Send "Deer Tick " Ringtones to your Cell 
| Pitchfork |
 Along with codependents like Dawes and more recently Blitzen Trapper, Deer Tick have taken advantage of rock's ebb from masculine aggressiveness, guitars, and live debauchery and assumed the mantle of a certain rabble-rousing, hard-living, road-dog ideal to much acclaim. But on their previous LPs, you could chalk up their "real deal" shtick to youth and inexperience, and it was hard to truly hate-- how to explain the heel turn they take here? Within the first 10 minutes, John J. McCauley III has laid out in no uncertain terms that he's going to get super blotto tonight, called you a fucking douchebag, belched loudly, and then capped it off by matter-of-factly stating, "let's all get drunk." You know, we all have our laugh at hipster bars, but spend some time in Divine Providence's wake of spilled beers, slurred insults, and macho posturing, and recognize that terrible mustaches and "Bring Your Own Cassette" nights are the least of our problems.Maybe it's got something to do with the boys being back in town: They recorded in their home city, where the drink will flow and the blood will spill and if McCauley wants to fight, you better let him. This isn't a problem in and of itself, since McCauley has an endearingly ragged, if not always euphonious voice that's built for this sort of outlaw pose. Likewise, as a band Deer Tick have enough expertise to handle any style of intoxicated rock with ample hooks-- alt-country, early Replacements punk, Brit Invasion garage-- but play it sloppy enough to make it clear that being confined to a studio is a necessary evil before they come to your town and help you party down. Unless they have a warrant in it, and according to barnstorming opener "The Bump", they almost certainly do....full text |
| Cokemachineglow |
| When Deer Tick’s raucous master and commander John McCauley boasts, “Man, you can practically smell the sweat and the beer!“, he’s pretty much right on the button. Ensconced as this run-of-the-mill, honky-tonk-rock album is in a drunk-and-disorderly cocoon of self-congratulation and utter obliviousness to its own monumental mediocrity, listening to Divine Providence is very much indeed like having a nice night out at a bar with friends crashed by a table of really loud, belching, drunken tools. The difference being: this is fifty minutes long and, while it began to hoard in on my nice night at home, there was no one around to make big “can-you-believe-these-assholes?” eyes at. Recorded in hometown Providence, Divine Providence proves Deer Tick has taken this local, inebriated mischief that so affectingly colored former rough-hewn ballads to a devastatingly literal and, well, obnoxious degree. Almost exactly a year ago, upon seeing Deer Tick perform live, I was immobilized at the sheer force and pungency of McCauley’s mustachioed manliness. His earnest, earthy-testosterone seemed to infuse everything, from the girly-colored guitar to his Village People costume and “YMCA” dance (it was a Halloween show, p.s.) with a sense of masculinity. This unexpected and flagrant clowning around, again, on prominent display during track “Clownin’ Around,” has knocked the band’s previously unquestionable virility down to the level of…I don’t know: some drunk frat boy humping a parking meter to make his friends laugh. In instance of rallying cry “Let’s All Go to the Bar,” they’re literally belching in response. An avid peeker-under of scabs, frequent abuser of “yo mama” jokes and “up your butt and around the corner” quips, who, just now as I am writing this is watching Melrose Place and scarfing down a banana sundae: I am no stranger to childish delights. I very frequently live my adult life like the gluttonous montages of Home Alone—and dudes, I tell you: even I find this effort from Deer Tick just eye-rollingly immature....full text |
| Pastemagazine |
| John McCauley’s career in music has been fixed on a path of steady evolution ever since the release of Deer Tick’s studio debut War Elephant in 2007. With each subsequent record, his band has risen to the self-imposed challenge to outdo themselves—to do something they haven’t done before. Following last year’s brooding Black Dirt Sessions comes Divine Providence, a double-shot, rough-and-tumble rock ‘n’ roll record that only McCauley and company could craft. Deer Tick’s fourth LP immediately sets itself apart from its meditative predecessor with the upbeat album opener. “I’ve got a lust for life,” McCauley sings in “The Bump,” and you can tell just by the sound of his voice that he’s serious. “We’re full grown men, but we act like kids,” he explains a little later in the tune. “We’ll face the music next time we roll in.” Well, the boys are back, and it’s time to party. The frontman has stated that with Divine Providence, the band set out to capture their live sound on record. If you’ve ever been to a Deer Tick show, you know exactly what that sounds like, and if you haven’t, you could probably guess. Loud, raw, gritty? Check. Sometimes silly, often earnest lyrics ripping from whiskey-soaked vocal chords? Got that, too. Everything one would come to expect from the band that lovingly performed an entire set in tribute to their grunge heroes under the moniker “Deervana” is represented on the record....full text |
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