Deerhoof
Deerhoof Vs. Evil
Polyvinyl

Critics love to praise bands by saying they have “their own sound,” but few have earned the designation to the extent of San Francisco avant-rock powerhouse Deerhoof. The animal drumming of founder Greg Saunier offsets singer Satomi Matsuzaki’s cute-but-deadly vocals, as the band navigates a fusion of psychedelia, ‘70s funk and electronica.

Ten stunning albums in, Deerhoof extend their spectacularly diverse career with Deerhoof Vs. Evil. Absent is the dry, improvisational whimsy of The Runners Four. Deerhoof have opted for a tamer, more deliberate approach, and the product is all-too-often disappointing.

The most obvious departure from the group’s past work is the album’s meticulous production. The alien percussion and synthetic bleeps on opener “Qui Dorm, Nome?s Somia” rise to a focused, mid-tempo jam that regrettably avoids the band’s signature chaos. Even Matsuzaki sounds unfamiliar, her typical squeaky imperfections are drowned out by an overdubbed chorus.

But much of Deerhoof Vs. Evil simply feels tired. “Behold a Marvel in the Darkness” opens with a pleasant, acoustic guitar- driven verse that drags along painfully, interrupted by an occasional surge of noise. The jangling stomp of “Hey I Can” loses its charm half-way into a driving climax of cuckoo clock sounds and monosyllabic chirping.

Occasionally, Evil’s focus on songwriting pays off. Single “Super Duper Rescue Heads!” provides a catchy pop refrain over exuberant percussion and synthesizer. “Secret Mobilization” captures some of the band’s hard-hitting, guitar-jam gold, just before the album descends into its maddeningly lousy conclusion.

You have to hand it to Deerhoof — 13 years into one of indie rock’s most erratic discographies, they’ve made their most unexpected move to date: a flat, forgettable album. But although Deerhoof Vs. Evil dwells heavily in murky misfires, it does offer enough moments of explorative sparkle to keep us awaiting the band’s next release in head-scratching anticipation. (6/10)