Recently I've really been getting into Deerhunter, and, in my opinion, this is easily their best release yet. Deerhunter's first official release, Cryptograms, isn't exactly one of my favorite albums. Cryptograms is good, but I feel that there's a lot of forgettable melodies. Microcastle, on the other hand, I can truly appreciate. The album is far from being perfect, but it's an obvious step-up from Cryptograms. Deerhunter jam-packed Microcastle with infectious poppy sounds, while still retaining the experimental sound that could be heard throughout Cryptograms, making the album enjoyable for both fans who loved Cryptograms and those who didn't. I encourage you to buy this album, since Deerhunter is one of those few bands out there that truly deserves to be supported.
Just like Cryptograms, the album starts out with an introduction track. The aptly named "Intro" starts out with an eerie, stuttering humming that reaches a high pitch before drifting away into a pleasant drone. Meanwhile, you can hear a slow-paced series of drum beats. Suddenly, the drums become more intense and the the comforting vocals of lead singer, Bradford Cox, start to falter more as they grow louder, reaching the song's climax. Eventually the song starts to fade away, leaving only a throbbing electronic sound, which will guide you into the next song. Quite good for an "introduction song."
I give it a 7/10.
Right from the start, Lockett Pundt's warm and inviting voice sweetly chants "Come for me, you come for me, come for me, comfort me... come for me, cover me." I suppose those lyrics are quite fitting considering the song's title is "Agoraphobia." About halfway through the song, the vocals vanish and are replaced by the drums and guitars, all of which were being played softly throughout the song. A synth also makes it's appearance after the vocals died out. The flowing harmony of all the instruments together slowly drift aimlessly for the last minute and a half of the song, before finally making their departure.
It definitely deserves an 8/10.
As the fuzzy instrumental harmonies of "Agoraphobia" finally fade out, "Never Stops" makes its arrival. Right from the beginning, Cox's soft voice catches your attention as he mutters "I had dreams... that frightened me awake."A couple seconds later Cox belts out a soothing lullaby, reminiscent of one drifting off into a heavenly state as their body begins to expire. Subtly, the instruments pick up speed, their din getting even more boisterous with each passing second. Conclusively, the melody ends abruptly, ending with a sputtering apocalyptic groan.
7/10
"Little Kids" always seems to evoke a nostalgic feeling from deep inside me. Not only does it remind me of me of my childhood, but in early autumn of this year I witnessed something special while I was listening to this tune. While I was taking a run through a park, I passed a slightly meager playground. On one of the swing sets was a middle aged man, swinging back and forth in a wistful trance. He wasn't even with a child; He was just swinging peacefully for his own enjoyment. Something about that scene was very admirable. Perhaps it's time to return to the review of the song itself. When you compare this song to the rest of the album, you could easily say that it's the "poppiest" on the entire record; However, it's quite morbid in the lyrical aspect. This song tells of a group of youngsters who resent an older man to such an extent that they decide to burn him alive. Two minutes into the song the lyrics' story has reached its finale and Cox begins to chant "To get older still." His vocals get more and more oppressed has the refrain is overwhelmed by an immense shoegazy denouement.
10/10 for sure.
"Microcastle," the self-titled track, is classic Deerhunter. Like many Deerhunter songs it starts out with Cox's classy vocals eloquently weaving a simple, yet consequential, parable. Bradford divulges that he isn't able to absorb the myriads of experiences he goes through. For a good portion of the song his voice almost sounds "Motown-esque." Wrapping the words with soul, Bradford really brings the tune to life. Just when the listener starts to think the song is reaching it's demise, Moses' thrashy, yet articulate, drums come out of nowhere, stunning you. Swiftly, a wall of glorious synth-y noise starts to tear up the rest of the melody, leaving it in tatters. Now, this is the point where you think this couldn't get any better. Then it does. Forcibly, the wavering vocals from the introduction track cram their way in between the rest of this chaotic climax.
9/10
Tracks six through eight are pleasant interlude tracks that effortlessly guide you to the tenth song, which is arguably the best on the album.
Firstly comes "Calvary Scars," a gentle melody that successfully combines feelings of hope and desperation. Lyrically, it contains obvious allusions to Jesus on the cross. Halycon sounds of guitar strings being plucked and harsh scraping noises accompany Cox's voice. In it's entirety it's a relatively solid song; However, on "Microcastle's" sister record "Weird Era Cont." there's a 12 minute version of this song which is clearly superior.
7/10
Next is "Green Jacket," which, in my opinion, is rather sinister at times. Although they're sometimes overlooked, the warbled sounds of the guitar really make the track what it is. To be honest, Cox's vocals are a bit weak on this song. Frankly, it's all about the instrumentals. Throughout the track an ominous piano interval is repeated over and over. Ensuingly, Fauver presses a few chords and then the original piano melody returns. On the other hand, the piano is escorted by an eerie whispering noise. Chances are I would jump out of my skin if I listened to this at midnight.
