DEERHOOF
Mountain Moves
Boomkat Product Review:
The arch avant cuties rope in Juana Molina, Matana Roberts, and Lætitia Sadier a.o. for their most accessible album pretty much ever. The disco friendly ‘Come Down Here & Say That’ feat. Stereolab’s Lætitia Sadier is particularly choice and a great way in!
“Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on Mountain Moves doesn't fit into a single, neatly-defined category – and doesn't wish to.
The results, as expected, were unexpected. Guide vocals and simple melodies were dispatched via email, only to be answered with an outpouring of alternate harmonies, suggestions for arrangements, additional instrumentation. Every file received triggered a new rush of jumbled emotions. Some guests crafted their contributions in the small hours of the dawn, toiling in hotel rooms before driving eight hours to the next tour date; others hopped on the subway and recorded with the band in-person.
Collisions and collusions abound on Mountain Moves. In addition to its bounty of originals, the program includes three covers that epitomize the album's assemblage of disparate ideas and personalities. Reducing Bob Marley's "Small Axe" to a beat-less fragment of hymn-like simplicity magnifies the song's rebellious spirit and undercurrent of violence. Deerhoof vocalist Satomi Matsuzaki, a Japanese immigrant, lifts the Staple Singers' "Freedom Highway" out of its original place and time, imbuing it with a new sense of alienation from one's own country. Snippets of the bass recitative "For behold, darkness shall cover the earth" from Handel's Messiah provide the foundation for a fresh take on Chilean folk hero Violeta Parra's bittersweet masterpiece "Gracias a la Vida."
Adventures outside the United States also informed the making of Mountain Moves. During a recent visit to Brazil, the band was astonished to see how enthusiastically audiences at concerts sang, danced, and reveled – a cultural response, they learned, to the scarcity of resources for all but the nation's wealthiest elites. Elsewhere, the experience of confronting unfamiliar audiences of fired-up Red Hot Chili Peppers fans taught them that one of their greatest skills – the ability to recalibrate their sound nightly to suit a particular venue – wasn't limited to basements or small clubs. The broader strokes of Mountain Moves sprang forth from lessons learned while trying to engage audiences of 20,000+ across the vast distances of Northern European sporting arenas.
If Mountain Moves were a movie, it would be a double feature, Journey to the Center of the Deerhoof and Escape from Planet Deerhoof, shown side-by-side simultaneously. The record epitomizes the band at its very best, exploring new realms between the poles of independence and invention. It also serves as a welcoming point of entry for new listeners outside Deerhoof's traditional orbit, an opportunity to bring even more voices into the communal conversation. We're all in this together.”
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Boomkat Product Review:
The arch avant cuties rope in Juana Molina, Matana Roberts, and Lætitia Sadier a.o. for their most accessible album pretty much ever. The disco friendly ‘Come Down Here & Say That’ feat. Stereolab’s Lætitia Sadier is particularly choice and a great way in!
“Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on Mountain Moves doesn't fit into a single, neatly-defined category – and doesn't wish to.
The results, as expected, were unexpected. Guide vocals and simple melodies were dispatched via email, only to be answered with an outpouring of alternate harmonies, suggestions for arrangements, additional instrumentation. Every file received triggered a new rush of jumbled emotions. Some guests crafted their contributions in the small hours of the dawn, toiling in hotel rooms before driving eight hours to the next tour date; others hopped on the subway and recorded with the band in-person.
Collisions and collusions abound on Mountain Moves. In addition to its bounty of originals, the program includes three covers that epitomize the album's assemblage of disparate ideas and personalities. Reducing Bob Marley's "Small Axe" to a beat-less fragment of hymn-like simplicity magnifies the song's rebellious spirit and undercurrent of violence. Deerhoof vocalist Satomi Matsuzaki, a Japanese immigrant, lifts the Staple Singers' "Freedom Highway" out of its original place and time, imbuing it with a new sense of alienation from one's own country. Snippets of the bass recitative "For behold, darkness shall cover the earth" from Handel's Messiah provide the foundation for a fresh take on Chilean folk hero Violeta Parra's bittersweet masterpiece "Gracias a la Vida."
Adventures outside the United States also informed the making of Mountain Moves. During a recent visit to Brazil, the band was astonished to see how enthusiastically audiences at concerts sang, danced, and reveled – a cultural response, they learned, to the scarcity of resources for all but the nation's wealthiest elites. Elsewhere, the experience of confronting unfamiliar audiences of fired-up Red Hot Chili Peppers fans taught them that one of their greatest skills – the ability to recalibrate their sound nightly to suit a particular venue – wasn't limited to basements or small clubs. The broader strokes of Mountain Moves sprang forth from lessons learned while trying to engage audiences of 20,000+ across the vast distances of Northern European sporting arenas.
