Deerhoof – Offend Maggie

Deerhoof
Offend Maggie
killrockstars

Deerhoof have never been traditionalists. The quartet’s vocalist sings in a Japanese-English hybrid, their drummer uses a child-sized drum kit, and this summer the band purposely leaked the sheet music for their new album’s single to fans which lead to countless versions of the song being available months before its official release.

Formed in San Francisco in 1995, Deerhoof consists of classically trained drummer Greg Saunier, vocalist and bassist Satomi Matsuzaki, guitarist John Dieterich, and new guitarist Ed Rodriguez who joined the band as a full-time member in February. “Offend Maggie,” Deerhoof’s newest offering for the killrockstars label, is their most streamlined album to date. Old-school fans of the band may have a hard time wrapping their head around a sleeker Deerhoof, but with “Offend Maggie,” they’ve toned down their forays into spastic art-rock and created a more easily digested and ultimately more satisfying sound.

On “Offend Maggie,” the band manages to walk the fine line between classic riff-rock of The Who and Led Zeppelin while not completely dismissing their experimental and progressive nature. Gone are the crooked song structures and chaotic sonic outbursts from past albums such as 1999’s “Holdy Paws” or 2002’s “Reveille,” and in their stead are a group of 14 tightly focused tunes that never seem wandering or self-indulgent.

“The Tears and Music Of Love,” which erupts with a bombastic fretboard workout, is possibly the most straight forward rock track the band has ever produced, but it’s the song’s playful moments such as the hide-and-seek guitar licks that mimic Matsuzaki’s vocals that keep it fresh and not dated.

With many current rock groups such TV On The Radio and The Flaming Lips taking full advantage of heavy production and even using the studio as an instrument, Deerhoof have decided against that approach on “Offend Maggie.” Almost every song is a clutter free experience in which the instruments are completely distinct from one another and offer extreme clarity. Matsuzaki’s voice still works as more of an instrument because of her lack of discernible and often nonsensical lyrics, but here she finally seems to embrace the role of the frontwoman with her voice being pushed up to the front of the mix.

“Chandelier Searchlight” follows a thick bass riff and tin can guitar strumming to a heart-warming “la-la-la-la” chorus. The lead single “Fresh Born,” of which 35 fan-made versions can be heard on the band’s website, begins with a swaying waltz tempo that gives way to a deranged funk riff until suddenly shifting into a stop-and-go drum heavy chorus. One of the album’s most pop-like moments comes in “Basketball Get Your Groove Back,” which, in one of the oddest band-meets-sports song pairings in recent memory, features Matsuzaki singing about rebounds and bunnies over a deep blues guitar line that would not be out of place on a Foghat record.

One of Deerhoof's undeniable trademarks is the setting of mood or emotion in a song. In "Offend Maggie," they do this quite often by opening a song with a big guitar riff or introductory section that acts almost as an overture would to a symphony. It sets either a dramatic tension, "My Purple Past," or a delicate happy-go-lucky feel such as in "Snoopy Waves."

Still Deerhoof could not completely forgo their experimental and art-rock tendencies. “This Is God Speaking,” the only song on the album that features any electronic flourishes, is a mix of white noise, steel drums, and what sounds like Matsuzaki rambling through a broken telephone line. Then there is the frantic “Eaguru Guru” in which guitarists John Dieterich and Ed Rodriguez show off their guitar virtuosity that made the 2003 album “Apple O’” such a success. Even though Deerhoof are hardly the band to ever make political statements, "Eaguru Guru" features Matsuzaki singing "Red and white and blue/Probe deep inside/be collosal," which appears to be a topical statement among the staccato riffs. Eventually the song comes to a full halt and, in one of the album's most abrasive moments, starts again with a distortion drenched lightening riff until a thunderous drum-guitar climax brings the tune full circle.

What Deerhoof have done on “Offend Maggie” is successfully create a 21st century classic rock album. The big riffs and the huge drums are there, but instead of the classic sex, drugs, and rock n’ roll motif, Deerhoof offer an innovative approach that’s more enlightening than desensitizing.

- Richard Giraldi


"The Tears and Music Of Love"



"Fresh Born"



Fresh Born Sheet Music





"Chandelier Searchlight"

Jolie Holland - The Living and the Dead

Jolie Holland
The Living and the Dead
ANTI-

Holland’s newest album, The Living and the Dead, offers a laid-back Americana folk feel that keeps a steady pace and never tries to outdo itself, and it’s a nice contrast to the blues and jazz approach on her last album, Spring Time Can Kill You.

