If homage, like imitation, is the sincerest form of flattery, Jean-Luc Godard should welcome BAND, New York-based artist Adam Pendleton’s touring collaboration with San Francisco experimental rockers Deerhoof, which arrives Thursday evening at the city’s Museum of Modern Art.
Godard, who chronicled the Rolling Stones studio sessions that would ultimately produce the lead track of their 1968 classic Beggars Banquet in his documentary Sympathy for the Devil, used early rehearsals of that album’s biggest hit as the backdrop for a series of visual meditations on the Black Panthers, consumerism, Marxism, democracy and the revolutionary spirit of the late ’60s.
After 16 years together, local indie band Deerhoof decided to break out of their comfort zone and make their 10th album on the road, sometimes mixing tracks through the stereo in a rented tour minivan with no engineers or outside input. Then they released each track of the resulting Deerhoof vs. Evil to a different international website in the weeks leading up to the album’s Jan. 25 release date.
Confession: I don't know Yoko Ono's music, I've never seen her perform and I had no idea what was in store for Noise Pop's opening night. But being that this marked the band's reunion tour after a 20+ year break, there was no question that I must go. And if the standing ovation Yoko got just by walking onto the stage was any indication, no matter what followed, she would do no wrong.
Amidst this bizarre summer cold and heavy ghost pirate fog plaguing the City, this weekend’s lineup is really going to heat things up. Unfortunately, most of the good stuff completely conflicts with each other. Make good choices ladies and gents.
N.E.R.D., The Warfield, 7/30: Meet Snoop Dogg’s self-professed therapist and master producer, Pharrell in his most creative state – on stage with buddies Chad and Shay at The Warfield. We think you’ll be surprised by the beats they’ve created for mainstream pop and rap. It’s surprising how much they’ve put together for artists these days.
Disregard the title of Deerhoof’s latest album, Offend Maggie (Kill Rock Stars, 2008), the Bay Area band never offends.
Rather, the up-from-the-underground foursome specializes in subverting your assumptions of what constitutes a rock-out number and what kind of unholy, Maggie-outraging roar guitars, drums, and bass can generate – all with a playful wink and friendly nod to indie’s avant-garde, as well as rock standard bearers like Radiohead, who Deerhoof toured with a while back.