By Ian S. Port
By Cory Sklar
By Godofredo Vasquez
By Gil Riego Jr.
By Ian S. Port
By Ian S. Port
By Christopher Victorio
By Ian S. Port
Harpsichord. Congotronics. Flamenco guitar. Crunchy analog samples. Crushing metallic riffs. Whirling keyboard dashes. Stonesy swagger. Wispy vocal lines. Until now, those were sounds you'd have expected to hear in the record collections of the four very different musicians in the Bay Area art-rock band Deerhoof. But those elements actually make up Deerhoof vs. Evil, the band's 11th album, and, strangely, the diverse palette makes this among the quartet's strongest records yet. Ahead of the release show this Friday, longtime guitarist John Dieterich explained how the band's members were finally on the same weird page for this latest project — even though they've all moved to different places around the country — and why Deerhoof decided to leak all its new songs online before the album's release.
San Francisco, CA 94109
Region: Hayes Valley/ Tenderloin
SF Weekly: You're all at home now?
Dieterich: We've mostly been home, which, for all of us, is in different places now. I actually moved to Albuquerque in August.
Are the other members still living in the Bay Area?
Actually, they're all over as well. We all moved within the last year.
Was that after the recording of the new album?
[For the recording], Ed [Rodriguez] and I were still living in Oakland. [We] rented a rehearsal space and were recording things for various other projects there for a while. We just kept the practice space and [Greg Saunier and Satomi Matsuzaki] came for a month. That's when we did the main tracking and stuff for the album.
Did you have the idea for Deerhoof vs. Evil in mind when you started?
We did have an idea. There was one point where Greg came to the Bay visiting, and we were just sitting down and just talking about what we wanted to do for the album. I remember realizing that we, miraculously, were very much on the same page in terms of what we wanted to accomplish. Our ideas for the album seemed very much related. I still don't really understand why, but somehow we seemed to be thinking about the same things.
What were the ideas?
The last album, Offend Maggie, was this very guitar-rock album. After that album, we had friends being like, "You guys should make a record with no guitars; it's too many guitars." And we agreed in a way. At the same time, we have some guitars in the band, and we were trying to figure out, "What does this mean? What do we want to do?" If we were going to be using these guitars, we didn't want to be referencing the same kinds of traditions; we wanted to explore the sound of the instrument in a different way. Not so much in the sort of rock language, but in some other language. We didn't exactly know what that was.
Really, those were the terms discussed — how to use guitars?
One thing I can say: We had done a cover of a song ["Travels Broaden the Mind"] from this band from the Congo called the Kasai Allstars. The instrumentation in that band is ... a bunch of electrified thumb pianos, and voice, and some drums and things. In the process of developing a way to attack that material, we discovered a way of possibly thinking about our own music, a new way of approaching our own music. The Kasai Allstars is probably like 15 people playing music at the same time — it was like, "How do we transfer that into something that the four of us can play?" I feel like in the search for that, or in the process of developing that, we learned something that we ended up applying to some degree on our album.
It sounds like Deerhoof is still very much evolving.
In a way, I feel like it's unavoidable. I've always felt like with this band, even when we were all living in the same city, we tended to all go in four different directions at the same time. For this album, I really felt like we got together, and everybody's individual visions for a new idea or for a new direction all made sense together in a very strange way. With some albums, we get together and I feel like we're on four completely different pages. And maybe that's part of an interesting sound. An album like that was The Runners Four. There were four really separate ideas of what it was that we wanted to do, and part of the process of making the album was producing it in a way that it sounded like one band. With this album, I felt it was a little less like that.
Deerhoof is 16 years old. Does it become a challenge to take things in a new direction with each album?
Yes and no. In a way I think it's hard to redo something, especially because we tend to not really know what we're doing. We ... can't separate the making of the album from the exploration of a new idea. I don't think any of us knows any other way to go about it. And so in that sense, no, it's not hard. At the same time, when we make an album, we are also thinking about previous albums, and we are conscious of the bigger picture. So it's not so much that we are fleeing from something, but it's that we want to create something that will make the picture more complete.
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