"Purposefully mysterious, The Deepsea Goes doesn’t seem to want a whole lot of information about itself to be known. Here are a few facts/guesses: the band has toured relentlessly in its 2 years of existence, it seems to be composed of a brother-sister pair, it has released a handful of EPs and albums already… and most of all, The Deepsea Goes makes an amazingly full-sounding post-punk racket that is inspiring.
Knowing nothing about the band before listening, you would imagine that this is a standard four-piece outfit that tears up whatever stage/studio happens to have them. But this is a duo of just guitar and drums. They don’t publicize their names. Their press release is without any braggadocio whatsoever: it has just a few facts (dates/releases) and a few quotes from reviewers. It’s nearly impossible to find a decent photo of the band. This is not how most bands would choose to publicize themselves. It’s that kind of artful up-ending of expectations that runs through The Deepsea Goes in many aspects.
There hasn’t been a female drummer this ferocious since Unwound’s Sarah Lund (actually much more ferocious and less subtle than Lund). And the guitar playing is over-the-top good, in a crushing and inventive way. If you need a touchpoint, go back to the Vaz album Demonstrations in Micronesia because ORAONEIROI somehow matches it in power and conviction. The STNNNG put out the fearsome Dignified Sissy a few years ago, but it required twice as many musicians to achieve approximately the same effect.
All of the songs on ORAONEIROI begin with “There Is No,” as in “There Is No Death,” “There Is No Light,” and “There Is No Stop.” The last of these is a charging instrumental that begins with a slightly discordant guitar line and stuttering drums and then breaks into a cymbal heavy repetition of the same. This could be an unreleased Unwound track from around the time of Future of What. Many of these tracks come from that place and time, actually, in terms of inspiration. There’s really not a clunker in the bunch here. Mostly a maelstrom of guitar and drums with desperate vocals, ORAONEIROI challenges and rewards. Very nice work.
Now it’s time to check out the back catalog. And hopefully catch them live."
- David Smith for DOA / Adequacy.net
"Having formed in early 2007, The Deepsea Goes has been a very fruitful group regarding releases and touring. Even having never heard of the disjointed noise-based group until their latest, and second full length, Oraoneiroi (which is either release number five or eight, depending on what’s being counted), it’s easy to tell that The Deepsea Goes is full of ambition and hold a different vision than most of today’s alternative and indie acts.
The band’s myspace describes their sound as a combination of hard rockers Motorhead and 90’s shoegaze pioneers My Bloody Valentine. I’m not really sure weather the band is serious or not – because really, there couldn’t be a less accurate description of the band’s sound. But if by chance the band means that they draw their ideas from every type of tempo, beat, intensity, and genre, then I’m inclined to say their description is bang on. It’s as if every sort of alternative, indie, and punk was thrown together in a blender, set on high, and by some miraculous chance emerged a satisfying result.
Oraoneiroi’s beauty is that nearly every track feels raw, unhinged, and downright chaotic, while still presenting a deep and thought-provoking product. In other words, while the overpowering fuzz, sporadic chord changes and jumbled screams on tracks like “There Is No Weight” and “There Is No Death” might at first seem crude, given a deeper listen a bigger picture reveals itself, and before long you suddenly realize that The Deepsea Goes has penetrated your mind –the initial madness becoming natural; even appealing. Think of it like one of those magic eye puzzles. Once your brain clicks in to the artist’s vision you’re never quite able see the pieces individually again.
Further enhancing Oraoneiroi, the band crams their ever-developing soundscape to the brim with continually evolving emotional undertones. The bouncy guitars on “There Is No Space” provide a curiously uplifting effect, but eventually erode into dark intrigue and wonder. Others like “There Is No End” feel like the end of the world is fast approaching, and others like “There Is No Light” communicate a daunting aura. Again, it’s as if everything is always present at the same time, but illuminated at certain moments during certain tracks. Such complexity makes it challenging to focus in on any one moment without overlooking the myriad of other background intricacies taking place in parallel.
The Seepsea Goes isn’t the first band to embrace and build a sound around chaos, but they are one of the best examples in recent memory because of their knack for avoiding convention without coming across as an inapproachable, elitist mess. You can stream the album on the band’s website, so if you don’t mind leaving convention and structure behind, bring an open mind and give Oraoneiroi a listen."
