Yuck frontman Daniel Blumberg made a curious decision earlier this year. After roughing it out with various projects, he had finally achieved his biggest breakthrough to date with his band's self titled debut in 2011. At the seeming height of his success, Blumberg walked away to focus on a project called Hebronix, leaving bandmates Max Bloom, Mariko Doi, and Jonny Rogoff scrambling for a new direction. The good news about the band's sophomore album, Glow and Behold, is that it is recognizably Yuck. They haven't transformed into an entirely different band, as some naysayers prognosticated around the time of Blumberg's departure.
To the contrary, the band now presents a more mature sounding record that is no longer as beholden to their influences as they were on their debut. Nor are they buried under a wall of distortion like they were before. And while their first album sounded like a starry-eyed teenager's 90s pop bedroom fantasy, the Yuck of Glow and Behold sound much more grown up and musically adventurous. Their change in perspective becomes immediately obvious on "Out of Time," a breezy, self assured indie rock tune with crisp guitar and a smooth, serene vocal performance from Bloom. Doi, now serving as the band's primary backing vocalist, delivers a gorgeous vocal aria to close it out. Bloom, for his part, does an commendable job taking over the frontman's role. Whether you prefer Bloom or Blumberg in terms of vocal capability will come down to personal opinion, but the two are cut from the same cloth. Neither are particularly flashy or showy -- just solid, quality singers.
The change in direction is more obvious in other areas, however. Whereas Yuck was an album bolstered by strong hooks and catchy melodies, the followup is more concerned with the background texture and coloring of the songs. "Lose My Breath" and "Middle Sea" may be reminiscent of their older material, but "Rebirth" draws inspiration from a different corner of the 90s. With its haze filled and hypnotic chord pattern, it sounds like a My Bloody Valentine song, thus showing they can be true to their 90s roots while doing it in different ways. In other places, the experimentation is more subtle. "How Does It Feel" offers some new touches by delivering spacey slide guitar, along with a Neutral Milk Hotel style horn section in the beginning.
There are a few softer ballads along the way, some more successful than others. "Nothing New" is the most emotionally raw and honest piece on the entire album, while others like "Somewhere" do an admirable job but don't live up high bar set by previous pieces like "Suicide Policeman" and "Sunday." And of course, the title track and album closer is another bonafide piece of great indie pop/rock. Yet despite all of the positive developments, Blumberg's absence is still roundly felt. His skills as a guitarist and songwriter cannot be understated. The melodic guitar leads that were a highlight in previous songs like "Get Away" and "Shook Down" are heard much less often on Glow and Behold.
Although songs like "Glow and Behold" and "Out of Time" certainly offer up catchy indie pop, the rugged Dinosaur Jr. inspired cuts from Blumberg boasted much stronger melodies, were tighter, and more anthemic. They tended to stay with you longer due to the simplicity of their delivery and the exuberant celebration of youth that he infused into those songs. Those type of intangibles are difficult to replace, and alas Yuck sounds much less likely to let their hair down here. Therefore, it's a difficult case to make that they're better off without Blumberg; for that matter, it's hard to argue that this record is better than the first. Fair or not, it seems it's Glow and Behold's fate to be compared to their Blumberg era material. But if you're willing to look beyond that you'll find Yuck is still a vibrant and creative force laying down their new identity, and seem to have the opportunity to move in directions even Blumberg couldn't take them.
I saw Mauro Remiddi open for Yuck when I went to see them last fall. The Italian mastermind and sole member of Porcelain Raft presented a sound that was driven by an impressive array of tape loops and playback. It actually felt as if the music were hitting you, as if it were a draft through a window.
What he communicated most to me through his music, however, was that it had a very calming effect. His set was very relaxing, dreamlike and blissful, and his debut album Strange Weekend magnificently captures all of these qualities.
Strange Weekend is very mellow; it's free floating and transcendent like water vapor evaporating from tree leaves after a springtime rain. Remeddi's voice floats through the mist, sounding rather androgynous but at the same time warm and inviting. There is a touch of soul present in his vocals, which creates an interesting sound when backed by the fuzzy wall of indie pop distortion.
