Deerhunter released Microcastle on Kranky Recods on October 28th. Pitchfork is sticking the album in its best new music catogory and is giving the album a 9.2 out of 10 rating. Its moved up the CMJ charts to number 13. Haven't had time to listen to this one so I have no opinion at the momment. Take a listen and figure it out for yourself.
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Wikipedia:
Deerhunter is an American five-piece group originated from Atlanta, Georgia. The band, comprised of Bradford Cox, Moses Archuleta, Josh Fauver, Whitney Petty, and Lockett Pundt, has described themselves as "ambient punk," though they incorporate a wide range of genres, including noise rock, art rock, ambient, and post-punk.
Contents[hide]
Members
Bradford Cox - vocals, electronics, tapes, drum, acoustic slide guitar, bell set, accordion, electric guitar, piano, bass drum, gong
Moses Archuleta – drums/percussion, synth/pads, electronics, treatments
Josh Fauver - bass, piano, percussion, reverse guitar, vocals
Lockett Pundt - synth bells, guitar, acoustic slide guitar, hammond organ, vocals
Whitney Petty - guitar
History
Formation and "Turn It Up Faggot" (2001-2005)
The band was co-founded in 2001 by vocalist Bradford Cox and drummer/keyboardist Moses Archuleta.[1] The name Deerhunter came from the band's first drummer, Dan Walton, who was asked to leave the band early in its career.[2] The band were joined by Colin Mee, whom Cox met while Mee was living at the Atlanta label Die Slaughterhaus Records with members of Black Lips. In 2004 the group's first bassist, Justin Bosworth, died of head injuries suffered in a skateboarding accident. He appeared on only one Deerhunter release, the Deerhunter/Alphabets Split, issued before their debut album. Joshua Fauver, of Atlanta punk band Electrosleep International, then took up the position as bassist. Bosworth's death influenced the sound of Deerhunter's first album, "Turn It Up Faggot", which was "the result of a lot of negativity".[3] After the band finished the album, in an indication of how difficult it was to record in the wake of his bandmate's death, Cox said "I don't ever want to make this album again".[3] The album's liner notes are dedicated to Bosworth. After the release of "Turn It Up Faggot", Cox asked his best friend from high school, Lockett Pundt, to join the band, thus solidifying the current line up.
Cryptograms and Fluorescent Grey EP (2005 - 2007)
The band, now featuring Pundt's reverb-saturated guitar sound, began to hone their songwriting skills. They went on tour, playing shows with the likes of Lightning Bolt and Gang Gang Dance. This tour culminated in a recording session engineered by acclaimed folk musician Samara Lubleski at Rare Book Room, New York.[4] This session failed to produce anything that could be used, due to Cox’s mental and physical state at the time, as well as disagreements that emerged with Samara Lubleski.[4] Cox has kept a copy of the sessions on "a scratched CD-R under my bed" and has stated that "nobody will ever hear them".[4] (In spite of Cox's claim excerpts from those sessions were later posted as a free download on the band's blog.) The band returned to the same studio where they recorded their first album outside Athens, Georgia and decided to give recording their second album another attempt. This was partly due to advice received from the band Liars, who encouraged them to re-record it.[4]
It took only two days in November 2005 for the band to record their second album, entitled Cryptograms. In 2006, before its release, Pitchfork Media added "Spring Hall Convert", a song from the record, to its "Infinite Mix Tape series". It was the 51st entry.[5] Deerhunter's second album was released by Kranky in January of 2007. The album revealed a more "subdued and introverted"[6] sound for the band. In explaining the ambient sounds on the record Cox has said, "what I needed when we were doing Cryptograms was to be comfortable with these warm, lulling, droning kinds of things. And that's what made me comfortable at that time..."[4] Upon release, their CD garnered the title of "Best New Music" from Pitchfork Media. As with their first album, Cryptograms also had a dedication inside the album's liner notes, this time to a friend of Cox's, Bradley Ira Harris. Harris was a heroin addict who passed away in 2005. Cox identified with Harris, because he too was an "outsider".[4]
On May 8, 2007, the group released the Fluorescent Grey EP, which was recorded in July 2006. This EP also garnered the title of "Best New Music" from Pitchfork Media. In the same month, the band released the Whirlyball 7" single, which was available at only one store in Atlanta, Georgia: Criminal Records. The single also acted as a ticket to a show, which featured the band along with The Carbonas, Selmanaries and The Coathangers. The single was available online for a limited time after the show due to popular demand, but only 200 copies were pressed, with 100 on black vinyl and 100 on clear vinyl.[7]
On the 29th of August 2007, the group became a quartet with the loss of guitarist Colin Mee. Mee departed because he "...couldn't make it to a couple of shows we had booked next weekend and that was unacceptable to certain bandmates".[8] In addition to this reason, Mee felt that the band "were receiving (and creating) too much press that had nothing to do with any new music being created".[9] This comment was in reference to the band's blog, which had been the object of increased media attention due to certain posts, "I don't want to be overexposed. I don't want the world to know what our excrement looks like or what we are selling on eBay or whether we got robbed".[9] He added that "I have nothing against anyone and I'm sure things will work out fine".[8] However, Mee returned to the fold for their autumn 2007 European tour.
