November 22 street date. To celebrate their 25th(!!) anniversary of being a band, Deerhoof are pulling out all the stops -- releasing three of their earliest records on vinyl for the first time via three labels that have supported the group throughout their career. In addition to Holdypaws (Kill Rock Stars) and Halfbird (Joyful Noise), Polyvinyl is honored to present The Man, The King, The Girl -- the band's debut full-length, re-mastered by drummer Greg Saunier and featuring fully restored cover art (the corners on the original CD release were chopped off due to a printer error).
November 22 street date. The first ever vinyl edition of Deerhoof's third LP, "Halfbird". Originally released in July 2001 by Menlo Park Records, "Halfbird" is 14 tracks of playful absurdity and pummeling energy, featuring founding member Greg Saunier (drums/guitar/vocals); Satomi Matsuzaki (vocals/bass); and Rob Fisk (guitar).
June 19 street date. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Like a lot of the music they have released over the last quarter-century, the Deerhoof of "Future Teenage Cave Artists" (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy - the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. The album is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis.
Please note new street date: June 19. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Like a lot of the music they have released over the last quarter-century, the Deerhoof of "Future Teenage Cave Artists" (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy - the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. The album is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis.
Please note new street date: June 19. Over the past couple of years while making their new album, Deerhoof have been asking themselves if there was any music they could create that expressed how our rapidly emerging future might actually feel. The band envisioned an album about people haunted by memory of a lost world and of every failed attempt to save it. People already living outside the system, already having practiced new ways of life required for survival - these hopeful heroes are Deerhoof's inspiration. These are the Future Teenage Cave Artists. Like a lot of the music they have released over the last quarter-century, the Deerhoof of "Future Teenage Cave Artists" (Satomi Matsuzaki on bass and vocals, Ed Rodriguez and John Dieterich on guitars, and Greg Saunier on drums, vocals and piano) stitches together fragments of 'r&b' and 'classic rock' and transforms them into a new language of revolution, forgoing verse-chorus structures for dream logic and blind intuition. But what makes this album different is its intimacy - the blues riffs and slide guitars are joined by rusty pianos and whispered three-part harmonies. The album is borne of self-isolation and deprivation. It's the sound of a sparkling, manic musical intelligence being disconnected from a nourishing public and devouring itself inside its own cocoon, attempting metamorphosis.
October 22 street date. Over eighteen boundless albums as experimental as they are pop, Deerhoof has continuously quested for radical sounds and daring storytelling. 2020's "Future Teenage Cave Artists" explored fairytale visions of post-apocalypse, welding intrinsic melodies with absurdist digital recording methods. Its sequel "Love-Lore", a live covers medley, channeled futurist mid-century artists - Parliament, Sun Ra and Stockhausen, to name a handful - into a patchwork love letter to the anti-authoritarian expressions that inspire the band. Galvanized by the challenge of unifying many styles of music, Deerhoof landed on their next record's concept: baroque gone DIY. "Actually, You Can" is a genre-abundant record that uses technicolor vibrancy and arpeggiated muscularity to offer a vital shock from capitalism's purgatorial hold. For new listeners and decades-long devotees, Deerhoof's electrifying, generous approach to collaborative worldbuilding on "Actually, You Can" is an emboldening call to support our communities with renewed strength, infinite love, and the resilience to keep exploring.
October 22 street date. Over eighteen boundless albums as experimental as they are pop, Deerhoof has continuously quested for radical sounds and daring storytelling. 2020's "Future Teenage Cave Artists" explored fairytale visions of post-apocalypse, welding intrinsic melodies with absurdist digital recording methods. Its sequel "Love-Lore", a live covers medley, channeled futurist mid-century artists - Parliament, Sun Ra and Stockhausen, to name a handful - into a patchwork love letter to the anti-authoritarian expressions that inspire the band. Galvanized by the challenge of unifying many styles of music, Deerhoof landed on their next record's concept: baroque gone DIY. "Actually, You Can" is a genre-abundant record that uses technicolor vibrancy and arpeggiated muscularity to offer a vital shock from capitalism's purgatorial hold. For new listeners and decades-long devotees, Deerhoof's electrifying, generous approach to collaborative worldbuilding on "Actually, You Can" is an emboldening call to support our communities with renewed strength, infinite love, and the resilience to keep exploring.
Please note new street date for LP: January 28, 2022. Over eighteen boundless albums as experimental as they are pop, Deerhoof has continuously quested for radical sounds and daring storytelling. 2020's "Future Teenage Cave Artists" explored fairytale visions of post-apocalypse, welding intrinsic melodies with absurdist digital recording methods. Its sequel "Love-Lore", a live covers medley, channeled futurist mid-century artists - Parliament, Sun Ra and Stockhausen, to name a handful - into a patchwork love letter to the anti-authoritarian expressions that inspire the band. Galvanized by the challenge of unifying many styles of music, Deerhoof landed on their next record's concept: baroque gone DIY. "Actually, You Can" is a genre-abundant record that uses technicolor vibrancy and arpeggiated muscularity to offer a vital shock from capitalism's purgatorial hold. For new listeners and decades-long devotees, Deerhoof's electrifying, generous approach to collaborative worldbuilding on "Actually, You Can" is an emboldening call to support our communities with renewed strength, infinite love, and the resilience to keep exploring.
