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Reveille

Deerhoof

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Album Review

San Francisco's strident Deerhoof is a much-loved deconstructionist art-pop outfit. The band is part no wave skronk, part Yoko Ono meets the B-52's, and part weirdo J-pop, and continues to push the musical envelope on each new recording. Reveille is a pretty good example of what Deerhoof is capable of. Quite a few of its songs are instrumental, for the most part, helter-skelterish flare-ups with primitive Casio-like bloops and bleeps, angular fizz-pop guitars, and epileptic drum freakouts. Those few songs that feature Satomi Matsuzaki's purring falsetto — her very presence elevates this band above most avant pop groups — have a simplicity and sugar-soaked sweetness, enticing listeners with charm before boxing their ears with an all-out aural assault. Reveille begins with an unassuming spoken word opening before launching into a variety of sounds. "All Rise" has a baseball stadium-cum-church organ feel, and "Days & Nights in the Forest" starts off with progressive jazz elements before introducing other elements. Though Deerhoof reportedly has to be seen performing live — when the bandmembers are able to temper and balance the explosive quiet-loud of their tunes — to be fully appreciated and to get the full effect, this album is as good a place to start your journey as any of the group's recordings.

Customer Reviews

end

let this be a warning, deerhoof is heroine for the masses and should be stopped as soon as possible. Keep them out of the ears of every human individual at all costs, let this be a warning. Save the kids, then the women, then the men. The animals can perish along side the intelligence and innocence of the people of this soviergn state. Doomed and loathed, loathed and doomed, its time to end for deerhoof. Hoofdeer, deerhoof, let this be a warning to you and ones.

Excellent

I hadn't heard of deerhoof before and the neighborhood piano virtuoso told me that i had to hear it. First impressions? I listened to this album, then i listened to it agai, and again, and again. I cant get it out of my car, my stereo. At first i didn't really understand why i liked it. he parts by themselves, the minimalist guitar riffing, the strangely simple bass riffs, and the strange peeps from their singer, would not have fit well with any grouping but this one. What would usually amount to uninteresting noise by itself turns into rich harmonic content. Musically they are constantly thinking outside the box. You wont find many normal major scale riffs here. They are always playing with the intervals in some way that will tickle the mind of even a music theory buff. After hearing them a lot, i realized why i liked it so much. A lot of bands have good musicians today, its like its a standard. But few bands really do much with their talent, they just revert to their excersizes, their rudiments, and they build their style based off that. This band feels different. Their music maintains an innocence that belies the maturity of the music. The vocalist especially contributes to this, by sounding cute and cuddly. The band is very complex in its own right, and yet it makes me feel as if someone hooked up an 8th inch to a child's brain. 5/5. I cant wait to hear more.

This is also a great album not to be ignored

Some people don't like this album, but they might not have considered it fully. It is a poetic work, beautiful and confusing. The last song gives me shivers, and is absolutely unsurpassed. This magnificent bird is the most exhilirating album opener I have heard, and "Frenzied Handsome, Hello!" is one the most daring rock-songs I have ever heard, in regard to its form, which climaxes in the first half of the song and terminates in what sounds like the beginning of the song, a guitar riff tacked onto the end. The exuberance of some of the tracks is definitely swept by the ghostly shadows of the rest, making this album an eerie encounter. It is not disorganized. But it is difficult music and requires a LOT of listening, in order to understand the context of the songs. Even though some listeners can't appreciate this moody side of Deerhoof, it is worthwhile and fascinating, so pick it up.

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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