Deerhoof - Runners Four
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CD Details
Artist: DeerhoofEdition: Music CD
CD Release Date: 2005-10-11
Music Label: Kill Rock Stars
Soundtracks:
- Chatterboxes
- Twin Killers
- Running Thoughts
- Vivid Creek Love Song
- O'Malley, Former Underdog
- Odyssey
- Wrong Time Capsule
- Spirit Ditties Of No Tone
- Scream Team
- You Can See
- Midnight Bicycle Mystery
- After Me The Deluge
- Siriustar
- Lemon And Little Lemon
- Lightning Rod, Run
- Bone-Dry
- News From A Bird
- Spy On You
- You're Our Two
- Rrrrrrright
Music reviews of Runners Four
Music Review: Strong, but Not w/o Its Precedents
Rating: 5 Stars
My original review was getting really awful ratings, so I thought I'd clarify. I think I reviewed it too hastily, right after I got it, before it had the chance to set in. Since my original review, I saw them live (mind-blowing--when the guitars kick in it is quite like they are letting their claws out and sinking them into your brain). I have also listened to the album over and over and bought _Apple O_ and _Milk Man_. I like all of their albums in their own right, but _The Runners Four_ is probably their best of these three. They have something that other bands don't have. They can go from an "avant-garde" sensibility (I'm getting so sick of that term when I see it applied to indie bands--here, it is usually just noisiness: nothing so new there) to an almost classic-rock sound. The album starts out this way. "Chatterboxes" has a dissonant chord structure that never relents while Satomi sings zen-like lyrics. "Twin Killers" is next and has some twee qualities while still keeping you very engaged. "Running Thoughts" has some Byrds-like psychedelic runs, serving very well to take you into an interesting mind-state where your thoughts may indeed run. "Vivid Cheek Love Song" sounds like the Kinks with a Japanese woman singing and using a few more guitar pedals. Very pleasant, but not quite revolutionary, as some will have you think. "O'Malley, Former Underdog" uses some old-fashioned punk chords and beats to once more wax twee. "Odyssey" is nice as you are able to hear someone other than Satomi sing, this one an intriguing little ditty comparing a relationship to "Pirates on an Odyssey." I really start loving the album seven songs into it, when the opening lick of "Wrong Time Capsule" kicks in. To take seven songs is a little on the long side to make one think this is an instant classic or something, but here it is: it almost has a Rolling Stones feel to it to start, indeed "spiriting me away," as Satomi sweetly croons. Not that something has to have a classic-rock feel to it for me to like it. I like experimental jazz, classical, and metal more than anything. I just find it interesting that something that is supposed to be so avant-garde works best when it is reminiscent of older rock and roll models. Why can't we just drop the avant-garde label and agree that this is good indie rock and roll album with novel dimensions and a large dose of freedom about what genre one song can work in compared to the next? ADDED BONUS: This CD sounds GREAT on head-phones. These guys really know how to twiddle the knobs for an indie band.
To See Why I've Received Such Bad Ratings, Here Is the Original Review, Most of Which I Still Stand By, Even Though I Am More Enlightened Now:
I enjoy this album. I get to see them at a small club in Tallahassee next week and my girlfriend and I are really excited to see them. They seem to be one of the new buzz bands of the indie world, and this is for good reason. To call them absolutely original would be a stretch, though. They are mostly well within the pocket of what other indie bands like Wire, Sonic Youth, and Stereolab have accomplished in the past. This is all in all a good thing and much preferable to the Kajagoogoo revival taking place on the charts with bands like the Killers and the Kaiser Chiefs. Yes, the compositions are striking at times here. No fault to be found with that. But to say they are something new is to commit the same fallacy as some eighteen-year-old commits when he thinks that Franz Ferdinand is something new. The difference between Franz Ferdinand and Deerhoof is that Deerhoof are not plagiarizing their musical forebears for commercial gain. They are revelling in the freedom that bands like Wire and the others basked in (with nary a "hit" to show for it!). Listeners should be encouraged that they, too, can revel in the sounds here, and no guilty pleasures about it. This is just excellent and thoughtful postmodern pop with bursts of just plain rocking out interspersed across the album. It has its intellectual pleasures, just not ones as intense as say Stockhausen or Berio. But they head in this direction and they certainly provide some visceral jouissance on the way. Keep watching for Deerhoof--they may launch their own sound yet.
Description of Runners Four
Deerhoof play with a primal abandon and molten group chemistry that remains untamed since the band's early days. Still, at nearly twice the length of their previous albums, "The Runners Four" is more complex and challenging than anything they've recorded. This is more than rock; it's a wholesale rewrite of the rock and roll dictionary. Deerhoof herald the era of the defiant DIY album. The Runners Four: a quartet of racers, chasers, messengers, even smugglers, gleefully smashing through outmoded boundaries, bearing gifts of sonic contraband. This is Deerhoof's magnificent autobiography.Alternative Rock CDs
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