
What gave Deerhunters previous LP, Cryptograms, such polarizing reviews amongst listeners was simply how challenging it was. People who were up to the task basked in its perfection, its subtleties, its extremities and the ebb and flow from its chaotic first half to the more listener-friendly second half. People who weren't ready enough (or high enough) wrote it off as "boring white noise with 1 or 2 decent songs", usually meaning one of the 2nd half ones. They quickly became blog-darlings after an excellent pitchfork review, those who "got" it couldn't stop talking about it, those who didn't tended to focus on singer Bradford Cox's appearance and controversy stirred by
the bands' own blog.
With the recently leaked "Microcastle" Deerhunter have made a record that will impress both parties. Its still challenging and has plenty for the advanced-level listener to revel in, but it is cleaner, more stripped down (in a way) and less confrontational for the casual listener. You wont find a "White Ink" or "Octet" here but instead you will find songs that are more "song-y" while still maintaining the now classic Deerhunter vibe. I haven't seen a song-by-song rundown on the record online yet so here one is.....
Intro: After getting the record, I lay down on my bed and was just floored by the first note, instant ecstasy. Bradford had mentioned there wasn't going to be a lot of distortion pedals used and honestly when he said that, it bummed me out. Within 5 seconds it becomes startingly apparent to not question his genius. Don't get me wrong, Bradford is still a fan of using his voice as an instrument, with his lyric-less falsetto soaring throughout this piece, but this is the perfect table-setter. In context to the rest of the record you start to think Deerhunter is this generation's My Bloody Valentine, only American and even more weird, always a good thing.
Agoraphobia: This is one for the fans who love the challenges this band throws at them, you didn't think Bradford was going to sing on the leadoff track did you? Of course not, this is Deerhunter we are talking about. The honors here go to guitarist Lockett Pundt aka Lotus Plaza, who supposedly has a solo record of his own coming out on Kranky this year sometime, with Bradford contributing a singular backing vocal. Lockett is an absolutely vital member of the band, having penned the single on Cryptograms "Strange Lights" (aka the best ever song about brotherhood not written by shaved headed straight edge youth). "Come for me, cover me, comfort me, come for me" is the crux lyric repeated throughout this chilled out leadoff track. Deerhunter 2.0 (or maybe even 3.0 if you listen to the 1st LP still) is in full effect here, Lockett's crooning is actually reminiscent of Julian Casablancas and there is a very Strokes-y vibe going on in a few tracks on this record. The complexities in this song are galaxies away from anything the Strokes could ever touch, unless they decided to start listening to more My Bloody Valentine. MBV+The Strokes is the short answer to describe this song for people that way inclined.
Never Stops: While Lockett's vocals are stoney and somewhat soothing, Bradfords eclectic ones are downright superb, listen to "
Without Headlights" to get a full taste of how spectacularly rich he can get vocally. They seem to be in a "when in doubt, go to MBV" mode here, the multiple layered guitar tracks, the last 1:20 of this song is classic Deerhunter too, its just noisy enough and just melodious enough to make it thoroughly likable.
Little Kids: This is the closest song on the record to the Cryptograms days and was my instant personal fave on it. It jumps back to some hippy-ish psyche trip into a more pounding shoegazey second half. They manage to somehow duck away from being pulsating or "droney" by adding melody, which was a huge point for the detractors of Cryptograms. "To get older still" over and over in a sea of wonderful distorted guitar and a steady beat, this ones for the Cryptograms-heads, definitely. I got chills.
Microcastle: Readers of the bands' blog will note that Brad kept saying how he was being obsessed with 50's doo-wop and the Everly Brothers and here's our first taste of it. First half of the song is Brad all on his lonesome singing over a nice warm sounding guitar what are some undoubtedly depressing lyrics. Just as the lullaby is about to put you under Deerhunter remember to be a band again and slap you in the face with a really quirky, driving 2nd half, mixing in some 80's NYC art rock tones but still sticking with the 50's vibe overall. Like what if Brad went into a time machine and recorded the Everly Bros with more technology. Its beautiful.
