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Offend Maggie

Offend Maggie blends willfully crude, occasionally pounding art-punk with sweet ’60s textures.

Like a creamsicle full of caviar, San Francisco’s Deerhoof is a strange pairing. Yet, like so many odd combinations, crowds of folks have acquired the taste and swear by it. Since their inception, the mixed-gender, international band has confounded some and delighted many with their original take on pop. Offend Maggie continues to blend willfully crude, occasionally pounding art-punk with sweet ’60s textures. While it may be a sticking point for newbies, Satomi Matsuzaki’s chirping vocals remain a perfect complement to the music. On “Fresh Born,” Morse-code-guitar beeps echo her coos, and on more urgent tracks, like the elliptically political “Eaguru Guru,” hers is the voice of the powerless caught in a web of post-punk guitars and drums. For listeners concerned that the group is erring too close to the pop side, there are bizarre experiments like “This Is God Speaking,” just to remind you that Deerhoof is still wonderfully weird.

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