| | Deerhoof Holdy Paws CD Deerhoof Discography of CDs
 (1 Customer Review)
Deerhoof is a quartet comprised of half-male/half-female parts, playing guitar, bass, drums, and keyboards. The music on Holdy Paws seems very live, like the band is actually playing right in front of you in your room. The Blonde Redhead comparisons are unavoidable: higher-pitched female vocals backed by thick distorted guitar, angular drums, and very minimal keyboards. The single-note keyboard parts seem to push Deerhoof along to a slightly different direction. What really makes this record interesting is the anthropomorphism of the lyrics. Deerhoof is possibly trying to tell the feelings of animals in the perspective of the animals. They bring you into the animal realm, but never take you on an adventure, just kind of leaving you stranded. "The Moose's Daughter" has a Shellac sound, tough guitars drone in a steady rhythm. The melody comes through with a nursery rhyme style, which gives the song a haunting touch. "Crow," like many of the tracks on Holdy Paws, has a chorus that seems to break the repetitious nature of the verses. These choruses are a sigh of relief in the direction you want Deerhoof to explore more. The little doodles on the insert mimic the clashing feelings of playfulness and melancholy of the record. Holdy Paws slows down as it goes along, leaving the memorable songs at the beginning. It works wonderfully as an EP would with songs of your choice. ~ David Serra
Deerhoof: Satomi (vocals, bass); Rob (guitar); Kelly (keyboards); Greg (drums).
Personnel: Satomi Matsuzaki (vocals).
2nd Rel
Deerhoof Holdy Paws Songs Holdy Paws Music Review Average Rating: (5 out of 5 stars)  a kick to the face...an imprint of a Deerhoof...
ah, the initial introduction to this band for me. I have now since blatantly shown my addictive affection towards Deerhoof by collecting (almost) the entirety of their studio outputs. However, when I first obtained this, I was thrown in a bizarre world of childish twinkle and devastating clamor. A group with a penchant for lurching grooves that sort of spattered, but flowed, and an odd interest in the melodic match up of vocalist's Satomi, a high squeak, to that of single note guitar lines and keyboards. There is another element to that spare match up. The choice of notes and the space between the strum of chords and the splattering rhythms causes this very unique syncopation that reminds me very much of a classical-like compositional structuring. Yet, somewhere in there floats a no-wave sonic flavoring that just mauls at the face with audible shattering and a jazz approach underneath somewhere (I can't pin it directly, though that's deerhoof). A band with so many flavors, you're wondering if your taste buds are indecisive. From sounds that could come out of bands like Unwound and Polvo, to arrangements akin to sophisticated musical scholars, and a pinch of knitting factory noise (that good ole' downtown new york)-we're talkin' DNA sound scraping. Deerhoof merges a pool of styles and moods for some of the most successful and passionate music I've heard. A very recommended sophomore effort that allows exploration of their career to only progress from here (as it has).
Submitted by eer_kandy (Madison, WI, USA)
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Purchase Holdy Paws CD To buy, Click on price to add to cart | Rod Stewart Gasoline Alley CD (1970) Remastered
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Although songs like the Stewart-penned "Lady Day" and "Jo's Lament" show off the bawdy Scot's more introspective ...
| | Deerhoof Reveille CD (2002)
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San Francisco's strident Deerhoof is a much-loved deconstructionist ...
| | Deerhoof Apple O' CD (2003)
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Crashing in at just over half an hour long, Apple O' brims over with as many vivid bursts of musical and lyrical inspiration as Deerhoof's other albums, but offers a little more conceptual structure for the band's outbursts and childlike melodies. As the title implies, Apple O' (my eye) revolves around the band's musings on love, sex, and creation, and in its own way, their freewheeling, spontaneous style captures the feeling of being head over heels perfectly. Songs like "Dummy Discards a Heart" -- which loosely likens being in love to playing cards -- and "Flower" make such a joyful noise that it's difficult not to be swept ...
| | Television Marquee Moon CD (1977) Remastered; Digipak
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New York's 1970s punk was markedly different to that of Britain. Rather than reject the past, American groups deconstructed its forms and rebuilt them with recourse to the music's strengths. Television's leader, Tom Verlaine, professed admiration for Moby Grape and the folk rock of early Fairport Convention. Elements of the latter appear on this album's title track, which offers a thrilling instrumental break, built upon a modal scale. Verlaine's shimmering guitar style provides the set's focus, but his angular compositions are always enthralling. A sense of brooding mystery envelops the proceedings, and Marquee Moon retains its standing as one of the era's pivotal releases.
Rhino's ...
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This Montreal ensemble's fiery debut is marked by surging guitars, soulful strings, driving ...
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| | Power Station CD (1985) With DVD; Bonus Tracks
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| | Jimmy Webb Land's End CD (1974)
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While it is safe to say that very few people have heard Land's End, it is also a safe bet that some have heard a track or two. Most notable is "Crying in My Sleep," on which Art Garfunkel does such a fine job. Some folks might also remember "Alyce Blue Gown," but all in all, the rest of the music here hasn't found a wide fan base. Webb has quite a number of famous friends along to ...
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| | Sebadoh III CDs (1991)
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First released in 1991, Sebadoh's III has often been described as the ultimate college rock album. Composed of hit-or-miss musical experiments like "Black Haired Gurl" and lo-fi indie rock like "The Freed Pig," with occasional combinations of both, like their oddball cover of Johnny Mathis's hit "Wonderful, Wonderful," it's perhaps the band's most enduring achievement. This remastered reissue also includes early-'90s demos and rarities, as well as their seminal "Gimme Indie Rock" EP.
Along with Pavement's Slanted & Enchanted, Sebadoh III is one of the cornerstones of '90s indie rock, establishing the dubious lo-fi style as a credible subgenre. Though the recording techniques give the album a distinctive, hazy atmosphere, the music itself is fascinating. Divided between contributions from Lou Barlow, Eric Gaffney, and Jason Loewenstein, Sebadoh III doesn't necessarily offer a coherent listen. Instead, it's a variety of unexpected detours, with each track offering something different from what preceded. Barlow immediately distinguishes himself with his folky acoustic musings, which not only have sensitivity to spare, but also strong melodies. Gaffney, on the other hand, consigns himself to the role of hardcore noise rocker, often with varying results. Loewenstein falls between the two extremes, acting as a bridge between the two songwriters. With such a variety of styles and sounds, ...
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