Future and Microcastle (2007-present)
Deerhunter made an appearance on Living Bridge, a compilation put together by Rare Book Room Records. The song that appeared on the compilation was entitled "After Class" and was recorded in the same place where they attempted to record their second album, the Rare Book Room studios. It was released in February 2008.
The quartet's third album, slated to come out in 2008, will be titled Microcastle. One of the songs from the record, whose title has been confirmed as "Twilight at Carbon Lake", has been described by Cox as "doo-wop, 50s/early 60s, Everly Brothers".[10] Microcastle leaked on the internet May 31, 2008.
The band added guitarist Whitney Petty, a former cheerleader and high school friend of Cox's, to replace the departing Mee in May 2008.
Influences
Lead singer Bradford Cox has cited many musical influences that contribute to Deerhunter's sound, some of which include The Clean, The Fall, The Flying Lizards, Kompakt records, The Birthday Party, The Bad Seeds, and Liars. However, if their influences had to be "narrowed down",[11] Cox would note their "defining influences" as Echo & The Bunnymen, Brian Eno, David Bowie and My Bloody Valentine.[11]
Discography
Albums
Year
Title
2005:
"Turn It Up Faggot"/Deerhunter
2007:
Cryptograms
2008:
Microcastle
Weird Era Cont.
EPs
Year
Title
2005:
Deerhunter/Alphabets Split
2006:
Deerhunter 7"
2007:
Fluorescent Grey EP
Whirlyball 7"
Singles
Year
Title
2006:
Deerhunter/Hubcap City Split
2008:
"Grayscale"
Compilation appearances
Year
Song
Compilation
2007:
"Hazel St."
The Believer: Cue the Bugle Turbulent
"Spring Break"
Musicfest NW Vol. 2
2008:
"After Class"
Living Bridge
"Like New"
Lights in the Sky: Over North America 2008 Tour Sampler EP
Touring
Deerhunter have garnered a reputation for their intense live shows. Cox has worn sundresses and has performed with fake blood smeared over his face and hands, their live show being "much more savage" than their albums.[12] In his explanation of the sundresses Cox has said, "I don't like the idea of going around stage in just jeans and a t-shirt. It seems anticlimactic."[10]
Deerhunter supported Nine Inch Nails on their 2008 tour on the following dates.
2008 Dates
Location
Venue
Aug 5th 2008
Toronto, Ont
Air Canada Centre
Aug 7th 2008
Uncasville, Ct
Mohegan Sun Arena
Aug 8th 2008
Worcester, Ma
DCU Center
Aug 12th 2008
Knoxville, Tn
Knoxville Civic Collseum
Aug 13th 2008
Duluth, Ga
Gwinnett Arena
Sept 2nd 2008
Morrison, Co
Red Rocks Amphitheater
Sept 3rd 2008
Salt Lake City, Ut
The E Center of West Valley
Sept 5th 2008
Oakland, Ca
Oracle Arena
Sept 6th 2008
Inglewood, Ca
The Forum
Past touring
Deerhunter played with TV on the Radio and Project Pat at the Spring Fling outside Connecticut's Wesleyan University.
They supported the Liars during a portion of their American tour in May 2006, playing in Georgia and a host of other places like California and Texas.