The heavy layer of feedback that opens "Drifting in and Out" sets the tone for the album, but there is diversity. There are a couple of numbers more heavily focused around acoustics, such as "Picture," which is the most blissfully chilled out song I've heard since Yoshimi Battles the Pink Robots. "Unless You Speak From Your Heart," meanwhile, displaces the veil of fuzz altogether, focusing instead on jangly pop guitar and relying on the endearing quality of Remiddi's voice.
There is a sense of intimacy in his lyrics as well; they are often phrased as a direct challenge or a piece of advice to the listener. "Is It Too Deep For You" sees Remiddi urge the listener not to fear taking chances, while "Unless You Speak From Your Heart," is about finding your own voice. At times, his lyrics can even become surreal without sacrificing their ability to be quaint and engaging. On the final line in "Backwords," Remiddi reveals: "I read the news about someone that could only talk backwords/ Strange enough I thought about you."
Strange Weekend is an enlightening portrait of how one man can create dense soundscapes rife with depth and emotion, and yet still create a work that feels personal and intimate. There's no doubt that Porcelain Raft is one of the top new artists of the year, and one of the most pleasant surprises of 2012.
Almost as important as the top albums of the year are the best songs. There were no shortage of great songs in 2011 in almost every conceivable style and genre. I personally feel indie rock, alternative, and the electronic genres had the strongest years, but it is easy to find great quality in virtually all forms of music. I have complied a simple list for 50-21, with detailed descriptions of my Top 20 songs:
Sam Beam never fails to come up with something tender and endearing, but this prime cut from Kiss Each Other Clean shows he's also quite the funkmaster. It opens with a horn section designed to make you get down, which sets the tone for the rest of the song. This leads into Beam's mythical story about gods of war and gods of love, and I quickly gather that his intention is to put you in the mood for some sweet passionate lovemaking. The realm of gods has been oft discussed, but never has it made us want to shake our booty quite like this track does.
19. Radiohead - Lotus Flower
Behold the power of good old fashioned hypnotism. There's a time and place for spacing out, and the pounding hypnotic rhythm of the bass and drums provides the perfect soundtrack for getting sucked into a trance. But it goes beyond that. The Chinese Lotus Flower is known for its pure and pristine qualities, and Thom Yorke cleverly ties that in to a theme of turning over a new leaf and experiencing rebirth - much like that of the lotus itself. Those searching for a new beginning may find Yorke's words leave an indelible impact.
18. Sepalcure - Pencil Pimp
I've always been something of a closet fan of intelligent dance music, particularly something with an edge to it. Here, Sepalcure has conjured up something that could be suited to the dance floor, but isn't necessarily restricted to that environment. The opening beat and vocal samples are sure to get your glowsticks in motion, but the song quickly takes on an ominous tone with some oppressive and slightly psy-trancey synth coming in over the top. Along the way, there is enough variation packed in to easily make for a great club stomper, while also offering food for thought.
17. Ott - Squirrel and Biscuits
Ott released one of the trippiest and zaniest electronic records of the year, and his originality and sense of personality was one of 2011's bright spots. The bouncy beat at the beginning is a sure fire to bet to get your head bobbing and your body rocking, and the distorted warbling vocal midway through is a humorous touch, but the real highlight comes near the end with the introduction of totally tripped out Indian scat vocals. And the outro synths near the end make for the perfect climax. Listening to Ott is not like being on a trip. Listening to Ott is like being on a trip while floating over a dance floor in suspended animation, on another planet.
16. Obscura - Septuagint
When German tech death metal masterminds Obscura were faced with the task of following up the critically acclaimed Cosmogenesis, what did they do? They slayed like none other, of course. This opening track from their third album, Omnivium, threw listeners for a slight curve with its Metallica-esque acoustic opening and power build up. But. of course, it wouldn't be long before the churning cauldron of guitars began to mix with the guttural vocals of Steffan Kumerer.
This time around, though, Obscura proved they were more diverse with acoustic sections and clean vocals thrown into the mix. The soft and organic touch is a perfect counterweight to the skin shredding carnage the band is so well known for. With songs like Septuagint as evidence, it seems unlikely that Obscura's rage will be quelled anytime soon.
