault. Shortly thereafter the band decided to add another member to the band, keyboardist Kelley Goode, and managed to release "Holdy Paws", in 1999. The album marked a departure of the aggressive and noisy aspects of the band's earlier sound to a more tamed, but still quirky and sporadic, sound. After the release of the album Rob Fisk and Kelley Goode left the band and both formed 7 Year Rabbit Circle. John Dieterich replaced John Fisk in 1999. The band released "Halfbird", in 2001, which was an album recorded years ago before Fisk and Goode where in the band. With the band now back to a trio they released "Reveille", in 2002, which was one of the many critically acclaimed albums by the band.

Chris Cohen was a friend of the band for some time and he got added to the band while recording Reveille. With the band now as a quartet they released their most well known and critically acclaimed material: "Apple O" (2003), "Milk Man" (2004), "The Runners Four" (2005) and some EPs. In early 2006 Chris Cohen left Deerhoof to focus on his previous band, The Courtains. With the band back to a trio they released "Friend Opportunity" in 2007, which is their best selling work to date.

Deerhoof's music is hard to define. The music has been constantly evolving ever since their conception and with every line-up change came a new sound. The music has been compared to / is influenced by: Melt-Banana, Yoko Ono, Boredoms, Blonde Redhead, Sonic Youth and many others. Prog fans that are looking out for new, extravagant, playful and creative music should check out Deerhoof.


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Buy DEERHOOF Music


Milk ManMilk Man
Polyvinyl Records 2011
Vinyl$13.97
$9.99 (used)
Mountain MovesMountain Moves
Joyful Noise Recordings 2017
Audio CD$10.47
$3.99 (used)
Friend OpportunityFriend Opportunity
Kill Rock Stars 2007
Audio CD$4.99
$1.17 (used)
The MagicThe Magic
Polyvinyl Records 2016
Audio CD$7.50
$4.52 (used)
La Isla Bonita (Colored Vinyl w/ download card)La Isla Bonita (Colored Vinyl w/ download card)
Polyvinyl Records 2014
Vinyl$11.38
$16.99 (used)
Deerhoof Vs. EvilDeerhoof Vs. Evil
Polyvinyl Records 2011
Audio CD$4.97
$2.45 (used)
Offend MaggieOffend Maggie
Kill Rock Stars 2008
Audio CD$4.95
$2.98 (used)
ReveilleReveille
Kill Rock Stars 2002
Audio CD$6.00
$3.88 (used)
Green Cosmos Ep [Vinyl]Green Cosmos Ep [Vinyl]
EP
Kill Rock Stars 2010
Vinyl$7.99
$20.15 (used)
The Man, The King, The GirlThe Man, The King, The Girl
Kill Rock Stars 1997
Audio CD$11.99
$11.45 (used)
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DEERHOOF discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

DEERHOOF top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
Dirt Pirate Creed
1996
3.67 | 8 ratings
The Man, The King, The Girl
1997
3.33 | 6 ratings
Holdypaws
1999
1.33 | 5 ratings
Halfbird
2001
1.62 | 7 ratings
Reveille
2002
1.71 | 9 ratings
Apple O'
2003
2.97 | 11 ratings
Milk Man
2004
1.90 | 10 ratings
The Runners Four
2005
3.34 | 16 ratings
Friend Opportunity
2007
4.00 | 16 ratings
Offend Maggie
2008
3.50 | 8 ratings
Deerhoof vs. Evil
2011
3.93 | 10 ratings
Breakup Song
2012
3.33 | 3 ratings
La Isla Bonita
2014
0.00 | 0 ratings
The Magic
2016
3.00 | 1 ratings
Mountain Moves
2017

DEERHOOF Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.00 | 1 ratings
Live Koalamagic
2001

DEERHOOF Videos (DVD, Blu-ray, VHS etc)

DEERHOOF Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

DEERHOOF Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 1 ratings
Return of the Wood M'Lady
1995
4.33 | 3 ratings
Green Cosmos
2005

DEERHOOF Reviews


Showing last 10 reviews only
 The Man, The King, The Girl by DEERHOOF album cover Studio Album, 1997
3.67 | 8 ratings

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The Man, The King, The Girl
Deerhoof Crossover Prog

