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Úvodní stránka » GREAT BOOK TAIS AWARDS » Deerhoof — The Magic
Deerhoof — The Magic (June 24, 2016)

Deerhoof — The Magic (June 24, 2016)

                      Deerhoof — The Magic (June 24, 2016)Deerhoof — The Magic (June 24, 2016)ζ   Essential art rock outfit continue to hum along at their own pace.
ζ   Deerhof opustili svou pohodlnou zónu, pronajali si opuštěné kancelářské prostory uprostřed pouště v Novém Mexiku, nastavili ‘plug and play’ a hráli opravdu hlasitě. Zpočátku sotva měli ponětí o výsledku, o sedm dní později novým materiálem přesvědčili své vrstevníky i vlídný tisk, že předešlá ocenění nezatemnila jejich vizi o tom, co má legendární kapela dělat. V písních jako “Patrasche Come Back”, “Learning How To Apologize Effectively” a “Plastic Thrills”, už tyto kryptické názvy dávají určitou představu o tom, jak obtížné je pochopit texty Satomi Matsuzaki. To znamená, že pravděpodobně by nemusela říkat vůbec nic a i to by asi fungovalo. Její éterický hlas maká bezchybně jako kontrapunkt k drsnějším nástrojovým momentům s důrazem na světelnost celkové výzdoby písní. Ačkoli hlas Matsuzaki je osvěžující, může do písní dodávat zvláštní příchuť. Celkově album “The Magic” přináší zábavné popové melodie, vyžadující trpělivost. Spíše než aby výhradně a podrobně popisovala nějaký příběh, Matsuzaki také používá svá slova jako rytmickou interpunkci; to je klíčový prvek vzrušení nejenom tohoto alba, ale celého katalogu Deerhoof, i když někdy může být problém vidět propojení všech do jednotného myšlenkového celku. Píseň “I Don’t Want to Set the World on Fire” (která si propůjčuje titul z deskripce knihy amerického hudebního kritika Alexe Rosse “The Rest Is Noise: Listening to the Twentieth Century, a cultural history of music since 1900”) je symbolem proměn kapely Deerhoof. Otevírá ji říkanková melodie a Saunierův snare–drum, slyším tam disjunkční arpeggio vzory hned vedle slide kytary a tímto postupem je zvýrazněn jasný vokál Matsuzaki. Ale po kratičkém intervalu to nepatrným můstkem přeroste v jazzovou fúzi, která zajišťuje hladký kontrapunkt k tvrdosti zbytku alba. Zdejší písně, i když absorbují postřehy ze současnosti poměrně snadno, jsou tkané do hudebního materiálu velmi obratně. Deerhoof i nadále rostou, mění se a věrně následují svou osobitou vášeň. Je udivující sledovat jejich rozvíjející se talent, dosahující nových a magických výšin. Magie je plná kurevských míčů, co zaplavou před brankářem, nervních vtípků a titánských riffů. JSOU TO ŠÍLENĚ talentovaní hudebníci. Třikrát na zdraví SONICKÉMU optimismu. Je to podobné někomu, kdo by se odvážil zahrát jedinou píseň Thin Lizzy, a oni to dokázali.ζ   The Magic is full of curveballs, nerdy jokes, and titanic riffs. THEY’RE INSANELY TALENTED MUSICIANS. THREE CHEERS FOR SONIC OPTIMISM. IT’S LIKE SOMEONE DARED THEM TO MAKE A THIN LIZZY SONG, AND THEY PULLED IT OFF.
ζ   Highly revered indie rockers from San Francisco who play fractured, whimsical noise pop with an avant–garde edge.