They supported the Yeah Yeah Yeahs on their tour of Georgia. Lead singer of the Yeah Yeah Yeahs and professed fan, Karen O, has hailed Deerhunter's live shows as a "religious experience".[13]
They were scheduled to support The Smashing Pumpkins for two dates in Asheville, North Carolina, but left after playing only one, due to a confrontation between Cox and Smashing Pumpkins's lead singer Billy Corgan, during which Cox was allegedly manhandled by a stage manager. The Smashing Pumpkin's management apologized, and the issue was resolved.
In July 2007 the band supported The Fiery Furnaces on their tour of Georgia.
They also performed with the reunited Ex-Models at the Bowery Ballroom in July, before making an appearance at the Pitchfork Music Festival.
They supported Battles on part of their American tour.
See also
Atlas Sound
References
^ "Don't Quit Your Day Job". Stereogum. Retrieved on 2007-06-20.
^ "Deerhunter Images". Stereogum. Retrieved on 2007-12-08.
^ a b "Youth Gone Wild: Deerhunter's young punks try to fight off adulthood". Creative Loafing. Retrieved on 2007-06-10.
^ a b c d e f "Interview: Deerhunter". Pitchfork Media. Retrieved on 2007-06-25.
^ "Infinite Mixtape #51: Deerhunter: "Spring Hall Convert"". Pitchfork Media. Retrieved on 2007-07-10.
^ "Interview: Deerhunter". Stylus Magazine. Retrieved on 2007-10-30.
^ "Deerhunter Whirlyball 7" Single". Chunklet. Retrieved on 2007-06-10.
^ a b "stereogum: Colin Mee Leaves Deerhunter". Stereogum. Retrieved on 2007-09-01.
^ a b "Guitarist Colin Mee Explains Why He Left Deerhunter". Pitchfork Media. Retrieved on 2007-09-01.
^ a b "Deerhunter's Cox Talks LP3, Atlas Sound, Dresses". Pitchfork Media. Retrieved on 2007-06-09.
^ a b "yo yo yo". Deerhunter Blog. Retrieved on 2007-12-08.
^ "Hazy Clouds of Sound, Halfway Intelligible Vocals". The New York Times. Retrieved on 2007-06-10.
^ "Fun Fact". Deerhunter at Eventful. Retrieved on 2007-06-10.
External links
Band Maintained Blog
All Music Guide Profile
Myspace Page
Justin Bosworth Blog Post
Nerve Magazine Article
Guest List at Discollective
Interview at Press Play and Record
Deerhoof released Offend Maggie on the label Kill Rock Stras on October 7th. Rollingstones states:
If Dora the Explorer cut an album with Sonic Youth, it might sound like Deerhoof.
This is funny and entertaining especially if you have children like I do and you have been forced to endure hours of Dora the Explorer. The review rundown goes like this Pitchfork 7.6 out of 10. Spin 3 out of 5 stars and Rolling Stone gives it 3.5 out of 5. The college kids are digging the sound as the album has spiked to number for on the CMJ chart.
SeeqPod - Playable Search
Wikipedia:
Deerhoof is a San Francisco musical group, currently consisting of Satomi Matsuzaki (usually vocals and bass), John Dieterich (usually guitar), Ed Rodriguez (usually guitar as well) and Greg Saunier (usually drums).
Although typically classified as indie rock due to their having been on an indie rock label (Kill Rock Stars) for the entirety of their career, the unconventional nature of Deerhoof's music makes genre identification difficult. But several recurring features can be said to constitute Deerhoof's distinctive sound: unassuming vocal delivery set against hyper-expressive instrumental playing; an elastic approach to group dynamics and rhythm more akin to the rubato of classical music performance practice than rock; odd melodies; harmonic sophistication and dissonance; disjointed, condensed, asymmetrical and otherwise unconventional song structures; raw and at times strident sound surfaces; and improvisation.
Contents[hide]
Origins
In 1991, the classically trained Saunier, directly after graduating from conservatory, moved to San Francisco and joined a short-lived quartet called Nitre Pit, on drums. When this quartet broke up suddenly with shows still booked, Saunier and then-bassist Rob Fisk formed a duo, dubbed Deerhoof by Fisk.[1] They forged a convulsive, improvisatory playing style to make up for their lack of material and stark instrumentation.
