Tag: Yeah Yeah Yeahs Fever To Tell

New Video: Yeah Yeah Yeahs Share Cinematic and Feverish Visual for Dance Floor Friendly “Burning”

After teasing their first new bit of music in over nine — nine! — years, the Yeah Yeah Yeahs — Karen O. (vocals), Nick Zinner (keys, guitar, drum machine, bass) and Brian Chase (drums) — announced their long-awaited and highly anticipated fifth album, Cool It Down last month. 

Cool It Down is slated for a September 30, 2022 release through Secretly Canadian and features cover photography by Alex Prager. The eight-song album reportedly is an expert distillation of the band’s gifts and will impel the listener to move, cry and listen closely. 

“To all who have waited, our dear fans, thank you, our fever to tell has returned, and writing these songs came with its fair share of chills, tears, and euphoria when the pain lifts and truth is revealed, Yeah Yeah Yeah’s Karen O wrote in a statement to the band’s fans. “Don’t have to tell you how much we’ve been going through in the last nine years since our last record, because you’ve been going through it too, and we love you and we see you, and we hope you feel the feels from the music we’ve made. No shying away from the feels, or backing down from what’s been gripping all of us these days. So yes we’ve taken our time, happy to report when it’s ready it really does just flow out.”

“The record is called Cool It Down which is snagged from a lesser known Velvet Underground song. I told Alex Prager whose photo graces our record cover that her image speaks to sweeping themes in the music and sums up how I, Karen, feel existentially in these times! But there’s always more to the story. This is how our new story begins, we present to you with heads bowed and fists in the air ‘Spitting Off the Edge of the World’ featuring Perfume Genius.

Cool It Down‘s first single, the Dave Sitek-produced “Spitting Off the Edge of the World,” featuring Perfume Genius is a slow-burning and cathartic power ballad centered around glistening and droning synths, Chase’s thunderous drumming, a distortion-driven guitar solo by Zinner, arena rock friendly hooks paired with the lush interplay between Karen O’s and Perfume Genius imitable vocals. Sonically “Spiting Off The Edge of the World” to my ears sounds like a slick yet subtle synthesis of Show Your Bones and It’s Blitz — and as a result, the song is simultaneously urgent yet an exercise in restraint. 

Lyrically, the song reflects on the current state of the environment, and the need for honesty about the damage we’re inflicting on the Earth. “I see the younger generations staring down this threat, and they’re standing on the edge of a precipice, confronting what’s coming with anger and defiant,” Yeah Yeah Yeah’s Karen O explains. “It’s galvanizing and there’s hope there.” 

The album’s second single., the Andrew Wyatt-produced “Burning” is a dance floor anthem built over a twinkling piano loop inspired by The Four Seasons’ “Beggin’” and features Zinner’s fiery guitar sprawl, thumping beats, Chase’s funky drum patterns pared with Karen O’s imitable croons and shouts. The song captures the Karen O being engulfed in the tumult and unrest of Los Angeles in 2020 — with fire and smoke bearing down on the city and everything its in path. Sonically, the song sounds like a subtle refinement of It’s Blitz!-era YYYs that nods at Fever to Tell.

“Back when I was 19 living in the East Village, one night a roommate dragged me out of the apartment for an impromptu drink across the street,” Karen O writes. “I left a votive candle burning on a plastic yaffa block which, in my absence set flame to my room. Within an hour and-a half of having one drink down the block, firefighters had come and gone extinguishing the fire. I came home to find that a natural disaster had occurred (to my room) and most of my stuff, lost in the flames. All electronic goods were melted and demolished like my laptop, cameras etc. but oddly enough the items that held the most sentimental value remained intact like sketchbooks, a favorite sweater with hearts across the chest, and photographs. I had photos of my parents in their youth where the fire burnt around the two of them as if there was some intangible force field protecting them, many photos like that, mysteriously leaving the beloved subjects untouched.”

If the world is on fire I hope the most beloved stay protected and that we do all we can to protect what we cherish most in this life. ‘Burning’ is a song about that feeling, smoke signals for the soul. Begging to cool it down, just doing it the best we know how. Nick and I nodded to Frankie Valli’s ‘Begging’, with the line ‘oooh lay your red hand on me baby.’ We’ve cut a rug to many a soulful sixties bangers in our day, it was in our DNA by the time we wrote ‘Burning’.”

