journalism

Interview with Deerhoof

When I was four years old, Deerhoof were already cool. Now, after 16 years, 12 records and five former members, the solid quartet of John Dieterich, Satomi Matsuzaki, Ed Rodriguez and Greg Saunier continue to blow the minds of listeners everywhere. Matsuzaki’s vocals have the haunting quality of a half-forgotten dream as they float over the unorthodox guitar, keyboard and drum sequences of the other members, creating something completely unreal.

Obviously, after 16 years and so many member changes, one would assume that the original ‘Deerhoof sound’ would be lost in the chaos. Saunier disagrees.

“In our case, I wouldn’t say that we’ve lost our origins, but that we never had any — we were already confused, right from the first day,” says the drummer. “I’ve always been in the band with other people whose favourite bands are completely different from mine.”

Rodriguez elaborates, explaining that because of each members’ different tastes, the band compromises to create a unique end result. Their most recent record, Offend Maggie, is a perfect example — the album was written separately by all the members and then pieced together during group practices.

“Each song is a little bit different,” says Rodriguez. “The end result never, never ends up being what you thought it would be and what you brought in.”

The unexpected is what makes Deerhoof so good and the members know this. Of course, there’s some preparation involved with every record, but Rodriquez says that the band embraces any miscommunication.

“Even before we started working on this new record we’d talk about it endlessly,” he explains. ” ‘These are the elements of what we’re doing now that maybe we’re tired of or want to change.’ We’d go into the practice space and realize that this one word means completely different things. We’d reach that [common ground] and then it really feels like something special has happened.”

Not only is their music full of the unexpected, but so are their live performances. Deerhoof are known for their on-stage improvisation and ability to mash together songs, entertaining both the audience and performers. When asked about the improvisation, Rodriguez responds with laughter and enthusiasm for the amount of flexibility they demonstrate on stage.

“It’s almost a joke to everyone just seeing what is going to happen when you go to a show, with Greg on guitar or Satomi on drum. I’d seen the band probably 40 or 50 times before joining it so I’m completely aware how the members and the people in it at certain moments affect the music. I’ve always really appreciated that and thought it was special.”

Both of the band’s upcoming Sled Island shows are sure to be impressive. Rodriguez says that the band’s other visits to Canada have been positive, and specifically mentioned the infectious excitement and lack of “dark feelings” during shows. 

One can only expect great things from a band who has influenced artists like Women, Of Montreal and Sleighbells, and performed with the likes of Radiohead, Bloc Party and the Flaming Lips.

Interview with Braids

Driving down an Arizona highway, Austin Tufts has become accustomed to the novelty of tumbleweeds weaving across his path to the melody of the desert breeze. He, however, along with the three other members of Braids, have yet to tire of their own aggressively subtle melodies. Raphaelle Standell-Preston, Katie Lee, Taylor Smith and Tufts joined forces in high school as the Neighbourhood Council with one modest goal — to share the simple pleasure of playing music together. That all changed in 2007, when Sled Island gave them the opening slot for Deerhunter. The quartet changed their name and got serious with their talent. 

Tufts explains the experience over a crackly connection. 

“It’s a classic example of Sled Island doing exactly what it’s supposed to,” he reflects. “Pairing local talent with international musicians whom have a lot more status in the industry.”

The quartet gained a lot from their first big outing — Deerhunter invited them on tour. After their move to Montreal, Braids cemented themselves as an up-and-coming band to watch. Tufts also confirmed they are playing Sled Island this year, their fifth year in a row performing at the festival. 

Braids have spent the time since perfecting their unique form of aggressive, groove-based textural pop. The sound is hard to describe or pin down and the band frequently garners comparisons to Animal Collective, Grizzly Bear and even Joanna Newsom. Though the comparisons are close, they don’t ever fully encapsulate Braids’s music.

“It has very aggressive natures in it,” says Tufts. “A lot of the rhythms are very groove-based and it’s more than just the sort of dreamy, textural pop music. It’s a little bit darker and a little bit more rhythmically complex.”

Dreamy textural pop or not, Braids is doing something right. The band is currently touring North America on the strength of their recent release Native Speaker, which attracted plenty of positive press. Their songwriting process could be the reason for this success — as their name suggests, they work as a collective. 

“[The songs] come from a concept, an idea or even just an effect that they really want to start incorporating,” says Tufts. “Usually we’ll hash it out at the start of a rehearsal and start playing an idea and we’ll just jam and build on that. It is really collective, but it stems from an idea and we try to stay within that idea to some extent while still making sure the music sounds good.”

When asked about their lyrical process, he praises vocalist Standell-Preston for her prolific skill. 

“She has books upon books of really incredible poetry and often we’ll be playing and a vocal line or melody will come into her head,” he says. “She’ll be able to mash it up with a poem that she’d written previously or an emotion will be triggered which she’s felt before in a poem.” 

“A couple weeks ago [she said], ‘Hey I just finished all the lyrics for the new record.’ “

It’s not just a spontaneous spur-of-the-moment process either. Though Native Speaker was released at the beginning of March, Standell-Preston is one step ahead.Though the lyrics are done, Tufts says there is change and exploration in the band’s future. Morgan Greenwood of Azeda Booth inspired them to expand electronically. After touring Native Speaker extensively, the four decided to push themselves “a little bit harder and incorporate the computer a little bit more,” Tufts says. 

“[Our aim is] not just do what we’re used to and not just explore the emotions we’re comfortable with, but new emotions that we’ve never explored before.”

He promises the public will reap the benefits of Braids’ exploration sooner or later. 

“The songs will be released one way or another.”