Deerhoof

The music is joyful and foreboding, cybernetic and deeply human, all at once.

Strings that evoke avant-garde chamber music and classic horror-film soundtracks bounce off guitar and bass lines that chug on impervious to the creeping dread. The drums are sometimes filtered to sound almost electronic, but no computer could come up with rhythms so funky and dynamic, with each minute variation from one snare hit to the next conveying worlds of possibility.

Fronting it all is Satomi Matsuzaki’s inimitable alto. A voice of solitude, whose plainspoken calm can seem strangely outside of the band’s maelstrom, even as she contributes to it with her jaggedly precise bass parts. As a first-generation immigrant to the USA, she’s never tried to disguise her Japanese accent, or her deadpan, karaoke-esque delivery. On 'Noble and Godlike in Ruin', her sense of remove feels alternately like an expression of loneliness and like a cool provocation to systems of oppression and control. “Kindness is all I needed from you,” she sings on the epic album closer “Immigrant Songs.” “But you think we’re in your house.” Not long after, the song detonates, its tightly wound art-pop giving way to several minutes of howling noise.