Deerhoof

Even a hard-core fan could wonder: Is Deerhoof too prolific? Friend Opportunity is the Bay Area outfit’s fifth full-length in six years, so yet another helping of its signature Day-Glo art pop naturally seems a little wearying. But like its predecessors, Friend Opportunity proves indispensable; if the record’s smart refinements don’t amount to a quantum leap, it’s still hard to believe that it’s been only a little more than a year since the band dropped The Runners Four.

But the most surprising thing about Friend Opportunity is how huge it sounds. The group has returned to a trio lineup after several years as a quartet, though you’d never know just from listening: “The Perfect Me,” the album’s jagged, dancey opener, might be the boldest, most enveloping Deerhoof track to date. That song and “+81,” the joyous romp that follows, are quintessential ’Hoof—and surefire future live staples—but others break new ground. The slinky, drum-machine–driven “Believe E.S.P.” casts chirpy singer Satomi Matsuzaki in the unlikely role of an impassive R&B diva, while “Whither the Invisible Birds?” is bona fide orchestral pop, complete with swooning strings and a wistful piano interlude. Remarkably, Matsuzaki excels in both settings. On the lengthy closer, “Look Away,” guitarist John Dieterich is the MVP, rescuing an unwieldy arrangement with savage and poignant unaccompanied playing. Any band can be prolific, but only a truly great one can inspire you to keep caring. — Hank Shteamer

Deerhoof plays Irving Plaza Jan 26.