Austinist Interviews Fun Fun Fun Fest: Deerhoof's Ed Rodriguez

Deerhoof @ Fun Fun Fun Fest
Saturday, November 8
Waterloo Park (403 E. 15th)
Stage One, 6:30-7:30
[info] | [tickets]

San Francisco-based eccentrics Deerhoof have spent their entire career on Kill Rock Stars. The sometimes avant, sometimes classically inspired but always interesting group released Offend Maggie in October to rave reviews. They're one of the acts we're most excited to see this weekend, mostly because we just heard about their distribution of "Fresh Born" to an audience in NYC in the form of sheet music -- an urging for fans to submit their own versions. Until we find out if they offer Austin the same privilege, we'll settle for a discussion with Ed Rodriguez, the band's (new-ish) guitarist.

You have a long relationship with what some would call "goofy" songs, such as "Kidz Are So Small," "Dog on the Sidewalk," and now, "Basket Ball Get Your Groove Back." How do you feel these types of "less serious" songs fit into your catalog? How do you think their innate playfulness can add (or detract) from the overall effect of an album?

It's hard to tell what someone may take as being goofy or funny. I think we all are taking the songs you mentioned as being very fun but not meant as a comedy break in the record. They're treated as every other song on the record, as what we think is just another good song, another mood. I don't think that the songs can really detract in any way, but I do think that they may add to providing a more complete picture of our personalities. We really want people to be happy, to feel good and feel positive and see possibilities and I don't think it matters how it happens. If those songs make people smile then what a success! We're incredibly serious about what we're doing but we also don't take ourselves too seriously! We definitely don't feel any need to be perceived in a certain way so if those songs make someone think we can be goofs, then so be it!

Your lyrics have always been sort of puzzling for listeners, but you clearly put a good deal of thought into them—hell, you even quoted Keats in "Spirit Ditties of No Tone." Could you talk a little on how your lyrics relate to a song as a whole, and how you see them instrumentally? Also, where in your creative process do words come into the picture?

There's not a set specific process, but they have always been incredibly important. I can only speak for Offend Maggie but Satomi put an extraordinary amount of thought and care into the lyrics. She managed to put together a feeling that I think embraces and unifies every aspect of the album. There's a continuous mood throughout. I think it's her best work yet and also delivered with her best vocal performance to date.

The Runners Four saw you using two guitars to fabulous effect, and you seemed to make up for the smaller lineup of Friend Opportunity with an increased dedication to complicated production. What was the thought process on bringing on a new second guitarist for Offend Maggie? What do you consider to be the pros and cons of an expanded lineup?

I may be biased because I AM the expansion of the lineup! I believe a pro would be that I came into the band at the perfect time, when everyone desired something new. It was a creatively energizing element and added potential in all aspects of the writing. John and I have been playing together for well over a decade so he is very familiar with my playing and knew that now anything was possible. When I joined we immediately began work on what was to become Offend Maggie, we didn't worry about learning old material or easing into it. From the first practice together it was writing, writing, writing. I think the cons would be that there's less space in the minivan on tour now! But there IS one more person to help pack it up at the end of the night, so maybe it evens out in the end!

Regarding production, it's pretty obvious that Offend Maggie is less adorned with studio flourishes than Friend Opportunity—was there a specific reason for discarding all the ornamentation on this album? Could you explain a bit the decision-making process on how much studio fanciness you put into a song or record?

It's about trying to be in tune with a song enough to realize what really needs to be there. In one case it may need an overdub to bring out a melody or a moment that can't be overlooked. In another case it may mean getting everything out of the way to make sure that there's no distractions. With this album we really wanted everything to be unencumbered by excess. From the sound, the artwork, the use of the studio, everything was looked at again and again to ensure that it needed to be there. The next album may be orchestral! But for today, this was what felt right and felt like this moment for us.

I've read that you guys (Greg in particular) have always considered your music with an eye on "accessibility," but it almost always seems to take people a while to warm up to your sound. What about your music do you think may make it take awhile for the impatient or unexposed to "get" what you're doing?

I think that all of us have a different thought process as far as making music. One thing that we definitely do have in common is that we never try to intentionally offend anyone (even Maggie!). We write what comes to us naturally. Sometimes that does not agree with someone and that's not something you can help. I think that if you are honest in what you do, those who connect with it (more often that not) are people that you can also connect to. If we wrote music to try and be more popular, first off - we would probably fail miserably! Secondly, and most importantly, we would probably end up with legions of fans that we cannot relate to. It's more important to feel as if you are a part of something worthwhile, amongst people you would like to have as a friend than to be a huge music/money making machine. I think that those who are into Deerhoof feel that too. They certainly show that when we see them live!

People always talk about how unique you are, and of course, Henry Rollins recently commended you for finding that one thing that you do and consistently transforming it into something new—do you yourself consider your music unique? How do you try to make Deerhoof a unique and intriguing band, or do you just let fly?

I think that what everyone does is just to trust themselves and be true to what they are. Maybe that's what makes the band unique? I wouldn't say we let anything fly because there's always a tremendous amount of care that goes into everything. I guess that all of us really care about what we're doing and have a curious nature where we want to keep growing as artists and hopefully as people, too. I would say that makes us lucky more than special. We happen to have the feelings we have and have found the outlet that we love and people we connect with to work on it together.

Anything else you'd like to say? Any particular memories or thoughts on Austin?

All of us love Austin! I think it's one of the few places in the US I could imagine myself living in. I have a strong feeling that this next trip will be one of the fond memories that I tell someone about in the future!

Thanks for talking to Austinist!

Thank you for asking such good questions! There wasn't a single "what's your favorite color" question among them! That's truly appreciated.

Deerhoof [MySpace] [Label]

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