dijous, 16 de maig de 2013

DEERHUNTER. Monomania






Segons la definició del diccionari, monomania és una follia exclusiva per una idea o per un sol ordre d'idees. Cada disc dels Deerhunter m'ha suposat una mania que ha durat temporades llargues. en aquest cas ja dura un temps més que acceptable. A mesura que el vaig escoltant més vegades hi vaig trobant nous detalls, no és un disc que entri a la primera, llevat d'algunes composicions més assequibles. Cada peça de Monomania està farcida d'inquietuds, de temors i preocupacions, sentiments que envaeixen normalment les composicions de Cox i Pundt. En aquest treball hi ha quelcom d'inquietant en l'atmosfera que l'envolta i que el fa diferent de treballs anteriors.



“Leather Jacket II” en tot el seu desenvolupament transpira punk pels quatre costats i ens recorda, encara que sigui de lluny, els primers Stooges. “Pensacola” la podríem enquadrar també en el mateix estil, una peça sense massa ornamentació, directe a l'enteniment.


Els moments més accesibles “Sleepwalking”, “Back to the Middle” o “The Missing”, ens porten al treball anterior, "Desire lines",

A “Neon Junkyard” podem escoltar: “Everything is the same as it was but now there’s nothing left to change”; tots una declaració d'intencions de Cox i la seva banda. “T.H.M” és impressionant: “Ever since I was born I have felt so forlorn I always knew this day would come, hey you lose and you win some”.

La cançó que dóna nom al disc és un vertader merder de renous, renous de follia, renous de maniàtic que et sacsegen i només hi pots trobar força i desordre. Un vertader caos encisador.

El disc es tanca amb “Punk (La Vie Antérieure)”, una cançó perfecta per arrodonir un treball que encara ha superat obres anteriors i que et fan meditar sobre on es poden trobar els límits d'una gran banda.




The press release for Deerhunter’s Monomania included the cryptic line describing the record as “avant garde(?) but only in context not form.” It’s a confounding statement meant to confuse and add spectacle, though neither are necessary. Such is the way of Bradford Cox,Deerhunter‘s enigmatic frontman who has grown into his own as both rock star and entertainer. His artsy tendencies have been traded in for his love for American music, making Monomania a mix of not only Deerhunter’s artsy and pop sensibilities, but also an intriguing combination of recent musical tropes. The result is arguably Deerhunter’s best album and one of the highlights of the year.
Cox’s sudden, and very vocal, appreciation for American music has positioned Deerhunter as the apparent heir to the indie throne previously occupied by bands such as Sonic Youth andR.E.M. Even R.E.M.’s own Michael Stipe has taken to mentoring Cox, helping the young singer get through his newfound fame just as he did with Thom Yorke and Kurt Cobain. This in turn has had the affect of smoothing out Deerhunter’s sound, allowing for Cox to become more introspective, while the group’s instrumentation has tightened up considerably.
Monomania begins loose and off-kilter, with random noises and that old avant-garde sensibility on the opening track “New Junkyard.” It’s a nod and a wink to the band’s earlier albums, notably the noise of their debut Turn it Up Faggot. But, then the band begins to tighten and, if you listen closely, you can hear it happen throughout the first song’s run-time. By the time the tune ends, the noise is gone, giving way to a clearer sound that could signify Cox’s new-found peace of mind.
Through its 43 minutes, Monomania reveals some incredible songwriting chops. “The Missing” jumps out almost immediately, its swirling chorus bringing to a dreamlike state to the proceedings. The tune is sung by Lockett Pundt and was a highlight on his side project, Lotus Plaza’s, last tour. Then there’s “Pensacoloa,” an awesome rave-up that twangs and swings like a fried country classic. Bits of Cox’s other band, Atlas Sound, have crept into Deerhunter’srepertoire, giving the band a diverse repertoire that has them going from country to noise then back to rock within a few songs.
The middle section of the album is something to admire. “Dream Captain,” “Blue Agent,” and “T.H.M.” show a band at its peak, showing off it muscle and diversity, while breaking down the corners it may have painted itself in on previous records. Cox boldly plays with themes of sexuality and gender, making for an interesting contrast with his mentor Stipe, who was far more coy and abstract about sexuality during his band’s prime. The album’s title track, “Monomania,” brings those issues to a head in one spellbinding song that sees the band turn in a squealing mess as Cox repeats the words “monomania” repeatedly.
On the surface, Monomania is both accessible and avant garde. But, underneath these two extremes is a band that has found its groove, taking their influence and creating sound that is truly their own.  Monomania is an album that grabs you on first listen and will only deepen with every subsequent spin.