If Mountain Moves were a movie, it would be a double feature, Journey to the Center of the Deerhoof and Escape from Planet Deerhoof, shown side-by-side simultaneously. The record epitomizes the band at its very best, exploring new realms between the poles of independence and invention. It also serves as a welcoming point of entry for new listeners outside Deerhoof's traditional orbit, an opportunity to bring even more voices into the communal conversation. We're all in this together.”
Boomkat Product Review:
The arch avant cuties rope in Juana Molina, Matana Roberts, and Lætitia Sadier a.o. for their most accessible album pretty much ever. The disco friendly ‘Come Down Here & Say That’ feat. Stereolab’s Lætitia Sadier is particularly choice and a great way in!
“Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on Mountain Moves doesn't fit into a single, neatly-defined category – and doesn't wish to.
The results, as expected, were unexpected. Guide vocals and simple melodies were dispatched via email, only to be answered with an outpouring of alternate harmonies, suggestions for arrangements, additional instrumentation. Every file received triggered a new rush of jumbled emotions. Some guests crafted their contributions in the small hours of the dawn, toiling in hotel rooms before driving eight hours to the next tour date; others hopped on the subway and recorded with the band in-person.
Collisions and collusions abound on Mountain Moves. In addition to its bounty of originals, the program includes three covers that epitomize the album's assemblage of disparate ideas and personalities. Reducing Bob Marley's "Small Axe" to a beat-less fragment of hymn-like simplicity magnifies the song's rebellious spirit and undercurrent of violence. Deerhoof vocalist Satomi Matsuzaki, a Japanese immigrant, lifts the Staple Singers' "Freedom Highway" out of its original place and time, imbuing it with a new sense of alienation from one's own country. Snippets of the bass recitative "For behold, darkness shall cover the earth" from Handel's Messiah provide the foundation for a fresh take on Chilean folk hero Violeta Parra's bittersweet masterpiece "Gracias a la Vida."
Adventures outside the United States also informed the making of Mountain Moves. During a recent visit to Brazil, the band was astonished to see how enthusiastically audiences at concerts sang, danced, and reveled – a cultural response, they learned, to the scarcity of resources for all but the nation's wealthiest elites. Elsewhere, the experience of confronting unfamiliar audiences of fired-up Red Hot Chili Peppers fans taught them that one of their greatest skills – the ability to recalibrate their sound nightly to suit a particular venue – wasn't limited to basements or small clubs. The broader strokes of Mountain Moves sprang forth from lessons learned while trying to engage audiences of 20,000+ across the vast distances of Northern European sporting arenas.
If Mountain Moves were a movie, it would be a double feature, Journey to the Center of the Deerhoof and Escape from Planet Deerhoof, shown side-by-side simultaneously. The record epitomizes the band at its very best, exploring new realms between the poles of independence and invention. It also serves as a welcoming point of entry for new listeners outside Deerhoof's traditional orbit, an opportunity to bring even more voices into the communal conversation. We're all in this together.”
Boomkat Product Review:
The arch avant cuties rope in Juana Molina, Matana Roberts, and Lætitia Sadier a.o. for their most accessible album pretty much ever. The disco friendly ‘Come Down Here & Say That’ feat. Stereolab’s Lætitia Sadier is particularly choice and a great way in!
“Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on Mountain Moves doesn't fit into a single, neatly-defined category – and doesn't wish to.
The results, as expected, were unexpected. Guide vocals and simple melodies were dispatched via email, only to be answered with an outpouring of alternate harmonies, suggestions for arrangements, additional instrumentation. Every file received triggered a new rush of jumbled emotions. Some guests crafted their contributions in the small hours of the dawn, toiling in hotel rooms before driving eight hours to the next tour date; others hopped on the subway and recorded with the band in-person.
Collisions and collusions abound on Mountain Moves. In addition to its bounty of originals, the program includes three covers that epitomize the album's assemblage of disparate ideas and personalities. Reducing Bob Marley's "Small Axe" to a beat-less fragment of hymn-like simplicity magnifies the song's rebellious spirit and undercurrent of violence. Deerhoof vocalist Satomi Matsuzaki, a Japanese immigrant, lifts the Staple Singers' "Freedom Highway" out of its original place and time, imbuing it with a new sense of alienation from one's own country. Snippets of the bass recitative "For behold, darkness shall cover the earth" from Handel's Messiah provide the foundation for a fresh take on Chilean folk hero Violeta Parra's bittersweet masterpiece "Gracias a la Vida."
