Album Review: Deerhoof - Friend Opportunity

Rating: 5 out of 10

I admit to dreading this album. The last time I saw Deerhoof live (opening for Radiohead last summer at the Greek Theatre in Berkeley), bassist/guitarist Chris Cohen had just quit the band, and they seemed completely unable to fill that gaping hole in their sound. They've been on the road for practically the entire last year, and I expected the resulting album to sound rushed and perhaps even reactionary. And of course this band is incapable of recording the same album twice, a fact which has worked equally to their advantage and disadvantage. In fact, by my preferences they've alternated fantastic (Apple O', The Runners Four) and spotty (Reveille, Milk Man) releases. Following on that trend, I expected Friend Opportunity to be in the latter category.

Unfortunately, they've met my expectations on both regards. Friend Opportunity sounds not much at all like any previous Deerhoof albums. For the first time ever, electronics play a major role in the overall sound, whether it's the organs that drive fantastic opener "The Perfect Me", or the bleeps and bloops (for once we're not talking about Satomi's vocals!) that percolate in the background of nearly every song on the album. More distressingly, though, there's almost no sign of the chaotic, noisy Deerhoof of old. Granted, they've been moving steadily popward for the last couple albums. But whereas The Runners Four managed the balancing act between "sleek" and "unpredictable", too much of Friend Opportunity is just.... BORING. And that's a word I never wanted to use in reference to an album by this band.

It starts off with a bang, though. The first three songs are among the best they've ever written. "The Perfect Me" is classic Deerhoof - propulsive power chords (OK, on an organ this time around, but the effect is still recognizable) and Satomi's sing-song vocals on the verses, a couple leftward veers into rifftastic bridges, and a frenetic cowbell in the background throughout. "+81" introduces some jubilant trumpets into the mix and again twists and turns unpredictably like a mountain road. Finally, "Believe E.S.P." brings the funk, Deerhoof-style: a groovy bass/guitar riff battles it out with more cowbell, and Satomi's "pooky pooky beep beep" vocals. So far, so excellent.

But then it's all downhill. The energy level drops several notches, the mood becomes more contemplative than joyous, and the twists and turns start feeling more forced. "The Galaxist" is pretty, but unfocused. "Choco Fight" starts out promisingly with a lurching organ figure and some of Greg's counterpoint drumming, but after the first verse it turns into scales being played on a keyboard - too twee even for these folks to pull off. "Cast Off Crown" pulls the same trick, starting out strong with one of those immediately-memorable Deerhoof power riffs, but ultimately descending into a messy collage of strums and electronic noises. The nearly-twelve-minute closer "Look Away" is interesting as an experiment, but not particularly compelling as a repeat listen. And "Whither the Invisble Birds?" would not sound out of place in an Andrew Lloyd Weber musical - which, if you're at all familiar with this band, you'll recognize isn't a compliment.

I hate to be rough on Deerhoof... last year sucked for them. But ultimately this album feels rushed and unfocused. Of course, if they stay true to pattern, the next one will be another knockout. And certainly the first three songs on Friend Opportunity give plenty of reason to keep expectations high.