Deerhoof meet the perfect messy

Deerhoof – Consequence of Sound

deerhoof meet the perfect messy

According to az-links.info the core is two people, "ex-Deerhoof members Chris Cooper Well, the man was also a nutjob, and for a bunch of messy reasons this album .. although I do find each piece fascinating and successful in its own right . The thing is - you don't know what other people like, Deerhoof . It's definitely a little messy but there was a lot of love put into that record. POST- was the perfect way to start the new year, and the surprise release made it even better . John and I went to high school together and we met in the little dusty. bottom right no-repeat;widthpx}.search-form__submit{display:inline-block Rather than try to recreate the messy conceptual flow of Reveille, In almost every Deerhoof tune, you gotta keep your ear on that crazy-spastic Saunier element. return az-links.info(function() { var $el = $(this); createTab($el .find(_.

A stunning opener, more a pop tune albeit a noisy, difficult one than an art experiment. Its followup, "Heart Failure" is even poppier, with bell-like guitars and lines like "Heart is dim now" and "Love drop feeling can stop" generating the theme. This song also demonstrates that Greg Saunier is a magnificent drummer, the Ziggy Modeliste of no-wave. His thundering kit -- seemingly random, kinda jazzy -- circles around the "beat" rather than hitting it dead-on.

He trails slightly behind the song, urging it forward, rather than leading it with the martial tenacity of ordinary drumwork. In almost every Deerhoof tune, you gotta keep your ear on that crazy-spastic Saunier because maybe this shit is the future of pop rhythm.

Some other crazy-love highlights are "Flower" a childish melody, a dinging bell, Saunier as devil's hound and "Panda Panda Panda" destined to be a live favorite: The instrumental "My Diamond Star Car" is also stupendous, a lightning-swift axe-battle that makes no-wave sound like a party! Things do slow down a bit at times. I do like the nice touch of having a singsong chorus go "Bomb bomb bomb, bomb bomb bomb" though, and the guitars do rave up quite beautifully at points. Adam and Eve connection, okay I get it.

Yeah yeah, I know what you're thinking. But unlike on Reveille, it seems that they're sticking with intentionally bad song titles here. And thus we have "Dinner for Two", a dreamy interlude which seems useless, though maybe it's a good transition in their live set, who knows. Leaving aside "Flower" and "Dummy Discards a Heart", there are two other songs here that I consider to be new classics.

Strange and kinda pretty. Even better is "L'Amour Stories" a shamelessly hooky creation that refers directly to the album's title and theme: I think I've always got it from music I've admired. I couldn't always put my finger on it when I was a kid. I remember the first time I discovered The Rolling Stones on the radio, how rough it sounded compared to everything else on the radio at the time.

  • MODERATORS
  • Deerhoof: Apple O'

I instantly gravitated to it even though I had no words to describe it at the time - the sense of risk, not caring whether it's neat or polite. I believe one's life is missing something if one is always playing a servile role. I felt that I've had to teach myself that mind set over and over. I find it interesting that there are three American guys and Satomi in the band. What kind of dynamic does that create and what does she bring as a Japanese, female presence? That's been huge for the band since she joined in ' But even 'the '3 American guys' are not that similar to each other either.

In hindsight it amazes me how we managed to stay a band because of how different we are. Satomi is a special case too. She is hardly a representative of Japan. She left and came to the US I don't think she was prepared for a life of domesticity, servitude and sexism that's incredibly common in Japan; you'd have to ask her.

Far be it from me to sum up a culture but conformity and formality are big elements of life decisions that she saw in front of her at college age.

She went to High School in England.

deerhoof meet the perfect messy

She was already a self-invented, multi-homed personality. That takes incredible bravery and strength of character to be that independent, to create a life from scratch. She had never been in a band and the only music she had learned was the recorder in Japanese school. The moment she came over to our kitchen in San Francisco and started singing into a distorted microphone all of our equipment was broken the sound of her voice through that distortion instantly took the band that we'd been struggling to find the sound for, and made it complete.

She came in and sang in a totally expressionless style which completely clashed with this over expressive style that we were doing, bombastic and loud, speeding up and slowing down.

