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DEERHOOF

Deerhoof

Actually, You Can

    Over eighteen boundless albums as experimental as they are pop, Deerhoof has continuously quested for radical sounds and daring storytelling. 2020’s Future Teenage Cave Artists explored fairytale visions of post-apocalypse, welding intrinsic melodies with absurdist digital recording methods. Its sequel Love-Lore, a live covers medley, channeled futurist mid-century artists Parliament, Sun Ra and Stockhausen, to name a handful into a patchwork love letter to the anti-authoritarian expressions that inspire the band.

    Galvanized by the challenge of unifying many styles of music, Deerhoof landed on their next record’s concept: baroque gone DIY. Actually, You Can is a genre-abundant record that uses technicolor vibrancy and arpeggiated muscularity to offer a vital shock from capitalism’s purgatorial hold. “In the United States now, to be a moral person means to be a criminal, whether it has to do with a general strike or forming a union or Black Lives Matter protests,” clarifies Saunier of the album’s countercultural embrace of liberation. “If you follow the rules, you’re guilty. That’s the spirit we were trying to express: an angelic prison bust, a glamorous prison bust.” It’s a condemnation of America’s mundanity, replacing violence with the heartfelt power of mutualism.

    With state lines and oceans separating band members, Deerhoof not only reinvented their sonic and thematic credo, but also their recording process. Deerhoof’s players are not strangers to home-recording their individual parts, and have long embraced composing via file trading. But 2020’s halt to touring kicked off their longest separation from playing together, foregrounding new priorities. As the group’s combined demos became increasingly layered, bassist and vocalist Satomi Matsuzaki put her foot down, insisting the new album should replicate concert energy. Visualizing the quartet on huge stages with past tourmates Radiohead and Red Hot Chili Peppers, Saunier fugue-arranged his bandmates’ complex demos into songs to make an audience smile and dance. He sought out far-traveling delays, heavy playing, and unique panning to evoke the power of outdoor music. Matsuzaki scrutinized spots that would betray the conceit, eliminating anything that took away from the sound of onstage grandeur. “We spent so much time imagining playing together in the process of recording, it’s almost like a false memory of us playing this music together,” Saunier marvels.

    For Deerhoof’s members to continually uncover new corners of their own talent requires deep wells of gratitude, not only for each others’ creativity but for the freedom their career affords. But by embracing each other’s art with curiosity, Deerhoof authors a musical alphabet that continues to astound and inspire, a unique lexicon expanding limitlessly with each album. For new listeners and decades-long devotees, Deerhoof’s electrifying, generous approach to collaborative worldbuilding on Actually, You Can is an emboldening call to support our communities with renewed strength, infinite love, and the resilience to keep exploring.

    TRACK LISTING

    1. Be Unbarred, O Ye Gates Of Hell
    2. Department Of Corrections
    3. We Grew, And We Are Astonished
    4. Scarcity Is Manufactured
    5. Ancient Mysteries, Described
    6. Plant Thief
    7. Our Philosophy Is Fiction
    8. Epic Love Poem
    9. Divine Comedy

    After all the accolades from press and peers, what’s a legendary band left to do? Rent out an abandoned office space in the middle of the desert in New Mexico in lieu of a regular recording studio, go in with little or no preconceived notions of what would happen, set up, plug in and get loud! After seven days Deerhoof had found (you guessed it) ‘The Magic’, a raw and refreshing wallop of an album about leaving your comfort zone and finding a pineapple.

    With ‘The Magic’, Deerhoof dreamed up an alchemy of '77 punk, pop, glam, hair metal, doo-wop, hip hop, and R&B, late-night car rides, long days, spandex, shadows, and attitude. Poetry into noise, volume knobs into pleasure, friendship into rock band.

    "Maybe it came from the music we liked when we were kids, when music was like magic - before we knew about the industry and before there were rules - sometimes hair metal is the right choice. We all showed up in the mood to sing," says drummer Greg Saunier.

    For singer and bassist Satomi Matsuzaki, the making ‘The Magic’ was the latest episode of an ongoing gamble. "I joined this band a week after I arrived in San Francisco from Japan. I hopped on a MUNI bus to have a first meeting with Deerhoof. I got off at a wrong stop. I was lost and confused. They found me on a dark street corner after I called for help from a pay phone. Since then my adventure expanded. Deerhoof is a vehicle with four powered wheels that takes me through forest, desert and buildings. My life is adventure!"

    ‘The Magic’ is a mixtape imbued with Deerhoof's sorcery; boldness, wonder, technical know-how, risk. It is a mixtape by the kid with the biggest music collection you've ever seen, who will take you camping and show you how to pull a rabbit out of a hat.