It’s Jolie Holland’s vocals that really give the shimmering guitar track, “Mexico City” it’s heart and soul. Her vocal range might be a bit limited, but she makes up for in an honest emotionally charged drawl that slightly resembles Arcade Fire vocalist Win Butler with hints of Cat Power.

Holland’s song writing ability has never been tighter than on The Living and the Dead. She weaves a rich tapestry of personal narratives that are earnest in their delivery. On the hushed “You Painted Yourself In,” Holland sings, “Invisible light in your lovers heart / will show the way through the fiery furnace / and what burns up is torn away / and what remains is a beautiful promise.”

“Fox In Its Hole” is a reflective slow-burner in which Holland’s angular vocal melodies seemingly enhance the myriad of loose percussion. While the blues rock of “Your Big Hands” features Holland howling over a Keith Richard’s influenced guitar riff about a subject not so unfamiliar to the Rolling Stones – heartbreak.

On The Living and the Dead, Holland is obviously becoming more comfortable with her country roots and made an album that would be perfect for those steamy nights in the Texas hill country. Judging by the album closer, “Enjoy Yourself” which finds Holland laughing through the majority of the song, it sounds like she’s taking her own advice.

- Richard Giraldi

"Mexico City"


Originally published in ALARM PRESS October 2008

Ra Ra Riot Play Chicago - The Subterranean

Ra Ra Riot
The Subterranean - Chicago, IL
Thursday September 11, 2008

Singer Wesley Miles was jovial in his proclamation that this was Ra Ra Riot’s third visit to Chicago this year. Then again how could he not be? The band has seemingly blown up overnight with the release of their new critically acclaimed album, “The Rhumb Line.”

When Ra Ra Riot took the stage near 11 p.m. on Thursday September 11, their lush pop compositions enlightened a packed house at Wicker Park’s dark and drab Subterranean. The crowd was packed in like sardines directly in front of the stage, but this served as a catalyst for the band to play a truly vibrant and engaging set. Featuring violinist Rebecca Zeller, guitarist Milo Bonacci, bassist Mathieu Santos, vocalist Wesley Miles, and Alexandra Lawn switching between cello and keyboard, Ra Ra Riot brings a slightly different aural experience than you’re used to at a local rock club.

The opening notes to their single, the hauntingly beautiful “Ghost Under Rocks,” hung high in the air and felt warm and inspirational. The second half of their set was highlighted by “Too too too fast” which lurches forward with a new wave keyboard line and bass riff and is ultimately brought to its climax by Wesley Mile’s soaring vocals. The band not only produced epic highs but also occasionally unleashed a delectable groove that pierced your insides.

There were, however, a few technical snafus. Zeller had problems with her monitor and amp a few times throughout the night. But more unfortunately, the band became victims of a shoddy sound system. For a Ra Ra Riot who pride themselves on texture and ambiance, occasionally some of their nuances were lost in the unusually low mix. While it didn’t hurt the overall energy they displayed on stage, sometimes the sound didn’t do them justice and that’s a tragedy.

But in the end, Ra Ra Riot displayed that raw talent and musical ability which excites not only the band members, but fans of the band who realize that they’re onto something.

- Richard Giraldi

"Too Too Too Fast Live 9/11/08"


Originally published in ALARM PRESS September 2008

The Pack A.D. Play The Hideout - Chicago, IL

The Pack A.D
The Hideout - Chicago, IL
Thursday July 17, 2008

Even though drummer Maya Miller claimed that the show was The Pack A.D.’s first in Chicago, you would never be able to tell. The British Columbia duo played with such ferociousness and intensity that they seemed like seasoned veterans use to the daily touring grind.

On Thursday July 17, The Pack A.D. played for a paltry, but interested PBR swigging crowd at the appropriately named The Hideout. Becky Black’s fiery guitar playing set the mood for the night while Maya Miller’s powerful drum machine backbeat held the songs together. After their first couple of songs, it is obvious The Pack A.D. are much more than your neighborhood blues bar band. Their amps are set far past 11, and their less is more approach to the blues is refreshing in a time of analog synthesizers and digital processing. The songs themselves were reminiscent of the White Stripes in terms of style but different in execution. While Jack White tries his hardest to create memorable hooks and choruses, Becky Black sings straight from the heart. Her Janis Joplin like soulful howl is emotionally piercing.

