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FOREWORD: Deeerhoof has managed to spread out its semi-avant experiments over several prodigious albums. Though co-guitarist Chris Cohen left to concentrate on his own band, The Curtains, whose ‘07 release, Calamity, collected an eclectic array of proggish psych abstractions, Deerhoof survived as a threesome. ’05s Runners Four and ’07s Friend Opportunity proved to be just as pertinently irresistible as the bands’ predeccesors. I spoke to Cohen in ‘04 to promote Milk Man. This article originally appeared in Aquarian Weekly.
Unafraid to challenge melodic preconceptions, extraordinary San…
Enjoyable frothy session beer allows candi-sugared yellow-fruited nature to inundate mild piney hop bittering to biscuit-y cornbread bottom. White grapefruit, yellow grape, and green lime complement tart lemon-seeded overture. Lively citric finish scatters floral, black pepper, and fresh-cut grass nuances below crystalline pilsner malting.
Trailblazing ‘70s punk combo, the Slits, paid the cost to be the most revolutionary female band in a male-dominated subculture. Having the innate ability to dress up artless guitar debris with minimalist dub-reggae rhythms, the innovative lasses were initially violently attacked and verbally assaulted because their rudimentary approach leaned towards Jamaican rude boy juvenility, seemingly at odds with the snotty nihilist rebellion the Sex Pistols’ ilk possessed.
Undoubtedly, the Slits also upset moshing neo-Nazi Oi! boys hooked on violently chanted…
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