The word experimental can become rather loaded when referring to music. For every band that manages to create something new and inventive, there would probably be several that contribute very little more that unlistenable noise. Perhaps the problem is more with the term ‘experimental’. After all, it suggests that by experimenting, the band has a hypothesis to be tested or a question to be answered. But what’s the question? Does it even matter? Tonight, indie darlings Deerhoof brought their own noise-pop experiment to Perth for the first time, and while the question may not have been clear, the answer that came was incredibly entertaining.
Being a Sunday night show meant that openers Hooper’s Store were already on stage and playing by the very un-rock time of six-thirty. The crowd that had gathered early however, were rewarded well. Hooper’s Store is made up of three men of very little words, but what they say with their instruments speaks volumes. There’s no rock posturing here. No sign of ego. Simply three very accomplished musicians playing what sounds like an incredible soundtrack to a film that’s dying to be made. Definitely one of the most exciting and dynamic bands playing around Perth currently.
The Bank Holidays are the sort of band you could take home to meet your parents. Four clean-cut, friendly, young people with a penchant for infectious, folky pop songs and pitch perfect harmonies. They’re a hard band not to like, and seeing them open for a band they’re obviously big fans of seemed to make their performance that much more enjoyable. Through their set they made mention of which songs we should expect to hear on their yet-to-be-completed first album As a Film which if tonight’s performance is anything to go by, will be one to look forward to.
After a short break, and with very little fuss or fan-fair, Deerhoof took to the stage, and as if from out of nowhere – or perhaps more accurately, the outside bar – a crowd appeared and in no time, filled the room.
If you were to just look at Deerhoof on stage and take them at face value, what you’d see is all relatively straightforward. Unassuming. *Greg Saunier*’s drum kit is probably the simplest you’d find, comprising of a bass drum, snare, one cymbal and a cowbell. John Dieterich wields a beat-up Ibanez guitar – which looks to be the only one he brought with him – that runs through a maze of various effects pedals. Diminutive singer and bassist Satomi Matsuzaki is almost dwarfed by her own instrument, and stands eye to eye with most of the front row, despite having the added advantage of a good two feet of stage beneath her. The three of them, standing somewhat awkwardly on a far too brightly lit stage, do not look like an internationally acclaimed and critically renowned rock band. They don’t that is, until they start playing.
The sound Deerhoof are able to create on stage has to be heard to be believed. Their almost indescribable sound on record is transformed into an aural assault in the live setting. Saunier’s drumming is intense and relentless, playing like a man possessed – so much so, his snare was destroyed not halfway through their first song. Fortunately a replacement was supplied from one of the support bands. Dieterich shuffles back and forth in his own space on stage, tongue darting from his mouth to his nose occasionally much like a child deep in concentration. His guitar playing switching from tight and staccato, to brash and rawkus in a moment’s notice. And amongst all of this Matsuzaki’s sweet vocals poking through the noise – a complete contrast to the sound created by her bandmates.
For just over an hour they floored the audience. Split second timing and key changes translated perfectly. Songs flowing flawlessly from one to another, with only one or two short breaks to talk to the audience. The set including a mix of tracks from their last two albums, Friend Opportunity and The Runners Four. What was more amazing was that all of this happened with little to no communication between band members. There wasn’t even a setlist to be seen. It all came in a seemingly effortless fashion, as if the band were somehow linked telepathically.
And as quickly as it had started, it was over – the band thanked the audience, walked off stage and the house music came up. But the audience weren’t prepared to leave it at that. It didn’t take long for the band to return to the stage and kick on with Kidz Are So Small, Matsuzaki leaving her bass for a moment to take time out to throw some high fives and thumbs-up to the front row.
When an experiment creates a result as entertaining as was witnessed tonight, it’s hard to really care about what the initial question was. And perhaps that’s the point – to not think long and hard about it, just to enjoy it.
