May 13, 2013
Thanks to NPR Music’s “First Listen” series, Deerhunter’s new album Monomania has had two weeks to seep in. It soon became apparent that this album was a marvelous continuation of the Atlanta-based band’s arty noise-pop sound. Any doubts about this album for this writer lasted only halfway through the band’s premiere of the title track on Jimmy Fallon’s late night show a few weeks ago. Deerhunter would give one of the most brilliantly subversive television performances I had ever seen. Lead singer/guitarist Bradford Cox hid most of his face under a disheveled mop of a jet-black wig. He gripped a microphone on a stand with his right hand and snarled through the song. But the scene-stealer was a missing middle finger on his left hand. His face mostly hidden, one could not help but notice the bandaged and bloody nub where one of his fingers should have been. Though later proven a stunt (he had just curled up his finger and wrapped it tight), this “prop” raised the performance to an entrancing level, especially when one has to think what this might do to the guitarist/songwriter’s process considering the wall-of-guitar sound of Deerhunter.
Then, a little more than halfway through the song, as the band dove into a roaring cacophony of dueling guitars, Cox walked off the stage. A cameraman followed him backstage, as his mates bent over their respective instruments to squeeze the life out of their strings, seemingly oblivious to the disappearance of their frontman. Guitars still wailing in the distance, Cox walked past a couple chatting in a backstage hall, snatched a cup from a woman yapping and either chugged the cup of water or threw it in his own face (I can’t recall, the video is no longer on-line). With the band members still pounding on their instruments, he walked over to an elevator and pressed a button, as “Monomania” came to a sputtering end. Fallon walked over to the stage holding a vinyl copy of the album. “Deerhunter, everybody!”
This is the genius that informs this music that I have consistently celebrated since I first heard of Deerhunter via their third album, 2008’s Microcastle. Three albums later and Deerhunter have not lost their touch to these ears. The new album opens with two noisy tracks with vocals so loud they rattle eardrums, distorting beyond perception of lyrics as guitars screech and shimmer, dipping into sporadic bits of feedback. Then comes relief in “The Missing,” a pretty melody crafted by guitarist Lockett Pundt, who also has a noteworthy solo project called Lotus Plaza. Pundt’s shy, breathy singing is the perfect complement to the delicate songcraft: pretty guitars and synths sighing an iridescent harmonic whoosh under the bright guitars. None of these songs on their own would feel as potent taken out of the context from one another. It’s a great bit of dichotomy. To reduce Deerhunter as a grungy shoegaze/noise pop outfit interested solely in reverb is to overlook the patchwork brilliance of the entire experience of its albums.
Last week, the vinyl version of Monomania arrived, and it provided yet another layer of revelation. What becomes immediately noticeable, thanks to the clarity of vinyl, is the acoustic guitar strumming within the din of the opening track, “Neon Junkyard.” There are also various whirs and fizzes that comprise the noise from unknown sources. The lyrics are also clearer, and the first line may as well be Deerhunter’s manifesto: “Finding the fluorescence in the junk/By night illuminates the day.”
The great thing about noise pop albums on vinyl is how the format clears up the din like a high-definition video screen. There is finesse in the racket. The clarity of the instruments, from the strum of acoustic guitars to the pluck of bass strings, pops out with not just crispness but dynamism. “Blue Agent” contains a staccato lead guitar line the oozes liquidity. However, its terse delivery features a new dynamic in each pluck on vinyl. The sonic range via vinyl turns what could be regarded as a cute gimmick in playing to elevating the song with a deeper character that sounds far more human and real.
“T.H.M.” opens with a delicate guitar line and soft beat decorated with a shaker. The song picks up on a sprightlier beat with hand claps as another guitar jumps in to add another terse melody before returning to the more spare verse. The kicker comes when Cox supplements his growling lyrics with a chorus of asthmatic coughs.
