FRIEND OPPORTUNITY

Although this US band is Deerhoof's eighth studio album, the lack of reviews on this site confirms that they remain stubbornly under appreciated in both their homeland and elsewhere (with the possible exception of Japan, home of the band's bassist). The trio who recorded this album have been together since 1999, the instrumental line up consisting only of guitar and vocals supported by bass and drums. While "Friend opportunity" has not served to break the band as such, it is reportedly their best selling album so far.

The album is a strange offbeat affair which blends the music of artists such as Toyah, Laurie Anderson and the Flying Lizards in a light airy 80's pop atmosphere. The female vocals of bassist Satomi Matsuzake and driving guitar riffs of John Dieterich are highly commercial in their own way, the toe tapping rhythm being somewhat infectious. "The perfect me", which opens the album and the following "+81" almost repeat each other, although the latter has some nice brass effect added. Both are fundamentally pop songs with imaginative arrangements.

The succession of tracks which follow are in a similar mode, with the longest track being just over the three minute mark. In essence these are simple songs, but their arrangements make them sound different, both instrumentally and vocally. It is easy to mistake such originality for prog, but the songs remain rooted in pop.

In general, the songs are curtailed far too soon, with some stopping after a mere 2 minutes. It is a pity, as tracks such as the pretty ballad "Whither the Invisible Birds?" could have become so much more. On the other hand, the childish "Kidz Are So Small" outstays its welcome by its full 2 minutes. "Matchbook Seeks Maniac" is even more commercial, venturing towards power pop territories with its strong hook on the chorus.

There is one notable exception to the foregoing, and that is the 11½ minute closing song "Look Away". Here, things are allowed to digress more, the piece at times having an improvised feel, including the vocals. The mood of the track is understated and sparse with extraneous noises and freeform guitar vying for the space. It does not really light my fire, but it will undoubtedly appeal to those with a bend for the avant-garde.

In all, a rather odd album which in general flatters to deceive. There are promising signs, and some of the brief songs are pleasantly diverting, but overall the album is a little too unfocused for my tastes.

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