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

4 stars DEERHOOF continued their wildly experimental noise rock sound combined with the cutesy twee pop vocals of Satomi Matsuzaki on their second album THE MAN, THE KING, THE GIRL. Like their previous album and EPs, the music is a combination of the harsh atonal dissonant noise punk of Rob Fisk on guitar and Greg Saunier on drums with the entire emphasis on creating the most surreal soundscapes humanly possible. Of course all of these madness becomes even weirder as Matsuzaki flirts her childish innocence with a Cibo Matto flair and in tandem DEERHOOF create one of the weirdest albums of the 90s as they take the noise rock approach of bands like Sonic Youth and torture the compositions into amorphous creations that sound more like a Sun Ra album gone really wild back in the day at least in terms of sheer 'out-there-ness.'

While DEERHOOF would tame their sound immensely on their later albums, on THE MAN, THE KING, THE GIRL the trio remains in utter reckless abstraction thus embodying the true definition of noise rock only with more sophisticated methods of escapism from the norm than the typical band associated with the term. In this regard they are closer to the anarchic noisy freneticism of early Boredoms and fellow San Franciscans Caroliner with their desire to avoid normalcy at all costs. However despite the weird for the sake of weird being the main staple on board, some tracks like 'Polly Bee' come off as simple little indie pop rock songs that wouldn't sound out of place on a Guided By Voices or Sebadoh type of indie rock album.

The beauty isn't necessary the abstract break-ever-musical-rule element embedded in every untuned note and abused beat with DEERHOOF at this stage, but its really with the creative diversity with which they carry these wild antics out. Like any good avant-artist out there, the band learned how to create recognizable patterns of sound under the seemingly formless mass of sound. 'Gold On Black' even has a Hendrix-esque riff to accompanied by some sort of rhythmic gamelan sounding tones, whereas 'Gore In Rut' exhibits a veritable garage band jam complete with snarling feedback and Princess Matsuzaki daintily repeating 'Bunny, bunny, bunny' amidst the chaotic feedback-fest that surrounds her thus exhibiting her most twee pop performance on the album.

While some tracks like 'For Those Of Us On Foot' are purely non-musical with only intermittent pointillistic cymbals and vocal weirdness emerging, most tracks are quite grounded in some form of rock music but have been processed by the musicians' bizarre rendition of reality leaving one of the most surreal experiences even within the highly experimental canon of DEERHOOF themselves. It goes without saying that DEERHOOF is an acquired taste that will only appeal to those who can enjoy music that revels in breaking all the rules and delivers a hefty dose of shock and awe in its wake. While this is the kind of stuff that may be experienced as repulsive by many, the acclamation of such styles of music has left me under its spell and i find THE MAN, THE KING, THE GIRL to be a very brilliant escape into the demented yet brilliant minds of those who insist on creating a style of music never heard before.

 Dirt Pirate Creed by DEERHOOF album cover Studio Album, 1996
3.00 | 1 ratings

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Dirt Pirate Creed
Deerhoof Crossover Prog

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

— First review of this album —
3 stars San Francisco has always been known for its freakiness but most tend to think of the 60s vibes of the Grateful Dead or Janis Joplin, however the city never lost its knack for producing totally bizarre and even uncategorizable musical talent. DEERHOOF is one of those such whacked out musical entities that generally gets lumped into the indie rock or noise category but somehow throughout their career have also weaseled their way into the progressive rock world as well punk, experimental pop and just plain weirdo rock. While their sound would change drastically around the turn of the millennium, in the beginning when bassist Rob Fisk and drummer Greg Saunier formed in 1994 they mostly cranked out improvisational bass & drum punk. However when they met Satomi Matsuzaki and invited her to sing with them, she would forever alter the sonicscape of the already strange improv noise rock by adding an element of cutesy twee femininity to the surreal melange of madness.

Their first album is actually DIRT PIRATE CREED which came out in 1996 although there are many sources where their discography is listed that totally omit this one and begin the list with "The Man, The King, The Girl" as their debut. This is probably because this one is fairly obscure, was only released once as a vinyl LP, and has never been reissued and therefore seemingly forgotten. It could also be because at this stage the trio was cranking out some of the harshest noisy experimental rock that you could ever possibly imagine with more focus on sonic assaults than any sort of melodies or even atmospheric textures. While Matsuzaki does lend a melodic touch with her niminy-priminy vocal contributions, they turn out to be just as weird and detached from reality as her energetic instrumental bandmates. The result is a very strange trip through the equivalent of a sonic minefield where it feels like they tiptoe through atonal quiet passages only to explode into dissonant bursts of energetic brutality fortified with feedback and frenzy.