Directed by the band’s longtime collaborator Cody Critcheloe a.k.a. Ssion, the accompanying video is cinematically shot fever dream that nods at 60s B movies, West Side Story and Los Angeles low-rider culture before ending with the video’s protagonist staring at a raging conflagration.

New Video: Yeah Yeah Yeahs Team Up with Perfume Genius on an Urgent Power Ballad

After teasing their first new bit of music in over nine — nine! — years, the Yeah Yeah YeahsKaren O. (vocals), Nick Zinner (keys, guitar, drum machine, bass) and Brian Chase (drums) — recently announced their long-awaited and highly anticipated fifth album, Cool It Down.

The forthcoming album is slated for a September 30, 2022 release through Secretly Canadian and features cover photography by Alex Prager. The eight-song album reportedly is an expert distillation of the band’s gifts and will impel the listener to move, cry and listen closely.

“To all who have waited, our dear fans, thank you, our fever to tell has returned, and writing these songs came with its fair share of chills, tears, and euphoria when the pain lifts and truth is revealed, Yeah Yeah Yeah’s Karen O writes in a statement to the band’s fans. “Don’t have to tell you how much we’ve been going through in the last nine years since our last record, because you’ve been going through it too, and we love you and we see you, and we hope you feel the feels from the music we’ve made. No shying away from the feels, or backing down from what’s been gripping all of us these days. So yes we’ve taken our time, happy to report when it’s ready it really does just flow out.”

“The record is called Cool It Down which is snagged from a lesser known Velvet Underground song. I told Alex Prager whose photo graces our record cover that her image speaks to sweeping themes in the music and sums up how I, Karen, feel existentially in these times! But there’s always more to the story. This is how our new story begins, we present to you with heads bowed and fists in the air ‘Spitting Off the Edge of the World’ featuring Perfume Genius.

Cool It Down‘s first single, the Dave Sitek-produced “Spitting Off the Edge of the World,” featuring Perfume Genius is a slow-burning and cathartic power ballad centered around glistening and droning synths, Chase’s thunderous drumming, a distortion-driven guitar solo by Zinner, arena rock friendly hooks paired with the lush interplay between Karen O’s and Perfume Genius imitable vocals. Sonically “Spiting Off The Edge” to my ears sounds like a slick yet subtle synthesis of Show Your Bones and It’s Blitz — and as a result, the song is simultaneously urgent yet an exercise in restraint.

Lyrically, the song reflects on the current state of the environment, and the need for honesty about the damage we’re inflicting on the Earth. “I see the younger generations staring down this threat, and they’re standing on the edge of a precipice, confronting what’s coming with anger and defiant,” Yeah Yeah Yeah’s Karen O explains. “It’s galvanizing and there’s hope there.”

The Yeah Yeah Yeah’s longtime collaborator Cody Critcheloe a.k.a. Ssion, who designed the cover art for Fever To Tell, and who also directed Perfume Genius’ “Queen” directed the accompanying video which stars Perfume Genius as an avenging angel limo driver to Karen O’s desert rebel queen.

“A note on this video, it’s a dream collaboration with one of our favorite artists of the 21st century Cody Critcheloe who did the artwork for our first record back in 2003 and has been making visionary music videos for the last decade,” Karen O notes. “The time to collaborate again came with ‘Spitting,’ the shoot in Kansas City was dream-like, the dreams you have after eating something really greasy right before bed; bizarre, poetic, and intense. Perfume Genius was incredibly gracious to roll in the very cold mud as my co pilot and steal scene after scene with his surreal charm.  We trusted Cody implicitly, he surpassed expectations and gave us our November Rain. YYY’s spirit is alive and well through the eyes of Cody Critcheloe. Custom Yeahs limo was largely his handiwork, fueled on love.”

New Video: Buffalo’s Alpha Hopper Releases a Mesmerizing Visual for New Ripper “Enskin”

Led by frontwoman Irene Rehviashvilli, the Buffalo-based quartet Alpha Hopper formed back in 2014. And since their formation, the Buffalo-based act have developed and honed a frenetic guitar-driven rock sound featuring elements of punk rock, hardcore, noise rock and no-wave.

