Recap Deerhoof at High Noon Saloon

Despite all odds—the fact that it relies on the cooing, idiosyncratic vocals of Satomi Matsuzaki, its downright inaccessible approach to melodies and songwriting, and a background in noise rock—San Francisco’s Deerhoof has become one of the most reliable bands in indie rock. You could almost set a Farmer’s Almanac to the band’s cycle: You can expect a new Deerhoof album every 18 months (or so) and expect it to be weirder—and better—than the last.

Taking the stage at High Noon on Wednesday in support of the recently released Deerhoof Vs. Evil, Deerhoof is riding some of the best reviews of its career on a headline tour across America. “After some mathematical consultation, done by myself, in the last 60 seconds, this is the best-attended, indoor Deerhoof headline show [in Madison],” said drummer Greg Saunier in a rare moment of crowd interaction.

Being that the band’s last two shows in Madison were opening for Wilco and playing the UW Terrace, that’s not exactly a high barrier. But still, those who half-packed the High Noon shouted vociferously in between songs, giving equal post-song outbursts to material new (“Behold A Marvel In The Darkness” shone especially bright) and old (“The Tears And Music Of Love” from Offend Maggie and “The Perfect Me” from Friend Opportunity), and an earnestly straightforward cover (they opened with the Ramones’ “Pinhead”).

The only drawback to Deerhoof’s sprawling 75-minute set was that the softer stuff in the band’s songbook was jettisoned to make way for a deep catalog of stomping rockers, rendering the set a too-samey slog at times. This wasn’t the Deerhoof that experiments in electronics, features occasional horn sections, or can do delicate ballads like “Whither The Invisible Birds.” This was the power-set Deerhoof, a resoundingly loud four-piece band (two guitars, a bass, and a drummer), without much inter-set nuance, sent to melt faces and crush bones. Deerhoof is probably known more for the twists within its songs rather than in its catalog, anyway. But a break from the pummeling that didn’t involve the goofy “Basket Ball Get Your Groove Back” would have been welcome. In unveiling the rock monster that can be Deerhoof, Wednesday’s show was a resounding success.