The group entertains early on, striking a balance between off-kilter raucousness and intricate melodic textures. One of the catchiest tunes on the album, "Holy Night Fever," blends chanteuse Satomi Matsuzaki's childlike singing with the British Invasion-inspired guitar riffs of new member John Dieterich.
Unfortunately, when the band branches into more experimental territory, the result is often nerve-racking. One listen should be plenty for tracks such as "No One Fed Me So I Stayed," which abandons tunefulness in favor of an irritating sound collage that brings to mind a screeching toddler banging on pots and pans. The childhood motif also extends unsuccessfully to "Cooper," which boasts a barrage of fuzzy guitars and a melody like something a five-year-old might ad-lib.
Compared with the complex improvisations and innovative time signatures of some experimental artists, Deerhoof's work sounds like a bunch of kids playing around with their first instruments. Frequently, the threesome's energetic stabs at nontraditional rock lack the complexity required to succeed.