Ever since then, 20 years later, she's been a professional musician, world-travelled and respected. She is an executive power; if it doesn't fly with her then it's going to get axed. We are three dude musicians getting wrapped up in guitar scales, drum fills or stuff like that. But it's under the watchful matriarchy, loving, but testing and judging, that Satomi creates in the band. I see you are not a big Twitterer. Your last tweet from ages ago said you'd written a riff that feels green and magenta!

I do very much like green and magenta together. It's a constant source of hilarity that every time we get to a new venue it'd be my job to see the lighting designer each night and I'd ask for green and magenta.

Bands never want that because they're two colours that they use the least: John, our other guitar player, speaks Spanish. A lot of songs are in Spanish, even one in Catalan, which is fun to play in Barcelona. Satomi likes to sing in Spanish, the syllables are easy to pronounce for a Japanese speaker. She sings in Japanese a lot and in English. It's not Satomei's first language. Living out of Japan for such a long time, her English is skewed and so is her Japanese.

In Japan, I have to do the microphone. All her friends laugh so hard as she uses slang from 20 years ago. She's like a time capsule of how cool people used to talk in Japan. We've just started to explore touring Asia, Thailand, Singapore, Korea and China and realising there's all kinds of other audiences that are extremely different and looking for extremely different things. We try to use lyrics that can be easily understood. Not say anything too fancy and make it easy for someone with English as a second language to understand.

Not quite how you would talk. Simple material, but at the same time confusing. La Isla Bonita is also a Madonna song, was that relevant? It was Ed's wife who suggested that title. We were in a hotel in Bangkok with the record sent off to the label but it didn't have a title yet. Ed's wife who is super funny texted a ridiculous list of titles in one quick text.

Most of the song titles and the album title came from that text. We were on the plane cracking up.

The meets Deerhoof

That one struck us as perfect because the songs were based on the sound of a certain era of Madonna and Janet Jackson, kind of over produced pop that happened in the final days of America when you still could manage not to be cynical about our culture.

In the early '90s, cynicism had crept in, the Nirvana factor, disillusionment at the possibility of the good life and the beginnings of both the decline of paradise and also the understanding that, to an extent, it has been a paradise at great cost; a lot of crimes committed around the world so we could live a high standard of living in our country.

On the one hand, the songs are celebrating that decadence. I'm reading One Flew Over The Cuckoo's Nest and Ken Kesey talking about getting forced into a corner and something emerges out of that forced situation?

deerhoof meet the perfect messy

Is that a feeling you appreciate? It's a metaphor for creativity too of course, being forced into a corner, feeling that your existence is threatened. It's often what spurs you on. We're not relaxed about making records and we don't take it take for granted that we are going to get to make another. We can't assume that this will continue forever. Each time we get the chance to do one more record we attempt a complete reinvention in order to save ourselves from obliteration.

/snow/ - flakes & mistakes

As a random group of four different people we wonder how we can manage to cook up a record. How can we dream up another one? That's the fun of it along the way; both incredibly frustrating and incredibly fun. Now is the most fun when the record is done In an interview I've got to try to and go back and take this very messy random series of events that leads to an album coming out and tell the story. It allows me to take the time to realise how lucky I am.

I might not think about it during the day very much, but you'll ask a question about my bandmates and I'm overcome about how great they are and how much I care about them. What is the best question you've ever being asked in the last 20 years?

deerhoof meet the perfect messy

Your last one, that question, that one is too difficult. I don't think I've ever been lost for words! The refrain "girls that play bass guitar", who did you have in mind? It's an homage to female humans, whether or not they are rock stars. The most obvious is Satomi herself though. I would hardly know where to start in terms of listing female rock star heroes What's the plan for touring? In December we're going to Japan. The US tour was so quick we're going back to cities we've missed in spring.

That's planned way in advance and depends on the success of the record. If people continue to be interested in Deerhoof then we'd like to come and play.

deerhoof meet the perfect messy

I saw a quotation where you mentioned you thought about what a 5-year-old would think of your music and at the same time what a year-old would think. What would they make of La Isla Bonita? They are the most forbidding; the two that have the most snotty energy.

deerhoof meet the perfect messy

You can see many styles over the years that the parents hate and the grandparents hate even more. An incredible amount of music that we've made brings two or three generations of the same family to our gigs; big fans of Deerhoof. It's heart warming and makes me proud. Occasionally and definitely on this record we were determined to separate the men from the boys.