It is true, we shall be monsters, cut off from all the world; but on that account we shall be more attached to pretentious experimental rock
Deerhoof! I love these little guys and I am glad to talk about them, simply. Hailing from San Fran and putting over two decades of work in, these experimental rock freaks couple up their jagged and intricate song structures with the sweet, innocent tones of lead vocalist, Satomi Matsuzaki. As their album output presents one of the few fleeting justifications for the continued existence of electric guitars, it’s best we get into it before doors have to get kicked down.
On this album, Deerhoof have frankensteined together an ode to Frankenstein, which, as I am sure the literary snobs amongst you will already know: Frankenstein is a novel about this one guy who enjoys frankensteining a lot. He loves to frankenstein things, so much so he frankensteins together this big green frankenstein-ish guy, who he calls Frankenstein. Not to impress upon too much, but remembering this information will someday save your life.
Back in Noble and Godlike in Ruin, the influence isn’t just in pulling lyrics out of the good ol’ themes of alienation and what it means to be a human, but in the patchwork approach to the tracks, their motifs, and instrumentation across the board. Monstrous, and perhaps a little frightening, I for one have found myself eying up my pitchfork.
A full stomach and strong constitution comes highly recommended out the gates: Sparrow Sparrow and Kingtoe hit me unguarded and confused upon initial listen, with the bouncing around simultaneous refrain in the latter’s second chorus pulling towards nauseating, and with little payoff to the chaos. On my own second listen-through, I frankly found these far more bearable with the volume turned down a click or two below my normal comfort, and the whole that the eclectic layers formed was easier to parse with the distance. Not my preferred means of audience participation, however, as the act of turning down the volume has left me feeling more weak and cowardly than the guy who frankensteined me together says I deserve.
With Return of the Return of the Fire Trick Star and A Body of Mirrors, the switch to straightforward and unechoed makes for a welcome anchor to the experience. The old Deerhoof classic of stabbing, layered guitar leads, coupled with some broader woodwind dabbling, shines through with far greater clarity. Though, these tracks finish fast and a little unblossomed.
Ha, Ha Ha Ha, Haaa is where the group finds time for some real, proper volume dynamics, the good shit that they do best. Yelling the words “bomb” and “atomic bombs” over and over, presumably a reference to bombs and atomic bombs, a turn in the song structure near the end brings about the feeling known as WOAAAAAHHHH WHAT THE FUCK MAN in, of course, the best way possible.
Saul Williams’ appearance on Under Rats promises plenty, and delivers plenty more. Over an atonal and grooving mess, Saul declares “fire” repeatedly, and I am inclined to agree with Mr. Williams. Our closer Immigrant Songs is seven minutes, and has plenty of time to put the work in to build towards sweet and saccharine, before ultimately pulling all into a pit of noise, and screaming. Listening to this track work, hearing what the band can do with their current tone of experimentation across a longer form of piece, these guys probably are one of the few acts which would benefit from adding MORE seven minute tracks into their albums. I’m sorry again to the good people of BCNR.
I think the guy who frankensteined together the Frankenstein in Frankenstein (whatever he was called) was known for his hubris, if I remember my English Literature lessons at all. Which I don’t. I was too busy having a nosebleed that day, in statistical likelihood. And, maybe there’s a lesson there!
Deerhoof’s ambition across Noble and Godlike in Ruin is impressive, and forces through some of the most innovative experimental rock tracks, with a big full stop after that. With the shorter tracks on this album, it’s almost like the ambition has been squeezed together too dense, leading to flashbangs which leave as fast as they appear, disorientating and without much feeling developed. Also, this album gave me a nosebleed.
And yes, confusingly after all of that, the highs of this project are just so great, that this all still pulls up to a 7/10 today. No further questions and see yourself out.