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DEERHOOF LIGHTS UP THE TROUBADOUR

It was my first time, and they were not gentle, but like most spine tingling endeavors I'd do it again in two shakes of a Deerhoof's tail.



A packed Troubadour house waited patiently, tipped the bartenders graciously, and traded energized sidelong glances while waiting for Deerhoof to take the stage and yield their Bay Area noise pop sword upon anxious ears wednesday night. It was my first time, and they were not gentle, but like most spine tingling endeavors I'd do it again in two shakes of a Deerhoof's tail. Chaotic orchestrations emanated with artistic bombast from John Dieterich and Greg Saunier's minimalist guitar and drum setups respectively.  Their diminutive singer, Satomi Matsuzaki, has traded in her hallmark yelp for a soft yet secure vocal delivery that serves purpose in drawing the audience in along with her cuddly tone and demeanor - most notably during the encore "Gore In Rut" when she laid down the bass and hopped around the stage utilizing her tiny digits for bunny ears... 


"Bunny, bunny, bunny, bunny, bunny..."  


Fun, fun, fun. The hour + set consisted mostly of material from their latest, and some say greatest, album The Runners Four, and I wondered how their live sound would hold up given that their fourth member, Chris Cohen, recently split to pursue full time musiciandom with The Curtains. No sweat, err, plenty of it from the rhythm section actually made up for his absence. Any unfilled sonic space was quickly bludgeoned by Saunier's cavalcade of snare and hi-hat fills (the latter of which looked like a ginger cookie with a monster bite out of it, but sounded like a million dollars); or, he'd saunter over to the mic and thank the audience repeatedly, and at one point, after a good ol' fashion clap-along song he declared, "Here in LA... Los Angeles... it seems like 'the clappers' are slightly superior." Cheers all around, Deerhoof rocks.

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