What is there to say about Deerhunter that hasn’t been said yet? Ever since singer-guitarist Bradford Cox and drummer Moses Archuleta founded the band in 2001 in Atlanta, Georgia, they have been your favorite band’s favorite band. Nine Inch Nails, Liars, The Smashing Pumpkins, Battles and Yeah Yeah Yeahs are merely some bands that have asked Deerhunter to join them on tour as a support act. Thanks to the release of their fifth album in 2010, ‘Halcyon Digest’, the American group finally broke through. In the first nine years, they had built a real name for themselves in the underground but from then on, the whole independent music scene was watching them.
Stubborn as they are, Deerhunter never confined their sound and artistic vision to ‘what works’. The releases following ‘Halcyon Digest’ showed their darker side – the 2013 ‘Monomania’, inspired by musique concrète and primitive garage rock – and more hypnotic side – the 2015 ‘Fading Frontier’. “There isn't a Deerhunter sound, there's a Deerhunter perspective that runs through their work,” is what Pitchfork wrote about the group at this point. That much can only be true, noticing how Deerhunter incorporates a wide range of genres in their music, including noise, garage, art rock as well as pop and electronica.
January 2019 brought the release of ‘Why Hasn’t Everything Already Disappeared?’, the bands eighth album, co-produced by none other than Cate Le Bon, one of our Sonic City-curators. Le Bon also provides vocals and instrumentation on some of the songs. The album is a science-fiction album about the present, asking the question to what modern pop music is a reaction. The result is as thrilling, haunting, and unpredictable as anything in their roughly 15-year career and will surely bring a new, alienating vibe to their intense, wild live shows.
''With its elegant arrangements and open-ended questions, it’s an intriguingly understated turn from a band known for its intensity.''
- Rolling Stone
'' a science fiction album about the present.''
''it never settles, skipping without warning from harpsichord-bedecked psych-pop to icy Tubeway Army-ish synth instrumentals, from elegiac alt-rock ballads to stuff that sounds like a lo-fi take on 80s Japanese environmental music.''