Archive for the 'Deerhunter' Category

Adjust your eyes to the state of things

It is, in fact, 2009. Yes, that’s true, and the flurry of superfluous and not-so-superfluous ranting and raving about those guys who sit in a hippie Korg Circle and sing songs about blades of grass and pit-sweat and their album that is apparently the album of the FOREVER (which, I mean, was something that had been predicted the first time it leaked, straight from their imaginations) and which will serve to divide Resonator Mag in half until someone concedes that that one song is pretty good.

That said, I’ve come to realize that there was an album that pretty much dominated me for ‘08, in the way that an album, as in a cohesive set of songs flowing from one to the other and causing a repeated, addictive desire for a re-start of the entire chronology once it’s completed its’ cycle.  For me, in 2008 (and still, bleeding into the edges of 09 as we wait for something other than Merriweather Post Pavilion to surface), that album was the double-disc set of Deerhunter’s Microcastle/Weird Era Cont.

Deerhunter: Nothing Ever Happened

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Beyond being my favorite album of 2008, Microcastle  contains within it my hands-down favorite song of 2008, “Nothing Ever Happened”. The song’s swirling, melodic, psych-emotive genius perfectly encapsulates what works from start to finish on the rest of the album. As Bradford sings of small-town ennui and an outlook of expecting nothing from nothing, I’m pulled back to my hometown of Marietta, GA-interestingly enough a city that surfaces, if not in name than in thematic reference, in a handful of Deerhunter songs and certainly plays a part in their musical mythos. Marietta’s class-angst, so much potential and so little to do, so much hope and so little way for the dreaming to escape, IS what the sound of “Nothing Ever Happened” is, only, within Bradford’s song, the hope escapes out and into…something.  The lyrics, like “focus on the depths that were never there/eliminate what you can’t repair”, take the rest of Microcastle’s  Proustian qualities of bedroom stasis and actually force it into a sort of hesitant motion, in which you get the feeling that the song is pulling Bradford, rather than operating under his direction.  This, perfectly, is the sound of the small town of Marietta, Georgia. This is the sound I heard growing up.

There was a damn fantastic version of this played at the Microcastle release show in Atlanta on Halloween ‘08, and Southern Shelter has great audio recordings of all of it. I highly recommend the entire concert, front-to-back.

Deerhunter: Never Stops (Platt’s Island Sessions)

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One of the other stickiest songs on Microcastle  is the subtle, slowly-pacing-itself “Never Stops”. The night of Microcastle’s release in Atlanta, Bradford unveiled a strictly limited cassette of recordings he’d done solo, on an island somewhere, of Deerhunter music. These recordings wrap the original tunes in a cold sheen of night, and this version of “Never Stops” is sheer narcotic bliss.

Deerhunter: Octet (Simian Mobile Disco remix)

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I’ve been meaning to post this one for a bit, and haven’t had an opportunity. It’s interesting to me what a couple of guys I generally tend to avoid (SMD) do to my favorite song off of one of my favorite albums of 07 (Deerhunter’s Cryptograms) …mostly because it’s heady, trippy, and it works. In spades.

As I said earlier…while I wait for 2009 to show its colors, I’m going to keep Microcastle in my headphones.





XGiving

Dear Great TurkeyClaus:

This year, the Resonator family is on two different sides of the east coast of the U.S. for what we have come to term X-Giving. If you’re outside the U.S., this, in your native language, means “Thursday”.

I’d like to take a moment and tell you what we’re thankful for right now:

YOU, dear reader, YOU. We don’t think about you as often as we should, we don’t write for you as well as we should, and we sure as hell don’t send you pizza as often as we used to. We don’t bring you flowers, we don’t sing you love songs, etc. But we try-know that we try, and this is a two-way relationship, you. YEAH! A two-way relationship! What was the last thing you did for us? No, remixing that Free Blood song doesn’t count! You don’t write, you only have comments if we go missing for days at a time, and dammit what about that sweater?

*Sigh*. I digress.

The other, major thing that I, personally, am thankful for this year, Oh Great TurkeyClaus?  Deerhunter. I don’t know how they did it, but they managed to become something akin to one of the best bands in the world this year, and they’re right next door, basically.

 Deerhunter: Octet (Simian Mobile Disco Remix)

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Enjoy your Xgiving. Or your Thursday.





last night i

So Friday evening, Bradford’s other project Deerhunter regrouped at the central focus of my old stomping/haunting/debauching grounds, the Marietta square (most famous for being memorialized by the Lil’ Jon lyrics “Marietta, ho/that’s where I live, ho”).

While most never, ever, have any reason to pass through Marietta (”scarietta” to those in the know) whilst in Georgia, Deerhunter put their time to good use, recording, amongst other things, a Tom Petty cover.