Adventures outside the United States also informed the making of Mountain Moves. During a recent visit to Brazil, the band was astonished to see how enthusiastically audiences at concerts sang, danced, and reveled – a cultural response, they learned, to the scarcity of resources for all but the nation's wealthiest elites. Elsewhere, the experience of confronting unfamiliar audiences of fired-up Red Hot Chili Peppers fans taught them that one of their greatest skills – the ability to recalibrate their sound nightly to suit a particular venue – wasn't limited to basements or small clubs. The broader strokes of Mountain Moves sprang forth from lessons learned while trying to engage audiences of 20,000+ across the vast distances of Northern European sporting arenas.
If Mountain Moves were a movie, it would be a double feature, Journey to the Center of the Deerhoof and Escape from Planet Deerhoof, shown side-by-side simultaneously. The record epitomizes the band at its very best, exploring new realms between the poles of independence and invention. It also serves as a welcoming point of entry for new listeners outside Deerhoof's traditional orbit, an opportunity to bring even more voices into the communal conversation. We're all in this together.”
Black vinyl. Includes download code.
Available To Order (Estimated Shipping between 1-3 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
The arch avant cuties rope in Juana Molina, Matana Roberts, and Lætitia Sadier a.o. for their most accessible album pretty much ever. The disco friendly ‘Come Down Here & Say That’ feat. Stereolab’s Lætitia Sadier is particularly choice and a great way in!
“Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on Mountain Moves doesn't fit into a single, neatly-defined category – and doesn't wish to.
The results, as expected, were unexpected. Guide vocals and simple melodies were dispatched via email, only to be answered with an outpouring of alternate harmonies, suggestions for arrangements, additional instrumentation. Every file received triggered a new rush of jumbled emotions. Some guests crafted their contributions in the small hours of the dawn, toiling in hotel rooms before driving eight hours to the next tour date; others hopped on the subway and recorded with the band in-person.
Collisions and collusions abound on Mountain Moves. In addition to its bounty of originals, the program includes three covers that epitomize the album's assemblage of disparate ideas and personalities. Reducing Bob Marley's "Small Axe" to a beat-less fragment of hymn-like simplicity magnifies the song's rebellious spirit and undercurrent of violence. Deerhoof vocalist Satomi Matsuzaki, a Japanese immigrant, lifts the Staple Singers' "Freedom Highway" out of its original place and time, imbuing it with a new sense of alienation from one's own country. Snippets of the bass recitative "For behold, darkness shall cover the earth" from Handel's Messiah provide the foundation for a fresh take on Chilean folk hero Violeta Parra's bittersweet masterpiece "Gracias a la Vida."
Adventures outside the United States also informed the making of Mountain Moves. During a recent visit to Brazil, the band was astonished to see how enthusiastically audiences at concerts sang, danced, and reveled – a cultural response, they learned, to the scarcity of resources for all but the nation's wealthiest elites. Elsewhere, the experience of confronting unfamiliar audiences of fired-up Red Hot Chili Peppers fans taught them that one of their greatest skills – the ability to recalibrate their sound nightly to suit a particular venue – wasn't limited to basements or small clubs. The broader strokes of Mountain Moves sprang forth from lessons learned while trying to engage audiences of 20,000+ across the vast distances of Northern European sporting arenas.
If Mountain Moves were a movie, it would be a double feature, Journey to the Center of the Deerhoof and Escape from Planet Deerhoof, shown side-by-side simultaneously. The record epitomizes the band at its very best, exploring new realms between the poles of independence and invention. It also serves as a welcoming point of entry for new listeners outside Deerhoof's traditional orbit, an opportunity to bring even more voices into the communal conversation. We're all in this together.”
Limited edition blue swirl vinyl LP. Includes download code.
Out of Stock
Boomkat Product Review:
The arch avant cuties rope in Juana Molina, Matana Roberts, and Lætitia Sadier a.o. for their most accessible album pretty much ever. The disco friendly ‘Come Down Here & Say That’ feat. Stereolab’s Lætitia Sadier is particularly choice and a great way in!
“Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on Mountain Moves doesn't fit into a single, neatly-defined category – and doesn't wish to.
The results, as expected, were unexpected. Guide vocals and simple melodies were dispatched via email, only to be answered with an outpouring of alternate harmonies, suggestions for arrangements, additional instrumentation. Every file received triggered a new rush of jumbled emotions. Some guests crafted their contributions in the small hours of the dawn, toiling in hotel rooms before driving eight hours to the next tour date; others hopped on the subway and recorded with the band in-person.