- Rating: 3.5/5 Best Song: There Is No Death Reviewer: Cole Faulkner / ThePunkSite.com
"Rock musicians in the late '90s were preoccupied with making a soundtrack to the rapture that was surely right around the corner. But a decade or so later, we seem hell-bent on erasing the memory of that millennial fear--our faux-disco anthems merely celebrating the postponement of our annihilation, our cloying ballads dwelling on the melodrama of teenage lovers. So it's particularly refreshing to hear the Deepsea Goes' Oraoneiroi, a brash and belligerent reminder that times are as tense now--if not more so--then they were when Y2K loomed. This is music for burning buildings to the ground, smashing police car windows, and attacking anyone in sight. The eleven-track album is relentless. Melody takes a backseat to the visceral power and unhinged intensity of the two-piece, who could frighten the most hardcore of hardcore bands with their thunderous charge. Each song title begins with "There is No..." just in case the abrasiveness of their sound didn't fully convey the fatalism."
-Amorn Bholsangngam / LA Record Vol. 4 Issue 9 November 2009
"The first song on the Deepsea Goes' Oraoneiroi, it kinda sounds like the band is providing a more obscure alternative to Pissed Jeans. There are the snotty, bellowed vocals that sound practically identical to Matt Korvette; heavy-sounding, fuzzed-out guitars and bass; and a patch of groaning droning, characteristics of which are packaged in a noticeably tidy time (as are plenty of Oraoneiroi's tracks in general). But as the album progresses, the Deepsea Goes provide plenty of more unique ideas and edges for their own ragged, noisy sound.
"There Is No Space" and "There Is No Elevator" tamper with bending, Wire-esque riffs, a sharp post-punk stomp that blithers and blathers in noisy, ever-changing guitars. The artier SST stuff paints some tracks on here, as does plenty of late '80s Sonic Youth. More chiming-esque sounds and complicated atmospheres infect the instrumental and curious "There Is No Stop," with what sounds like a cymbal-heavy drum loop in the background, before a quick halt brings some screeching feedback, and then a transition back into the song's earlier, ominous groove complemented by a crescendo of static and noisy guitar fiddling. All of it segues cleanly into "There Is No Start," which comes packaged with a lively tempo and energy. Hummable patterns of cacophony cluster together in "There Is No Light," a near-psychedelic collision that moves along steadily before their vocalist's distinct, agitated snarl comes back into play. The keyboards in "There Is No End" are a bit Vincent Price-ish, adding an un(?)intentionally cheesy flavor to things just a bit, but it doesn't really damage the album at all.
An unexpectedly cool album that takes a lot of interesting chances and largely seems to work. "
- 3 1/2 stars / Brian: Punknews.org
"I want to hear The Deepsea Goes play Oraoneiroi—which is more like a single long performance than an album of distinct songs—in a basement crowded with people ducking light fixtures and low-slung plumbing to stand in a semicircle around the band and stare angrily at their shoes while shaking their heads ever so slightly, thus showing immense appreciation.
Eight reasons I have a crush on The Deepsea Goes: 1. There are only two people in this band, a he and a she. 2. On Oraoneiroi, Paul White's vocals sound semi-buried, and when he sings, as he does on "There Is No Up," he inflects like Ian Curtis (who was a rock and roll god). Usually he shouts, and sounds more California hardcore, which is okay too. 3. I have no idea what he is saying, ever. 4. His sister, Janine, makes full use of her drum kit. 5. They used to tour in a Toyota Corolla but it broke down. 6. They live in L.A. (Who does that?) 7. They like Greek mythology, or at least they like Greek words. 8. They make noise, and it is heavy, but also spare. On "There is No Stop," the noise is especially pretty for two minutes and nine seconds."
- Ali Gadbow / Missoula Independent
released 18 August 2009
Transnational Debate TRD-008
Recorded in the summer of 2008 in San Pedro, CA.
Addditional vocals on track 7 recorded on 03/13/2013
Mixed & Mastered by Paul Michael White Jr. on 03/20/2013.
Published by Transnational Debate (ASCAP)