講笑歸講笑，他們能屹立至今，而且總能成為「hipster」們的寵兒，箇中原因依舊是他們擁有獨特前衛而且新穎非凡的聲響。由John Dieterich、Satomi Matsuzaki、Ed Rodriguez、Greg Saunier四人組建，Deerhoof寫過叫好的《Friend Opportunity》、精警地(與 Xiu Xiu) 翻唱過Joy Division的《Unkown Pleasure》和玩味地重製過電影《閃靈》原創配樂，以及更多趣怪莫名的作品。自「偏鋒實驗流行」（Avant- experimental Pop）的頭銜起家，這隊來自三藩市的樂隊依然以無限的能量帶給我們更顛覆的音樂想像。
特別是2017年的那張《Mountain Moves》，回溯更加柔和的旋律音樂，Deerhoof嘗試融合jazz和hip hop的音樂元素，重新向未必認識他們的千禧世代，展示他們的絕嶺風采。
Q: 你們去年發行了《Deerhoof Plays Music of the Shining》，為什麼是《Shining》*（閃靈）？
A: 靈感題材是來自發行廠牌那邊。主理人Cyrus blabla 是電影的超級死忠，而他知道我們全隊人都大愛寇比力克及《閃靈》，於是找了上門。我們花了大約1.6秒去決定做這個發行。
Q: 我最愛的Deerhoof翻唱作品會是The Shaggs的〈My Pal Foot Foot〉，你們自己又會選哪一首？
A: 哇，你居然會知這首（笑）！那的確是有趣的一首。亦可能是我們當中最愛的一首翻玩作。我亦很喜歡Greg之前翻玩〈Going Up the Coutnry〉，那也是首佳作！翻唱別人的作品，時時都能給我機會去假想一首歌是如何寫出來，和如何玩出來。最後，Deerhoof都是Cannes Heat的粉絲！
Q: 你們在歐洲核子研究組織 CERN (European Organization for Nuclear Research) 做過一個live session，在其中倒弄著實驗性噪音以對抗大強子撞擊機器內部環境的噪音，你們如何看待這次經驗？
Originally Interviewed in English
Q: Coming to 2019 means that Deerhoof have turned to 25 this year. How do you feel like a 25-year-old group?
We feel like a newborn group! Every time we come together, we don’t know exactly what will happen musically.
Q: What’s the secret to the longevity of the project?
A: There’s not really a secret. Starting/joining a band with people you respect and admire is a good start. I do notice that it seems to get easier as we get older. The things that used to drive you crazy don’t feel like they matter as much. I guess the secret to longevity is to just stay together, which is easier said than done.
Q: As the second time playing in Hong Kong after 8 years, how are you feeling about coming back here?
Very excited! We intend to eat lots of dumplings, and hopefully we will get a chance to see more of the city.
Q:What’s your expectation to this tour?
We are just excited to come back. We are lucky that we get to come to Asia and play. We look forward to meeting new people and making friends.
Q: You’ve released Deerhoof Plays Music of the Shining last year. Why is it the Shining?
A: The label that released it had the idea. The owner, Cyrus Lubin, was a huge fan of the movie, and he knew that we were also Kubrick/Shining fans. It took us approximately 1.6 seconds to make the decision that we wanted to do it.
Q:What’s the idea behind the arrangement and instrumentation of the cover? Is it your impression of the film, or does it just happen?
Ed did all of the instrumental duties on that recording. I think he just translated the ideas very directly into his own guitar/instrumental language. I listen to that recording and hear Ed as much as I hear the original composers.
Q: I think my favorite cover by you guys is still The Shaggs – My Pal Foot Foot… Which one was your favourite if you had to choose one?
A: Haha, wow, you know that one! That was very fun. That may be one of my favorites, as well. I really like when Greg did Going Up the Country. I thought that was great. Covers are always fun because it gives you a chance to imagine what it was like to write/play that music. We are big Canned Heat fans . . .
Q: Are there other films that you drew inspiration from?
Oh, so many . . . We are all Miyazaki fans. Spirited Away is one of my favorite movies of all time. I feel that it strikes a perfect balance between visual poetry and what is in fact a very simple direct story. The scenes at the beginning with the ghosts in the outdoor market is one of my favorite scenes in a movie.
Q: Speaking of the relationship between visual culture and music, I notice that the aesthetic styles of your album covers are highly diverse, and they change almost every time. Do these changes correspond to the musical experimentation or concepts of the albums?
A: Yeah, sure. The person who has by far done the most likelycovers for our albums is Satomi. She has a very strong visual background and is a great artist. The question of what the art will be usually comes towards the end of the album when we have a clear idea of what the album is and is saying.
Q: Politics has been an important aspect of your works. How can musicians organize political ideas into musical practices?
A: I think one thing is to simply organize the band in an ethical way so that the people involved in it are happy and get to contribute in the way they want to and/or are best suited to. Other than that, different members of the band approach this question in different ways. One way to contribute is to simply amplify the information that seems to be getting lost in all the noise, amplify the perspectives that don’t get heard enough. In American politics, our narratives have largely been determined by people with extreme wealth, which makes sense. They own our newspapers, television stations, politicians, etc. There are new media which aim to subvert the traditional modes of dissemination of information, and these also present their own new problems. One thing I notice again and again is how live music can inspire people. It’s a powerful thing.
Q: There was a live session you guys have done in the CERN, experimenting noise music to confront the loud sound from the LHC. How was that experience to you?
A: That was one of the greatest experiences of my life. The entire crew at CERN was so open and invested in making something new. It’s an inspiring example of what humans can do when we humans communicate freely across national lines with one another and try to tackle something together. The feeling of setting up my amp and playing solo in such a massive space was really incredible. I could have just played for hours.
Q: Plus, if Deerhoof could choose wherever places in Hong Kong to do a special set, what would it be?
I think we should become the house band at Neptune’s underwater restaurant.
Q: For 2 years that Deerhoof haven’t release any full length album, will there be a new records out this year?
A record is forthcoming! We are working on it now . . .
Q: What other musicians you are listening to right now?
We have been listening to Palm every night because we are on tour with them. They are an absolutely amazing band. So great to see them every night.
Q: What do you do usually if you are having a writer’s block?
A: I don’t try and write all the time. I think breaks are very necessary. The dangerous period for me is when I am between projects. I think the brain needs to take a break sometimes, and if I don’t give myself enough time, no matter how hard I try, I just can’t work. I’ve learned to just give myself some slack in those situations and take a break. I try not to get too down on myself as I know the ideas will start flowing again.