Breakup Song

September 4, 2012 | Format: MP3

$9.49
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3:18
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2:32
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2:51
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3:14
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3:16

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Product Details

  • Original Release Date: September 4, 2012
  • Release Date: September 4, 2012
  • Label: Polyvinyl Records
  • Copyright: 2012 Polyvinyl Record Co.
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 29:53
  • Genres:
  • ASIN: B008ZTXDAM
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #39,011 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

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See all 12 customer reviews
I think the sound on this album is a breath of fresh air.
Dcool7
If you want check-out samples, "Mothball the Fleet" and "Mario's Flaming Whiskers III" will give you a good idea of what to expect from the rest of the album.
erasmus777
These songs flow together and the drumming, haunting (for me) vocals, and everything else will blow your mind!
Riley

Most Helpful Customer Reviews

8 of 8 people found the following review helpful By T. A. Daniel TOP 1000 REVIEWER on September 4, 2012
Format: Audio CD
I love this record. When I first learned the title of the album (BREAKUP SONG), I was expecting an album flush with emotional themes and heartbreak. Within the first few seconds of the album, I realized that this wasn't the kind of "breakup" that Deerhoof was probably alluding to -- BREAKUP SONG is 11 songs, all of which feel like they have been chopped and Frankenstein'ed into being. Similar to Michachu & the Shapes, Deerhoof has created sugary sweet pop in a most unconventional way.

Deerhoof's willingness to throw conventionality out the window is immediate and effective: from the get go, it's apparent that the instrumentation and song arrangement here aren't what most people will be expecting. The leading track "Breakup Songs" begins with distortion, feedback, and jarring transitions. Matsuzaki's vocals on this track (and several others) feels like a distracted cheerleader at times, but it completely fits the tone and style of the album. Following track, "There's That Grin" uses a groove that is so irresistible and infectious, I can't help but bob my head to it every time I hear it. Instrumentally, everything is allowed: the normal guitar/bass/drums, the stranger electronic dabblings, the noise-oriented feedback and clips, the exotic marimbas, horns, and xylophones. "The Trouble with Candyhands" experiments with some cabana-esque flares. "We Do Parties" is a more, well, party-oriented track feels instinctual and off-the-cuff, but never sloppy.
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3 of 3 people found the following review helpful By erasmus777 on September 12, 2012
Format: MP3 Music Verified Purchase
This is by far Deerhoof's most accessible album to date. I wasn't really sure where they were going when they started getting more electronic, but this album totally brings it together, blending electronic dance punk with their proggy, Yes-inspired guitars. Every song is great. If you want check-out samples, "Mothball the Fleet" and "Mario's Flaming Whiskers III" will give you a good idea of what to expect from the rest of the album.
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2 of 2 people found the following review helpful By Riley on December 7, 2012
Format: Audio CD
When I first listened to this album I was surprised by the electronic drums, horns, and overall mix of the record. When looking back on their last couple albums, though, it makes sense. Their last effort, Deerhoof vs evil (a favorite of mine) was their first time venturing into lots of overdubs and different effects on every instrument. I believe this album is a success. The electronic drums often sound simpler but Greg still brings that technical complexity. My favorite songs on the album have to be "Mothball" and "Flower". These songs flow together and the drumming, haunting (for me) vocals, and everything else will blow your mind! Will Deerhoof ever be taken seriously as one of the most long running, talented groups in the country? I sure as s*** hope so. I saw them live this year in Seattle and they played the majority of this album, all I can say is that they are a must-see live act. Always happy to hear new work from you all and please keep it coming!
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Format: Audio CD
This is some of the strangest yet from these avant pop provocateurs. I can't say that it's their most accessible in that it changes on a dime, one minute your tapping your foot on the downbeat and then your tapping your foot on the upbeat all the while the ADD electronica on cartoon LSDelica keeps blipping along in a plush toy metal parade of brightly colored bouncing camels. At least Satomi's voice is somewhat grounded, er, somewhat. She's the ray of sunshine in this crazy mix. The music is abrasive one minute, humorous almost to the point of hysteria the next and then it gets weird. There's A LOT going on in this wacky package of a record and it begs you for repeated listenings. The bees! Not the bees! Oh wait I like honey... being a dancing bear an' all.
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Format: MP3 Music Verified Purchase
I think what amazes me is that after nearly two decades of existence, Deerhoof continues to stay fresh and throw variety into their albums. There are moments that I wish went on longer, and some that I wish were shorter, but overall this Noise Pop / Jazz / Experimental Rock / bleybleybley experience is a good listen. The jazzy interludes can get stale for some, though.
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Format: MP3 Music
Deerhoof
Breakup Song
San Francisco, CA

Since the birth of the Oakland four-piece in `94, Deerhoof has become one of the most prolific, inspirational and experimental domestic indie rock bands. Breakup Song is their tenth full-length and strikes as one of the band's most frantically unpredictable releases. It erupts with jittering guitar strokes, quixotic electronic bursts and renowned Greg Saunier's busy stick-work.

Singer/guitarist Satomi Matsuzaki makes her lyrical frays through the jutting textures and clattering instrumentation with odd polarity. Her voice takes a contrastingly sweet posture, stark considering how Breakup Songs returns most dramatically to their Reveille days. One highlight, buoyant with discerning melody and Matsuzaki's self-harmonization, "Flower" has a sensational breakdown with inescapable prophesy for anyone recently outside a relationship, repeating, "Let it go / Leave it all behind," the song isn't so unstructured and relentlessly busy and, dare it be said, is pretty. "Flower" is cut by an industrial sized wall of guitars/keyboards, "To Fly or Not to Fly," another sensational mushroom cloud that resolves between chugging rhythms and the noisy foreboding instrumental gauntlet.

The album is an incontestable work of creativity and a diamond in the extensive Deerhoof catalogue, a worthy jolt for both new and veteran fans. (Polyvinyl Records)

Engineered, recorded, mixed, mastered and produced at Greg Saunier's house in San Francisco, CA by Deerhoof
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