For all of Deerhoof’s genre-bending and experimentation, their greatest moments occur when a genuine hook busts free of the sonic chaos. These moments, contrasted with the more discordant noises around them, illustrate how disciplined this band actually is — they are very rarely weird for the sake of being weird. Rather, they utilize dissonance to throw a sharper relief on some extremely compelling songwriting.

Dulcet melodies dominate Deerhoof Vs. Evil, the band’s 10th album. Played straight, the result might have proved too saccharine to bear, but when obscured by clattering percussion, electronic twitches, brawny overdriven guitar riffs, and Satomi Matsuzaki’s sprightly singing, the sweetness is enticing. These songs don’t deliberately confound, necessarily, but the listener is responsible for a fair amount of chewing before the complex flavors fully reveal themselves.

“Super Duper Rescue Heads!” is a particular standout, with a melancholy through-line that persists across several changes of tone and tempo. It’s a straightforward pop song interrupted (and ultimately defined) by video game bleeps, haunted synths, and arresting rhythmic breakdowns. The rest of Deerhoof Vs. Evil is similarly unpredictable and exciting; the band is so elastic in their capabilities and their very conception of rock ‘n’ roll that it’s virtually impossible to guess what’s around the corner even after several listens.

At 32 minutes, the record may feel somewhat slight at first, but the replay value is astronomical. Deerhoof’s sound is so disparate from other bands’ in their weight class that the topography of their world is almost entirely alien and thus endlessly fascinating. When all is said and done, though, the most appealing aspect of Deerhoof Vs. Evil is the raw energy that drives it. This isn’t a record to throw on while you’re trying to do anything else; it demands attention and, ultimately, deserves such.

(Polyvinyl Record Company, 206 N. Randolph Street, Suite M100, Champaign, IL 61820)