I like Regan Farquhar. My wife likes Regan Farquhar. Over the past few years, I have influenced my wife to enjoy numerous indulgences that she previously did not: Guinness, the novels of John Irving, the comedy of Patton Oswalt. However, music has rarely (if at all) been something that I’ve been able to alter for her; although she sees merit in As I Lay Dying and Killswitch Engage, she will probably always hate most metal and all of Blink-182 (while I will most likely continue my distaste for Latin music and the work of Soulja Boy Tell ‘Em). 
Why should you care? Good question. You should care for the same reason that you should care that I like Eternal Sunshine of the Spotless Mind and my mom likes Eternal Sunshine of the Spotless Mind. I’m not talking about universal appeal here; it’s not even worth mentioning that everyone likes Elton John’s music or Robert Zemekis films (and for those of you who think that you don’t, you do. Trust me. Turn on Tiny Dancer and watch Back to the Future and revel in liking the same safe, saccharine art that your parents enjoy(ed). It’s okay). The idea is that Eternal Sunshine of the Spotless Mind makes my mom feel COOL for liking it because it’s a “weird” film. No one feels cool because they like Elton John unless they are trying to be ironic, in which case…fuck off. Irony is unquestionably the most overused device in…well, everything, in 2010. Music. Art. Personal Relationships. Personal taste. Fashion. And goddamn has it gotten TIRED. I read a review of I and Love and You by The Avett Brothers on a website that I won’t mention *cough PITCHFORK cough* that actually criticized the album for its over-sincerity (read: lack of irony). Since when is this a bad thing??? What the hell? As Chuck Klosterman said, “I honestly believe that people of my generation despise authenticity, mostly because they’re all so envious of it.” ANYWAY, let’s talk about Regan’s new 7” entitled Hoofdriver; it’s about time, I know.
Hoofdriver is a “split,” although both tracks feature the aforementioned Mr. Farquhar and, according to the press release, both tracks “spawned from [his] mind.” The first track features Farquhar (better known as Busdriver) and Deerhoof in a collaboration (of sorts). In reality, “I Did Crimes Behind Your Eyeslids” (cool song title, methinks) is simply a new Deerhoof track with Busdriver crooning alongside the instrumentation. If this sounds forced to you (insert obscure yet topical reference to a forced musical collaboration), leave your reservations at the proverbial door (or the literal door…although that makes much less sense). I honestly don’t know whether or not Busdriver and Deerhoof even know one another, but there’s an undeniable chemistry present between the two parties. The song is catchy as hell, but not in an obvious way; in other words, it isn’t “infectious” per se, but you’ll find yourself humming the melody “…there’s an ocean behind your eyelids…” while being neither annoyed nor annoying. That’s more than most pop songs this catchy can say about themselves.
Track two on Hoofdriver is entitled “On the Brink” and is by another Farquhar project, Physical Forms. The musical style is similar to the first track, but what On the Brink lacks in catchiness and instant accessibility, it makes up for in exuberance and frenzy. The drums and keys are reminiscent of Boston’s Foreplay (I mean that as a compliment), and the vocals once again mesh wonderfully with that’s going on instrumentally. If nothing else, you will get a caffeine rush listening to this one. At most, this song will have you reevaluating your entire stance on post-modernity, the emotional possibilities of electronic music, and the historical accuracy of the works of Frank Miller. Or something.
By this point, you’re probably thinking, “Goddamn, that was a long review with very little substance for a 7” split with two tracks.” Well check it out: this shit’s about to come together like the end of a Guy Ritchie movie. Remember my mom who felt cool for liking Eternal Sunshine? Well, that’s the power of these tracks and these bands. They don’t have “universal appeal;” I’m not sure that anything new in 2010 does anymore. Instead, they have the power to appeal to multiple niche markets, which is (in a way) even more powerful than widespread acclaim.
Buy this very inexpensive EP, listen to the tracks, and understand fully what I’m saying.
