La Isla Bonita

How does a band rock harder than Van Halen, but leave the spandex out of it? How does a band do more with 30 minutes than Genesis does with 50? How does a band use fewer words per lyric but convey more than all the data uploaded in the last decade? All this, and more, is answered by this LP.

San Francisco four-piece Deerhoof understands how to play in the most basic sense of the word. Their new album, La Isla Bonita, was recorded live during a week-long sleepover amidst arguments about whether it should sound like Janet Jackson or Joan Jett. They must be pulling some journalist’s leg, because the only way the adventurous musical explorers in Deerhoof could ever hope to calm themselves down to the level of those two performers is through a series of full frontal lobotomies. Instead, La Isla Bonita, their thirteenth record, is packed with the funky breakdowns for which the band is known but – in an inspired choice – wrapped in various flavors of delectable, Latino-based Rock.Known for their unpredictability, Deerhoof makes playful, not aggressive, music often from the formula of much harder bands. Instead of ending up with a genre fusion resembling Metal, they switch out rollicking tempos and rhythms on-the-fly in a jazzy collision of Garage Funk and Twee Pop. Topping the cantankerous, manic backing band’s onslaught of peppy riffs and rests is singer/songbird Satomi Matsozuki’s bugle-like, Japanese-accented voice. Perhaps it’s just Matsozuki’s personality, but Deerhoof always manages to bring a childlike sense of wonder to each of their projects, making their sound unmistakable. It’s a sound that’s served them well, with a handful of their earliest efforts heralded as one-time classics.Despite releasing well-respected albums consistently since their heyday, the band has been slightly off the radar in recent years, their signature unpredictability perhaps itself becoming a too-predictable element in their music. What makes La Isla Bonita so great, in contrast, is that the Deerhoof compromises enough to follow the rules of standard songwriting this time around, but still scours every piece of fine print to see what loopholes they can get away with exploiting to avoid losing their identity as a band.Ten years ago, it was easy to find crazy, female-fronted Rock acts hammering out cutely demented drum and guitar assaults, but after reaching the major label threshold a few of these like-minded acts toned things too far down, losing their core fans for household name status. It happened to the Yeah Yeah Yeahs, Metric, and Blonde Redhead, but it didn’t happen to Deerhoof. On La Isla Bonita, Deerhoof might have had to make the decision to dumb themselves down just a teensy-weensy bit, but hopefully are as delighted as I am to realize that by doing so, they inadvertently hit the nexus of all that is wonderful about their music. Of course, it doesn’t hurt that while trading bits of oddness in for pop sensibility they also managed to sneak a case of salsa into the mix.Emblazoned by subtle dips into the prickly, percussive rhythms of Latin America and the ghostly Western twang of California Surf guitar, La Isla Bonita is alternately fun and mysterious. It’s punk, but played in a spooky, Tex-Mex way, like something from the Tindersticks or The Plugz’s score to Alex Cox’s Repo Man. You can hear the band’s Pixies influence above all others here, so if you like the Pixies but haven’t enjoyed anything that band has done since their reunion, this is your album. Sure, you might say, a lot of insecure hipster bands set out to mine authenticity by slapping barely-competent Surf riffs onto generic Rock and Roll, but Deerhoof wisely hallows complex, twangy, Western guitar leads without irony, building shrines to the Telecaster, not musical goofs around it.That’s not to say there’s anything particularly stoic or uptight about La Isla Bonita. Unlike the majority of bands who overvalue their own seriousness, it’s worth sharing Deerhoof’s promotional photograph for this album, featuring the band happily smiling as Matsozuki stands with her shirt tucked into a linen skort pulled up like Steve Urkel’s trousers. It makes you smile just seeing the band, and it’s the same with the music. You don’t find uncalculating, unironic, thoroughly confident fun in music this easily every day.Drummer Greg Saunier steals the show here as he goes for technique over bleeding eardrums, infusing these charming sing-songs with such sunny beats that I’d be tempted to call it the perfect summer album if it weren’t nearly turkey time. The electric guitars, at one time emulating a mariachi version of Ritchie Valens, squeak, bleed, and whistle, and when the occasional dark moment on the record does arise, the furthest the band’s sunny disposition allows it to spoil the setting is akin to the feeling of clouds passing briefly overhead.Like Deerhoof, their album is kind of goofy but rocking, artful but not out-of-this world. Not all prospector’s ghosts and lonely beaches, the album can be a real party. I mean a real party, featuring dorks, a copy of Greaser’s Palace, and bowl of queso dip. Deerhoof still sound like their slippery selves, but they’re presented here straighter than ever, and sugar plum dreams of hearing them on the radio for the first time suit the band well. La Isla Bonita is killer Pop/Rock dialed in (or down, in their case) to the perfect settings. It breathes and it’s colorful, with plenty of soft bites. While their songs may still dip into noise frequently, these outbursts never spoil the show, making this the most consistent release I’ve ever heard from the already well-liked band.Punky, funky La Isla Bonita is unlike anything else out this month, it’s also damn fun, tickling the nerves with the perfect amount of noisy zest and breezy, effortless control. Recommended for fans of the Pixies, Yeah Yeah Yeahs, Blonde Redhead, Metric, Blondie, St. Vincent, Sonic Youth, Beck, Atlas Sound, David Byrne, Beach House, and Janet Jackson.

