had previously released three singles from it: the title track, "The Loved One", and "Farewell Symphony". Future Teenage Cave Artists is notable in that it is Deerhoof's first overt concept record. Greg Saunier said in an August 2020 interview that a "sort of a sequel" to Future Teenage Cave Artists would be "coming out in a couple months". On December 21, 2021, the band released the live album Devil Kids. The band will release the album, Miracle-Level, on March 31, 2023. It is notable in that it is their first to be produced in a recording studio (rather than ad hoc spaces) and to have its lyrics entirely in Japanese. Musical style and legacy Deerhoof's style has been described as indie rock, noise pop, punk rock, and "experimental pop mired in a pure punk sense of adventure". AllMusic characterizes them as "highly revered indie rockers ... who play fractured, whimsical noise pop with an avant-garde edge", while MaineToday describes them as "the beloved punk band whose erratic style veers between pop, noise, and classic rock and roll". According to Noisey, Deerhoof formed as a "minimal noise improv" act before shifting to "pop-infused noise-punk". According to AllMusic, their early releases "had a more traditionally harsh, no wave-inspired sound, though they also included the quirky tendencies that dominated their later efforts ... [which] mix noise, sugary melodies, and an experimental spirit into utterly distinctive music that made them one of the most acclaimed acts of the 2000s and 2010s." Impose writes that since "their beginnings as a noise punk band ... [Deerhoof have] taken leaps and bounds artistically and stylistically, experimenting with pop and punk in ways we could've never imagined ... [and] ultimately [proving] that punk can fit into an artistic world." According to the Los Angeles Philharmonic, they made "some of the most difficult and unclassifiable noise of the mid-'90s [before] unexpectedly [rising] to international prominence as one of indie rock's most renowned and influential groups ... too 'pop' for 'noise,' and too 'noise' for 'pop.'" For The Guardian, their breakthrough after many albums of "elliptical art-pop" came with Friend Opportunity, which showcased "a band playing a constantly shifting mixture of psychedelia, post-punk, jazz and pop, which should have been difficult and forbidding, but was given an accessible focus by the sweet vocals and expressionist lyrics of bassist/chanteuse Satomi Matsuzaki. ... [The followup] Offend Maggie is head-spinning bliss from beginning