We are all familiar with the famous term “less is more,” but that doesn’t exactly apply to the experimental pop-rock band Deerhoof.

The band’s newest release, “Friend Opportunity,” the band’s ninth since 1997, shows no slip in the style that has defined them as a band.

One word comes to mind when enjoying this incredibly insane album: noise. Every track includes at least 20 different instruments. Synthesizers and beats pulse right out of the speakers so much that the only way to pick them all out is to sit in a dark, empty room with a good pair of headphones and listen to the CD very, very carefully.

Aside from the unique instrumentations on the album, which rival some of the most creative artists of this generation, the onslaught of time-changes that occur will make listeners turn their head to the speakers and say, “What the heck was that?”

The only area that the album is lacking is vocals. The vocal styling of Satomi Matsuzaki, though unique, is dry and lacks any sort of good melody. But that has never been the center of focus for Deerhoof. The most amazing part of this band is, by far, the musicianship and the creativity that goes into what they write. It is almost as if the vocals are there as background to compliment the thousands of other pieces of noise going on.

The album is pretty solid from start to finish, with maybe one or two tracks that sound over-thought. Maybe they should have kept those simple, but then that just wouldn’t be Deerhoof, now would it?

Key songs include “The Perfect Me” and “Matchbook Seeks Maniac.”

Mat Warrenfeltz is a music critic for the Northern Star.