Deer Tick

Brudenell Community Room, Leeds.

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The best art often challenges widely held preconceptions about performance and beauty. We’re moved when we find the sublime in the gross, entranced when crassness collides with grace. It makes poetic sense that one of this practice’s finest current purveyors is named after a blood-sucking survivor. 

Deer Tick: undercutting expectations since 2004.

“I think a lot of my favorite artists have always done stuff like that,” Deer Tick front man John McCauley says from his home in Nashville, reflecting on his band’s love of unexpected mashups: tender lyrics layered over pissed off guitars; classical music flourishes delivered nearly naked and high. Deer Tick’s perfected it all, mostly as an outlier, revered by a legion of fans, respected by peers, but not part of any one scene. With their highly anticipated new project(s), two new albums released simultaneously titled Deer Tick Vol. 1 and Deer Tick Vol. 2, the crew from Rhode Island prove that their punk-roots rock has only gotten better with age.

Ambitious and smart, the twin albums complement one another but also stand independently. Vol. 1 is classic Deer Tick: folk-rooted acoustic guitars and soft piano cushion out-front vocals. Vol. 2 commits wholly to the band’s longtime garage-rock flirtations for a triumphant foray into punk.