Collisions and collusions abound on Mountain Moves. In addition to its bounty of originals, the program includes three covers that epitomize the album's assemblage of disparate ideas and personalities. Reducing Bob Marley's "Small Axe" to a beat-less fragment of hymn-like simplicity magnifies the song's rebellious spirit and undercurrent of violence. Deerhoof vocalist Satomi Matsuzaki, a Japanese immigrant, lifts the Staple Singers' "Freedom Highway" out of its original place and time, imbuing it with a new sense of alienation from one's own country. Snippets of the bass recitative "For behold, darkness shall cover the earth" from Handel's Messiah provide the foundation for a fresh take on Chilean folk hero Violeta Parra's bittersweet masterpiece "Gracias a la Vida."
Adventures outside the United States also informed the making of Mountain Moves. During a recent visit to Brazil, the band was astonished to see how enthusiastically audiences at concerts sang, danced, and reveled – a cultural response, they learned, to the scarcity of resources for all but the nation's wealthiest elites. Elsewhere, the experience of confronting unfamiliar audiences of fired-up Red Hot Chili Peppers fans taught them that one of their greatest skills – the ability to recalibrate their sound nightly to suit a particular venue – wasn't limited to basements or small clubs. The broader strokes of Mountain Moves sprang forth from lessons learned while trying to engage audiences of 20,000+ across the vast distances of Northern European sporting arenas.
If Mountain Moves were a movie, it would be a double feature, Journey to the Center of the Deerhoof and Escape from Planet Deerhoof, shown side-by-side simultaneously. The record epitomizes the band at its very best, exploring new realms between the poles of independence and invention. It also serves as a welcoming point of entry for new listeners outside Deerhoof's traditional orbit, an opportunity to bring even more voices into the communal conversation. We're all in this together.”
Available To Order (Estimated Shipping between 1-3 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
The arch avant cuties rope in Juana Molina, Matana Roberts, and Lætitia Sadier a.o. for their most accessible album pretty much ever. The disco friendly ‘Come Down Here & Say That’ feat. Stereolab’s Lætitia Sadier is particularly choice and a great way in!
“Though Deerhoof have often made albums from start to finish with virtually no input from the outside world, now is not the time for artists to operate in isolation. Mountain Moves throws the doors wide open. Working quickly, the band invited myriad guests to participate, some of them dear friends, others practically strangers. They are of different ages, different nationalities, different disciplines. The only common thread was that each and every artist on Mountain Moves doesn't fit into a single, neatly-defined category – and doesn't wish to.
The results, as expected, were unexpected. Guide vocals and simple melodies were dispatched via email, only to be answered with an outpouring of alternate harmonies, suggestions for arrangements, additional instrumentation. Every file received triggered a new rush of jumbled emotions. Some guests crafted their contributions in the small hours of the dawn, toiling in hotel rooms before driving eight hours to the next tour date; others hopped on the subway and recorded with the band in-person.
Collisions and collusions abound on Mountain Moves. In addition to its bounty of originals, the program includes three covers that epitomize the album's assemblage of disparate ideas and personalities. Reducing Bob Marley's "Small Axe" to a beat-less fragment of hymn-like simplicity magnifies the song's rebellious spirit and undercurrent of violence. Deerhoof vocalist Satomi Matsuzaki, a Japanese immigrant, lifts the Staple Singers' "Freedom Highway" out of its original place and time, imbuing it with a new sense of alienation from one's own country. Snippets of the bass recitative "For behold, darkness shall cover the earth" from Handel's Messiah provide the foundation for a fresh take on Chilean folk hero Violeta Parra's bittersweet masterpiece "Gracias a la Vida."
Adventures outside the United States also informed the making of Mountain Moves. During a recent visit to Brazil, the band was astonished to see how enthusiastically audiences at concerts sang, danced, and reveled – a cultural response, they learned, to the scarcity of resources for all but the nation's wealthiest elites. Elsewhere, the experience of confronting unfamiliar audiences of fired-up Red Hot Chili Peppers fans taught them that one of their greatest skills – the ability to recalibrate their sound nightly to suit a particular venue – wasn't limited to basements or small clubs. The broader strokes of Mountain Moves sprang forth from lessons learned while trying to engage audiences of 20,000+ across the vast distances of Northern European sporting arenas.
If Mountain Moves were a movie, it would be a double feature, Journey to the Center of the Deerhoof and Escape from Planet Deerhoof, shown side-by-side simultaneously. The record epitomizes the band at its very best, exploring new realms between the poles of independence and invention. It also serves as a welcoming point of entry for new listeners outside Deerhoof's traditional orbit, an opportunity to bring even more voices into the communal conversation. We're all in this together.”
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