Interestingly, the act’s recently released third album Alpha Hex Index finds the band diving deeper into their unique rabbit hole with sassy and snotty vocals punctuating a towering wall of angular, power chord riffs and forceful mathematically precise drumming. As the band jokingly describes their sound
“dummy math, noise rock for art-punk drop outs.”

As a result of pandemic-related shutdowns and restrictions, the members of the Buffalo-based quartet decided to record the album themselves in their homes. Of course, because of shelter-in-place recommendations, there were some hiccups in the recording process: instead of being able to track material in a single block, they ere conducted in intervals when the members were able to safely get together to hash out their respective parts. Once they were satisfied with the mix, they sent the files to John Angelo to master the material.

Alpha Hex Index’s latest single “Enskin” is a breakneck and feral ripper, centered around angular power chords, Rehviashvilli’s snotty and bratty delivery, rapid-fire drumming and enormous mosh pit friendly hooks. And while sonically recalling a wild synthesis of Fever to Tell Yeah Yeah Yeahs and math rock titans Cinemechanica, the song lyrically is a call for the listener to armor themselves with the protective hides of creatures and the head and heart of their own spirit.

The recently released video for “Enskin” is a collaborative video created by Tbilisi, Georgia-based wearable sculpture collaborators UTA and virtual reality filmmaker Flatsitter. Directly inspired by the song’s lyrics, the video features characters running around a distinctly European town in wild and colorful costumes — and throughout the video, each character seems imbued with supernatural powers.

New Video: JOVM Mainstays Dream Wife Releases a Riotous Visual for Mosh Pit Ripper “So When You Gonna . . . “

Deriving their name as a commentary on society’s objectification of women, the London-based punk rock trio and JOVM mainstays Dream Wife — Icelandic-born, London-based Rakel Mjöll (vocals), Alice Go (guitar, vocals) and Bella Podapec (bass, vocals) — can trace their origins to when the trio met and started the band back in 2015 as part of an art project conceptualized around the idea of a band born out of one girl’s memories of growing up in Canada during the 1990s.

2018 saw the band release their self-titled, full-length debut to critical acclaim. And as a result, the band built up a profile as a must-see live act, playing at SXSW, opening for Garbage, The Kills and Sleigh Bells, which they followed up with sold-out headlining tours across the European Union and the US — including a stop at Rough Trade with New York-based genre-defying artist Sabri. Adding to a growing profile, the band had their music appear in the Netflix hit series Orange is The New Black. But at the core of all of that is the trio’s mission to lift up other womxn and non-binary creatives with empowering messages and a “girls to the front” ethos.

Slated for a July 3, 2020 release through Lucky Number Music, the London-based trio’s Marta Salogni-produced So When You Gonna . . .  may arguably be the most urgent and direct call to the action of the rising act’s growing catalog. Thematically touching upon some of the most important and sobering themes of our sociopolitical moment including abortion, miscarriage and gender equality, the album is centered by an “it’s a now or never” immediacy in which the listener is directly encouraged to stop waiting, get off your ass and start doing something. The album’s title also plays on its central idea. “It’s an invitation, a challenge, a call to action,” the band’s Rakel Mjöll says in press notes.

So far, I’ve written about two of the album’s singles:  the bombastic, maximalist, tongue-in-check “Sports!,” which recalled Q: Are We Not Men? A: We Are Devo!and Freedom of Thought-era DEVO, Fever to Tell-era Yeah Yeah Yeahs and Entertainment-era Gang of Four with an exuberant, zero fucks given air — and the achingly nostalgia “Hasta La Vista,” a mid-tempo track that focused on the tight familial bond the band has developed through a shared experience of life on the road, the aching nostalgia for the people, places and things from home you miss while away, and the odd feeling that things have changed in some way that you can’t quite put a finger on when you get back. 