15. Panda Bear - Last Night at the Jetty
Noah Lennox has always been an innovator. It is this spirit that perfectly informs "Last Night at the Jetty." Like the rest of the Tomboy album, it possesses a fluid and free flowing vibe. Listening to this song is like floating down a waterway, while also feeling decidedly dreamlike. Lennox
14. Gretchen Parlato - Winter Wind
Gretchen Parlato is one of those rare women who can convince you she is knockout using only her voice. Her sultry vocal summons forth a passionate intensity that will leave you rapt and mesmerized. The melody of the piano and the thunderous rolls on the snare are invigorating, but her voice cuts through it all as crisp as an autumn breeze. This track is constantly in motion; there's a definite sense of urgency. And it all comes pouring out in the final sequence, with Parlato desperately trying to convince you to hold on - "it's the time of your life." If you've never felt electrified by jazz, it's high time you gave Gretchen the chance to sweep you off your feet.
13. Cities Aviv - Doom x Gloom
I have yet to find a rapper who can deliver such ordinary statements yet make them sound so profound. Gavin Mays has the type of voice that can make you want to run through a brick wall, but he can also make you think. Doom x Gloom evokes a mysterious mood, while borrowing elements from the Memphis horror rap scene. Mays's proclamation that "we fuck broads and the cross and they gulp the semen" is sure to make an impression, the majority of the mood in this song derives from the hellish cycle of drug use and abuse. Digital Lows was an album capable of striking up many moods, but the feelings generated by Doom x Gloom may well stick with you the longest.
12. Sleep Over - Romantic Streams
Forging the perfect blend of emotion and melody, Stephanie Francotti's catharsis as displayed in Romantic Streams is one of the year's most riveting moments in electronic music. Characterized by wispy vocals that seem to float up from a dreamlike vat, and somewhat dated sounding but soothing electronics, it may give you the urge to close your eyes and drift away into a neverending void. That's pretty powerful stuff.
But you may want to do you best to stay rooted in reality, lest you miss out on the pounding drum section near the end that punctuates Francotti's magnificent ethereal vocal. When all is said and done, the feeling provided by this song is akin to swallowing a sweet warm cup of milk and settling in to a blissful slumber.
11. Black Keys - Little Black Submarines
And then Dan Auerbach bared his soul. It begins with some pretty acoustic strains and Auerbach's Jim Croce-like attempt to have a telephone operator patch him through to his love. The acoustic guitar stands in stark contrast to the firestorm of catchy rock found elsewhere on El Camino. But it's much deeper than that. There are touches of Zeppelin that certainly enhance the effect, but it is perhaps the pained clarity of Dan's regret that leaves the strongest impression.
When the loud feedback begins to fill your eardrums, you know shit's about to get real. Auerbach releases the full wroth of his pain and anxiety, as this time he is appealing to the operator to "patch me back to my mind." The impact is increased by the picture perfect performance from drummer Patrck Carney. Truly, we haven't heard drum fills this spot on since Ringo beat the skins on "A Day in the Life." When it's all done, you feel like you have a new perspective on what it is to lose.
10. Trash Talk - Gimmie Death
In my younger days I toyed around with the notion that most hardcore was targeted toward disaffected middle class high school kids seeking an outlet for social pressures or family issues. If there were any notions of that still in my mind, Trash Talk came and totally kicked them straight out the window. Lee Spielman's disillusionment with the world around him sets the stage for one of the most visceral displays of the year. The wall of guitar aggression and the tightly compacted drum rolls wash over you like a tsunami of aggression. Make no mistake, you don't have to be a hardcore kid to feel what he's saying here.
9. Tune Yards - Gangsta
The breakout success of Merill Garbus has been one of the highlights of the year. Combining afro pop with pulsing rhythms, thumping basslines, and her own bold personalty, Garbus has established a sound that's out there even by Pitchfork standards. It's not for everyone, but personally I was sold on my initial listen. There's so much going on in this song, from the omnipresent bassline to the vocally syncopated police sirens to the way Merill's voice goes from high and fluttery to raw and back again. And the subject matter, which deals with violence on the streets where Garbus used to live, adds a rough edge to the mix. Love them or hate them, Tune Yards are a powerful new creative force whose light doesn't seem to be dimming soon.
