Spring Break
Deerhoof creates unique tracks
by Daniel Orkin
Staff Writer
Arts | 10/28/08
Posted online at 1:51 AM EST on 10/28/08
Deerhoof's stage setup is revealing; drummer Greg Saunier sits front and center, flanked on either side by guitarists John Dieterich and newcomer Ed Rodriguez, who each wield almost identical Les Pauls. Farther to the right, the petite Satomi Matsuzaki stands with her bass and sings Dadaist lyrics with a coy delivery that makes one think she's keeping a secret. And while Saunier's drum set is simple, consisting only of a bass drum, a crisp snare and two large cymbals, the cascades of intricate rhythms it produces are endlessly complex. Appropriately, the sophisticated rhythm and huge noise Saunier forces out of his set form the absolute center of the band's sound.
Such was the scene this past Thursday at the Middle East Downstairs in Cambridge, where the Bay-Area quartet played in support of their newest release, Offend Maggie. Their ninth full-length LP marks a return to form after the underwhelming Friend Opportunity from early 2007. Opening the evening was the forgettable, Brooklyn-for-the-sake-of-Brooklyn band Flying, who were followed by a duo called Experimental Dental School. The latter act was indebted to Deerhoof in style, and the guitarist's modified instrument and amp rig harkened to the glory of Sonic Youth's younger days. However, perhaps most memorable was the duo's warm interactions with the audience; the two never missed an opportunity for an enthusiastic high-five in between songs. They seemed like really nice people.
When Experimental Dental School had finished, the stage was set for Deerhoof, and Saunier's signature drum setup was brought to the front and placed inches away from the audience. The group launched into a set of old standbys and new compositions, recreating some of its best recorded moments while pulsing with a funky groove that can only exist in a live situation. The utterly unique Deerhoof sound that the band has always been capable of committing to record seems impossible to emulate outside the studio; however, what's truly amazing is that in their live adaptations, the music is taken to an even more vibrant level, their surreal structures and bizarre arrangements forced home by a live energy that simply cannot be captured on record.
Such was the scene this past Thursday at the Middle East Downstairs in Cambridge, where the Bay-Area quartet played in support of their newest release, Offend Maggie. Their ninth full-length LP marks a return to form after the underwhelming Friend Opportunity from early 2007. Opening the evening was the forgettable, Brooklyn-for-the-sake-of-Brooklyn band Flying, who were followed by a duo called Experimental Dental School. The latter act was indebted to Deerhoof in style, and the guitarist's modified instrument and amp rig harkened to the glory of Sonic Youth's younger days. However, perhaps most memorable was the duo's warm interactions with the audience; the two never missed an opportunity for an enthusiastic high-five in between songs. They seemed like really nice people.
When Experimental Dental School had finished, the stage was set for Deerhoof, and Saunier's signature drum setup was brought to the front and placed inches away from the audience. The group launched into a set of old standbys and new compositions, recreating some of its best recorded moments while pulsing with a funky groove that can only exist in a live situation. The utterly unique Deerhoof sound that the band has always been capable of committing to record seems impossible to emulate outside the studio; however, what's truly amazing is that in their live adaptations, the music is taken to an even more vibrant level, their surreal structures and bizarre arrangements forced home by a live energy that simply cannot be captured on record.
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