Deerhoof – ‘Miracle-Level’ album review
Since forming in 1997, Deerhoof have not stopped releasing music, with Miracle-Level marking their eighteenth effort. The American rockers have always teetered on the edges of different genres, failing to submit themselves to a specific label. By blending avant-garde, experimental sounds and techniques with noise rock, krautrock, indie rock, pop and many other musical stylings, Deerhoof have carved themselves out as one of modern music’s most singular and uncompromising acts.
Although the band famously self-produces their records, they decided to jump into the unknown for Miracle-Level, allowing producer Mike Bridavsky to join in on their creative process. For the first time, Deerhoof recorded an entire album in a studio, and the result is one of their most honest and vulnerable records yet. Notably, this is the band’s first record sung in lead singer Satomi Matsuzaki’s native Japanese. Realising that none of the music inspiring the album’s direction was in English, she followed suit, referring to English as “the world’s policeman.”
Miracle-Level opens with ‘Sit Down, Let Me Tell You a Story’, which utilises jolting guitars which morph into sudden screeches. The unpredictability of the track makes for a captivating listen, teasing a strong yet incalculable start to the album. The following track, ‘My Lovely Cat!’ follows with a similarly unforeseeable structure, weaving between melodic verses, unrelenting guitar breakdowns, and static riffs. The powerhouse piece is succeeded by ‘The Poignant Melody’, which takes a slower pace, evoking krautrock rhythms through its stop-and-start repetition.
However, on ‘Everybody, Marvel’, a nostalgia-tinged opening riff makes way for a pretty steady rhythm that feels slightly underdeveloped. The following instrumental track, ‘Jet Black Double Shield’, is much better, building up to an intense throttle of guitars and pounding drums. Yet Deerhoof ensures we don’t get too comfortable, segueing into a piano-led ballad in the form of ‘Miracle-Level’, allowing Matsuzaki’s voice to shine. The piece provides a moment of respite from the album’s heavier moments, which come straight back into focus with ‘And The Moon Laughs’. Raw and weighty guitars thrash around with a classic noise-rock sensibility, often melding with the melody of Matsuzaki’s voice.
‘The Little Maker’ is a smoother, almost seductive cut, and ‘Phase Out All Remaining Non-Miracles by 2028’ mixes the album’s soft and loud dichotomies. It features a funky and unforgettable riff that drives the relatively sparse verses before the chorus intensifies in a frenzy of guitars. ‘Momentary Art of Soul!’ is another standout moment, with the band’s instruments taking on a whole world of their own as guitars swirl with impressive stamina and cymbals crash.
On every track, when Matsuzaki isn’t singing, the guitars take on a potent voice of their own, expressing enough character to act as a second vocalist. However, the band finish the album with the piano-led ‘Wedding, March, Flower’, which contains minimal guitars, proving that they don’t need to rely on their staple instrument to make a great song.
Miracle-Level is an impressive collection of tracks from a band who haven’t slowed down over the past 26 years. They could easily fall into safe territory, working from a familiar template. Instead, Deerhoof switched things up, working with a new producer in a new studio and singing in a different language. Although a few songs are distinctively more memorable and fascinating than others, overall, Miracle-Level is an enjoyable and unpredictable record that proves Deerhoof’s unwavering creativity.
Never Miss A Beat
The Far Out New Music Newsletter
All the latest New Music from the independent voice of culture.
Straight to your inbox.