8. Opeth - Slither
Ronnie James Dio was a man who meant much to many/ Opeth's Mikael Akerfeldt is no exception. When I heard him speak about Dio at the Cannery Ballroom this October, it was readily apparent what a large influence the man was upon Akerfeldt. So it's no surprise that Slither, the track Akerfeldt wrote to commemorate Dio's memory, was one for the ages. Slither attempts to capture pure headbanging ecstasy and turbocharged guitar assault that so many 70s rock bands like Rainbow used to make a name for themselves. It sounds nothing like a typical Opeth song, save for Akerfeldt's otherworldly vocal. And if you ever get to hear it a live show, keep a tight grip on your sandals -- the moshers go totally apeshit on this one.
7. Wilco - Born Alone
Comeback would be an apt word for Wilco in 2011, and this track was instrumental in keying that success. It opens with a set of impeccably selected mellow pop/rock chords, not at all out of the ordinary for this one time alt-country band. The lyrics focus on cleverness and wordplay, as though Jeff Tweedy seems to basking in reflection. "I am the rider at the wheel of order/ marching circles at the gate," he declares. It leads into a heavy outro which gets totally wistful and reflective. In a time when rock is seeking to innovate so much, it's comforting to know there are people who are capable of sticking to the basics and doing it right.
6. The Decemberists - Down by the Water
Perhaps the greatest sing along of 2011, Down by the Water combines folky schmaltz along with sugary pop harmonies to create one of the catchiest and most fulfilling songs of the year. Most of the magic lies in its stripped down and laid back nature. The acoustic guitar, the accordion and tambourine combine with the harmony between Colin Meloy and Gillian Welch to form an instant winner. And as always, Meloy is busy scouring the dictionary while he pens his lyrics. In just a few short lines, he is able to construct a vivid depiction of a sleepy small time port town. Pyrotechnics and big egos may dominate music headlines, but The Decemberists demonstrate that sometimes simplicity is key.
5. Amon Amarth - War of the Gods
Amon Amarth may occasionally draw criticism for being stuck in their mold, but when they're at the top of their game it's not tough to see why they stick to what they know. Nothing goes to waste here; every riff and progression on guitar sounds crisp, clear and clean. The build up and solo are a textbook demonstration of how dual guitar harmonies are meant to work, and the drums provide the perfect backing for the out of control guitar noodling. And that's without even mentioning that Johan Hegg's hearty growls about conflict between Norse gods lends a truly epic and legendary feel. War of the Gods is an iron forged piece of metal so hot you can still feel the steam rising from it.
4. Raekwon feat. Black Thought - Masters of Our Fate
If there was ever a rap song fit to serve as a soundtrack to a decisive battle, this would be it. A Winston Churchill sample surely doesn't hurt the levity of the track; you can practically hear him clenching his steely fingers as he speaks his message of courage and resolve. And it's spotlighted by a pair of emcees you would never want to meet in a dark alley. Raekwon comes in, speaking about the harsh realities of life. But even he is shown up by the mighty Black Thought, who opens one of the best rap verses ever with a statement we can all relate to -- "bridges I burn some, lessons I learn some, money I spent some, lent some, earn some." By the time it finishes you will surely understand your destiny lies in your own hands.
3. Iamamiwhoami - ;John
This is the Mac Daddy of production work. This song alone could provide a semester's worth of study on how to arrange .midi files like a boss. The main melodies are upbeat, catchy and danceable, but at the same time leave you feeling like you're stuck in a dark depressing hole you will never climb out of. There's quite a bit going on, from heavy sludgy synths to low fat beats and shimmering dancefloor electronica. Swedish starlet Jonna Lee shows off her impressive range as she weaves a tale about being subjugated, dominated, and cast aside. But through it all, she keeps on dancing. It manages to capture a feeling of jubilation while also managing to feel dreamy, isolated, and surreal.
2. Fleet Foxes - Helplessness Blues
In terms of delivering true honesty from behind the mic, Helplessness Blues is about as good as you're ever going to do. This is Robin Pecknold's clarion call of self assertion, and he couldn't have put it any more eloquently. The instrumentation is first rate, the message is empowering, and the lyrics create a powerful and vivid sense of imagery. The most jaw dropping feature comes about halfway in when the time signature changes. It's practically like two top tier songs rolled into one. This is the part where the Fleet Foxes get to show off their patented pastoral sound and lovely vocal harmonies. Pecknold has clearly laid forth his masterwork here.
