Concert Review: MOKB Presents Yuck at Radio Radio
Operation Indy: A Saturday Night with Yuck
If you have observed this blog since its inception you already know that Thought on Tracks likes Yuck… a lot. For me, they contribute to the renaissance of the 90’s indie rock sound. A period of time where friends were collaborating in basements with beers, determined to dominate college radio with distorted guitars. While J Mascis, Robert Pollard, and Stephen Malkmus continue to make new music, they have also inherited the title “Grandfathers of Indie Rock.” This designation makes it possible for developing bands like Yuck to pull from their sound.
Yuck’s debut, self-titled release has been the topic of hundreds of blogs and has maintained major staying power in 2011. The album was released on Fat Possum on February 21 and continues to remain relevant. I continue to say that 2011 has been one of the best years for new music in recent memory and Yuck has found a way to continue to build a fan base during this time. Songs such as “The Wall”, “Get Away”, “Holing Out”, “Georgia” and “Operation” all are in the conversation as favorite songs when you talk to Yuck fans. The fact that this band does not rely on one song to carry their message makes them extremely valuable with only one release under their belt. The power of having a handful of songs to connect with was displayed Saturday night as the British quartet invaded Radio Radio.
As mentioned previously, this was my third time seeing Yuck. This has not only made me think that I am beginning to form an addiction to the live music experience, but also made me realize that there is something about these guys that resonates. I attribute it directly to my love of bands like Pavement, Guided By Voices, and Dinosaur Jr. I caught these bands halfway through their formation while Yuck offers an early invitation to jump on their bandwagon. I saw Yuck play at Pitchfork and hit their after show at Schubas in Chicago in July. The maturation process shined on Saturday night. This was the strongest performance of the three and after witnessing the fan reaction, I knew something special was brewing.
On a night that brought the Avett Brothers to town, like-minded individuals still swarmed to Radio Radio to embrace a band that they had a mere six months to connect with. The crowd was pumped, they knew the words, and Yuck delivered. “Operation” stood out to me and I contend that it is their best song. Blasting guitars and a plea to become someone else for somebody else. This is the type of music that I eat up.
Yuck went up and down their album and even offered us newer songs like “Milkshake.” An invitation to the crowd to meet up for drinks after the show made me realize that this group knows how to maintain their fan base. This band is only going to get better with time and building a fan foundation seems important. A valuable asset held by a young group with mounds of potential. Give us a half a year more and another handful of songs and I might be anointing Yuck as one of my favorite current bands. I can only hope.
Yuck’s introduction to the Circle City and through the checkered flags made me proud to be a part of a growing music scene in Indianapolis. I think more people in Indy are beginning to get it and I could not be any happier. As the culture of Indianapolis grows, so do the wishes of bands like Yuck. Who knows? They could be our next Pavement. We all have high hopes.
Story and Photograph by Brett McGrath
Concert Review: tUnE-yArDs Plays Rhino’s in Bloomington
Last week, I finally got my chance to watch an artist that I had placed on my short list of must-see acts. A couple of years ago I came across tUnE-yArDs at the urging of a friend who had recently seen them live. Their 2009, debut release BiRd-BrAiNs sufficed as singer Merrill Garbus’s experiment in vocal expression.
The album was harsh at times. A veritable mind-fuck mixture of vocal loops, African-influenced rhythm sections, ukulele riffs complete with audio samples of Garbus’s toddler eating blueberries. Describing tUnE-yArDs to someone who hasn’t heard it proves difficult. The concept sounds pretentious and artificial. What could a white chick from New England know about tribal rhythms and hip-hop hooks?
But then you hear it, and you realize that the mash-up works. This chick may actually know her shit. I’m not saying BiRd-BrAiNs was a non-stop joy ride. There are moments where the mad scientist’s potion proves trying for even the most patient and open-minded listener. But the disc has legitimate successes. “Hatari” sums this argument up perfectly. A recurring ukelele riff that mimics the thumb piano, or kalimba, accompanies a simple drum line that sounds as if it was beaten out upon a piece of aluminum siding.
“Hatari”’s verses are broken up by Garbus’s wailing vocal loops. The arrangements are primal, building upon one another like the cries of an entire asylum. The madness gives way, leaving Garbus screaming a capella: “There is a natural sound that wild things make when they’re bound/It rumbles in the ground, gurrah gurrah we all fall down/But when you hear the sound, ten thousand voices lost and found/Your rumble in the ground, gurrah gurrah we all fall down.”
Garbus is wild, and her sound is a natural one, albeit abrasive and unique. Every song feels like a journey deep into the subconscious of a human that has experienced some radically different sounds in her time than you have. BiRd-BrAiNs culminates in the joyous romp, “FIYA”. The lyrics address Garbus’s lack of confidence regarding her physical appearance. It resolves with her inner acceptance and the joy that comes with the realization that she deserves to be loved.
