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"Baseball is cancelled, it is running late" sings Satomi Matsuzaki on 'Last Fad', one of the ten tracks on La Isla Bonita.

We never find out why baseball was cancelled. Or if it really was just running late.

Those who know Deerhoof will know better than to expect answers from the raucous four=piece. Use your imagination, they've been telling us over the din of a punk song getting a kicking from a pair of daisy-painted DMs since 1994.

"No band is an island. Felt like one sometimes, in those budgetless and obscure early days... if we hadn't had that crazed mid-'90s Bay Area punk scene to call home, I doubt we'd still be here to chat about a 20th anniversary," said founder member Greg Saunier of the band's new release La Isla Bonita.

Pushing aside the crushing disappointment that this isn't a Madonna-themed album, we really ought to offer up prayers to the relevant gods to give thanks that the East Coast band are celebrating two decades together. Why? Drop 'Big House Waltz' from La Isla Bonita, stand back and hear for yourself; this is a band who are still very much alive.

Deerhoof's music is abrasive and unconstrained; a living and breathing musical embodiment of 'zero fucks given'. The line-up of Saunier, Matsuzaki, Dieterich and Rodriguez play whatever the hell they like and for that we are grateful, for rarely do they sound like any other band playing today.

If you really do need comparisons or reference points, then Deerhoof's astounding list of tour partners, remix credits, collaborators, guest vocalists and musicians to date might work as vague parameters: Sleater-Kinney, Radiohead, The Roots, Beck, Yeah Yeah Yeahs, Joanna Newsom, Yoko Ono, The Flaming Lips and Konono No. 1 have all shared stages, songs and projects with the San Francisco outfit.

On this, their twelfth studio album, there's a place for surf-pop reverb ('Mirror Monster'), screechy punk ('Doom'), bonkers off-key rock ('Last Fad') and jagged indie ('God 2'). There's fuzz and distortion on the high tones of Dieterich and Rodriguez's guitars throughout, met by Matsuzaki's mostly sweet vocals and jerking, twisted bass. Saunier's drumming is superb, drilling into each track with a balance of aggression and jazz improv timing. Sounds weird? It is, and boy, do we like it like that.

Deerhoof say The Ramones are a key influence on this album, and yes, at its dirtiest and rawest, a point where power chords and a slam-dancing punk-rock beat smash together, it's abundantly clear the band are still immovably rooted in punk. La Isla Bonita is harder, edgier and noisier than 2012's Breakup Song, but just as charming, off-kilter and curious.

Who knows if Joey Ramone was ever faced with 'too many choice to order breakfast' as Matsuzaki sings on 'Exit Only'. Who knows where Deerhoof will go next? One surety is that in 2014 the band are on top form, producing a searing listening experience, replete with lo-fi production and fiery delivery.

Few bands possess the same creativity, energy and longevity. La Isla Bonita is a superb indication that the band has so much more to give. Happy 20th, Deerhoof.

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