7/10
When it comes to depressing lyrics, "Activa" surely takes the prize; For the brief amount of time the song lingers around for, Cox confides about how he believes he's "Wasted his life." Besides Cox's desponded lyrics, the instrumentals are pretty spectral. The jumbled echoes of a guitar being finger-picked meld together with some sort of glitchy hysteria pre-recorded by Cox. Both "Activa" and "Green Jacket" remind me of being in a subway station late at night, hearing the illusory whispers of the dead as they endlessly wander across the earth. The only other song I can recall that reminds me of such a scene is "Grey Stripe" by Aphex Twin.
8/10
About two minutes into "Nothing Ever Happened" is the point where you realize that this may be one of the best songs you've heard in years. Commencing with a couple seconds of Moses slapping the drums, it takes no time in getting going. All of a sudden a deep, gruff bass riff starts being played as Cox whips out his quick-paced lyrics. Before you know it, the song has evolved once again, as Cox begins to chant about how he waited, yet nothing came. Just as you are starting to truly appreciate the song it gets even better. The next three minutes of the song are completely taken over by a synthy jam, all of the members of Deerhunter just going nuts on their instrument. I would like to keep going, but I can't... this song is indescribable; You need to hear it for yourself to understand what I'm talking about. Listen to this one. Now.
10/10
To be candid, I have no idea what "Saved by Old Times" is about; Most of it seems to be just cryptic nonse. During the beginning of the song, Cox croons about "the land of OAO" while a soft instrumental harmony backs him up. Unexpectedly, you begin to hear a poorly recorded message of what sounds like some cheesy horror film.
"We are a romanian sound collage searching for the ghost of past sinners but this futile coffin will not let us gain entry into the immortal soul of the redneck!! you are trapped in your basement for a war of 16 years to combat prevention and in combat with yourself we are in combat with these cultural vampires we were trapped in the basement we were trapped in the basement of the teenage halfway hell!!"
Further research reveals that this was a from an iChat session between Bradford and Cole Alexander of the Black Lips. Once the iChat part is finished, Cox continually chants "We were saved by old times," until the song finally decides to settle down.
7/10
Of the two tracks on the record sung by Pundt, "Neither of Us, Uncertainly" -or as some may know it, "These Hands"- is, simply put, my favorite. Starting out with an upbeat tempo and a ghoulish moan, you can already tell the song is going to be interesting, to say the least. Within a few seconds, Pundt's airy vocals enter the scene, his voice croaking earnestly. Shortly after, a descending guitar riff slowly begins to build volume until suddenly all the noise drops, leaving you with a grumbling drone that rapidly shifts into a creepy, swirly collection of keys being pressed on a keyboard. Finally, the drone, which has now transformed into a high pitched siren, gives it's last bay and silently departs.
9/10
Wow... the last track on the album, "Twilight At Carbon Lake," really took me by surprise. First of all, I've got to mention something about the name; It's fantastic. Whenever I listen to this song -hell, whenever I even read the title of this song- I'm stunned by it's greatness. To me, the name alone produces vivid imagery of an entire pond filled to the brim with tonic water, bubbles occasionally forming on the surface and floating off shortly after. And, of course, the scene in my head is always at twilight. It's such a truly picturesque title. Now for the main part of the review: the music. If one listens to the lyrics alone, they'll probably be pretty bummed by the time the song is nearing it's end (but then again, most Deerhunter songs are known for being pretty sad). The guitar riff always reminds me of the song "Just You and I" from the old drama series, "Twin Peaks." Oh yeah, and I'm pretty sure that "Just You and I" is a homage to the even older song, "Sleepwalkin'" by Santo & Johnny. Don't believe me? Look up any of those two songs on Youtube and compare them to "Twilight At Carbon Lake." There's definitely an uncanny similarity between them, which leads me to believe this song may be a tribute of sorts. The song meanders for a little bit, catches you in a trance, and then startles you out of your mental slumber. The last minute of the song is a completely unpredictable cacophony, a complete wall of sound. Absolutely amazing. I was blown away by the end.
Also, if you'd like to know the true meaning of this song, read below. Bradford posted it on his blog a couple years back along with a demo version of this song.
This is an demo I made for a song from the forthcoming deerhunter LP microcastle. It will probably end up taking quite different form once the other band members work on it with me. i wanted to create a song that had the melodramatic sadness of old everly brothers or righteous brothers songs but have the dissonance and catharsis of early velvet underground. I want the video to be a little boy playing a videogame based on zelda in which he completes the actions described in the song. then his dad busts into the room from off frame and grabs him by the hair and drags him into another room and beats him. this is based on a real story. its not some kind of sick thing i'm joking about. i wanted this song to be about the sadness of childhood.
I have no choice but to end this song's review with the same word that I started it with. Wow.
10/10
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