Deerhunter continue to dazzle and surprise on a thrilling new album. They aren't going anywhere just yet, even when society breaks down into a deserted, ridden wasteland like they say it will.
Bradford Cox is always deep in thought and is full of interesting beliefs. He tends to go off in these long tangents when being interviewed, describing what it means to be an artist and of course, the closely dwindling and spiraling end to society as we know it. He fronts the Atlanta-based band known as Deerhunter, a tightly-knit group who always seems to morph and change with each new record. The band has arguably the most consistent discography in the past couple of decades, spanning not just career high records like Halcyon Digest, but providing an excellent array of albums that surely stand out from the crowd, from the lo-fi garage rock of Monomania to the gorgeously slick indie rock of Fading Frontier. Deerhunter aren't interested in trends or what current artists are making in music. They do exactly what they want and I cannot be happier for them. I would actually say that they are the most understated guitar bands over the past couple of decades. On the band's eighth LP, Cox seems to be finished with writing about himself and decides to write about what he observes, specifically the societal devastation that we are currently living in. Why Hasn't Everything Already Disappeared? details a fictional tale of the brutal ending to society with some of the band's most accessible songs to date, along with plenty of exciting surprises.
To start, the band's sound on this record mixes old sounds with new ones, like the harpsichord and dry guitar chords mixed with the new, like bright experimental synth pop. The music is like a trek through a deserted wasteland and is fitting that it was recorded in Marfa, Texas. Co-produced by indie star Cate Le Bon, collaboration is highlighted throughout the record, giving a greater sense of togetherness as if the band is performing as one cohesive system. The songs are well defined and crafted. "Death In Midsummer" has Cox singing about the deaths of factory workers currently being spent in graves, with plucking harpsichord and a driving, almost declaration of a chorus. "No One's Sleeping" is excellent, with its bright sax and arena-like piano melodies at its ending. Its ending sounds like the band at their most refined and I can picture them playing this song at future shows to come. "Greenpoint Gothic" is a groovy song full of exploration and is a surprise that it's entirely instrumental. "Element" has these fantastically organic guitars and strings that swirl in and out of the song with Cox reciting the force of living inside and avoiding the poisonous orange atmosphere.
"What Happens to People?" is one of the band's most beautiful songs in their career with skipping pianos and twinkling guitars. Repeatedly questioning about the human afterlife, Cox sings over these lush synths that I cannot get enough of. It's one of the best and most memorable moments in their career. "Détournement" is the most surprising and interesting change of pace. The song slowly stretches across with its winding synths and the vocals are so pitched down that its a bit creepy. It's more of spoken word instead of the usual singing, critiquing both art and traveling, specifically depicting several countries and cities across the globe. At first, I was a little turned off by it but grew on me with repeated listens. "Futurism" has the catchiest and most satisfying grooves on the record, with bright, perky guitars and drums, along with a lovely delivery from Cox. "Tarnug" is another surprise with guitarist Lockett Pundt on lead vocals, singing with Le Bon's falsetto over this pleasantly haunting instrumental. The song has these fantastic melodies, a repeating xylophone with some sinister horns and strings. "Plains" is the most upbeat and fun song on the record, with the band performing glistening synth pop at its finest and Cox clearly defining his observance of the outside world at night. It's soon to be a fan favorite on their upcoming shows. The album concludes with "Nocturne," a rickety ballad that has Cox's vocals cutting in and out of the song. The first half is slow and dizzying until it shifts to a cinematic instrumental passage with its glorious synths and pianos paying until it fades.
Where does Why Hasn't Everything Already Disappeared? stand with the rest of the band's albums? It certainly stands up quite on its own even when compared with their other solid material. Deerhunter sound like a well refined and mature machine. Cox's take on an imaginative, decaying future is genuine and well detailed. The songs themselves are rewarding with repeated listens and certainly stands out as yet another fantastic album experience from Deerhunter. The band continues to dazzle and surprise, even when we least expect it in a world of impatient, high demanding consumption. Deerhunter sound like they aren't going anywhere just yet, even when society breaks down into a deserted, ridden wasteland like they say it will.
My Rating: 8 / 10
Favorite Songs: "Plains," "Futurism," "What Happens to People?," "Element," "Death In Midsummer"
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