So When You Gonna . . .’s third and latest single, the infectious and anthemic album title track “So When You Gonna . . .” is a most pit friendly ripper featuring bursts of angular guitar chords and punchily delivered lyrics. Proudly continuing their girls and womxn to the front ethos, their latest offering is sultry, in-your-face challenge in which its narrator displays her bodily autonomy and desires with a bold self-assuredness that says “Well, what are you waiting for? We both know what we want. Let’s get to it!” 

“It’s a dare, an invitation, a challenge.  It’s about communicating your desires, wholehearted consent and the point where talking is no longer enough,” the members of Dream Wife explain. “It promotes body autonomy and self empowerment through grabbing the moment. The breakdown details the rules of attraction in a play by play ‘commentator’ style, inspired by Meat Loaf’s ‘Paradise by the Dashboard Light.”

Directed by Aidan Zamiri, the recently released video for “When You Gonna . . .” is shot from the first person POV perspective of the inside of someone’s very hungry mouth. The viewer follows the mouth as it attends a sweaty and raucous Dream Wife show that captures the energy of their live show — and most important, the excitement of strangers suddenly bonding over their love of their favorite band. And like a lot of shows, our protagonist meets and kisses a bunch of attractive new friends, and interacts directly with their favorite band. Seeing your favorite band at some dark, sweaty, booze soaked shithole is a profound experience that simply can’t be manufactured or replicated and for me, the video for “When You Gonna . . .” reminds me of the things I desperately miss. 

“For the video we worked with our favourite elf prince Aidan Zamiri who filmed around a free sweaty, sexy, gig we did for our fans back in January – shot as a first person POV from the inside of a mouth,” the band says of the new video. “Performing live is the beating heart of this band and we miss it, so please take this video as a little love letter to the rock show.”

New Video: Dream Wife’s Achingly Nostalgic Visuals for “Hasta La Vista”

Deriving their name as a commentary on society’s objectification of women, the London-based punk rock trio and JOVM mainstays Dream Wife — Icelandic-born, London-based Rakel Mjöll (vocals), Alice Go (guitar, vocals) and Bella Podapec (bass, vocals) — can trace their origins to when the trio met and started the band back in 2015 as part of an art project conceptualized around the idea of a band born out of one girl’s memories of growing up in Canada during the 1990s.

2018 saw the band release their self-titled, full-length debut to critical acclaim. And as a result, the band built up a profile as a must-see live act, playing at SXSW, opening for Garbage, The Kills and Sleigh Bells, which they followed up with sold-out headlining tours across the European Union and the US — including a stop at Rough Trade with New York-based genre-defying artist Sabri. Adding to a growing profile, the band had their music appear in the Netflix hit series Orange is The New Black. But at the core of all of that is the trio’s mission to lift up other womxn and non-binary creatives with empowering messages and a “girls to the front” ethos.

Slated for a July 3, 2020 release through Lucky Number Music, the London-based trio’s Marta Salogni-produced So When You Gonna . . .  may arguably be the most urgent and direct call to the action of the rising act’s growing catalog. Thematically touching upon some of the most important and sobering themes of our sociopolitical moment including abortion, miscarriage and gender equality, the album is centered by “it’s a now or never” immediacy in which the listener is encouraged to stop waiting, get off your ass and start doing something. The album’s title also plays on its central idea. “It’s an invitation, a challenge, a call to action,” the band’s Rakel Mjöll says in press notes. 

After playing roughly 200 shows during the course of 2018, the band didn’t bother to sit still and they turned to playing sports while writing the material that would eventually comprise their forthcoming sophomore album. “Sports!” the album’s bombastic, tongue-in-cheek first single featured explosive blasts of angular guitar, four-on-the-floor drumming, rapid-fire tempo shifts, shimmering synth arpeggios, enormous arena rock friendly hooks and winking vocal asides reminiscent of Q: Are We Not Men? A: We Are Devo!and Freedom of Thought-era DEVO, Fever to Tell-era Yeah Yeah Yeahs and Entertainment-era Gang of Four with an exuberant, zero fucks given air. 

