Deerhoof
Friend Opportunity
2007 | Kill Rock Stars
Since 2005’s “The Runners Four” Satomi Matsuzaki’s vocals have become noticeably structured and patient. The typical static flashes of sounds and off-key chirps are replaced and streamlined with melodies that work within the songs. Opening track “The Perfect Me,” with its dynamite pedal steel jumping out during the end of the song, and the bluesy riff-driven “+81,” are excellent examples. While Matsuzaki sounds more like a “singer” than ever before, Dieterich and Saunier continue to rock and spike the songs with sounds and riffs that bounce off the walls, settle, and crash into each other. The focus throughout the album is easier to grasp, and longtime fans will most likely deem this album “safe.” But at the same time the trio haven’t sacrificed any of the amazing guitar and percussive dynamics that have made Deerhoof one of the most exciting and progressive bands in the country.
Most people I know have either a strong attachment or blatant dislike for this band, some peeps just like music that treats them nicely. But if you’re still curious and undecided then “Friend Opportunity” is the best chance ever to get into Deerhoof, especially if you’ve never heard a note from them. This is assuming you like adventurous pop music that is experimental and manic during a few measures and suddenly slides right into a bizarre vocal melody. Still, Deerhoof manage to capture every sound and idea that you wish you could think of and constructs them into an accessible batch of tunes.
Clinic
Visitations
2007 | Domino
“Visitations” is a tense and feverish return to the work explored on Internal Wrangler, only this is better. The album opens with a foot stomping rhythm and dirty slide guitar on “Family.” By the time you get to “Gideon” the band is in full swing with the manic vocal delivery of Ade Blackburn once again leading you down a dark alley. Blackburn’s disturbing and fragile voice clearly defines the band’s mood and identity, while musically, the band careens through passages of Spacemen 3, the Velvet Underground, and even Suicide. However, Clinic still sound like a completely original band.
Throughout the album Clinic remain diverse and detailed, covering a lot of musical territory. Even when it seems as though Blackburn is going to “lose his mind” the band reigns in a somber trip on “Harvest (Within You).” Then comes the art-punk bombast of “Tusk,” just under two minutes. Their latest single, “If You Could Read Your Mind,” is a soaring track that encompasses all of the best elements of Clinic; abrasiveness, drive, and tension. The repeated strum of an autoharp lays a thick spiderweb over the piercing Morricone-esque guitar riff. If you were lost in the desert at midnight this is the album that would help you cope with the reality that no one is coming to help, except for a pack of wild animals.
As much as this album sounds reminiscent of their earlier work it’s still unique in its own right. They manage to cover many styles as usual; garage rock, drones, and dark nursery rhymes. I’ve aways felt that Ade Blackburn has been carrying a psychological weight that comes through beautifully in Clinic’s music. Here’s hoping he never sees a shrink in his life.
Deerhunter
Cryptograms
2007 | Kranky
According to the band’s bio this record took almost two years to finish. The initial sessions were scarred with personal struggles and studio malfunction that drove the band to uncertainty. With the exception of the title track “Cryptograms,” you can feel how those events affected the urgency that’s missing during the first half of the record as guitars merely demonstrate how effects work; the delay pedal on “White Ink” and the reverse reverb on “Providence.” I’m not excusing the band. When you’re in a studio you make it work or don’t bother. However, the second half of the record bothers in the best way possible.
“Cryptograms” is Deerhunter’s first effort for Kranky, a label that has offered many outstanding ambient and experimental rock albums in the past. So it makes perfect sense why they ended up here. The album dabbles with droning soundscapes and floating guitars over simple drumming, but it still rocks. “Spring Hall Convert” is the album’s opus and begins with a gentle build-up of jangly guitars and drums that soar into a blur of reverberated sound, get ready for multiple repeats. The rest of the album is consistently dreamy and sunny. “Strange Lights” could have been recorded in the late-sixties with it’s glowing guitar progression and upbeat groove, I wish a band like Stereolab would loosen up like this. “Tape Hiss Orchid ” is closer to Boards of Canada but strangely fits into place. And the final track, “Heatherwood,” is delicate as keyboards rise up over a vibrato effect that seems to decay for miles.
These songs have such a timeless feel and youthful quality that I wish everyone will enjoy as much as I do. You could spend hours discussing the pros and cons of this album’s material after reading the entire bio, this band has gone through some serious shit. But in the end “Cryptograms” is worth it and lets you in with open arms.
The Shins
Wincing the Night Away
2007 | Sub Pop
The Shins make it perfectly clear on their third album, “Wincing the Night Away,” that there’s more to be explored rather than relying on the ultra-catchy formats of “Oh, Inverted World” and “Chutes Too Narrow.” It’s not a terribly risky album by any means, but the band certainly dives deeper on this one and I love it more and more with each listen. Remnants of their older work creep up in the beginning on “Sleeping Lessons” and “Australia,” but it’s all uphill from there.
“Phantom Limb” is not the most obvious choice for a single. What it signifies is that the quartet want to be perceived differently rather than sustaining a career on an easy radio-friendly track like “Australia”. The Shins don’t need a single anyway do they? They’ve always been the band you can count on for impressive songwriting and outstanding vocal melodies. And since the world is already watching their every move it just makes sense for them to take it further as a musicans.
