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
Oranje: Naptown’s Craziest Ten-Year-Old
The first few weeks in September tend to be the busiest of Indianapolis’ arts and social calendar. Penrod. French Market. Greek Fest. Irish Fest. Jazz Fest. Art vs. Art. The list goes on. September is possibly the only month that Hoosiers can rely upon consistent, pleasant weather. The humidity of Indiana’s swampy summer is usually behind us. But enough warmth remains for scantily clad nights on the town.
The unfortunate part about jamming some of the city’s most well attended artistic events together is that sacrifices must be made. This year, as I have for the last several, my Saturday night was spent at Oranje. The evening marked the tenth anniversary for the event that bills itself as “Indiana’s Premier Arts & Music Explosion.” Explosion proves an adequate description.
Oranje can be overwhelming. More than 30 musicians and 40 artists fill and surround a warehouse at 23rd and Illinois for a veritable feast of the senses. A whirlwind of sights, sounds and tastes combine for one of Indianapolis’ can’t miss parties. At its best, my memories of the evening wind up a blur of experiences that I rarely separate into individual performances. They all merge together into a single, enjoyable mind fuck.
From an outsider’s perspective, Oranje seems like our city’s ill-fated attempt at trendy, artistic expression. And to some extent all the necessary clichés are in place—half-naked hipsters, experimental music, interactive exhibits. Non-natives may wonder what original thought Hoosiers could offer such a scene. Those who have attended know better.
I always leave Oranje motivated and inspired. This city is home to so many talented, interesting minds. In a state that prides itself on our small government, public funding of the arts is scarce. But the relative low cost of living allows artists to thrive for a fraction of the cost that larger cities, like New York and Los Angeles, demand. What Indianapolis needs to improve upon is providing these artists with a voice. Oranje accomplishes this in spades, but it’s not enough.
Indy’s residents should not wait until the second weekend in September to take in the arts. Terrific, worthwhile events take place all over this city every week of the year. Indianapolis’ greatest strength is arguably its accessibility. We can get almost anywhere in twenty minutes. We can park. With such opportunities all within arm’s reach, there is no excuse for failing to take advantage of all that Indy has to offer.
I thank the Oranje crew for the massive amount of planning and hard work that goes into this annual bash. Their contribution to the Indianapolis art scene over the last decade has opened a lot of local eyes. Now we’ve got to keep those eyes open and get them out of the house before next September. Let’s face it, folks. The Colts are not getting any better. Luckily for us, there’s more than football in Indiana.
Written by Rob Peoni
Photos by Katie Kirkhoff
Thought on Tracks 
Will the Naptown Hip-Hop Fans Please Stand Up?!
This is not a review. This is a call out.
It is time for the Indianapolis hip-hop fans to come out of the woodwork. Where have y’all been hiding and what have you been doing? Some serious opportunities have been missed in recent weeks and it is raising reason for concern.
On August 30th, I attended Rock the Bells featuring veritable legends Raekwon, Ghostface and Mobb Deep. The Egyptian room was half-empty at best (half-full if you’re into that sorta thing.) The group put on a helluva performance despite the mediocre attendance. It may have gone down as one of the shows of the year had it been held at The Vogue with a near capacity crowd.
The lackluster attendance at the first Rock the Bells installment was followed by a postponement and eventual cancellation of the Mos Def / Talib Kweli Black Star performance. I know this tour struggled across the country, but unfortunately, Indianapolis was no different. Maybe tickets were a tad on the costly side, but we are talking about some of indie hip-hop’s strongest acts.
Last night brought one of underground hip-hop’s hottest up-and-coming acts, Das Racist, to town for the second time this year. The trio played to a sold-out crowd at White Rabbit Cabaret earlier this spring. The stellar performance, followed by unparalleled buzz surrounding their release Relax, prompted last night’s billing at The Vogue in Broad Ripple. Unfortunately, once again, Indianapolis’ hip-hop fan base fell short.
The Das Racist show felt more like a raucous house party than any concert worthy of The Vogue. If you care about hip-hop and would like to see Indianapolis play host to major acts in the future, these recent turnouts should serve as cause for concern. Das Racist will be featured on the cover of next week’s Spin magazine. Collectively, the Rock the Bells crew accounts for some of hip hop’s founding fathers.
If you can’t show up for these shows, what will you show up for? That’s the question I keep asking myself and I can promise that promoters are thinking the same. I hope hip-hop isn’t dead in this region, but attendance proves otherwise. The next time a decent lineup comes to town, get to the box office or we’ll be relegated to a life of Weezy, Jeezy and worse.
Written by Rob Peoni