1. Steven Wilson - Deform to Form a Star
As if descending from the heavens themselves, Steven Wilson's classical progressive odyssey Deform to Form a Star takes top song honors for 2011. Wilson isn't the most virtuoso musician, but every element of his compositions come together brilliantly. The piano is beautiful and melodious. Every chord he picks out seems to have been carefully mulled and considered before being inserted into the final mix. His vocals are mellow and downbeat, focusing on a sense of loss and desolation.
But the chorus shines brightest, with a mystical quality that could practically penetrate the cosmos itself. If that isn't enough, there are also a pair of magical guitar solos that drive home the point. In a year filled with powerful songwriting and unprecedented innovation, Steven Wilson captures the #1 spot by simply being divine.
Yuck pummels the Mercy Lounge with their grimy lo-fi assault.
Say what you will about big time concerts featuring major fanfare and well known artists, but sometimes you can't beat seeing a little indie band kick it. As I made my way to the Mercy Lounge last Wednesday, the scene couldn't have been more perfect.
The weather was warm outside but you couldn't help but notice the slightest touch of autumn in the air. The Mercy Lounge is one of those small intimate venues where everyone gets a shot at getting up close to the performers. Sort of like The End but much nicer.
It's one of those places where you can enjoy the taste of $3 Miller High Lifes while chatting with the chick at the merch stand who seems a little too buzzed for her own good. And you never know who you'll meet at these shows. The show started almost an hour late, so I shot the shit with this one guy about 90s alt-rock, Indiana, and upcoming concerts we wanted to see. All the while, he was doing his darnedest to convince me that this guy at the bar was the lead singer from the Black Keys.
Daniel Blumberg does his best Dinosaur Jr. impression.
And don't forget the ladies. Not everybody loves an indie girl, but I find it's hard to beat the sight of these chicks in their berets wearing black stockings and denim skirt clutching the neck of a Black and Tan bottle.
The band in question? Yuck, who have garnered critical acclaim for their take on 90s alternative rock, and for capturing the zeal of bright eyed youthful exuberance. Their set was marked with aggressive fuzzy guitar and loud feedback between songs.
There is an interesting dynamic to Yuck's sound. Crunchy rockers like "Georgia" capture the raw fist pumping excitement of Dinosaur Jr. while songs like "Suicide Policeman" and "Shook Down" see them prove positively proficient at channeling a band like Pavement.
Throughout the 12 song set, Yuck covered most of the album highlights as well as throwing a few surprises at us. "Milkshake," from their recently released 7" Milkshake/Shook Down single. We also got a look at a new song, "Soothe Me," which spotlights vocalist/guitarist Daniel Blumberg's pained cries in the main hook.
"Get Away," with its melodic guitar leads, is an obvious highlight. As was "Georgia," which is usually a spotlight for bassist Mariko Doi. I found it disappointing she didn't sing lead like on the album, with Blumberg tackling lead vocals while Doi was relegated to a bystander doing only backup vocals in the chorus. Guitarist Max Bloom stepped in to handle the shouty parts in the final chorus. They sound well together, but I really liked the arrangement on the album also.
It all led up to set closer "Rubber," which smacks heavily of Sonic Youth. I wasn't a major fan of this song on the record, but I can't help but be absorbed by how the band rocks out like no tomorrow.
Mariko Doi delivers with her voice and her four strings.
The Stone Roses-ish "Sunday" was the only obvious hit missing from the setlist, and not surprisingly a small contingent of fans kept calling for that song throughout the night.
Finally, Bloom responded, "Sunday? It's fucking Wednesday." Blumberg dryly remarked to him that he gets a 7/10 for stage banter.
With all said, Yuck presents a unique quandary as to what it is that makes them so critically acclaimed. The musicianship, other than maybe lead guitarist Max Bloom, is nothing extraordinary and Yuck wasn't all that energetic on stage. I had to wonder if this is a case of a band getting noticed just out of mimicking their influences very closely.
Then I thought: nah, the songwriting itself is just too damn good.
