Deerhoof always ran a thin line between angular and ridiculous; excessive and traditional. 2005's The Runners Four is no exception. At times an exposition on guitar rock, at others a decomposition of pop, the songs seem to be a half speed version of the older albums—a misrepresentation of the old songs to be exact. The experimentation is still there in more tolerable doses; actual transitions, plausible vocal lines and pop influence abound. Point of fact, what's working is exactly what has changed. Touring with the likes of Wilco will calm your incessant nagging changes a bit. Rolling Stones-like movements of "Twin Killers" prevail over the evil tyranny of off The Wall noise (see movements in the nonsensical intro track "Chatterboxes" and the transitional "Spirit Ditties of No Tone") and overemphatic bounciness of Reveille or Apple O. The classic rock references are never ending, as their influences seem more predestined to show with their newfound reverence to songwriting and not beating you over the head with their sonic disposition.
Their changes, however positive they may seem, result in a strange dichotomy. I still feel equally as disjointed as I used to on the old albums, yet I'm sucked in more waiting for the positively perfect song I know is coming—something I gave up on around song 10 on the older albums. This album (ringing in at 20 songs) just ended up cold. Like the other albums, its identity is its finality, i.e. when you are trying to disjoint, you succeed. From the feathery male vocals to the more prominent but excessive female vocals, this band never really defines themselves further at all. Instead they rely on their same tricks, only slower—only this time, they were angular AND a bit ridiculous. Sometimes, there is something to be said for the traditional side of songwriting. Those in love with excess and frivolity will probably disagree. |