Deerhunter
Cryptograms
Boomkat Product Review:
Back in stock. No doubt you've already been made aware of the hype... Deerhunter (who are not in any way associated to Deerhoof) are at the moment the talk of the town. They are the band critics are literally falling over themselves to praise, and as soon as I heard 'Cryptograms' I knew I wasn't going to be able to buck that trend; rather this is one of the genuine surprises of the year so far. Sadly I haven't been lucky enough to catch one of their infamous live shows - the band apparently supported the Yeah Yeah Yeahs at Karen O's request and polarized audiences, with hardcore YYYs fans commenting that they were the worst band in the history of the world ever ever ever (well come on they're likely to be eleven years old) so on hearing this album, released on one of my favourite imprints, I was unsure what to expect; was it going to be a hopeless mess of styles or a genuinely unique experience? Thankfully it was the latter, but quite how good 'Cryptograms' was only became clear to me after copious amounts of repeat listening. You see it is an album that point-blank refuses to let itself fall into a single category and yet it never sounds like a mindless slap-dash collection of ideas. The record opens with a glorious intro of feedback, noise, ambience and haunted vocals... something like Tim Hecker jamming with Islaja and Delia Derbyshire, but within minutes we're launched headfirst into the snarling post-punk of 'Cryptograms', the album's title track and centerpiece. Instantly Factory Records springs to mind (and Joy Division most obviously) but these guys don't just sound like a Joy Division record per se, they sound like that time when Factory (and associate label Crepuscule) were releasing truly experimental albums welding together so many disassociated sounds. Following the heady onslaught of 'Cryptograms' we are treated to a hissing section of guitar heavy ambience ('White Ink') which could be Bill Nelson at his finest before being kicked into the ugly no-wave of 'Lake Somerset'. At first this collision of drifting pastoral beauty and grimy, sleazy hedonism can be jarring, that is until you realise its intention and indeed its genius. Like the perfect mixtape 'Cryptograms' is a journey, a selection of light and dark, ups and downs, and listening to it only reveals what is missing from so many modern albums. By the time you've been coughed into the album's second half you start to get a sense of just how important this is, with the uplifting post-shoegaze gorgeousness of 'Strange Lights' and the Sonic Youth-influenced highlight 'Hazel St.'. This is an album which doesn't easily slip out of the memory, and hype aside will certainly be remembered as a high-point of 2007 - if this is the way modern rock music is going, I mean genuinely taking influence from all points and genres, then I'm really excited about what the future holds. A huge recommendation and hopefully one of the biggest records of the year...
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Boomkat Product Review:
Back in stock. No doubt you've already been made aware of the hype... Deerhunter (who are not in any way associated to Deerhoof) are at the moment the talk of the town. They are the band critics are literally falling over themselves to praise, and as soon as I heard 'Cryptograms' I knew I wasn't going to be able to buck that trend; rather this is one of the genuine surprises of the year so far. Sadly I haven't been lucky enough to catch one of their infamous live shows - the band apparently supported the Yeah Yeah Yeahs at Karen O's request and polarized audiences, with hardcore YYYs fans commenting that they were the worst band in the history of the world ever ever ever (well come on they're likely to be eleven years old) so on hearing this album, released on one of my favourite imprints, I was unsure what to expect; was it going to be a hopeless mess of styles or a genuinely unique experience? Thankfully it was the latter, but quite how good 'Cryptograms' was only became clear to me after copious amounts of repeat listening. You see it is an album that point-blank refuses to let itself fall into a single category and yet it never sounds like a mindless slap-dash collection of ideas. The record opens with a glorious intro of feedback, noise, ambience and haunted vocals... something like Tim Hecker jamming with Islaja and Delia Derbyshire, but within minutes we're launched headfirst into the snarling post-punk of 'Cryptograms', the album's title track and centerpiece. Instantly Factory Records springs to mind (and Joy Division most obviously) but these guys don't just sound like a Joy Division record per se, they sound like that time when Factory (and associate label Crepuscule) were releasing truly experimental albums welding together so many disassociated sounds. Following the heady onslaught of 'Cryptograms' we are treated to a hissing section of guitar heavy ambience ('White Ink') which could be Bill Nelson at his finest before being kicked into the ugly no-wave of 'Lake Somerset'. At first this collision of drifting pastoral beauty and grimy, sleazy hedonism can be jarring, that is until you realise its intention and indeed its genius. Like the perfect mixtape 'Cryptograms' is a journey, a selection of light and dark, ups and downs, and listening to it only reveals what is missing from so many modern albums. By the time you've been coughed into the album's second half you start to get a sense of just how important this is, with the uplifting post-shoegaze gorgeousness of 'Strange Lights' and the Sonic Youth-influenced highlight 'Hazel St.'. This is an album which doesn't easily slip out of the memory, and hype aside will certainly be remembered as a high-point of 2007 - if this is the way modern rock music is going, I mean genuinely taking influence from all points and genres, then I'm really excited about what the future holds. A huge recommendation and hopefully one of the biggest records of the year...