Right now, though, all we have to show is an acoustic out-take video:


Deerhunter - Winter Never Stops (Acoustic) from Bradford Cox on Vimeo.

Also, apparently inspired, as a closer to the late-arriving-as-in-today Atlas Sound “Things I’ll Miss” EP , the Tamborello-sounding, late-growning “Marietta”

Atlas Sound: Marietta

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It does my heart good, and fills it with the legends of my youth, to know that a band is seriously utilizing neighborhoods that don’t involve “avenue ____(insert letter here)”. The southern United States is as glorious and grotesque as the north, and as such bless the beautiful noise of Deerhunter for forcing its’ way through.





Patiently patiently await for sound

Deerhunter have been, for ages, one of the most polarizingly unique bands in the Atlanta scene. Known roundabout these parts for their terrifying, sonically destructive live sound and disconcerting stage presence, when their Kranky debut Cryptograms was released early this year the wave of praise from everyone, everywhere, ever, was deafening. It was also extremely, extremely shocking to me-the praise, and then the album itself. Honestly, given that the last time Hacks and I had seen Deerhunter, frontman Bradford had ended a stalk-across-the-stage-and-scream-into-the-hyper-delayed-mic session by banging the hell out of said live mic against the drum riser.

26412deerhunter-header.jpg

Now, I’m obviously the one roundabout these parts who is in love with punishing noise, but this…this was ear-cracking. In fact, I’m pretty damn sure my hearing never recovered. It was after that show that I set into motion my decision to give the hell up on Deerhunter, “local-noise-rock-makes-good” be damned.

And then Cryptograms was released, to maddening hype. I’d heard one song on their myspace, and continuously, vocally questioned why they didn’t make an album with that sound-epic, pretty, droning, hypnotic. One day, at random, after some glowing review somewhere said something and randomly threw out “modern-day Eno producing a White Stripes record”, I gave Cryptograms a spin. It was more to honor the creative music journo than out of any hope for the music.

I instantly ate my words. The “Eno producing White Stripes” is pretty much spot on. At times Bradford’s vocals, which can be grating or endearing but always spot-on in their everpresentness, and in their oft-times use as more of an instrument than as a means to purvey lyrical content, emulate Perry Farrell’s dubbed-out Porno For Pyros sound. The music loops, blankets and divides inside and amongst itself like a living organism, with snaking guitars and some of the most captivating atmospheric percussion heard from a live act.

Cryptograms is split into two halves-the first being more ambient and atmospheric, the latter approaching the sound of a band, in a garage, discovering (as a unit) Remain in Light, Lodger and Taking Tiger Mountain simultaneously.

Deerhunter: Cryptograms (download removed at label’s request)

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After the album’s humming intro, this, the title track, unfurls, and it’s one of the few I remember witnessing the birth of in live settings. Both the opening, from whence the vocal “my greatest…fear” stabs out of the dark, and the end, on which “there was no sound” becomes a mantra, will get lodged inside your head for days.

Deerhunter: Octet(download removed at label’s request)

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This is my favorite Cryptograms song, and illustrates perfectly exactly how lush and itchy can merge in Deerhunter’s sonic palate to create something that’s impossible to turn off, to run from, to not crave. I’ve not yet listened to this in headphones, but it’s begging for it.

During the Cryptograms sessions, a few other songs were recorded and recently released as an EP, Fluorescent Grey. These songs fit at the end of the 12 Crypto-songs (god I hate the way that sounds in my head but I have to use it just once) and turn Deerhunter in the other direction-literally, the four songs turn Deerhunter inside-out, and the inverse of the fierce, confrontational band is presented. In its place, we’re given brushed drums, undisturbed singing, and plaintive dreampop.

Deerhunter: Fluorescent Grey(download removed at label’s request)

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Fluorescent Grey’s opener and title track, this has been pulling me out of lost moments for the past month or so. I can’t pinpoint what it sounds like, other than to say I’m sure I’ve heard it in a dream. It’s easy, with this, to imagine a black oxford-clad Deerhunter, candle-lit, onstage for an MTV unplugged-though I can’t imagine Bradford Cox without his precious DigiDelay.

All in all, the experience of combining Cryptograms with its’ Fluorescent counterpart/counterpoint causes the two albums to coalesce in a way that adds up to one of the most unique listening experience of 2007. This, as a whole, is a full-on album-the kind that starts when it begins, and only ends in terms of no longer playing aloud. The stuff here resonates inside your head permanently after one listen.

I have no idea what they sound like now, though their recent destruction of New York eardrums was widely chronicled by every this-that-and-there blog short of Gawker-so they’re apparently still huntin’ after all these deers, if you will. On album, though, right here, right now, there’s less hunting and more haunting-as in, for better or worse, this is music that will find you in your dreams.

Deerhunter’s official site

Deerhunter on Kranky records (you can buy there, too)

Deerhunter myspace