Deerhoof
Mono, Glasgow - 10th October 2005
A night of bizarre juxtapositions. Three entirely different bands, unique in their own ways, beginning with Alexander Tucker's sonic noise blast. A solitary, unassuming looking guy, perched on a chair in the middle of the stage. Layered sound effects, emotive chanting. I hadn't been expecting very much; I don't anyone was. Calling to mind the drone rock of Earth or Sunn0))), occasionally self-indulgent as this genre can be, it was nonetheless impressive.
Australian noise rock garage band, the Drones, take the stage. All wild eyed attitude and antipodean wit. Tearing through song after song, their raging frontman attacking his guitar like a rabid dog, noise bleeding from the speakers as they let go and explore sound territories unusual for a band of this kind. They won a lot of people over with their sheer energy and performance. If occasionally unoriginal, they made up for it by being a great live band to see.
Deerhoof took an age to setup. But it was worth it. Their quirky, experimental indie-pop went down a storm amongst the packed venue. I couldn't see their drummer owing to the PA, but I could make out the occasional flailing limb as he thrashed at his ridiculously minimal kit, while beside him the bass player bobbed around, appearing to want to throw himself into a frenzy, but holding it in check.
Vocalist Satomi Matsuzaki is an engaging front person. Her voice so squeeky and unusual, she played the audience along with her odd kung fu style dance moves and head bobbing. Occasionally resembling a teenage Japanese pop icon, she is a key component of what make Deerhoof work.
Giving airtime to many popular songs from Milk Man, and ending with the Melt Banana-esque R-r-r-r-right from new album "The Runner's Four", they refreshingly did a one song encore, before leaving an audience well impressed.
Review - Kenny Mooney
Deerhoof Website