Waking Up Kranky

More Than Just Five Dudes Who Rock Out, Atlanta's Deerhunter Has Grown Into A Formidably Artistic Act

originally published December 6, 2006

"This fag sitting in front of me… goddamn, man, let me tell you."

Deerhunter

And so a strange three hours begins with Bradford Cox in downtown Atlanta's Majestic Diner. Cox specifically requests that the above quote, directed toward himself hypothetically by me, be the opening to this interview, and upon the ensuing elliptical meandering conversation, it seems fitting. The frontman of Deerhunter, one of Atlanta's most exciting bands, Cox has endured a chaotic and defiant journey to where the band finds itself today.

Deerhunter formed in 2001 just wanting to fuse things. Noise with ambient lull, the clang and energy of garage rock with the quiet of minimalism, the catharsis of emotional music with the unknowable of the avant-garde. They were five sloppy beasts trouncing about on the stage, bursting with talent and ideas to the point where the music suffered and was often difficult listening.

In fact, the music was often so sloppy, poorly structured and chaotic that far more notice was paid to the sheer insanity and explicit physicality of the live shows than to any of the music. Reporters sometimes focused on Cox's supposed asexuality and infamous skinniness. Hence that opening sentence above: it was (and often still is) assumed that Deerhunter was merely a no-wave art installation, an exhibit on what isn't music. Deerhunter (and Cox in particular) was needlessly caricatured, when the primary subject of concern should have been the sound coming from the amps.

In the beginning, that sound wasn't always the pride and joy of its creators. The band's self-titled debut record - known alternately by the title Turn It Up, Faggot! and released on Atlanta underground torchbearer Stickfigure Distribution - has for some time been swept under the rug by the most of the members, Cox included. When I tell him that it's been quite some time since I listened to it, he says simply, "Don't bother."

He does eventually admit he doesn't really hate it - still no overwhelming endorsement - and that there are still plenty of fans who tell him how much they enjoy it. But after enduring many hardships over those first few years, including the death of a bandmember, the sun is finally shining upon Deerhunter.

The forthcoming new album Cryptograms puts to rest any lingering bad taste from the band's formative years. It's a collection of songs to make peace between indie-rock kids and avant-garde kids (are there those?). It's a record to bring together, a shimmering album drenched in '60s British pop, Jesus and Mary Chain-styled shoegaze, drifting gauzy drone, and just enough noise to share with the neighbors. It clearly displays a skilled group and a culmination of its raw power and considerable compositional skills. Cox's delayed vocals trip out over Colin Mee's and Lockett Pundt's propulsive guitars one minute, create study-music backdrops the next. Drummer Moses Archuleta pins grooves down without sticking out, aided by bassist Josh Fauver, then crafts a delicious miasmic ambient piece called "Tape Hiss Orchid." A fascinating study in duality, Cryptograms lurches and soothes and features a sequencing like a rollercoaster. The news is that oil and water can - and finally do - mix.

Touring Europe with admitted idols Liars, Deerhunter also was invited for a brief supporting role on the Yeah Yeah Yeahs' tour. "Touring with the Yeah Yeah Yeahs was like going back to high school with their fanbase," Cox says, "but at the same time it was humbling. Most people I know would laugh at that band's fans, but standing in the wings and watching the faces of those kids… they truly love [YYY vocalist] Karen O. No matter what it is, she and her music mean that much to them. That's better than 'being indie.' And as much hate mail as we got, we won a lot of kids over. Kids just want to hear good music."

But it was the Liars opening gig that pushed the band forward. Pitchforkmedia.com began catching Deerhunter on its radar, which is a career-maker for many artists. And most importantly, they've decided that Deerhunter rules. Which is true, but now that Pitchfork knows it, everyone else will, too. Cryptograms' "Spring Hall Convert" was featured on the site's Infinite Mixtape with the praise "one of the most inspired new bands we've heard in quite a while," and the site predicted Deerhunter to be one of the most talked-about bands of 2007.

As important a step forward for Deerhunter as that was, the biggest step up hasn't been the hype machine of the Internet or the high-profile spotlight of playing in arenas. It's been the tried-and-true method of signing to a highly respected niche record label, and the union with Kranky Records has done exactly that. The Chicago label is America's most prominent experimental/ambient imprint, and boasts an unimpeachably high standard. Venerable artists such as Stars of the Lid, Godspeed You! Black Emperor, Keith Fullerton Whitman, Windy and Carl and Labradford have been among the label's watershed acts. With the help of Deerhunter's friends in the abstract guitar act Growing, a demo was submitted and history was quickly made. The ink began to dry, and on Jan. 29 of next year, Atlanta will finally have itself a thumbtack in Kranky's map. The bottom line: being on Kranky means instant respect from many music fans, and Cryptograms by all means deserves it.

The album itself was the result of a great deal of effort and frustration. "We went into the studio the first time, and it was just a failure," Cox says. "The tape machine was a disaster, all warped and destroying the sound. But even aside from that, we were on tour in New York and thought we could record the record in two days. The idea that we could pull that off was pretty ridiculous." So the band returned home, dejected and entertaining notions of giving up. But when things started coming together through all the discouragement, all that extra incubation turned out to be a blessing. "The songs were so much better all around," says guitarist Colin Mee. "Much more focused," Cox continues, holding up the disc itself: "This is an actual album," he says. "It's what we wanted it to be from its conceptualization."

Deerhunter has come of age. Five guys mostly in their mid-20s have hit their stride. With the buzz building online and the new record to justify every bit of it, 2007 could belong to them. As evidenced by recent shows at the EARL in Atlanta's East Village or here in Athens at the Secret Squirrel DIY venue a couple of weeks ago, the bandmembers' live chops have been honed just as much as their studio skills. The EARL show was just as manic as ever, but the level of insanity had been lowered just a notch. Everything just fell into place and locked. A balance was achieved in which the audience would almost dance and not quite cower.

Georgia's up-and-coming rock scene is receiving a lot of national limelight lately. The Whigs are on the ATO label. The Black Lips - also on the Caledonia bill - recently signed to Vice Records, and now Deerhunter is set to make an exciting debut on Kranky. It's up to you to keep this ball rolling. Any Deerhunter show is an experience, but right now you can get in on the ground floor before the elevator goes through the roof.

Michael Wehunt

WHO: Deerhunter, Black Lips, Gasmask & Matchsticks, Baryshnikov
WHERE: Caledonia Lounge
WHEN: Friday, December 8
HOW MUCH: $6