While i actually love the early years of DEERHOOF, this one is totally errant in its approach and gives zero f.u.c.k.s about what anyone considers music. In some ways it reminds me of early Boredoms in this regard although musically doesn't sound anything like them. This is some mean meandering craziness all dragged out into an album's length and at this point DEERHOOF is still in the extreme noise phase as heard on their earlier EP "The Return Of The Wood M'Lady." This one is reserved only for those who love noise punk and space cadet music in total surreal mode. The closest thing that resembles "normal" established musical systems are the percussive rhythms that offer some sort of connection to rock music but often it is as wild and unpredictable as the bass and vocal parts. Not as good as the next album that adds more variety to their sound. This one goes out of its way to be weird for weird's sake, but if that's what you're craving then this one delivers that out of body experience where you can astroplane in a Salvador Dalí painting. I do love this on occasion.

 Return of the Wood M'Lady by DEERHOOF album cover Singles/EPs/Fan Club/Promo, 1995
3.00 | 1 ratings

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Return of the Wood M'Lady
Deerhoof Crossover Prog

Review by siLLy puPPy
Collaborator PSIKE & JR/F/Canterbury Teams

— First review of this album —
3 stars DEERHOOF was founded by Rob Fisk and Greg Saunier in San Francisco in 1994 and since then has self-produced their albums and created their own unique little niche in the experimental rock world incorporating various styles of indie rock and pop with noise. THE RETURN OF THE WOOD M'LADY is their short debut EP that finds them far away from their indie pop impressions of Cibo Matto meets Stereolab on cutesy steroids. This anarchic and apocalyptic little number is an early lo-fi noisefest that tackles the most distorted take on sustaining notes that sounds like the aftermath of a bombing attack while the drums randomly keep beats and distribute off-kilter rhythms while jangly massive distortion feedback could put kvlt-er-than-thou black metal to shame.

At this stage DEERHOOF reminds me more of early Ruins with their harsh noise pop take that places them closer to Sonic Youth than Belle & Sebastian. This is a dark and grueling underground type of music that takes basic rhythms and breaks them down into a freestyle frenzy of instruments that find themselves more often than not alienating themselves from each other. While this is primarily a bass and drum affair there are also female vocals that scream and screech and moan and pop in and out of the off-kilter musical breakdowns and cataclysmic atmosphere that sounds as chaotic as the album cover art depicts. If you have ever heard any newer DEERHOOF albums then this is the absolute opposite type of music you would ever expect. While the band has always been about experimental indie rock, this early ominous sounding soundtrack of doom will come as quite a shock.

 Breakup Song by DEERHOOF album cover Studio Album, 2012
3.93 | 10 ratings

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Breakup Song
Deerhoof Crossover Prog

Review by frippism
Collaborator RIO/Avant/Zeuhl Team

4 stars 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.

 Friend Opportunity by DEERHOOF album cover Studio Album, 2007
3.34 | 16 ratings

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Friend Opportunity
Deerhoof Crossover Prog

Review by N-sz

5 stars 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

 Offend Maggie by DEERHOOF album cover Studio Album, 2008
4.00 | 16 ratings

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Offend Maggie
Deerhoof Crossover Prog

Review by Proletariat

4 stars 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.
 Friend Opportunity by DEERHOOF album cover Studio Album, 2007
3.34 | 16 ratings

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Friend Opportunity
Deerhoof Crossover Prog

Review by Neurotarkus

3 stars 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.
 Offend Maggie by DEERHOOF album cover Studio Album, 2008
4.00 | 16 ratings

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Offend Maggie
Deerhoof Crossover Prog

Review by phantom banana

4 stars 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.

 Friend Opportunity by DEERHOOF album cover Studio Album, 2007
3.34 | 16 ratings

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Friend Opportunity
Deerhoof Crossover Prog

Review by Proletariat

4 stars 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!

 The Runners Four by DEERHOOF album cover Studio Album, 2005
1.90 | 10 ratings

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The Runners Four
Deerhoof Crossover Prog

Review by ZowieZiggy
Prog Reviewer

1 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.

Thanks to chamberry for the artist addition.

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