Though their music is completely different, The Pack A.D. brings that female energy last seen in Sleater-Kinney to the forefront. Unfortunately the crowd slowly wandered out by the end of the show leaving only a few left including drummer Maya Miller’s family. However, The Pack A.D. didn’t seem to mind or care for that matter. They were up on stage doing their best, delivering I don’t give a fuck rock and roll at it’s finest

- Richard Giraldi

"What's up there"


Originally published in ALARM PRESS July 2008

Laura Reed & Deep Pocket – soul : music

Laura Reed & Deep Pocket
soul : music
Independent

Laura Reed & Deep Pocket’s soul : music is so recognizable and so effortless; it’s hard to imagine it’s the Asheville, North Carolina group’s debut album. Reed’s soulful howl steer the group and give it an old school R&B flavor. However, it’s Deep Pocket, featuring drummer Jim Buchanon, bassist Ben Didelot, and keyboard player Ryan Burns that create the moody funk and reggae backdrops that compliment Reed’s vocals so well.

The opening track, “Well,” contains bouncy keyboard lines and DJ scratches to give it that complete dancehall feel. However, it’s the odder tracks from the bunch that sound the most interesting. The Bob Marley inspired “One World” features Reed proclaiming “We don’t need no first world/we don’t need no third world/what we need is one world” over a barrage of percussion tracks, and “Omm Lei Lei” is a dark, off-kilter number with a hyperactive organ riff.

The ballads, including “Praise You” and “Tomorrow”, act as a showcase for Reed’s vocal ability but sound more lethargic than the rest of the album. soul : music may sound like a very familiar record, but that is what makes it a pleasurable listen. It will be interesting to see what Laura Reed & Deep Pocket can cook up next.

- Richard Giraldi

"Laura Reed & Deep Pocket Live"


Originally published in OffBeat April 2008

Outformation – Traveler’s Rest

Outformation
Traveler’s Rest
Outerprise

If you can’t tell by the old west images on the front cover, Outformtion is a country rock band that leans heavily on jam band antics. The band features guitarist and vocalist Sam Holt, bassist Grady Upchurch, drummer Lee Schwartz, keyboard player C.R. Gruver, and Jeff “birddog” lane on additional percussion.

Traveler’s Rest sounds like a soundtrack to indie-rock spaghetti western. “Carnac” relies on a driving up-tempo guitar riff and light percussion, and “Dark Severinson” asserts a live atmosphere with a lush piano line until Holt opens with “Thank you all for coming, it’s a lot of fun” which gives way to a distorted guitar solo.

But Outformation sounds best when tackling straight up county takes, such as the track “Winds.” The band conjures up images of drunken saloon nights, with Holt singing “Why does everything fall all to hell when I’m gone/I seen it all go wrong up at home with a song/Blow your dreams away like the winds of Mexico.” The problem with Traveler’s Rest is that the riff-age just isn’t that memorable, and the production leaves the guitar sounding thin.

The group seems more focused on the instrumentation, which may be why the vocals don’t have the power and southern drawl that is a necessity in country rock. Traveler’s Rest appeals to the listener’s inner blue-collar worker and feels like the band at your local dive bar, but that maybe that’s what they’re aiming for in the first place.

- Richard Giraldi

"Carnac"


Originally published in OffBeat April 2008

The Karl Denson Trio – Lunar Orbit

The Karl Denson Trio
Lunar Orbit
Bobby Ace

The packaging may read “The Karl Denson Trio,” but Lunar Orbit is pretty much a one-man show. Karl Denson began his career as a member of Lenny Kravtiz’s band, but he went on to form numerous other projects including The Greyboy Allstars and Karl Denson’s Tiny Universe. Primarily a saxophonist and flautist, Denson explores his funk and jazz roots on Lunar Orbit.

The album focuses on the woodwind-organ-drum set-up, but Denson is the only constant on the album. The rest is a rotating cast of players including organ players Kenneth Crouch, Will Blades, and Anthony Smith, drummers Aaron Redfield and Jake Najor, and Steve Haney on congas. The album opens with the title track, “Lunar Orbit,” in which a pulsating organ, thumping reverse bass, and a steady rock beat starkly contrast with Denson’s melodic flute line. “The Plain Truth” is a jazzy scorcher that features the wildest Denson sax solo of the bunch.

Denson’s best attribute is that he plays with energy, regardless of the instrument. A couple of tracks reach over seven minutes, but rarely do they get boring and weighty. Occasionally, however, Denson does falter, such as the smooth jazz take, “Won’t Somebody,” which wouldn’t be out of place on a Michael Bolton album.

But Denson manages to stay focused, and not seem self-aggrandizing. Lunar Orbit never gets experimental, but it keeps the listener intrigued because of its simplicity.

- Richard Giraldi

"CTA"


Originally published OffBeat February 2008