    STAFF COMMENTS

    Barry says: Never one to go with the flow, Deerhoof have once again come up with a fresh approach to songwriting. Both psychedelic and melodic, but never boring, Shimmering guitar hooks and grooving bass permeate the driving drum refrains. Slightly hazy vocals float atop murky rivers of grunge. Post-punk attitude with a psychedelic sheen. Impossible to categorise, but easy to appreciate. Classic Deerhoof.

    TRACK LISTING

    01. The Devil And His Anarchic Surrealist Retinue
    02. Kafe Mania!
    03. That Ain’t No Life To Me
    04. Life Is Suffering
    05. Criminals Of The Dream
    06. Model Behavior
    07. Learning To Apologize Effectively
    08. Dispossessor
    09. I Don’t Want To Set The World On Fire
    10. Acceptance Speech
    11. Patrasche Come Back
    12. Debut
    13. Plastic Thrills
    14. Little Hollywood
    15. Nurse Me

    Deerhoof

    Fever 121614

    On one special night, the band took to the bandstand in a tiny Tokyo club while the tape was rolling. The result is Fever 121614. With gems from throughout the band’s ridiculously deep back catalog, the 12-song collection that appears on both the LP and the video is Deerhoof at their rawest.

    TRACK LISTING

    1. Exit Only 
    2. Paradise Girls 
    3. Let's Dance The Jet 
    4. Doom 
    5. Fresh Born  
    6. We Do Parties 
    7. Buck And Judy  
    8. Dummy Discards A Heart 
    9. Twin Killers 
    10. I Did Crimes For You  
    11. There's That Grin 
    12. Come See The Duck 

    S T A R G A Z E

    Deerhoof Chamber Variations

      Transgressive Records are proud to announce that Berlin’s instrumental collective s t a r g a z e have signed to the label, anointing their partnership with the stunning EP ‘Deerhoof Chamber Variations’.

      ‘Deerhoof Chamber Variations’ is devised as a continuous piece of instrumental music, based on 9 1/2 songs which drummer and composer Greg Saunier originally wrote for his acclaimed band Deerhoof.

      Different from most other band and orchestra / classical collaborations Greg himself arranged and recomposed the material for a classical chamber ensemble, using exactly the same notes as in the originals while rearranging the songs structurally, in a kind of miniaturizing and abstracting way.

      s t a r g a z e adapted this new composition to their particular line-up and the musicians’ personal skills, as Greg Saunier produced the album in Berlin in the freezing winter days of December 2015. The intimacy is evident - favouring the dry sound of the Beatles and George Martin’s approach to recording classical ensembles, rather than the lush approach favoured today.

      The 19 minute piece of music is the latest in a series of collaborations for s t a r g a z e, who have previously worked with Julia Holter, Owen Pallett, Nils Frahm and Matthew Herbert.

      Deerhoof

      Breakup Song

        Satomi Matsuzaki plays bass and sings, Greg Saunier plays drums, John Dieterich and Ed Rodriguez play guitars. But what is Deerhoof really?

        Hell if we know. Pitchfork went so far as to label Deerhoof as "the best band in the world." The New York Times described them as "one of the most original rock bands to have come along in the last decade." From their humble beginnings as an obscure San Francisco noise act, they've become one of indie music's most influential bands with their ecstatic and unruly take on pop.

        Deerhoof has released 11 self-produced albums and continues to tour the world frequently.

        "Deerhoof drummer Greg here to introduce you to our latest record: We've been called a lot of things, as you know. But pop has always marked the spot on the Deerhoof treasure map.
        Pop = catchy
        Pop = new
        Pop = no rules
        If you want to come dance or sing karaoke with Deerhoof, you don't have to ask twice.

        We've just finished this sensational slice of Cuban-flavored party-noise-energy music. We called it Breakup Song. Just don't expect a bunch of Grammy¨-baiting sob stories, OK? In Deerhoof's thesaurus, freedom's just another word for feeling good again and raising hell and getting away with it. Stick with us and the bad guys with guns will never catch up..."

        Deerhoof

        Behold A Marvel In The Darkness

          2nd single from ‘Deerhoof vs. Evil’ available on 7” vinyl picture disc limited to 500 copies.
          The b-side features two live tracks from the album ‘Milk Man’ performed at The Flaming Lips curated ATP I in New York in 2009, ‘Giga Dance’ and ‘Milking’, the latter featuring Kliph Scurlock of The Flaming Lips.

          “Deep dub FX launch Behold A Marvel In The Darkness into ionospheric orbit” - UNCUT
          “...you’ll keep returning to Vs Evil for it’s winningly alien hooks, it’s pop moments: the gossamer delight of Behold A Marvel In The Darkness (with Matsuzaki’s starkly affecting chorus of, “What is this thing called love?”)…” – MOJO

          ?Having formed in 1994, Deerhoof is now that fateful age and by rites it's the band's turn to go out and challenge the world. The same way a rebellious adolescent turns tough and irrational, Greg Saunier, Ed Rodriguez, John Dieterich, and Satomi Matsuzaki just up and split from San Francisco, the only home they've ever known as a band, and left behind all notions of what a "Deerhoof record sounds like."