One such show where Fisk and Saunier were called upon to substitute for their former band was the 1995 Yo Yo A Go Go Festival in Olympia, WA. The audience was instantly polarized by the jarring ferocity of this unknown duo, but among them was Slim Moon, founder of the independent Olympia record label Kill Rock Stars. Moon signed Deerhoof on for one 7" single. The duo, budgetless, recorded themselves on four-track and released "Return of the Wood M'lady", featuring the drawing of visual artist Fisk.[2] Deerhoof's do-it-yourself ethic turned out to be an appropriate match with Kill Rock Stars, and Deerhoof has remained on this label for the entirety of their career, ultimately becoming the longest-running and best-selling artist on the label's current roster.
The histrionic instrumental style and massive volume of the early duo made vocals difficult to perform, so in 1996 Fisk and Saunier began looking for a singer to join them. In May of that year, through a mutual friend, they met Satomi Matsuzaki, who had just arrived in San Francisco from her native Tokyo in order to study film. Although she had no musical experience, all three quickly agreed that her calm singing style was what had been lacking in Deerhoof's sound. Within one week of her joining, Deerhoof went on their first tour as a trio. In this early incarnation she sang into a strange microphone Fisk had constructed out of papier mache and Walkman headphones.
History
The Man, The King, The Girl—Halfbird
By the time Deerhoof released their self-recorded first album The Man, the King, the Girl in 1997, a vast stylistic difference from the first single was apparent. The album was a mix of swirling noise and facile melody, played in a wild improvisational style, and produced using a wide and bizarre sound palette. Matsuzaki's childlike voice brought an unresolved tension that has remained a hallmark of their style. As on all Deerhoof albums, there were elements of the "concept album" at work. Deerhoof submitted the "completed" album several times before being satisfied with it. The artwork was painted by Fisk.
Matsuzaki began teaching herself to play bass and Deerhoof toured the U.S. several times over the next several years, often leaving audiences confused by the cheerful pop elements that seemed incongruous in a noise rock band.
In 1998, Deerhoof added Kelly Goode on keyboard, and by the release of 1999's Holdypaws, Deerhoof had once again drastically altered their sound, focusing on extremely strict performance of tightly composed songs, completely removing any element of noise, improvisation, or unusual instrumentation. The artwork was once again by Fisk and echoed the newly dark tone of the music. One could say that all of Deerhoof's subsequent albums have fallen between the aesthetic extremes posited by these first two.
Sales were low, band and label were losing money, and Deerhoof seemed destined for obscurity. When both Fisk and Goode quit in fall 1999, they left incomplete a third album, Halfbird, begun before Goode joined. When it was released in 2001, it revealed an increasing compositional sophistication, as well as a more subtle and layered orchestration that belied their modest DIY recording methods. The artwork was by Fisk.
Reveille—The Runners Four
In late 1999 Saunier and Matsuzaki found a replacement in self-taught guitarist John Dieterich, and spent the next two years crafting a new approach to writing, playing, and recording. The result was Reveille, released in 2002. Though still self-produced, it was recorded in a combination of home and studio settings, for certain songs using the engineering aid of Jay Pellicci and Ian Pellicci. As a result, the sound quality was more powerful and more polished than on previous releases. Dieterich's guitar playing added a new element of guitar virtuosity to the band. Matsuzaki's vocals were at once more confident and more minimal, often acting as another instrument in the mix, and often with seemingly meaningless phonemes for lyrics. The stylistic contrasts between and within songs were more unpredictable and daring. The artwork was by Matsuzaki, and had religious connotations and a grandiose tone that was echoed in the lyrics and musical style. It was at this time that Deerhoof first started to receive more serious critical attention.
By the end of the recording process, the band had developed a close relationship with Chris Cohen, then playing in his band The Curtains. Cohen joined Deerhoof, primarily as a second guitarist, Saunier joined The Curtains for several years, and Cohen and Dieterich formed another band called Natural Dreamers. For the next three years Deerhoof toured and recorded as a quartet, slowly building towards the international renown they receive today. The formerly shy Matsuzaki developed into a commanding stage presence. During this time Deerhoof released Apple O' (2003), Milk Man (2004), and The Runners Four (2005) in rapid succession, each receiving more critical attention, sales, and airplay than the previous. Milk Man is notable for being the band's first release to be distributed in Europe by ATP Recordings, who have done the same for all major Deerhoof recordings since that time. A lesser-known EP, Green Cosmos (2005), was also released during this time.