“Sea Legs” is one of the first tracks that really grabs you. It reveals an edgier sound and creates space without completely losing the “pop.” A funky bassline carries the song with a slicing acoustic guitar by its side. When the overdriven guitar melody comes in and casually shadows Mercer’s vocals I’m sold. “Split Needles” follows the same tempo, only the rhythm sits back a bit more. The synths play a greater role introducing a dreamier, and possibly darker mood, into their typically clean sounding approach.
Other tracks demonstrate interesting departures into new territory. “Pam Berry” comes off like some kind of noise-pop homage, ad ode to the leading lady of Black Tambourine? Hell, they should have brought her in for some backing vocals. “Black Wave” is somewhat of a downer but still manages to mix an ambient, underwater sound with organic guitar nicely. “Red Rabbits” is beautifully arranged. It has a strong Beach Boys-like scent with psychedelic vocal effects and twinkling keys. The slow-motion violin and midnight sparkle of pedal steel make the song more enticing.
I’ve always been a fan of albums that take you down a different path yet never completely stray from what makes the artist unique. James Mercer’s voice still works perfectly with the darker textures, slower/shifting rhythms, and spacier electronics. And the album is consistently varied and more experimental than anything they’ve done. Wincing the Night Away is going to be a grower for many people, but I’d bet that this is the album you’ll continue to come back to for years.
LR: Can you tell us how the band initially came about? What kind of aspirations did you guys have, if any?
Little Ones:The band came about through long-time friendship and family. Ed and Ian were in a band together called Sunday's Best and when that ended they began writing music for a new project. At that time, Ian met Lee through his sister (Lee dates Ian's sister) and found out that he was moving to Los Angeles. Lee then started writing songs with Ed and Ian but they were still lacking a drummer. Luckily, Ian found out that his high school friend Greg was moving to Los Angeles and soon the four of them began writing. I was brought in last by Ed when the four of them needed some extra hands to play bass. In terms of aspirations, we just wanted to write music as a family and get it out there so whoever wanted to hear it could enjoy it.
LR: For Ed and Ian: Was there anything in particular that you wanted to achieve with The Little Ones that maybe didn’t happen with your old band Sunday’s Best?
(From Ed and Ian): We would have to say more creative freedom and the ability to tour more extensively. Those are two very amazing blessings.
LR: For the past year or so the band has gained a lot of momentum. Is this something that you could feel happening?
Little Ones: During the past year, things have moved along very quickly. When we started, we really had only three major goals. First, we wanted to finish our recordings with Dave Newton and put out Sing Song so that people could actually hear our music. Second, we wanted to get a show in Los Angeles which at the time, was very difficult since no one knew who we were. Third, we wanted to find a booking agent. When all these goals started being met, I think there was a sense that something special was happening. Honestly, all the good things that have happened the past year really haven't settled in. It's unbelievable.
LR: How do you guys feel about finally being signed to two great labels with such solid rosters? Do you think bands today still need record labels to be successful?
Little Ones: Signing with Astralwerks and Heavenly was a huge surprise. We're very honored to be on two great labels with some of our all-time favorite bands. Both Astralwerks and Heavenly have two very creative people at the helm (Errol Kolosine and Jeff Barrett, respectively) that share the same vision as us musically which makes our arrangement very comfortable.
In terms of bands still needing record labels to be successful, I think that every situation is different. For some bands, working without a label can be very advantageous and vice versa. It's a very new and exciting time in music and I think it's just great for bands to have many options to let people hear their music.
LR: Did you ever feel like everything was moving too fast for the band or were you comfortable with getting on out on the road and playing?
Little Ones: The only way to improve as a band is to get out there and start playing shows. We're always trying to get better and for us, touring was the best way to improve the live performance and become more comfortable on stage. So in that sense, we were very excited to get out on the road.
LR: Are there any bands out there that you really respect or strive to be on par with? Who would you say are your modern day influences?
Little Ones: Right now, we've been listening to a lot of The Bird and The Bee. Inara's amazing voice paired with Greg's production/musical wizardry makes that band very, very special. The French Kicks are another band that we instantly fell in love with both musically and personally during our last tour. They are amazing musicians who have knack for writing songs with great layers.
Little Ones: Finally, Cold War Kids are another band that we have so much respect for. They put on a very spirited live show that you can't help but be moved by and their lead singer has one of the most distinctive voices out there now.
LR: When you’re out touring who’s the prankster in the band?
Little Ones: We really don't have a real prankster. We do know one prankster and his name is Thomas D'Arcy of Small Sins.
LR: What are the band’s favorite activities when you’re not playing music or touring?
Little Ones: We all love to cook and barbeque. Whenever we get together with our family and friends, food always seems to be the focal point. In the words of Emeril Legasse, "It's a food of love thing."
LR: Name three essential CDs that are in the tour van.
Little Ones: 1. French Kicks "Two Thousand" 2. Midlake "The Trials of Van Occupanther" 3. Roger Miller "Greatest Hits"
-Scott McDonald
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