Boomkat Product Review:
Back in stock. No doubt you've already been made aware of the hype... Deerhunter (who are not in any way associated to Deerhoof) are at the moment the talk of the town. They are the band critics are literally falling over themselves to praise, and as soon as I heard 'Cryptograms' I knew I wasn't going to be able to buck that trend; rather this is one of the genuine surprises of the year so far. Sadly I haven't been lucky enough to catch one of their infamous live shows - the band apparently supported the Yeah Yeah Yeahs at Karen O's request and polarized audiences, with hardcore YYYs fans commenting that they were the worst band in the history of the world ever ever ever (well come on they're likely to be eleven years old) so on hearing this album, released on one of my favourite imprints, I was unsure what to expect; was it going to be a hopeless mess of styles or a genuinely unique experience? Thankfully it was the latter, but quite how good 'Cryptograms' was only became clear to me after copious amounts of repeat listening. You see it is an album that point-blank refuses to let itself fall into a single category and yet it never sounds like a mindless slap-dash collection of ideas. The record opens with a glorious intro of feedback, noise, ambience and haunted vocals... something like Tim Hecker jamming with Islaja and Delia Derbyshire, but within minutes we're launched headfirst into the snarling post-punk of 'Cryptograms', the album's title track and centerpiece. Instantly Factory Records springs to mind (and Joy Division most obviously) but these guys don't just sound like a Joy Division record per se, they sound like that time when Factory (and associate label Crepuscule) were releasing truly experimental albums welding together so many disassociated sounds. Following the heady onslaught of 'Cryptograms' we are treated to a hissing section of guitar heavy ambience ('White Ink') which could be Bill Nelson at his finest before being kicked into the ugly no-wave of 'Lake Somerset'. At first this collision of drifting pastoral beauty and grimy, sleazy hedonism can be jarring, that is until you realise its intention and indeed its genius. Like the perfect mixtape 'Cryptograms' is a journey, a selection of light and dark, ups and downs, and listening to it only reveals what is missing from so many modern albums. By the time you've been coughed into the album's second half you start to get a sense of just how important this is, with the uplifting post-shoegaze gorgeousness of 'Strange Lights' and the Sonic Youth-influenced highlight 'Hazel St.'. This is an album which doesn't easily slip out of the memory, and hype aside will certainly be remembered as a high-point of 2007 - if this is the way modern rock music is going, I mean genuinely taking influence from all points and genres, then I'm really excited about what the future holds. A huge recommendation and hopefully one of the biggest records of the year...
