By my estimation, it was about 8 years ago that I abandoned Deerhoof. Breakup Song had just come out, and it was their 2nd or 3rd album in a row that didn't excite me as much as their previous work, and I just felt like the band had explored everything they were going to explore, and it would be diminishing returns from there. No fault to them, they'd put out at least 10 years worth of incredible music, but I just felt like I'd had my fill. So I just kinda stopped paying attention.

Earlier this month, I heard a guitar chord, and an electric circuit reconnected in my brain. I don't know what song it was, what year it was from, but it was a Deerhoof guitar chord. And a Deerhof guitar chord doesn't sound like any other guitar chord. It got into my brain, and for the next couple days I kept humming Deerhoof tunes like a psychopath. Then I cued up Reveille. Then Milk Man. Then Offend Maggie. All of it. For about three days straight I mainlined Deerhoof. I even went back to the later stuff that made me abandon ship, Deerhoof Vs. Evil and Breakup Song. Mainlined it. Loved every bit of it. Best part of all has been discovering music they made in the 8 years I've been away, albums I heard about in passing, but just assumed would be more of the same. They're all fucking great.

Most interesting of all is this collaboration with Ensemble Dal Niente, Balter / Saunier. It sounds like a novel idea, Deerhoof teaming up with a contemporary composer and 22 piece chamber jazz ensemble, one that could come off as "Deerhoof with strings." But the result on record is captivating—it's a genuinely collaborative effort, which lands somewhere in between contemporary classical, jazz, and yes, Deerhoof. It fully works. It's quiet, patient, sublime, with occasional shots of weirdo maximalism.

I used to like Deerhoof. I've always thought they were great. But on this second round of listening, I've turned a corner; I love Deerhoof, and not only are they great, I'm now deeply convinced they're they're one of the greatest American bands of not just my generation, but of the entire rock era. But beyond that one level still, I'm realizing they're not even a rock band. The music they've played for 30 years now owes just as much to ideas of jazz and improvisation and contemporary composition and the avant-garde as it does to, like, Led Zeppelin or Nirvana. They do it all, and they've been doing it all for a long time now. They're some of the best we've got.

Dootdoo-doot-dooooo!

Interesting new Deerhoof album. Not one of their best, but maybe one of their most consistent. Everything sounds a little broken, overdriven, discombobulated, and programmed back as a more danceable Deerhoof. Like Deerhoof made a remix of the real version of the album, but accidentally left off the good stuff.

On a superficial level, this is the kind Deerhoof album I've been waiting for. Mellow, layered, unique, but still undeniably Deerhoofian. Yet here I sit, only two songs to go, unmoved. Oh well. I'm not too concerned, considering Deerhoof and I have an every-other-album kind of relationship, and Offend Maggie was possibly their best work. Next time, then.

I know this album came out last year, but I just had one of those "Holy cow" listening experiences with it yesterday. I mean, Deerhoof is Deerhoof, and you get pretty much exactly what you expect. But it really blew me away this time just how out there they are. Yes, this is rock music, and it's nothing more than drums, bass, guitar, and voice, but these guys are really coming from a different place. They're playing chords that are seemingly being invented on the spot, and melodies that are so devoid of comparisons and references that you'd think they're coming from a group of culturally innocent outsider savants who only discovered music the day before. Beyond that, the engineering and recording on Offend Maggie is some of the crispest and purest I've ever heard. You may as well be standing in the middle of their practice space. And that distorted guitar tone, wow! The whole album is really a thing of amazement, and I'm a little bummed I hadn't really given it the respect it deserves, since from afar it appears to be "just another Deerhoof album." Sure, you could try to create a comparison mixing Shudder To Think and Japanese pop and who knows what else, but you'd be better off to admit that, for better or worse, Deerhoof is simply operating on a different plane as everyone else.