This December, Amazon Web Services, Amazon’s cloud computer and web hosting arm, will host Las Vegas’ Intersect Festival, the service’s first music festival. There’s no acknowledgement of Amazon’s involvment in the festival’s promotional materials. Last week, dance producer the Black Madonna, booked to perform at Intersect, reacted with outrage upon learning that Intersect … More »
Lost but not forgotten; even Deerhoof reportedly acknowledge and accept 2002’s Reveille as a de facto(ish) beginning of the band, since that release was their “big break” in terms of hype propagated by record store clerks, radio stations, and early stage bloggers navigating their first GeoCities web page. But certainly, if we’re going to be technical about it, Deerhoof started several years before then, as Greg Saunier and Rob Fisk officially assumed the moniker in 1994, and Satomi Matsuzaki became admirably sidetracked from her film degree studies in order to record and tour internationally. Contributions from Kelly Goode also happened around this time, and before Reveille happened, three albums served as rambunctious precursors to a famously rambunctious discography. Maybe it’s time that listeners and critics give some credit to the very early days?
Here’s a new opportunity to do so: three labels associated with Deerhoof over the years (Polyvinyl, Kill Rock Stars, and Joyful Noise) are reissuing, respectively, The Man, The King, The Girl, Holdypaws, and Halfbird on vinyl for the first time. The release date for all three is November 22, and pre-orders for the individuals releases + three-album bundles are open now via the individual label web stores. I’d recommend the bundle just to hear the obvious honing of the Deerhoof sound!
Here’s a comment from Matsuzaki on the releases:
I think these three albums are Deerhoof’s most raw and real. We had all these fantasies about what we wanted to do musically and we were struggling to meet them. But I feel like the labels and people we worked with believed in our weird fantasy. I still believe in that fantasy and after 25 years I still like these albums. I hope people will enjoy too.
Stream some tracks from each down below for a preview:
Like small talk with a stranger or a slide into the DMs, there’s urgency and tension coursing through Midden, the upcoming collaborative effort of Deerhoof’s John Dieterich and North Carolinian free-improv guitarist Tashi Dorji. Recorded live at a church in Phoenix, Arizona, the LP captures the duo’s third meeting irl, yanking dissonant walls of sound from their guitars sans accompaniment or preparation.
Per Moone Records’ press release, Midden is “a document…in which two people engage in a natural dialog that at times is jagged and jarring while at others is mesmerizing and beautiful. Unpredictable yet completely organic, such a language is a joy to hear.”
In the excerpt from side B embedded below, Dorji and Dieterich share one of the more spaced-out moments of their sonic conversation, building from spacious pluckings to a primitivist freakout filled with skrongs, squeaks and strums. Glimmers of past works by John Fahey and Bill Frisell peek out from the mix, only to retreat into the track’s serpentine riffage.
01. Side A
02. Side B
Grind. Skronk. Pigfuck. Seemingly every word associated with noise rock sounds incredibly unflattering out of context, and even in context doesn’t fare much better. Before noise rock had a name, rock critics such as Lester Bangs and Robert Christgau came up with their own suitably unpleasant ways of describing the tortured sounds of music oozing … More »
At a time when everyone is losing patience with bloated music festival lineups catered to the lowest common denominator, smaller, carefully curated festivals are the wave. Calgary institution Sled Island seems like one of those, what with its manageable scope and artist-chosen lineup. This year they’ve tapped noise-pop legends Deerhoof to oversee the booking, and … More »
Deerhoof have contributed a cover of Madonna’s “Live To Tell” to Post-Trash: Volume Three, a new benefit compilation from the music website whose proceeds are going to the Puerto Rico hurricane relief agency Maria Fund. The cover was originally included on a limited-release mixtape that accompanied Deerhoof’s 2016 album, The … More »