2011 brought W H O K I L L, a more accessible and listener-friendly follow-up. The album is every bit as adventurous as the debut, but it comes across as if Garbus has figured out what tUnE-yArDs is all about. It’s no longer an experiment, but a controlled chaos. The hip-hop influence is heavier on W H O K I L L. The recurring beats and addictive vocal hooks help to make this album a repeat listen in a way that BiRd-BrAiNs never accomplished.
All of this was on display last Wednesday at Rhino’s in Bloomington. Garbus was in complete control. When you hear an album like W H O K I L L, your first response will inevitably be—well surely she can’t do this live. But she does. The loops, while perhaps not as complex as album renditions, are every bit as impressive and satisfying. Her voice is chilling, with a range that rivals anyone’s. She has the unique ability to sound like a male blues singer one moment and release Mariah Careyesque squeals the next.
tUnE-yArDs is a captivating sight to behold. I found myself grinning, speechless, high-fiving friends as she ran through a non-stop sprint of a setlist that covered all of the favorites from W H O K I L L: “Powa”, “Bizness”, “Gangsta”, and “My Country” were all winners. With the exception of “Doorstep”, I heard just about everything that my heart desired. Garbus didn’t play much from BiRd-BrAiNs, but her rendition of “FIYA” was one that I will not forget for a long time.
Rhino’s was pretty full for a Wednesday night. The audience knew the songs, screaming along and dancing throughout. A handful of students near the front sported face-paint similar to that worn by Garbus and her bandmates. Though the show ran later than expected, no one appeared to mind, partying until well after midnight. I recommend that anyone within ear shot capitalize on the opportunity to witness the unique live performance that tUne-yArDs offers.
Written by Rob Peoni
Photograph by Brett McGrath
Watch tUne-yArDs latest video for “Gangsta” here: New Video: tUnE-yArDs “Gangsta”.
Review: Midpoint Music Festival 10th Anniversary
Midpoint Music Festival celebrated its ten-year anniversary last weekend. This is Cincinnati’s ode to culture where the fringe era dimly shines through one of the Midwest’s most conservative towns. The festival provides Cincy the opportunity to return to its boomtown days. The subculture shined on Friday night. Cincinnati, OH was booming once again as people, bands and cultures united. Over-the-Rhine we all went.
I only spent one night blooming with the boom, but it was enough time for me to recognize the impact. My Friday night was occupied by three fantastic live performances by up and coming musical explorers.
- Unknown Mortal Orchestra: The New Zealand born, Portland placed trio has made a name for themselves with their debut release. Their style falls into many of the indie rock subdivisions (troublegum, experimental noise rock, neo-punk, etc.). This was my second time seeing these guys and it was worth the return. Lead singer/guitarist Ruban Nelson is extremely impressive and commands attention. Listening to their record does not give his shredding ability justice. When you see UMO live you earn many key takeaways. First, Nelson is an extremely talented guitarist. If you read nothing about UMO and just listened to their record it would be difficult to decipher where the sounds were actually coming from. After seeing UMO live, you will discover that there are only three mates on stage and Nelson is the one created the ruckus. Second, drummer Julien Ehrich is an extremely talented tween that could be mistaken for a member of Smith Westerns. Third, “Ffunny Ffriends” is on the short list for jams of the year.
- Toro y Moi is without question the king of the Chillwave movement. Chazwick Bundick has the best voice, best band, best beats, and most potential. His looping synths demand dance and his ambient electropop melodies require engagement. Counterparts, Washed Out and Neon Indian have all released follow ups this year, however, neither did so with as much effort as Toro y Moi. Bundick proves to be hungry enough to continue to progress his sound and vision. His follow up LP Underneath the Pine was released in February while Freaking Out EP was distributed a few weeks ago. To me, Bundick is not just the catalyst to keep the Chillwave movement alive, but also is the controller of its destiny. Bundick has too much talent to fade. It will interesting to see if Bundick continues to cycle through the Chillwave or head in a different direction. I think he is about to hit the crest and new direction will form. All I know is that the trough is the last place we will see Toro y Moi.
- The MOTR Pub was the venue that brought in the midnight show of Portland band Starfucker. This band has gone from their current name to PYRAMID, then to Pyramiddd, back to Starfucker, and now STRFKR when touring. Confusion and naming purposes aside, the identity is built and these guys are a party to see live. The capacity of the MOTR Pub had to be 200 and 300 sweating Hipsters were in attendance. I left the venue a few too many drinks deep with the appearance of just getting out of the pool, but what a fun evening.
Although the shows were above par, a certain comment stuck with me on my drive home. Before Toro y Moi’s set, I overheard a man sitting next to me say, “I can’t believe this many people like this live here, it is like they are all coming out of the woodwork.” Neglecting to engage I absorbed his comments and realized that independent music has power. It possesses the type of influence to connect like-minded people. The perfect formula you need to resurrect a town that has been missing a boom for decades. Thank you Cincinnati.
Written by Brett McGrath
Thought on Tracks 