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Breakup Song

4.4 out of 5 stars 12 customer reviews

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Editorial Reviews

This is the 2012 full-length from Deerhoof. It's a sensational record of Cuban-flavored party-noise-energy music.
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Product Details

  • Audio CD (September 4, 2012)
  • Number of Discs: 1
  • Label: Polyvinyl Records
  • ASIN: B008MA7WSI
  • Average Customer Review: 4.4 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Best Sellers Rank: #187,882 in Music (See Top 100 in Music)

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Customer Reviews

Top Customer Reviews

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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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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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: MP3 Music Verified Purchase
For the initiated, don't hesitate to add this one to your Deerhoof collection. It proceeds along the same path as previous albums: angular but infectious melodies nested in distorted arrangements and shifting time signatures. For the uninitiated, give 'Hoof a chance. Here is the progression you will go through. First Listen: "That chick's voice is annoying." Second Listen: "The drumming is pretty insane." Third Listen: "I actually like this song." Fourth Listen: "Satomi's voice is actually kind of cool." Fifth Listen: "I like all these songs!" Sixth Listen: "'Hoof rules!"
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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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