Boomkat Product Review:
Back in stock. No doubt you've already been made aware of the hype... Deerhunter (who are not in any way associated to Deerhoof) are at the moment the talk of the town. They are the band critics are literally falling over themselves to praise, and as soon as I heard 'Cryptograms' I knew I wasn't going to be able to buck that trend; rather this is one of the genuine surprises of the year so far. Sadly I haven't been lucky enough to catch one of their infamous live shows - the band apparently supported the Yeah Yeah Yeahs at Karen O's request and polarized audiences, with hardcore YYYs fans commenting that they were the worst band in the history of the world ever ever ever (well come on they're likely to be eleven years old) so on hearing this album, released on one of my favourite imprints, I was unsure what to expect; was it going to be a hopeless mess of styles or a genuinely unique experience? Thankfully it was the latter, but quite how good 'Cryptograms' was only became clear to me after copious amounts of repeat listening. You see it is an album that point-blank refuses to let itself fall into a single category and yet it never sounds like a mindless slap-dash collection of ideas. The record opens with a glorious intro of feedback, noise, ambience and haunted vocals... something like Tim Hecker jamming with Islaja and Delia Derbyshire, but within minutes we're launched headfirst into the snarling post-punk of 'Cryptograms', the album's title track and centerpiece. Instantly Factory Records springs to mind (and Joy Division most obviously) but these guys don't just sound like a Joy Division record per se, they sound like that time when Factory (and associate label Crepuscule) were releasing truly experimental albums welding together so many disassociated sounds. Following the heady onslaught of 'Cryptograms' we are treated to a hissing section of guitar heavy ambience ('White Ink') which could be Bill Nelson at his finest before being kicked into the ugly no-wave of 'Lake Somerset'. At first this collision of drifting pastoral beauty and grimy, sleazy hedonism can be jarring, that is until you realise its intention and indeed its genius. Like the perfect mixtape 'Cryptograms' is a journey, a selection of light and dark, ups and downs, and listening to it only reveals what is missing from so many modern albums. By the time you've been coughed into the album's second half you start to get a sense of just how important this is, with the uplifting post-shoegaze gorgeousness of 'Strange Lights' and the Sonic Youth-influenced highlight 'Hazel St.'. This is an album which doesn't easily slip out of the memory, and hype aside will certainly be remembered as a high-point of 2007 - if this is the way modern rock music is going, I mean genuinely taking influence from all points and genres, then I'm really excited about what the future holds. A huge recommendation and hopefully one of the biggest records of the year...
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Boomkat Product Review:
Back in stock. No doubt you've already been made aware of the hype... Deerhunter (who are not in any way associated to Deerhoof) are at the moment the talk of the town. They are the band critics are literally falling over themselves to praise, and as soon as I heard 'Cryptograms' I knew I wasn't going to be able to buck that trend; rather this is one of the genuine surprises of the year so far. Sadly I haven't been lucky enough to catch one of their infamous live shows - the band apparently supported the Yeah Yeah Yeahs at Karen O's request and polarized audiences, with hardcore YYYs fans commenting that they were the worst band in the history of the world ever ever ever (well come on they're likely to be eleven years old) so on hearing this album, released on one of my favourite imprints, I was unsure what to expect; was it going to be a hopeless mess of styles or a genuinely unique experience? Thankfully it was the latter, but quite how good 'Cryptograms' was only became clear to me after copious amounts of repeat listening. You see it is an album that point-blank refuses to let itself fall into a single category and yet it never sounds like a mindless slap-dash collection of ideas. The record opens with a glorious intro of feedback, noise, ambience and haunted vocals... something like Tim Hecker jamming with Islaja and Delia Derbyshire, but within minutes we're launched headfirst into the snarling post-punk of 'Cryptograms', the album's title track and centerpiece. Instantly Factory Records springs to mind (and Joy Division most obviously) but these guys don't just sound like a Joy Division record per se, they sound like that time when Factory (and associate label Crepuscule) were releasing truly experimental albums welding together so many disassociated sounds. Following the heady onslaught of 'Cryptograms' we are treated to a hissing section of guitar heavy ambience ('White Ink') which could be Bill Nelson at his finest before being kicked into the ugly no-wave of 'Lake Somerset'. At first this collision of drifting pastoral beauty and grimy, sleazy hedonism can be jarring, that is until you realise its intention and indeed its genius. Like the perfect mixtape 'Cryptograms' is a journey, a selection of light and dark, ups and downs, and listening to it only reveals what is missing from so many modern albums. By the time you've been coughed into the album's second half you start to get a sense of just how important this is, with the uplifting post-shoegaze gorgeousness of 'Strange Lights' and the Sonic Youth-influenced highlight 'Hazel St.'. This is an album which doesn't easily slip out of the memory, and hype aside will certainly be remembered as a high-point of 2007 - if this is the way modern rock music is going, I mean genuinely taking influence from all points and genres, then I'm really excited about what the future holds. A huge recommendation and hopefully one of the biggest records of the year...
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