Formed: 1994 in San Francisco, CA
Location: San Francisco, CA
Genre: Noise rock, experimental rock, dance–rock, microhouse
Album release: June 24, 2016
Record Label: Polyvinyl / Upset the Rhythm
Duration:     19:04 + 21:27 => 40:31
Tracks:
Disc: 1
  1. The Devil and his Anarchic Surrealist Retinue     3:15
  2. Kafe Mania!     2:43
  3. That Ain’t No Life To Me     1:53
  4. Life is Suffering     3:36
  5. Criminals of the Dream     5:01
  6. Model Behavior     2:36
Disc: 2
  1. Learning to Apologize Effectively     3:16
  2. Dispossessor     2:10
  3. I Don’t Want to Set the World on Fire     1:37
  4. Acceptance Speech     3:01
  5. Patrasche Come Back     0:47
  6. Debut     2:55
  7. Plastic Thrills     2:02
  8. Little Hollywood     2:57
  9. Nurse Me     2:42
Deerhoof:
¬*  Satomi Matsuzaki  —  bass, vocals
¬*  John Dieterich  —  guitar
¬*  Ed Rodriguez  —  guitar
¬*  Greg Saunier  —  drums, vocals
Technical personnel:
¬*  Nick Sylvester — productionEssential Tracks: “That Ain’t No Life To Me”, “Criminals of the Dream”, and “I Don’t Want to Set the World On Fire”.
Description:
≡♦   After all the accolades from press and peers, what’s a legendary band to do? Forget the recording studio, rent out an abandoned office space in the middle of the New Mexico desert, set up, plug in and play REALLY LOUD. Starting with hardly a notion of the outcome, by seven days later Deerhoof had found (you guessed it) The Magic: a raw and refreshing 15–song wallop of an album about what happens when you leave your comfort zone.
≡♦   The version of Deerhoof you hear on The Magic is a most punch–drunk proposition. Everyone showed up in the mood to sing. Satomi, Greg, John and Ed dream up alchemies of punk, pop, glam, hair metal, doo–wop, hip hop, and R&B, late–night car rides, long days, attitude and spandex. Poetry into noise. Volume knob into gratification. Friendship into rock band.
≡♦   According to drummer Greg, the music on The Magic was lurking in the shadows of “what we liked when we were kids — when music was magic — before you knew about the industry and before there were rules. Sometimes hair metal is the right choice.”
≡♦   For singer/bassist Satomi Matsuzaki The Magic is but the latest episode of an ongoing gamble: “I joined Deerhoof a week after I arrived in San Francisco from Japan. I hopped on a MUNI bus to have a first meeting but got off at a wrong stop. I was lost and confused. They found me on a dark street corner after I called for help from a pay phone. Since then my adventure expanded. Deerhoof is a vehicle with four powered wheels that takes me through forest, desert and buildings. My life is adventure!”
≡♦   The Magic is a mixtape imbued with Deerhoof’s sorcery — boldness, wonder, technical know–how, risk. It is a mixtape by the kid with the biggest music collection you’ve ever seen, who will take you camping and show you how to pull a rabbit out of a hat.
AllMusic Review by Heather Phares;  Score: ***½
≡♦   On albums like La Isla Bonita and Breakup Song, Deerhoof took a back–to–basics approach, concentrating on joyful blasts of noise pop and surprising funk. With The Magic, they look back even further, borrowing inspiration from the music they loved as children. Given the youthful wonder and spontaneity that drive their music — no matter how sophisticated their ideas and playing are — it’s an inspired concept. While making the album, Deerhoof took that spontaneity to extremes: they wrote and recorded most of The Magic within a week, while the three tracks they submitted to HBO’s ‘70s music industry drama Vinyl were penned over a weekend. Somewhat perversely, these more traditional–sounding rock songs are among The Magic’s freshest moments. It’s amusing to hear them impersonate an old–school rock & roll band, but the more closely they imitate rock tropes, the more their quirks stand out, resulting in funhouse mirror versions of punk, glam, and hair metal. “Plastic