On their latest record, Deerhoof are a band heading in the right direction, hitting a sweet spot between their characteristic experimentation and a more enjoyable, accessible kind of pop songwriting. Since 2005's The Runner's Four, the band has been moving more and more towards this kind of sound, blending unpredictable shifts with great hooks. On the opener, "The Tears of Music and Love," you can hear the band's typical style in the riff's dropped final measure, creating an unexpected jump to the beginning of the next measure. It's a great tool for the start of the record, creating interest and some unpredictability that keeps the listener engaged. "Chandelier Searchlight" and "Buck and Judy" are fun, pretty tracks that have a very J-pop oriented sound. The title track is very cool, pairing a shuffling drum beat with lilting vocals and quick guitar work.
As someone who is not a Deerhoof fan, this is a record that I would actually purchase. Where their previous work has been either too random or too pretentious for me to really get into, this album hits its stride quickly, mixing fun with a modest amount of pretentious experimentation the band is known for.
Deerhoof - Offend Maggie
Recorded at Tiny Telephone by Jay and Ian Pellicci, Eli Crews,
Mixed by John Dieterich, Satomi Matsuzaki, Ed Rodriguez, and Greg Saunier
It's been two albums since longtime guitarist Chris Cohen left the band, whose slot (to no surprise) was filled by Ed Rodriguez. Rodriguez helped Deerhoof with its critically hailed last album, Friend Opportunity. Although Friend Opportunity opened the band up to a legion of new fans due to its inherent listenability, Offend Maggie contrastingly forays into a mood-swinging, yet tactfully structured nod into the bands earlier adventurousness. Offend Maggie tells a story while it sends out the expected fists, elbows, and ambient dreams heard on Milk Man, Apple `O, and the masterpiece Runners Four. "You'll see I'm still me / Ours is a family of others," ("Family of Others") sings Satomi Matsuzaki, like documenting the changing garb and reminding the longtime listener that Deerhoof gallops familiarly onward.
The album opens with chunky electric guitars and Greg Saunier's bruising drums. The shredding, head-banging attitude is immediately curtailed by the mellower, bouncy and curious melodies on "Chandelier Searchlight." By song three experimental keys, tones, and menacing rhythm conspire intrigue on "Buck and Judy," which points to a growing friction in a band recognizing its past while dabbling with new devices.
Offend Maggie has more acoustic framing than found on previous albums. The infectious title track begins sprightly with acoustic noodling, and morphs into anthemic guitars and a call and response pattern of Matsuzaki and Saunier singing about a past love unable to move on.
The album centerpiece is "Basket Ball Get Your Groove Back," which is silly and defiantly infectious, like the first time one hears MIA's "Paper Planes." It's the song that most candidly gels the nonsensical cuteness of early Deerhoof with the swaggering hip shakes of Friend Opportunity. Bouncing drums and bass own the rhythm, while electric guitars harmonize and play with Matsuzaki's sport jargoned vocals.
Offend Maggie takes the listener to a venue where juxtaposition is almighty and fierce emptiness pares with pounding rhythm and fluttering melody, like a fence erected between hell and heaven. (Kill Rock Stars)
I was looking around online at some different music sites trying to find some new music to get into. I saw this band and saw they had some favorable reviews and that they had toured with Radiohead before, so I decided to give this CD a shot. I have to say, its probably one of my favorite CD's of the last few years. Its extremely original, some what poppy, yet it retains an indy feel. The vocals are some of the most odd, interesting, and catchy ive ever heard. The guitarist is very original as well, he has great tone in songs like Snoopy waves. As a drummer i am very critical of other bands drummers, and i have to say that i love this guy. He seems to find the perfect beat/sound for every song. He is technical while still keeping the simplicity needed for the songs. Id say 90% of the tracks on this CD are great. You may need a few listen throughs to truley appreciate it, but i doubt you will be able to get it out of your head once it gets in.
