Deerhoof – Deerhoof vs. Evil

Deerhoof – Deerhoof vs. Evil

The one remaining constant in all of Deerhoof’s music is their unfailing ability in making tremendously stunning music with each and every album. Their sound is best described as experimental because of their multitude of styles and more so, their sometimes polarizing take on rock music. And although they’ve been one of the better bands in music for the past ten years, they always tended to be overlooked. Personal feelings aside, they’re a chief pioneer in combining clash and discord with happy-go-lucky melodies and a singer who is just as polarizing as the music is behind her; one things for sure, these aren’t indie rookies anymore. So while many continue to wonder in disarray, the aforementioned constant is once again present on their tenth studio album, Deerhoof vs. Evil.

The music on Offend Maggie stemmed around the guitar work of Ed Rodriguez and John Dieterich and there were many songs that continued to cycle around the same melody through a few subtle adjustments. But there was always a hugeness to it that only Deerhoof could portray; the opening “The Tears and Music of Love” showcased yet another sound to their arsenal and by the time the entire music broke away, there was still a passionate band behind it all. On Deerhoof vs. Evil, the production instantly sparkles with a shiny glean and polished style. This time they open with “Qui Dorm, Només Somia” which focus the attention on glittered percussion and auxiliary, with a laid-back scattered rhythm. And for versatility, there’s a Spanish, flamenco guitar-like style on “No One Asked to Dance” and a mystical absorbance with Satomi Matsuzaki’s vocals: it’s easy to simply get lost in the sheer beauty of the music.

It’s actually sort of difficult because when comparing this new studio album with any of their previous nine, one would get lost in even knowing where to begin. But music was never created to constantly be judged, valued and then put on a shelf to be left alone; no, like any other Deerhoof album, the prize comes through careful re-listens and loving it as its own standalone product. On “I Did Crimes for You,” the band builds a soaring chorus that finds Matsuzaki singing “I did crimes for you, they’re coming true” and in great fashion, it’s an uplifting moment. Sure, this was after a playful drum and guitar interplay that found Matsuzaki singing “Smash the windows!” but these kind of heartfelt trademarks are earnest and endearing.

Earlier on “Super Duper Rescue Heads!” the band stomps through a synth-heavy pasture of green grass with grinding guitars that still, forcefully slash away like before. Then on “Let’s Dance the Jet,” the drums and keyboards take over as they clash with a dissonant guitar through a rapid beat. There’s always a lot to ingest/digest with any Deerhoof album but like always, everything is diligently spread out through the album’s twelve songs.

Compared to the wild noise they made on albums like Milk Man and Reveille, Deerhoof vs. Evil is definitely a different kind of wild noise all on itself. Don’t expect the crazed madness of the former’s title track but don’t expect to be disappointed either. With a clean head, state of mind and open ears, Deerhoof’s music can latch onto anybody and never let go. The magical music they’re capable of is on full display with Deerhoof vs. Evil, in what makes yet another excellent album to add to their already stellar discography.

Polyvinyl