Fond of radical song structures (they make Pavement sound like Westlife), Deerhoof are also capable of sublime pop orchestrations, The title’s syntactical strangeness is a good metaphor for the il-logic underpinning their aesthetic – the shape-shifting San Franciscans cut showtunes with chamber pop, psychedelia with prog, metal with art noise and free jazz with post-rock. Satomi Matsuzaki’s childlike voice may be an acquired taste, but if you haven’t yet met Deerhoof, now is the time to make friends.
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