Thrills” distills rock to a strutting riff and nihilistic lyrics that sound surprising — and all the more effective — coming out of Greg Saunier and Satomi Matsuzaki’s mouths, while Ed Rodriguez’s lead vocal on the brilliant Stooges caricature “That Ain’t No Life to Me” adds to the feeling that this is the work of another band. Later, “Dispossessor” features a truckload of the widdly guitars that Deerhoof normally put in very different surroundings. As on the Ramones–inspired La Isla Bonita, The Magic finds the band riffing on its own history as much as the rock songbook. “Kafe Mania!” is quintessential Deerhoof, its outbursts topped by Matsuzaki’s sweetly rhythmic roll call of caffeinated beverages, while “Little Hollywood” recalls Deerhoof vs. Evil’s jittery electro–pop experiments and “Debut” showcases the polyrhythms that became a staple of their music over the years. More often than not, the bandmembers’ homages to their childhood favorites end up sounding completely Deerhoof: with Matsuzaki on lead vocals, the arena–ready chug of “Acceptance Speech” sounds worlds away from the album’s other rock pastiches. On “Life Is Suffering,” the band reconfigures soul music, with Saunier and Matsuzaki’s climbing harmonies making it a standout. While “The Devil and His Anarchic Surrealist Retinue” and “Criminals of the Dream” are prime examples of how easily the band combines wide–ranging sounds into something unique, The Magic sometimes feels muddled. The woozy cover of the Ink Spots’ “I Don’t Want to Set the World on Fire” is strange even by Deerhoof’s standards, if only because it’s one of the few times they’ve ever seemed to be trying too hard. Elsewhere, the noodly “Model Behavior” and the throwaway “Patrasche Come Back” suggest the album could’ve used some editing (at 51 minutes, it’s nearly twice as long as La Isla Bonita). Even if The Magic doesn’t always hold together, it still delivers moments of pure anarchic fun. ≡♦   http://www.allmusic.com/
Also:
BY KYLE EUSTICE ON JUNE 24, 2016, 6:00AM;  SCORE: B–
≡♦  http://consequenceofsound.net/2016/06/album-review-deerhoof-the-magic/
By Jamieson Cox  on June 24, 2016 02:59 pm
≡♦  http://www.theverge.com/2016/6/24/12026174/deerhoof-the-magic-reviewDiscography:
≡•   The Man, the King, the Girl   (October 28, 1997 / Kill Rock Stars)
≡•   Holdypaws   (July 13, 1999 / Kill Rock Stars)
≡•   Koalamagic   (2000 / Dual Plover)
≡•   Halfbird   (2001 / Menlo Park Records)
≡•   Reveille   (June 4, 2002 / Kill Rock Stars / 5 Rue Christine)
≡•   Apple O’   (March 18, 2003 / Kill Rock Stars / 5 Rue Christine)
≡•   Milk Man   (March 9, 2004 / Kill Rock Stars / 5 Rue Christine / ATP Recordings, rem. & reissued in 2011)
≡•   Green Cosmos EP  (June 28, 2005 / Toad/Menlo Park, ATP Recordings)
≡•   The Runners Four   (October 11, 2005 / Kill Rock Stars / ATP Recordings / Children of Hoof (on vinyl with a different cover))
≡•   Untitled Deerhoof EP   (2006 / selfreleased)
≡•   Friend Opportunity   (January 23, 2007 / Kill Rock Stars / ATP Recordings / 5 Rue Christine)
≡•   Offend Maggie   (October 7, 2008 / Kill Rock Stars, in the UK on October 13, 2008 via ATP Recordings)
≡•   Deerhoof vs. Evil   (January 25, 2011 / Polyvinyl (U.S. CD and vinyl), Joyful Noise (U.S. limited edition cassette) ATP Recordings (UK), Flying Nun (New Zealand), P–Vine (Japan))
≡•   Breakup Song   (September 4, 2012 / Polyvinyl Records)
≡•   La Isla Bonita   (November 4, 2014 / Polyvinyl Records)
≡•   Fever 121614, Live in Japan   (October 30, 2015)
≡•   Ensemble Dal Niente / Marcos Balter / Deerhoof — Balter/Saunier   (April 29, 2016 / Amoeba Music)
≡•   The Magic   (July 1st, 2016)
Website: http://deerhoof.net/
Bandcamp: https://dalnientedeerhoof.bandcamp.com/album/balter-saunier
Bandcamp: https://deerhoof.bandcamp.com/album/the-magic
≡•________________________________________________________•≡

Deerhoof — The Magic (June 24, 2016)

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