Win Tickets ($36): Deerhoof @ Revolution Hall | w/ The Ghost Ease & Tres Leches, Indie Rock, Pop
We are giving away a pair of tickets to Deerhoof @ Revolution Hall on March 29. To win, comment below on this post why you’d like to attend. Winner will be drawn and emailed March 21.
From our sponsors:
March 29, 2022
Doors 7PM, Show 8PM | $18 | 21+
More info: event.etix.com
1300 SE Stark St., Portland, OR
w/ The Ghost Ease & Tres Leches
“Deerhoof is a weapon loaded with the future.” – Agustín Fernández Mallo, Spanish physicist and writer
Normal is never coming back. Whether by a collective dismantling or sheer collapse, our old illusions are being hollowed out. Over the past couple of years, Deerhoof has been asking themselves if there was any music they could create that expressed how the rapidly changing future might actually feel. The finished product, Future Teenage Cave Artists, finds Deerhoof in a revolutionary mood, but also haunted by memories of a lost world and every failed attempt to save it. People already cut loose from the system, already surviving with new ways of life—these hopeful heroes are Deerhoof’s inspiration. These are the Future Teenage Cave Artists.
Faithful listeners will recognize a certain alienated but transformational figure who shows up in Deerhoof songs going back to their earliest days. Take the narrator of “The Perfect Me” from 2007’s Friend Opportunity: an orphaned but eager soul attempting to entice other wounded wanderers who might lack a home, a clan, a family, a history. But on Future Teenage Cave Artists our protagonist is threatened by terror lurking around every corner. Add to that the fact that our “cast-off queen,” our “maniac,” our “terrible daughter” are watching themselves get orphaned in real time by an older generation in power that would rather see life on Earth destroyed than give up archaic systems of capital.
At times FTCA indeed sounds as if the band has retreated to the caves, recording with unreliable electricity and insecure food supplies. Guitar pedals malfunction mid-take, reverbs chop off mid-tail, drum fills collapse mid-phrase. Some musical moments, as gorgeous and touching as anything Deerhoof has ever written, stop short for no apparent reason, giving way to queasy smudges of sound. Many of the instruments and voices were recorded with nothing more than the built-in mic of a laptop. Harsh splices make no effort to hide the seams. Hard panning leaves many of these imperfections weirdly naked in the mix.
In this way FTCA joins a storied lineage of pop records that expose the insular and reclusive nature of recording itself. Like Let It Be, There’s a Riot Goin’ On, or Sister Lovers, this record is its own “making-of.” Absence is a central character in the drama. For every heartwarming melody or pile-up of parade drums or shard of loopy guitar noise, there is musical acknowledgement of the toll that a constant threat of cataclysm takes on mental health. This is a sonic and lyric funeral for a way of life that is never coming back—an afterparty, back when the doomsday clock hit midnight. There are raucous toasts to the departed in high style, as sassy and spasmodic as anything they’ve done—see Side A; there are moments of profound sadness, maximally small, descending into madness, shrieking with loss—see Side B. All funerals remind us that life goes on, somehow.