bedroom

Deerhoof's New Collaborative 7” with Jeff Tweedy

Jeff Tweedy fronting Deerhoof? You might be surprised just how natural the voice of Wilco sounds amidst the eccentric, swirling chaos of the Deerhoofian musical universe.

The Wilco-Deerhoof connection goes back a long way. They toured the midwest together in 2004. Wilco guitarist Nels Cline's "Suspended Head" from Instrumentals (2002) was the guitarist's raucous tribute to Deerhoof. Frontman Jeff Tweedy has been name-checking Deerhoof records in best-of lists for years. And when Deerhoof recently pointed to Wilco as the inspiration for their song "Behold A Marvel In The Darkness,” the idea was hatched that Mr. Tweedy should actually have a go.

Which brings us to "Behold A Raccoon In The Darkness," the fourth installment of Deerhoof’s collaborative 7” series in which guest vocalists perform over an instrumental track from the band’s latest full-length, Deerhoof vs. Evil.

The instrumental track, the melody, and the lyrics for "Behold" are unchanged from the original. But in place of Deerhoof chanteuse Satomi Matsuzaki, we hear the immediately identifiable pipes of Jeff Tweedy, with harmonies by his son Spencer.

Side B features "Own It," an original song by The Raccoonists, a group comprised of Tweedy and his two sons, Spencer and Sam. Although the band originally began as an instrumental duo (consisting of Jeff and Spencer), it has since evolved into a trio with Sam providing vocals. Recorded in Spencer and Sam's bedroom, "Own It" is the first Raccoonists song to be released. However, the group does have plans to record more tracks later this year.

You can listen to the 7” and watch the video for “Own It” now.

"Behold a Raccoon in the Darkness" comes out October 11 on Polyvinyl Records. It is limited to 2000 copies on clear pink vinyl and it is available for pre-order now.

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TOUR DATES

aug 07 - Katowice, Poland - OFF Festival (Scena Lesna stage)

sep 15 - San Francisco, CA - Atrium at SFMOMA (Adam Pendleton & Deerhoof present BAND)

sep 20 - Brooklyn, NY - Music Hall of Williamsburg (White Suns, Mick Barr)

sep 21 - Philadelphia, PA - World Cafe Live (Joshua Stamper)

sep 22 - Charlottesville, VA - Jefferson Theater (Gull, Invisible Hand)

sep 23 - Cincinnati, OH - Know Theatre (Midpoint Music Festival)

sep 24 - Champaign, IL - Polyvinyl's 15th Anniversary Party at Pygmalion (Braid, Xiu Xiu, and many more)

sep 25 - Chicago, IL - Bottom Lounge (Trin Tran, The Cloak Ox)

sep 26 - St. Louis, MO - Luminary Center for the Arts (Sleepy Kitty)

sep 28 - Ithaca, NY - The Haunt (Keir Neurings, Powerdove)

sep 29 - Cambridge, MA - Middle East (The Toughcats, Fat Worm of Error)

oct 01 - Washington, DC - 9:30 Club (Benjy Ferree)

oct 02 - Asbury Park, NJ - ATP - Asbury Park Convention Hall & Paramount Theatre (w/ Portishead, Mogwai, Battles, Earth, and more)

Grandchildren Play DENVER At Larimer Lounge On 10.18

In Grandchildren, every memory is a montage of sound. The beat-driven, orchestral-pop epics play like an audio scrapbook of memories from songwriter Aleks Martray's life.

Martray, the son of a high-ranking military officer, and Grandchildren's creator, was born on a US army base in Germany and raised on both sides of the Atlantic.  “I was restless from a really young age,” he explains, “Growing up in flux between different places I gravitated towards more intangible things like stories, melodies, movies, and dreams, and so early on music became a way of making a home for myself.”

Grandchildren’s debut album, Everlasting, feels like a culmination of all that restlessness. A sonic collage of the sentimental and the confrontational- the album is a safe haven for multiple realities- fusing tribal beats, frayed electronics, fireside folk melodies, richly-woven orchestral-pop flourishes and even field recordings from Martray’s journeys across Central America, the Caribbean and Africa.

“The project began during my nomadic mid-20’s. I was split between Baltimore, Philadelphia, NY, DC, and travels abroad. I think the music is a reflection of a young person processing their own coming of age through constant self inflicted culture shock. The textures of the final album span time and space,” he says. “And yet, it comes across as one seamless reality. You can feel the influences but you can’t put your finger on them.”

During this time Martray’s closest thing to home was a small 3rd floor bedroom in a dilapidated Victorian house in west Philadelphia known as Danger Danger. At the height of its illegal phase, this notorious underground venue hosted everything from IDM-infused metal (Genghis Tron) to frantic free-jazz (Marshall Allen of the Sun Ra Arkestra). These eclectic sounds billowed up towards Martray’s make-shift bedroom recording studio, taking what began as a solo experimentation in dizzying new directions.

“The songs evolved through the recording process,” explains Martray, “they were so layered that when I went to play them live, so much had to be sampled. That’s when I realized this wasn’t a solo project. It’s music for a small orchestra.”

With that in mind, Martray brought his fellow housemates—a motley crew of instrument-swapping misfits—into the fold one by one. This included drummer Roman Salcic, a Croatian transplant reared on American rock music; jack of all trades Tristan Palazzolo; math-thrash guitarist Adam Katz; bassist/percussionist Russell Brodie; and classical-pianist-turned-synth-slinger John Vogel. Over the course of one daunting year, the group developed Grandchildren’s 10-song album into a live set that’s as seamless and widescreen as the recordings.

“It looks spontaneous to people,” explains Katz, “but everything’s carefully choreographed on our end.”

A lot of that stems from a two-month North American tour in 2008, one that was plagued by chicken pox, blizzards, border patrols, and van break-ins. This not only brought them closer together; it gave Grandchildren the chance to perfect the ebb and flow of their live set.

“And now that everything’s down to a science,” says Martray, “it becomes a form of art in and of itself. As full and layered as the album is, it rests on the backbone of those early bedroom recordings. Kind of like with a car, where you keep replacing parts until the whole thing is new. By the end you can’t even remember what came from where. The process hides within the sound.”  He pauses and adds, “We want people to feel the music first, and ask questions later.”

US Dates:

09/20 – First Unitarian Church – Philadelphia, PA (w/ No Age)

09/26 - The Roebling Inn - New York, NY

10/08 – Johnny Brenda’s – Philadelphia, PA (w/ Special Guests)

10/18 – Larimer Lounge – Denver, CO (w/ Seabear)

10/19 – Kilby Court – Salt Lake City, UT (w/ Seabear)

10/20 – Neurolux – Boise, ID – (w/ Seabear)

10/23 – Mississippi Studios – Portland, OR (w/ Seabear)

10/25 – Independent – San Franciso, CA (w/ Seabear)

10/26 – Troubadour – West Hollywood, CA (w/ Seabear)
10/27 – Casbah – San Diego, CA (w/ Seabear)