Despite the addition of Cohen, or perhaps as a result, Apple O' strips away the multi-layared and often electronic sounds of Reveille in favor of simple, live-sounding production without overdubs. Most of Apple O' was recorded in one nine-hour session with Jay Pellicci engineering. Exceptions were "Sealed With A Kiss", which was apparently created entirely on home computer using only samples from songs about apples, and the final two tracks which were acoustic and folksong-like. Matsuzaki's role as vocalist was larger than on Reveille, although she still often sounded like another instrument along with the guitars, which sometimes doubled her melodies in unison, a recurring feature of Deerhoof's music. Apple O' focused its artwork (again by Fisk, though he was no longer in the band) and lyrics around mythic themes of love and war, featuring repeated allusions to Adam and Eve, the atom bomb, and extinction.
Around this time, the quartet decided to leave their jobs and tour fulltime. Matsuzaki had been editing a San Francisco Japanese magazine, Dieterich and Saunier had been doing data entry for legal and consulting firms, and Cohen had been a waiter at a Thai restaurant.
Milk Man began as a cartoon character created by Japanese artist Ken Kagami, a longtime friend of the band. Using this drawing as a starting point, they created lyrics and music that told an ambiguous story about an all-white, masked character with fruits stabbed into its body, who takes children on a magical journey during the night. In contrast to the earnest guitar rock that predominated on Apple O', Milk Man featured a broad palette of orchestral colors, echoes of music theater and camp, polished and gaudy arrangements, Stravinskian harmonies, and a more stylized, anonymous playing style resulting partly from recording most of the instruments at separate times rather than playing together as a band. Milk Man's connections to both music theater and to children were embodied later in a theatrical version created by Courtney Naliboff and performed by children of the North Haven Community School in North Haven, Maine in fall 2006. The Milk Man Ballet was later released on DVD.
The EP Green Cosmos was the first Deerhoof release to be sung almost entirely in Matsuzaki's native language of Japanese. Musically Green Cosmos took the aesthetic of Milk Man a step further by combining an even more expansive orchestral sound, some live playing as fierce as anything Deerhoof had recorded, and references to disco that at times completely replaced live drums with programmed beats and samples. Artwork was created from original tarot cards designed by Dawn Garcia.
In the fall, Deerhoof released The Runners Four. Unlike the short albums of Deerhoof's past, The Runners Four was in essence a double album, with 20 songs, the result of several intense months of recording together in their rented practice space in Oakland. The idea was to give each band member equal say in its creation, and to work out arrangements as a live band rather than in the computer. Matsuzaki and Cohen reversed instrumental roles, with Matsuzaki playing guitar and Cohen bass. All four members were featured as vocalists at various points. This was their wordiest release, a contrast to the telegraphic simplicity of Reveille and Apple O'. Lyrics were ambiguous, but certain motifs - time travel, smuggling, allusions to Noah's Ark - recurred throughout. Artwork was by Trevor Shimizu, formerly of The Curtains.
After an extensive world tour, Deerhoof was invited by the San Francisco International Film Festival to perform a live, original score to a silent film of their choosing. They chose Heaven And Earth Magic by Harry Smith, and performed their hour-long soundtrack, largely composed by Dieterich, in spring 2006. This was to be Cohen's last activity with Deerhoof, as he left to pursue The Curtains fulltime.[3] The split was apparently amicable and, to commemorate Cohen, Deerhoof posted one of their occasional free mp3 EPs on their website. The band didn't assign a name to the EP, so reviewers referred to it as Untitled E.P.
Friend Opportunity
Now back to a trio, in summer 2006 they began working with first-time director Justin Theroux on the soundtrack to Dedication, released in fall 2007. (Dedication Film Soundtrack, featuring four tracks by Deerhoof, was also released at this time.)
