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DEERHOOF - Friend Opportunity
| PitchFork | | There's a high you get from the classic 1970s "art-rock" of Yes, Genesis, or King Crimson-- and when it hits, there's nothing like it. I'm not talking about the way other music peaks, like a dance track where the beat kicks in and the crowd goes berzerk, or metal music that gets louder and louder until your skull caves, or gutbucket singers who can make your heart jump out of your chest. With art-rock, there's a lot of mumbo-jumbo and funny time signatures, and sometimes there's like 10 or 15 minutes of really boring shit (see: Yes, "Awaken")....full text |
| | TinyMixTapes | | Listening to Deerhoof’s ninth album, I can see that the sheer rawness of previous efforts is all but gone. But what’s left is hardly anything to scoff at. Friend Opportunity’s got some pretty intricate proggy pop-rock tunes to sink your teeth into. Is it as good as 2005’s foaming behemoth The Runner’s Four? Maybe not....full text |
| | CokeMachineGlow | | Shoot. Excepting Sung Tongs (2004), I’ve never felt so conflicted about an album I actually like. I love the happy-to-have-hands-on-instruments Deerhoof of The Man, the King, the Girl (1997), the snarky yet cutely precise Deerhoof of Holdypaws (1999), the Deerhoof with the balls to open with an epigraph before falling into the might-as-well-be-wordless epiphany of Reveille (2002), the Deerhoof that punctured with the specificity of electrolysis on the étude-ilicious Apple O’ (2003). This is none of those. Of course, four more Reveilles wouldn’t have worked either, so what am I complaining about?...full text |
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