Deerhoof give a sneak peak into their new album Friend Opportunity with this new ep. Includes the first single off of the album, +81 along with four unreleased bonus tracks from the Reveille sessions.

MP3 $5.20

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There's a symphonic conception at work here, entire worlds within chords, genius hooks that may or may not swing by again, a programmatic, narrative flow that takes us from one place and drops us off in another, like an exhilarating abduction. Just as importantly, you can hear how the band took a little something from each of the bands they'd toured with - Radiohead, The Roots, and Wilco - though they don't sound like any of them. Friend Opportunity is a feat of reinvention that could only come from    [ read more ]

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Say what you will about Deerhoof, but they know how to write a beautiful song. And 'Offend Maggie' is all the more beautiful for the fact that it seems to come out of nowhere. For all its sparkling musicanship, it sounds casually tossed off like it was nothing at all. It's a new sound for the band as much as it's a new sound for pop music. While John Dieterich's acoustic guitar seems to channel Malian guitarist Ali Farka Toure, Ed Rodriguez's electric conjures classic Townsend. Singer/bassist   [ read more ]

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Thirteen tangy new confections from the most inspiring wunderkinds in punk! Ask anybody: Deerhoof is on fire, scaling Mt. Olympus. Yes, garage has become the new arena rock, but something new is exploding out of the underground, courtesy of your Deerhoofs, your Erase Erratas, your Lightning Bolts. "Apple O" finds our favorite foursome in the mood for love: never have they sounded more passionate, more raw, or more romantic. The sound is pristine, the song-craft simply stunning, even by Deerhoof standard. Da   [ read more ]

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#86 Seller of 2005! Deerhoof play with a primal abandon and molten group chemistry that remains untamed since the band's early days. Still, at nearly twice the length of their previous albums, The Runners Four is more complex and challenging than anything they've recorded. This is more than rock; it's a wholesale rewrite of the rock and roll dictionary. Deerhoof herald the era of the defiant DIY album. The Runners Four: a quartet of racers, chasers, messengers, even smugglers, gleefully smashi   [ read more ]

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Their sixth album. With its outrageous, almost indescribable sounds -- somewhere between Outkast and Cats -- Milk Man is Deerhoof's most classic and audaciously forward-looking creation. Repeated listens reveal something that sets it along such timeless concept albums as The Kinks' Village Green Preservation Society,"Duke Ellington's Mood Indigo, and ZZ Top's Eliminator. (If we're comparing it to ZZ Top, you know it's gotta be good.) These San Franciscan poster-children-for-dream   [ read more ]

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Deerhoof is a quartet comprised of half-male/half-female parts, playing guitar, bass, drums, and keyboards. The music on Holdy Paws seems very live, like the band is actually playing right in front of you in your room. The Blonde Redhead comparisons are unavoidable: higher-pitched female vocals backed by thick distorted guitar, angular drums, and very minimal keyboards. The single-note keyboard parts seem to push Deerhoof along to a slightly different direction. What really makes this record interesting is    [ read more ]

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On their second full-length, this San Francisco project continues its reckless recombination of noise, abstraction, and the occasional turn to structure -- while the album's free-form noise-fests come somewhere between the Boredoms and Caroliner, Deerhoof frequently bring this experimentation full circle into fuzzy, out-of-control pop territory ("A-Town Test Site," "Polly Bee"). This alternation between abstraction and structure (with both underpinned by raw live drumming and female vocals) seems to work be   [ read more ]

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