Review Summary: Deerhoof vs. Evil may not be a classic, but it is certainly an intriguing sonic piece.
Deerhoof vs. Evil. An intriguing album name, and a fitting one. Deerhoof return with their art-pop style that is unique to itself, and further, unique to each album. To name and describe the many intricacies and layers would take a small novel. Deerhoof has always been able to keep all their jumbles of discordant noise tight and controlled, fashioning bursting rockers and emotional ballads that are not immediately recognizable for the carefully constructed pieces of art they are. But they have never quite been able to make these pieces fit together into the perfect album. Something is always missing, or the piece is too large for it’s place, and it just doesn’t quite feel as right as it could be. To an extent, this has recurred; but the members of Deerhoof are far too talented to create music that isn’t wondrous.
Deerhoof vs. Evil is a schizophrenic racket, inundated with quirky, poppy melodies, math- and noise-rock outbursts, and numerous other nuances, genre samplings, and so forth. The clashing guitars of John Dieterich and Ed Rodriguez unleash riffs, melodies, scrambles, and scratches. Their work is essential to the success of such cuts as lead single “The Merry Barracks” (possibly the most sound, fluid track) and classic-rock-tinged “Secret Mobilization.” The precise percussion of founding member Greg Saunier is, as always, a key cog in Deerhoof’s creations, with absolutely outstanding work throughout. Satomi Matsuzaki’s bass, but more importantly, her voice, give Deerhoof that final push over the edge, steering them into territory all their own. How wonderfully quirky that territory is.
An amalgam of experimentation, the breadth of the sonic landscape covered here is absolutely astounding. as jungle beats and eerie mystiques (“Must Fight Current”) can be sandwiched between congatronics-inspired adventures with rapturous, tinkling and tapping percussion (“Super Duper Rescue Heads”) and a comparatively straightforward, escalating rocker (“Secret Mobilization”) without so much as the batting of an eye. The exploration of different sonic ideas, far-flung but concise, is not only present from song-to-song, but also within each and every track. It is all worth exploring, but time, space, and the limits of language are unkind toward attempts at reviewing these intricaties.
This is not a perfect outing, though, not by far. The album feels very top-heavy, as the best and most boisterous tracks lie towards the beginning. Even the minimalist “No One Asked to Dance” keeps the attentiveness high, largely due to the Spanish guitar and Matsuzaki’s rare, modest moment leading a song (it also helps to have the cover, “Let’s Dance the Jet,” reinstating a break-neck pace immediately after). Not until “C’Moon” does it start to stumble and the attentiveness falter. The more melodic moments of “I Did Crimes For You” are quite nice, but Deerhoof vs. Evil ends on an all-together weaker note than what would be preferred.
Deerhoof have once again produced an album glorious eccentricities, oxymoronic with it’s structured racket; a collection of songs that sound completely off the wall while still, beneath all the noise, having a recognizable core. It may not all fit together perfectly, but taken as a collection of songs, Deerhoof vs. Evil is ever-intriguing and eyebrow-raising. It educates in what it means to take chances, to experiment. It is different, as all Deerhoof is. It is not incredible, at least by their standards, but it is still a strong release early in this new year.
