FRIEND OPPORTUNITY

Big in Japan?

Although this US band is Deerhoof's eighth studio album, the lack of reviews on this site confirms that they remain stubbornly under appreciated in both their homeland and elsewhere (with the possible exception of Japan, home of the band's bassist). The trio who recorded this album have been together since 1999, the instrumental line up consisting only of guitar and vocals supported by bass and drums. While "Friend opportunity" has not served to break the band as such, it is reportedly their best selling album so far.

The album is a strange offbeat affair which blends the music of artists such as Toyah, Laurie Anderson and the Flying Lizards in a light airy 80's pop atmosphere. The female vocals of bassist Satomi Matsuzake and driving guitar riffs of John Dieterich are highly commercial in their own way, the toe tapping rhythm being somewhat infectious. "The perfect me", which opens the album and the following "+81" almost repeat each other, although the latter has some nice brass effect added. Both are fundamentally pop songs with imaginative arrangements.

The succession of tracks which follow are in a similar mode, with the longest track being just over the three minute mark. In essence these are simple songs, but their arrangements make them sound different, both instrumentally and vocally. It is easy to mistake such originality for prog, but the songs remain rooted in pop.

In general, the songs are curtailed far too soon, with some stopping after a mere 2 minutes. It is a pity, as tracks such as the pretty ballad "Whither the Invisible Birds?" could have become so much more. On the other hand, the childish "Kidz Are So Small" outstays its welcome by its full 2 minutes. "Matchbook Seeks Maniac" is even more commercial, venturing towards power pop territories with its strong hook on the chorus.

There is one notable exception to the foregoing, and that is the 11½ minute closing song "Look Away". Here, things are allowed to digress more, the piece at times having an improvised feel, including the vocals. The mood of the track is understated and sparse with extraneous noises and freeform guitar vying for the space. It does not really light my fire, but it will undoubtedly appeal to those with a bend for the avant-garde.

In all, a rather odd album which in general flatters to deceive. There are promising signs, and some of the brief songs are pleasantly diverting, but overall the album is a little too unfocused for my tastes.

I have not reviewed an album for a while and i would not normally consider rating an album like this that is so underground and that i am not yet entierly familiar with. It however has occured to me that the majority of reviewers on this site have missed the point of deerhoofs music, and understandably so at that. Deerhoof, to me, seem to be a better fit for Avant or Math Rock (as they are often catagorized) and as another reviewer pointed out they have little if anything in relation to Crossover. Deerhoof is a band focoused on creating catchy pop tunes out of dissonance and dancable beats out of odd time signatures and quirky phrazing. Their vocalist is meant to sound untrained, she lends a bit of legitimacy to their twisted nurcery rhymes. The greatest intrest however lies in Greg Saunir, their conservatory trained drummer who lends a more intelligent rhythmic touch to their otherwise punkish sound.

The symplistic melodies lend to the music rather than detract, but only if you consider the purpose behind the music. To create an epic? not likely. To tell a story? Obviously not. To show off technical playing? laughable. To explore different musical outlooks? I like to think so. The reason this band has been recieving such low ratings is that its music is being viewed through the wrong lens, partly because of its genre placement in this site.

As for this CD its self I enjoy it, i think it contains many interesting ideas and unusual playing. Standout tracks include Cast Off Crown, Look Away, and The Galaxist. A great CD, but far from Deerhoofs best work, four stars!

Deerhoof isn't well received by most reviewers here, and I can see why. Not only are they as good a definition of oddball band as any, but they really aren't prog at all, at least not as we know it. They're strange, unique, and very experimental- but they'd probably be better classified as art punk. All of the songs here up to Look Away are very nice, enjoyable and quirky tracks. Childish, simplistic, probably aesthetic lyrics are delivered by a demented yet strangely friendly voice. Around it is drumming as precise and mechanical as those of Can, and guitar work that seems to be more pop-oriented than the rest of Deerhoof's sound, relying on riffs to give it a more accessible rock/punk feel. The exception is Look Away, a long, freakish avant-jam somewhat reminiscent of Peking O or maybe the more experimental parts of Sound Chaser. So, Friend Opportunity is a very good and enjoyable album, though some may find it simple and uninteresting. I think I'll give it three stars, because while I enjoy it, it really isn't my thing.

I didn't plan to do much reviewing, (and this is my second one, so I hope this is what people look for in a review) but I think it is important that there are reviews from the people who really get what Deerhoof is doing here just as I think it is important that there are reviews from people who rate this album poorly as well because people will find both kinds of reviews to be useful. It would be silly to call people who don't like Deerhoof 'close-minded'. I think for the most part it is because of Satomi that people find them obnoxious. I happen to be able to tolerate (and enjoy) lo-fi music done by poorly trained musicians instrument-wise, but these are not poorly trained musicians. I admit though, I don't know what makes a singer considered well trained. So while I see it as perfectly understandable that someone wouldn't like them, I suggest that everyone should give them a chance.

Moving on though to the actual album: Friend Opportunity. I may have been generous with some ratings, but this is one of my favorite albums of all time. Perhaps my second favorite, so I do not exaggerate my love for this album.

Almost all albums take time to grow on me, usually starting with one or two that I like on first listen, and then I begin to appreciate the subtleties of the rest. This happened fairly quickly for me here, although there were a few songs that took a while to grow on me: Choco Fight and Kidz Are So Small. Although I always love kooky things, these songs just bugged me. I apologize for not being able to be more descriptive here, but I simply began to enjoy them after a while. That's it. Although I have to say, I always loved the bass in Choco Fight. It really makes me want to walk in around a city, late at night, with that playing through the alleyways. Then there's +81 which is the only one that doesn't do a whole lot for me still, however it doesn't ruin anything for me since it's only the second song.

Pretty much everything else blows me away. After +81 is when Deerhoof really takes off to show you their madness, beginning with Believe E.S.P, the first song of theirs to catch my interest. I think half of these songs have brainwashed me in one way or another because they really all sound like it. I believe this is how Satomi really uses her vocal style to her advantage - not to attempt being a pop star, but to either be a.) a fun pop singer, or b.) a creepy, crazy, cult-like creature of the deep.

And boy, do I wonder how they write these songs. It seems clear that most songs are not done by just one member as they have such a bizarre mixture of sounds and style. Greg can be anything from a sloppy, free rock drummer to an ambient drum wizard; John always compliments the spacey and/or creepy sounds just right; and it is the one Satomi who turns it into what the finished piece is. I always wondered what their real creative process is, though. I guess you'd have to be there!

My favorite song here: Caste Off Crown. Here is where Greg Saunier shows us his vocal skills. This song is stunningly beautiful and Greg really makes it that way. The transitioning between the heavy, noisy parts, and the cool, airy verse really mystifies the whole experience. I won't give it all away though.

I think Deerhoof is one of the best bands at being consistently good, while always changing in sound. No two tracks on Friend Opportunity even sound like they were obviously written by the same people. With the eerie sounds of Believe E.S.P and Choco Fight, the beautiful, relaxing sounds of The Galaxist, Whither the Invisible Birds?, and Caste Off Crown, the intensity of The Perfect Me and Matchbook Seeks Maniac, and then to end it all with the eerily beautiful intensity of the 11 minute-45 second, Look Away, this highly experimental album is like nothing else!

10/10 - easy