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Green Cosmos

Deerhoof

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Album Review

Initially released only in Japan and later in the U.S. via Menlo Park, Deerhoof's Green Cosmos EP shows off a less manic side of the band than their usual modus operandi. The bright, brassy rocker "Come See the Duck" (based on the way the song sounds, the duck must be fire-breathing and six feet tall) is the closest the EP gets to Deerhoof's quintessential approach; even though Green Cosmos is only seven songs long, the band spends the rest of the EP trying on as many different sounds and feelings as they can cram into it. The production is surprisingly lush, with songs like the jazzy "Hot Mint Air Balloon" boasting brass and xylophones and "Spiral Golden Town" moving from trippy symphonic samples to an odd — but totally Deerhoof — fusion of chamber-pop, synth-pop and big-beat. Elsewhere, the band goes gentle: "Malalauma" is delicately psychedelic, with an appropriately Asian feel, while Satomi Matsuzaki's meowed vocals on "Koneko Kitten" make the track that much more adorable. Since Green Cosmos is so short, its eclectic sound doesn't stick around long enough to feel scattered. Instead, it just reaffirms Deerhoof's unspoken manifesto — that music should be fun — and offers a nice, bite-size portion of their crazy sweetness.

Customer Reviews

wild, wild spaz rock that electrifies topped off with pretty toy pianos.

As far as I'm concerned this is the third greatest EP (1&2 being Pavement's Watery and Domestic, as well as, Spit on a Stranger EP) I've ever heard. "Come See the Duck" is a rollicking guitar piece that explodes, side steps and then rekindles its composure to finish with honorific applause. "Green Cosmos" is my new favorite Deerhoof song. It boasts sharp latin percussion run through a computer or some such glorious nonsense. The melody is perfect as far as perfect is concerned. "Malauma" is a spaced out Deerhoof anthem, a martian pastoralist couldn't have captured the sound of futuristic space rock any better. "Spiral Golden Town" chugs along with guitars and squishy vintage reverb accompanied by synthesized strings that both uplift and mellow. It also has breakdown that will make you smile. "Byun" is a masterpiece of toy keyboards, full of zoops and swirls. Singer Satomi voice rises and falls along with guitars, moving from shrill to dulcet chiming chirps. I cannot stress enough what a value this is.

A story.

One night, I was standing behind a couple of turntables, watching a room full of sweaty humans dance. They were happy and wiggly. When "Spiral Golden Town" came on, they started to wiggle faster and get happier. It has that effect. Especially if played louder than is recommended.

Goodhoof!

To me "Green Cosmos" represents some of the best of Deerhoof's many outstanding characteristics. It might not depict their most extreme manic moments, but allowing for that one absence, this EP would probably serve as a pretty good intro for the Deerhoof curious. Such persons could probably also plunge right in with "Friend Opportunity."

Biography

Formed: 1994 in San Francisco, CA

Genre: Alternative

Years Active: '90s, '00s, '10s

By turns cuddly and chaotic, San Francisco's Deerhoof mix noise, sugary melodies, and an experimental spirit into sweetly challenging and utterly distinctive music. The group began as the brainchild of guitarist Rob Fisk and drummer/keyboardist Greg Saunier in 1994; early releases, such as the 1995 7"s Return of the Woods M'Lady and For Those of Us on Foot, had a more traditionally harsh, no wave-inspired sound, though they also included the quirky tendencies that dominated their later efforts. Vocalist/bassist...
Full Bio

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