As usual, Deerhoof doesn't disappoint. Lots of quirky, off-balance arrangements, fascinating melodies and dense interplay between the guitarists and drummer. For those who aren't familiar, it will take a few listens to get into the method behind the apparent madness, but will be worth the listener's while. For Deerhoof fans, it's yet another solid offering in the group's expanding catalog. My only complaint is the length of La Isla Bonita- barely a half hour long, placing it squarely between an EP and a full-length album. If they're not running out of material, why skimp on the tunes? That being said, I am grateful that the world has more Deerhoof. I'm already impatiently awaiting their next album...

First let me say, I am a long-time Deerhoof fan. I'm particularly fond of their mid-late recordings, such as "Friend Opportunity", "Offend Maggie","The Runners' Four" and, more recently, "Deerhoof Vs. Evil". I've seen them live and they blew me away.I did NOT care for "Breakup Record"... personal taste.This record is well-done, well-played, has many of the familiar Deerhoof elements: quirky off-center beats, odd chord changes, Satomi's chirpy voice singing wacky lyrics. But it just feels kinda "been-there-done-that". Maybe it's just me. Maybe I'm satisfied with my Deerhoof catalogue, andI didn't need this.If you are a Deerhoof fan I imagine you will like this. I still admire their uniqueness, their musical alchemy, their bravery. But this record just didn't get me.

Ladies & Gentleman! DEERHOOF will pound your earholes and soothe your pummeled soul with their unique tunes. Crunchy jangly noodly rock guitar freak out moments meet dissonant sonic change with smooth studio recording sounds accompanied by fresh lyrical play and the constantly shifting and pounding rhythmic backbone you crave. DEERHOOf you have done it again my brain explodes with Tiny bubbles of sick sounds and Satomi sweetness singing. ET is cancelled Baseball is running late. If I were emperor DEERHOOF would be my official soundtrach, rock On 24/7. Cha cha cha!

good. it's deerhoof. if you're buying this, you probably already like deerhoof and are capable of listening to this.

On par with or better than 'we do parties'. Best $5 I've spent in months.

Deerhoof's funnest album to date. Funky and highly groovable.

Wow, they are back on great form! Breakup Songs was certainly a worthwhile chapter in their story, but La Isla Bonita outstrips it by some way.There's more Beefheart back in the mix again in the rhythms and guitar, especially in Last Fad. Those chords that begin the song and pop up again and again throughout are signature Beefheart whistled guitar lines! Nice to hear them recognising the main man in their line of music like this.The melodies are irresistibly sweet though, and Beefheart doesn't force you to your feet to dance like this (though danceability can be sacrificed as irrelevant if a masterpiece like Trout Mask Replica were in the offing). I haven't been able to pick out favourites yet. After the first uneventful couple of plays, each track has subsequently leapt to five out of five stars.Matsuzaki's voice is used more like an instrument on this album, and not the drum or other instrument that is played throughout. She is as super-sweet as the video itself for Paradise Girls, about female bass guitarists like herself.A hugely fun, detailed gem of gem of an album that reminds me of the two Pere Ubu albums The Tenement Year and Cloudland for the level of sheer enjoyment coming through an album by an avant-garde rock band.

Deerhoof .Arty rock and roll