San Francisco’s Deerhoof do what they want and say what they want. “Welcome to special freedom. Thank you for coming, now get out now. I don’t need you”, exclaims Japanese singer Satomi Matsuzaki in the loud track Exit Only (reminding me of Scott Pilgrim’s band Sex Bob-omb). It’s this stubborn attitude that has fuelled their methodology of self-management and self-production and hats off to them. It has bought an allegiance of fans and longevity and despite not being incredibly famous, La Isla Bonita is now their 12th release. The new album contains the same unsettling wild compositions and unnerving drone that take a listening through an unpredictable wave of noise rock contrasted with sweet Japanese vocals. Deer hoof virgins might appreciate their sound if you already a fan of The Raveonettes-style of guitar submersion with a spice of sweetness sandwiched between.

 

The obvious first observation is the album’s title. Although never officially an album title before, it still leans dangerously towards Madonna’s 1986 hit from True Blue. Deerhoof’s lyrics can be simple yet full of provocation and when they sing: “We are riders in the cavalry and will soon be the victim of our imitators and what did we expect?” the name decision doesn’t seem so accidental and is possibly part of a bigger concept. It might be an angry statement about themselves or musical culture in general in terms of imitation, piracy and copyright.

 

Like always, they are uncompromising and before you can categorize or become familiar with any track it switches into something else altogether. “Tony Bubbles” starts off dreamy with the Hank Marvin Hawaiian sound and at the mid-point it has a steady pace that it’s inviting but that is until it becomes predictably unpredictable with creaking sounds and wayward guitars. Whilst, “Oh Bummer” features a nice Thom Yorke vibe but occasionally gets freaky with harsh drone notes that scream through the wilderness.

 

Like most Deerhoof albums there is at least one accessible track that breaks the mould and becomes accessible enough to release as a single and accepted by those unappreciative of the charming madness. “+81” was a happy delight on 8th album “A Friend Opportunity” and on this album, lead single “Mirror Monster” receives admiration for its simplistic guitars, melodic gentle pace with flowing harmonic vocals before ending with thunder. Although the music video features a documentary following car-crushing site which seems more appropriate for their destructive tracks. Deerhoof can still be an enquired taste but it provides likeability when they use unusual musical elements in their freedom process, including an 8-bit Tetris chip noise on “God 2”. What’s not to love about that? MTH

 

Best tracks: Paradise Girls, Mirror Monster, Big House Waltz, Tiny Bubbles and Black Pitch.