So When You Gonna . . . ‘s second and latest single “Hasta La Vista” is a mid-tempo track centered around four-on-the-floor drumming, shimmering and angular guitar chords, an infectious hook and Mjöll’s unique vocal delivery, which balances a girlish coquettishness with an aching and longing nostalgia for the friends and family they were away from while on the road, the small comforts of home that you’d miss while being on the road. But there’s also the acknowledgement of the tight, familial bond that they’ve developed with each other through their shared experiences of life on the road, and the aspects of their lives that have changed as a result of their lives as professional musicians. Much like a great deal of the material I’ve written about recently, “Hasta La Vista” reveals prescient parallels to our contemporary life: trapped in various forms of indefinite isolation, we can’t get the things we miss — and may never get them again. And we have to accept the changes within our lives, including the ones that may have permanent and long-lasting negative effects. 

“Hasta is one of the first songs we wrote after we completed our touring cycle for our debut album. We’d played over 200 shows in 18 months and had returned to London to discover that things around us had changed and so had we,” the band says in press notes. “Close relationships fell apart and others came together. This song is about accepting and embracing that change and being thankful to what that was and what it is today.”

The band adds, “Being on tour has some similarities to living under quarantine — the separation from loved ones, the submission to the process, the large amounts of time in contained spaces with the same group of people. We built this band around relentless touring and the celebration and love of the live show and the community that it creates. And we’re very much looking forward to experiencing that again, when the time is right.”

Edited by the band’s Rakel Mjöll, the recently released video for “Hasta La Vista” is centered around home video footage of the members of Dream Wife as adorable, small children — shot by their families. The video further emphasizes the song’s longing and wistful nostalgia. In this case for a far simpler, seemingly less uncertain time — and for several people, who may no longer be with them. 

New Video: The Bobby Lees Release a Feral New Single

Over the past 18 months or so, the rapidly rising Woodstock, NY-based garage punk act The Bobby Lees — Kendall Wind (bass), Nick Casa (lead guitar), and Macky Bowman (drums)  — have begun to receive attention for a feral and frenzied take on garage punk and an unpredictable live show. And as a result, the rising punk rock act has opened for the likes of The Black Lips, Murphy’s Law, Boss Hog, Future Islands, Daddy Long Legs, The Chats, and Shannon & The Clams. 

Slated for a May 8, 2020 release through Alive Naturalsounds Records, The Bobby Lees’ Jon Spencer-produced full-length album reportedly finds the band mixing classic, garage punk hits, raw and emotive storytelling and some of the most blistering and dexterous guitar work I’ve heard in the past few months. So far I’ve written about two of the album’s singles: the breakneck and explosive  Fever to Tell-era Yeah Yeah Yeahs-like “GutterMilk,” and a feral and unhinged cover of Bo Diddley’s “I’m A Man,”‘ that nods a bit at George Thorogood’s famous cover — but with a defiant, gender bending boldness. Building upon the reception of the album’s first two singles, the album’s third and latest single “Move” continues a run of feral and sweaty garage punk that sounds like Jon Spencer Blues Explosion on steroids. 

The recently released video captures the band playing live and goofing off while on tour — and it accurately captures the band’s youthful and infectious abandon. 

New Audio: The Bobby Lees’ Feral Take on a Blues Classic

The Bobby Lees are a young, rapidly rising Woodstock, NY-based garage punk act, featuring Kendall Wind (Bass), Nick Casa (Lead Guitar), and Macky Bowman (Drums) — and over the past 18 months or so, the band has received attention for a frenzied and energetic live show, opening for a who’s who of contemporary indie rock — including The Black Lips, Murphy’s Law, Boss Hog, Future Islands, Daddy Long Legs, The Chats, and Shannon & The Clams. 

SKIN SUIT, the Woodstock-based punk outfit’s forthcoming  Jon Spencer-produced full-length album is slated for a May 8, 2020 release through Alive Naturalsounds Records finds the band mixing classic garage punk hits, raw and emotive storytelling and some of the most blistering guitar work I’ve heard in some time. Now, as you may recall, last year I wrote about “GutterMilk,” 94 seconds of explosive punk that will remind some listeners of Fever to Tell-era Yeah Yeah Yeahs and Jon Spencer‘s work with The Jon Spencer Blues Explosion. The forthcoming album’s second and latest single is a feral and unhinged cover of Bo Diddley’s “I’m A Man,”‘ that nods a bit at George Thorogood — but with a defiant, gender bending boldness.