Using the Heaven And Earth Magic score as a starting place, the trio began recording a new album. In contrast to the raw and at times "retro" guitar rock sound of The Runners Four, Friend Opportunity was marked by the extreme clarity of its dense layering of sounds, both acoustic and electronic, and one could detect a hip hop influence for the first time. Matsuzaki, Saunier, and Dieterich did not divide their contributions according to their onstage roles, and each contributed percussion, guitar, bass, keyboards and production. The stylistic incongruities between songs were large even for Deerhoof. It was mostly recorded in late summer 2006 in Dieterich's Oakland apartment, between two legs of a concert tour opening for Radiohead. Though self-produced as always, some portions were recorded once again by Jay and Ian Pellicci. It was mixed largely while on the road. Lyrically dark, it moves through the promise, development, corruption, and negation of human relationships. Paintings were by well-known Scottish artist David Shrigley, whose compilation Worried Noodles features the Deerhoof song "Kidz Are So Small." On Worried Noodles, the song is entitled "You, Dog (AKA Kidz Are So Small)."
When Friend Opportunity was released in January 2007, Deerhoof began a world tour that continues at present. The album has been their most critically successful and best-selling work. In early February, 2008, guitarist Ed Rodriguez joined the band as a full-time member.
Offend Maggie
On June 3rd 2008 Deerhoof announced details of their new album Offend Maggie. The album was released on October 6th 2008 in the UK on ATP Recordings and October 7th in the USA on Kill Rock Stars.
Six songs from Offend Maggie were performed in a concert given in Prospect Park, Brooklyn on Friday, July 18th, 2008; the songs were "Fresh Born", "Chandelier Searchlight", "Buck and Judy", "Numina", "Basket Ball Get Your Groove Back", and "The Tears and Music of Love". The performance was aired live on WNYC2 and NPR Music with host David Garland. At the show, Deerhoof also gave away an additional song from Offend Maggie, "Fresh Born", in the form of sheet music, with the intention that fans create their own versions of the song. WNYC Culture created the first, in the form of a video. The sheet music was then made available online by Deerhoof and Cash Music.[4]
Discography
Studio albums
Dirt Pirate Creed LP (1996)
The Man, the King, the Girl CD (1997)
Holdypaws CD (1999)
Koalamagic CD (2001)
Halfbird CD (2001)
Reveille CD/LP (2002)
Apple O' CD/LP (2003)
Milk Man CD/LP (2004)
Green Cosmos CD EP(2005)
The Runners Four CD/LP (2005)
Friend Opportunity CD/LP (2007)
Offend Maggie CD/LP (2008)
Compilations
Bibidi Babidi Boo free online only (2004)
Untitled Deerhoof EP free online only (2006)
+81 online retailers only (2006)
Videography
Deerhoof/ XBXRX Home Video (NTSC VHS, directed by Vice Cooler, NFJM, January 2001)
Gore in Rut (directed by Children of Hoof Education Center) on Video Fanzine #1 (NTSC VHS, Kill Rock Stars, April 1999, KRS200) [1]
Wicca Wind (directed by Aida Ruilova) on Video Fanzine #2 (NTSC VHS, Kill Rock Stars, 3 October 2000, KRS300) [2]
Dog on the Sidewalk (live) on Video Fanzine #3 (NTSC DVD, Kill Rock Stars, 12 July 2005, KRS400) [3]
Wrong Time Capsule (directed by Martha Colburn, November 2005) [4]
The Perfect Me (directed by Eric Landmark & Peter Venuto, March 2007) [5]
Chart positions
The Runners Four 2005 #50 Independent Albums, #46 Heatseekers
Friend Opportunity 2007 #3 Heatseekers
Offend Maggie 2008 #150 Billboard 200, #23 Independent Albums, #2 Heatseekers
References
^ http://www.huliq.com/34815/walker-art-center-presents-art-rock-trio-deerhoof
^ http://drownedinsound.com/directory/artists/Deerhoof
^ Azerrad, Michael. "Deerhoof". ATP Recordings. Retrieved on 2008-01-18.
^ http://deerhoof.cashmusic.org/
External links
Wikimedia Commons has media related to:
Deerhoof
Deerhoof official website (tourdates, news, blog, contacts, interviews, videos)
Press page
The Milk Man Ballet
Deerhoof at MySpace
Kill Rock Stars
MP3s on ibiblio
Deerhoof concerts on NPR Music
Oct 2008 Interview with L.A. Record
2008 Interview with Greg Saunier