Side two opens with a billowing whir and then bright guitars drive the song along toward a chorus featuring an echo effect capping off the end of each line Cox sings before more guitar strums pile up to swell and suddenly back off and let the initial hook trot along to the song’s finale. It’s a brilliant tease of noise versus melody. In fact, this side more than side one features the catchier tunes and reveals the early ‘90s/late ‘80s noise pop sonic influence from bands like Dinosaur Jr. and Pavement. However, whereas those bands were usually against keeping keyboards and keeping synths out of the mix, Deerhunter has no fear of using them to supplement its sound. Then again, there is that roar of an outboard motor that takes over from the crush of screeching guitars at the end of “Monomania.”
Beyond the gritty sound juxtaposed with brightness are the dark lyrics by Cox. That’s where the true heart of darkness of this album lies. As bright as “T.H.M.” sounds musically, the lyrics reference a violent death (“Took two bullets to the brain”) coupled with “coming out” and insanity. Throughout Monomania, the lyrics seem to wallow in misunderstanding and a frustrated solitude. It comes from a very real place, as Cox rarely sentimentalizes his homosexuality. Even Pundt’s only song, “the Missing,” fits the vibe of the album lyrically.
Deerhunter has always known its way around darker subject matter, and such deep exploration births an honest sound that does not always produce pure melody. The members of Deerhunter consistently prove themselves crafty with guitars and pop songs, but they know how to dig deeper to offer something much more dynamic with not only volume but cacophony. As ever, Deerhunter proves there is a beauty in noise. Monomania may have frayed and weathered edges but it’s representative of a real humanity beyond the songcraft.
The other day 4AD Records sent out an up-date regarding its stable of artists. Most interesting was news of Deerhunter recording an intimate live show in New York at the city’s premiere Soho Apple Store. The show occurred late last year, and it marked the first in a series of live performances at the store. Now, Apple has made the session exclusively available at their iTunes store as an 8-song digital-only EP, entitled “iTunes Live from Soho” (get it here).
Pitchfork has provided a preview of the session in the form of the opening cut, “Desire Lines” (stream it here). It’s my favorite track off the band’s last album, Halcyon Digest (buy it on vinyl here). However, when I first heard the smattering of applause and the “Hi, everyone. Thanks for coming out,” from singer Bradford Cox on the iTunes session, I was not hopeful for the sound quality. But then the song started, bounding by the booming bass guitar line, and in that second, I knew the sonics would be amazing. It’s particularity impressive for such a noisy song, filled with dense droning layers of guitars. I know no one right now who have created a dronescape as masterful as the last half of this 6:44 song. If anyone knows a band that can drone as awesome as Deerhunter do on this song, correct me.
The preview track cuts off at the end, so I imagine it flows nicely in the next track, “Hazel St.” Here are the rest of the tracks, by the way (and the cover art):
It’s an iTunes exclusive, so you’ll have to get it there, and only there. It’s a good price for $3.99 in the US, though I hear it’s as much as 8 Euros for those in Europe. For $3.99, I’m off to make my purchase.
September 28, 2010
4AD Records released Deerhunter’s new album (their fourth), Halcyon Digest, today, and you can stream it in its entirety here. With another album cover venturing toward the grotesque, the art belies the beauty of the music inside.
Halcyon Digest is a gorgeous collection of songs steeped in nostalgic rock ‘n’ roll, wafting on the ether of noise pop. It’s as if Deerhunter are mediums for early sixties rock, channeling the ghostly sounds of the Archies or the Beach Boys via My Bloody Valentine. Anyone familiar with Deerhunter figurehead Bradford Cox’s blog, will find his influences on full display, including his love for old style blues and pop as well as an appreciation of Kraut rock and noise pop.
Though Cox dabbles in other projects, these influences coalesce most originally in his most popular outfit: Deerhunter. The band’s new album, is no exception. In fact, as I am hearing it for the first time now– as I type– it may be their most accessible yet. But, never fear, there are some amazing droning moments in store, as well. “Desire Lines” starts out slow and poppy, but after a brief guitar solo, the song melts into a drone jam of chiming and groaning guitars whose hold can only be curbed with a slow fadeout.
The first single off this album has already been made officially available for download on-line. Using the password “tapereel” will get you access to this page where you can not only download the single “Revival” and its B-side, “Primitive 3D,” but also some studio demos. It takes some mouse hovering, but some cool mp3s are in store.