Calvary Scars-Green Jacket-Activa: Here's where people who want to think the new record and Brad being in Converse ads are going to make them superstars and they will be on MTV and all over the radio, I cant vouch for those things NOT becoming true (In fact I pray that they do), but 1 thing about this band will always be true: they will always be weird. This was a 3 song set Brad leaked a demo of ages ago and since then they took to playing a gorgeous extended, rocking version of Calvary Scars as part of their live show. Strangely, these 3 songs are pretty much in the same form as the demoed versions done over a year ago, even with the
7 minute Calvary Scars becoming a pinnacle of the set. Pretty much every early review is giving this record an A+ with the only complaint being the lack of the fleshed out version of this song, however Brad recently blogged "don't be scared guys - we still might record that one for a single".
Musically, I cant even describe what these songs are other than "unsettling". They are a nice end to the first half of the record and Im all for mixing things up and having "parts" to LPs. Green Jacket's piano is simply chilling and miserable and wonderful all at once. I hated all previous versions of "Activa" (such as the Daytrotter version) but this one is great with the addition of Lockett on backups, the previous versions couldn't help but get chaotic, this one keeps a lid on it and it makes it very creepy and off-putting, its nice to watch them finally nail what they were trying to do. I love that this band does things like this, despite how raped its become over the years, music is still an form of art (it gets confused with business all too often these days), but its become a form that too often tries to cater to the listener, when really a lot of the time it needs be the other way around.
Nothing Ever Happened: Here is an obvious single, if it wasn't 6 mins long. Josh Fauver's perfectly toned bass leads it off, Josh's playing is a secret joy in listening to this band too, especially live. There's all sorts of half notes and crazy complicated basslines (Playing Octet every night for a couple years will never not make you a monster bassman) that really make up a lot of the subtleties of this band as mentioned earlier. When you find yourself debating what the best part of the song is, be it the chorus, the uplifting "I neverrrrr sawww it cominggg" line or the 3:30 minute outro of the song that just builds and layers until you are just rolling around yelling "MUSIC SHOULDN'T BE THIS GOOD!" (note: I -may- have done this ;), you know that this band really is something special.
Saved By Old Times: Here's another DH special - weird clunky acoustic riff intro? Crazy homeless spaceman interlude by Cole Alexander of the Black Lips? Repeating the chorus over a lush outro? Yeah what, you're trying to tell me your fave band doesn't do this? I just feel sorry for you.
These Hands: Another Lockett-sung one. If you haven't heard his work as Lotus Plaza, you'd be a fool not to check out the songs he uploaded to their blog called "Whiteout", "These Years" and "Dot Gain". Here he continues on his own brand of post-shoegaze futurism, this song sounding like a distant, less-accessible cousin of "Strange Lights".
Twilight At Carbon Lake: Its very important for a great LP to have a spectacular closing track that either uplifts you, depresses you, or just leaves you in a beautiful mess, and the latter is what they do here. This song is similar to the title track, but it's like its evil twin: the first half is an obvious ode to the Everly Bros and 50s doo-wop, you can even picture the band in powder blue tuxedos playing this at a school dance in 1955 to unbeknown teenagers (video idea?!?!). However, someone in the band thought it would be genius to throw a monkey-wrench into the proceedings and have an outro that puts any Nirvana rock-out to shame. Thats right: this is an Everly Brothers cake with a Nirvana topping and its just thoroughly incredible and a joy to listen to and the most perfect way to end the record. There's even some reverb and delay on the vocals!
In closing, Microcastle delivers more than any follow up, its like Cryptograms was a Home Run but it hit the foul pole or something and it was contested. Microcastle is a no doubter 500 foot upper deck blast to dead center field. Its a bummer that it leaked very early (there was no release date ever mentioned, just "sometime around Halloween"), it leaked so early that the reason why there's no official artwork yet is because it hasn't been made yet. The lyrics quoted above are pure speculation as well. I have no beef listening to this though as I am a fan who will buy it on vinyl, go to the shows and buy concert tees are well. I hope those who liked this leak will do the same.
Deerhunter are on tour in Europe until June 25, then play sporadic dates in the US until August 5, when they open for Nine Inch Nails on their full US stadium tour that includes Oracle Arena, home of the Golden State Warriors basketball team.