Those who seek a little idiosyncracy in their rock'n'roll should find plenty to love in California's Deerhoof. They may have straightened out a little since their early days of hardline no-wave experimentalism 10 years ago, but there was still very little here you could call standard issue.

Take their oddball stage setup for a start: beanpole guitarist John Dieterich looming at the back, drummer Greg Saunier and his tiny kit perched on the front of the stage, and singer Satomi Matsuzaki, stage left, busy with her increasingly bizarre set of mimes and hand signals. David Shrigley provided the cover art for their latest album, Friend Opportunity, and his gaudy, cartoonish bestiary makes for an uncanny fit with the music - restless, sketchbook pop punctuated variously with moments of saccharine sweetness and roaring ferocity.

Plus 81, the highlight of the new album, was an early treat. What a terrific song, segueing from a rambunctious marching band intro into one of the year's great riffs, with Matsuzaki's childlike, broken-English vocals acting as a tremendous counterpoint. It is one of their more direct songs, but still finds time to veer off on about five different tangents in the course of three minutes, a defining Deerhoof tactic which proves both a strength and a weakness. As great as it is to hear so many ideas being thrown at the wall, you can't help but now and again hope that they would grab onto a passing motif and develop it rather than move on so quickly.

Nevertheless, it was astonishing how much stylistic ground they cover, from Flaming Lips-style psych to all-out cosmic metal noise, and plenty of barely describable points in between. Few bands do this kind of scattershot eccentricity quite like Deerhoof, but then maybe that's a blessing. Much more of this could be truly exhausting.