Pigeon Funk’s Kit Clayton and Sutekh never matured a day since their ’01 debut record, a micro-house affair inspired by how pigeons dance. The Largest Bird begins with a tune of warped, big-band-jazz blurts and splattered samples of pigeon calls (“Mess Call”), and finally ends up in a kindergarten-polka dance party (“Pom Pom Yom…”). This is digital funk that’s obese on kitsch, and completely refreshing in our age of trendy, forgettable minimal techno. Pigeon Funk often balances groove and delirium, best heard in the 8-bit synth riffs and drop-kicked beats of “Brukim Lo” and the cookware clangs that carry the otherwise sleepy R&B ballad “Alma Hueco.” Clayton and Sutekh once advanced San Francisco’s post-techno scene, and though The Largest Bird doesn’t break any ground, they still have a fearless messiness that’s sorely needed in techno.