February 17 street date. Deerhoof's fan-favorite breakthrough album, "Apple O'", gets a 20th anniversary edition after years of being out of print in the physical realm. This album is a love story. It is about Satomi's mom being a Japanese girl when Truman got that ecstatic glint in his eye and blew up chunks of her country in a mushroom cloud, and next thing you know Satomi has moved to San Francisco and taken over an American noise-rock band. It is also about a different US president with an ecstatic glint in his eye, selling a criminal invasion with lies about weapons of mass destruction. This edition of "Apple O'" is on vinyl the color of cotton candy accompanied by a bonus 7" of previously unreleased live recordings.
March 31 street date. "Miracle-Level" is Deerhoof's mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, "Miracle-Level" is vulnerable, brave, and brimming with spicy surprises. Deerhoof's 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg. This is also their first album written entirely in Satomi's native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.
March 31 street date. "Miracle-Level" is Deerhoof's mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, "Miracle-Level" is vulnerable, brave, and brimming with spicy surprises. Deerhoof's 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg. This is also their first album written entirely in Satomi's native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.
March 31 street date. "Miracle-Level" is Deerhoof's mystical manifesto on creativity and trust. It celebrates the infinite small wonders of existence that spontaneously present themselves, when not obstructed by our death-driven masters. Musically, "Miracle-Level" is vulnerable, brave, and brimming with spicy surprises. Deerhoof's 19th album is also their their first to be recorded and mixed in a recording studio. Production was entrusted to Mike Bridavsky, at No Fun Club in Winnipeg. This is also their first album written entirely in Satomi's native language. Deerhoof once again speak in a secret code that only their fans understand, in which hooks abound, and genre is nonexistent.
July 5 street date. DEERHOOF's 2004 album 'Milk Man' featured a broad palette of orchestral colors, echoes of music theater and camp, polished and gaudy arrangements, Stravinskian harmonies, and a more stylized, anonymous playing style resulting partly from recording most of the instruments at separate times rather than playing together as a band, and partly from many of the arrangements being created in a computer. Critical praise for 'Milk Man' came notably from NME and Spin. The song "Milk Man" was chosen in 2009 as one of Pitchfork's top tracks of the decade.
April 18 street date. Ultimately DEERHOOF is not about notes and rhythms, but about emotion. And while Offend Maggie sparkles with that inimitable something-or-other for which the band's become known, what this record wears on its sleeve so boldly and poignantly, is its stark humanness: of the characters in the lyrics, of the singer in front of the mic, of the band bashing it out in a room together. Deerhoof has that Brian Wilsonian gift for communicating, even with the barest of rock and roll provisions, every shading of their lyrics. On Offend Maggie a friction between tragic and comic, masculine and feminine, is played out in spectacularly dramatic fashion. This famously cheerful band can certainly summon the thunderclouds when needed. Like the traditional enka music of Japan that SATOMI counts among her childhood influences, these songs are often haunted by heartbreak and frustration, but at the same time they're universal, and meant to give courage to the listener. Features a new sequence by member GREG SAUNIER. White vinyl pressing in gatefold jackets with download. Limited to 2,500 copies.
November 18 street date. DEERHOOF returns just 4 months after their magnificent new LP The Magic with a brand new 45rpm heatseeker. “I thought We Were Friends” was born between tour dates, self-recorded, mixed, and mastered in the band's Brooklyn practice space and GREG's basement. On the A-side we have the mesmeric pop gem “Risk Free” featuring the vocal duet of SATOMI and Greg. The flip side gives us “Delight,” Deerhoof’s own victory march. Think the “Brass Bonanza” pumped through the nastiest, most shredded PA system you’ve ever heard. It all comes housed in a beautiful screen printed jacket featuring art from Satomi and a poly-lined inner sleeve.
September 8 street date. Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on Mountain Moves doesn't fit into a single, neatly-defined category – and doesn't wish to. Deerhoof is John Dieterich, Satomi Matsuzaki, Ed Rodriguez and Greg Saunier. The only thing they see eye-to-eye on is the freedom to not see eye-to-eye. Their guests on Mountain Moves include Awkwafina, Juana Molina, Mantana Roberts, Xenia Rubinos, Lætitia Sadier, and Jenn Wasner. Together, they made this record for you. For all of us.
September 8 street date. Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on Mountain Moves doesn't fit into a single, neatly-defined category – and doesn't wish to. Deerhoof is John Dieterich, Satomi Matsuzaki, Ed Rodriguez and Greg Saunier. The only thing they see eye-to-eye on is the freedom to not see eye-to-eye. Their guests on Mountain Moves include Awkwafina, Juana Molina, Mantana Roberts, Xenia Rubinos, Lætitia Sadier, and Jenn Wasner. Together, they made this record for you. For all of us.
Available now. Stanley Kubrick has a troubled past with DEERHOOF. An argument over whether Eyes Wide Shut was good almost broke up the band in 1999 and again in 2003. When Famous Class suggested a 7" of music from The Shining, the band waffled for three years about whether they thought they could do it justice. But once a Halloween release date was proposed, Deerhoof couldn't resist. They got the score to Bartok's "Music For Strings, Percussion and Celesta" out of the library, and transcribed one of the 20s songs straight from the closing credits. Music that in the movie echoed from some ghostly, gilded past takes on a more urgent character in Deerhoof's versions, as if to underscore that the horrors of white supremacy, oligarchy, and domestic abuse are alive and well in 2018 America.
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