          The result is 'Deerhoof vs. Evil' (the band’s 11th album!). The musical equivalent of hormones raging out of control, it explodes out of the speakers with its gawky triumph and inflamed sentimentality. These are songs thatpractically demand that you dance and sing along (however elastic the rhythms, or abrupt the melodies). Right from “Qui Dorm, Només Somia” (sung in Catalan), it's evident that Deerhoof aren't afraid to take chances (critics be damned).?Ironically the result is polished, blissfully exuberant, and huge-sounding. Going DIY meant freedom to reinvent themselves, playing each others' instruments, altering those instruments so drastically as to be unrecognisable, (those aren't Joanna Newsom or Konono No. 1 samples, those are John and Ed's guitars), and generally splashing their sonic colours into the most unexpected combinations.

          Deerhoof

          Vs. Evil

            "Deerhoof vs Evil" documents the bands' 'coming-of-age'. The result is polished, blissfully exuberant, and huge sounding. Going DIY meant freedom to reinvent themselves, playing each others' instruments, altering those instruments so drastically as to be unrecognizable, (those aren't Joanna Newsom or Konono No. 1 samples, those are John and Ed's guitars), and generally splashing their sonic colors into the most unexpected combinations.

            To document their musical 'coming-of-age' the band members could only trust themselves. Besides their cover of an obscure Greek film soundtrack instrumental ("Let's Dance the Jet"), and a song done for NY artist Adam Pendleton's documentary film installation BAND ("I Did Crimes for You"), these songs were completely self-recorded, mixed and mastered in practice spaces and basements with no engineers or outside input.

            Deerhoof

            Super Duper Rescue Heads

            First single from forthcoming album "Deerhoof vs. Evi.l".

            Includes brand new b-side "Hitchcock" and also previously unreleased live version of "Rainbow Silhouette Of The Milky Rain" from the album "Milk Man".

            'Good and bad title, made up by Greg Saunier. I love this song! Rave pop rock! Reminds me of 80s neo romantic music ... 'Me to the rescue!' I am gonna come to rescue you! 'You to the rescue!' Please rescue your friends who are lonely.” - Satomi on ‘Super Duper Rescue Heads !’

            Having formed in 1994, Deerhoof is now that fateful age and by rites it's the band's turn to go out and challenge the world. The same way a rebellious adolescent turns tough and irrational, Greg Saunier, Ed Rodriguez, John Dieterich, and Satomi Matsuzaki just up and split from San Francisco, the only home they've ever known as a band, and left behind all notions of what a "Deerhoof record sounds like." The result is Deerhoof vs. Evil (the band’s 11th album!). The musical equivalent of hormones raging out of control, it explodes out of the speakers with its gawky triumph and inflamed sentimentality. These are songs that practically demand that you dance and sing along (however elastic the rhythms, or abrupt the melodies). Right from “Qui Dorm, Només Somia” (sung in Catalan), it's evident that Deerhoof aren't afraid to take chances (critics be damned).

            Ironically the result is polished, blissfully exuberant, and huge-sounding. Going DIY meant freedom to reinvent themselves, playing each others' instruments, altering those instruments so drastically as to be unrecognisable, (those aren't Joanna Newsom or Konono No. 1 samples, those are John and Ed's guitars), and generally splashing their sonic colours into the most unexpected combinations.

            STAFF COMMENTS

            Andy says: Playful, crazy, clever, cute pop, and with a top message as well. Excellent.

            Deerhoof follow up the hugely acclaimed "Friend Opportunity" album with their strongest album to date. "Offend Maggie" is loose, funky and deliciously rough around the edges. Indeed, if last year's "Friend Opportunity" was much of the world's first restless handshake with Deerhoof, "Offend Maggie" finds them inviting us into their basement with flashlights and showing us pictures of the ones they love. Ultimately Deerhoof is not about notes and rhythms, but about emotion. And while "Offend Maggie" sparkles with that inimitable something-or-other for which the band's become known, what this record wears on its sleeve so boldly and poignantly, is its stark humanness: of the characters in the lyrics, of the singer in front of the mic, of the band bashing it out in a room together. Fans around the globe who've seen how powerfully they play on stage will recognize the Deerhoof they hear on "Offend Maggie": all fingers and arms and throats and muscles, physical, at times beautiful, at times brutal. Another way of putting it is that Deerhoof sounds more like 'themselves' than they ever have.

            Deerhoof

            Milk Man

              Milk Man is the sixth album by the band Deerhoof, released in 2004. It is something of a concept album, based on a character (the "Milk Man" shown on the cover of the album), created by Japanese artist Ken Kagami, a friend of the band.

              This album is their first to feature conventional songs, but fear not, they're still constructed in their typically unconventional manner.


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