Yeah Yeah Yeahs, It's Blitz

Much of the hype surrounding It’s Blitz focused on Yeah Yeah Yeahs triumphantly announcing that it wont be like anything they have ever done before. To add to the speculation in an e-newsletter Modular proclaimed “It’s Blitz! was inspired by the ’70s disco collaborations between Italian producer Giorgio Moroder and R&B songstress Donna Summer, Joy Division, and, well, Karen O’s love of dancing.” As the first single from the album, Zero, hit the airwaves all was confirmed. The track set a precedent for a highly produced album edging from grungey - indie over intro something more electronic.

Zero is perfectly placed as the opening track of It’s Blitz, it’s flickering guitar riff stirring every ounce of excitement you might have had for this release right up as you follow it to the ecstatic crescendo at the end of the song. And then, before you know it, Yeah Yeah Yeahs lead us into self proclaimed unchartered territory. To confirm that Zero wasn’t just a dabble in a new sound Heads Will Roll hammers the genre home, synthesizers and samplers hard at work.

Karen O’s spunky, chanting vocals still grace the album (just in case you were worried everything had changed) but they are accompanied by far more polished tracks, at the expense of that raw sound many fans know and love. But there is no need to mourn the passing of Yeah Yeah Yeahs their sound of old still very much remains in this new form, only their guitar and drums have been passed through the filter of electro and some experience.

For most fans It’s Blitz will feel like having your cake and eating it to. The band has taken a new and exciting direction without forgetting where they came from. This is very much confirmed by Dull Life and Shame and Fortune, two tracks capturing the fast and heavy sound that had you bouncing off your bedroom walls when listening to Show Your Bones. The only time I stopped smiling while listening to It’s Blitz for the first time was when Dragon Queen jumped out of left field. Its The Ting Tings - like dancey, playfulness is a real surprise.

It’s Blitz really proves Yeah Yeah Yeahs’ desire to evolve and grow as musicians. They have really nailed the genre shift, however small it may be, demonstrating a maturity and skill that should allow them to be one of Indie’s all time greats.

4/5

Miami Horror, Bravado E.P

Despite promising full album reviews another E.P has crept under the radar. But, personal criticism aside, this is an E.P I have been dieing to get my hands on.

At the ripe age of 22 Miami Horror has a lot to his name both as a D.J and producer. Just this year things have reached a peak producing the Gameboy/Gamegirl album, The Golden Ghetto Sex E.P, and recording a mix for Ajax’s record label in Sweat It out Volume 1. I’ve been following his Myspace music player for two years now and it has never failed to impress. His style is a mixture of disco, nu disco and 80s synthtastica. It’s great stuff especially when your out clubbing.

Enough with the background info how was the CD?

Well it may be the very thing I’m trying to avoid. It’s good, but not great. Most importantly it’s not Miami Horror, at least as I pictured his music. The synths are there, the influences form the 70s and 80s wander around in the background but that exciting personality is gone. It’s hard to criticise him because I hold his work in such high regard. This is the producer that transformed Gameboy/Gamegirl from quirky to cutting edge. In short I’m looking for Miami Horror and I’m seeing Daft Punk.


The vocal are the main issue. I wasn’t keen on them from the start. They were too clean and very similar to the French robotic duo we know and love. So it may not surprise you that the tracks I enjoyed the most were those without vocals including the two instrumentals. The two tracks Bellevue and Illumination assured me that not all was lost. I sit here with fingers crossed (for my sake at least) that Miami Horror follows the path of these tracks for his next E.P or full length record. There really isn’t anything like dancing to a track that sounds like Sly and the Family Stone, Blade Runner and Phantom of the Opera sliced together.

3 / 5

Mercy Arms, (Self Titled)

The first time I heard about Mercy Arms they were on the cover The Brag dressed in mismatched fencing gear. Since then they have transformed their ‘look’ to one of the most exciting and captivating in Australia. Luckily their music has followed much the same path. If you flip through the sleeve as you listen to their self titled album haunting images of the group illuminated in white compliment the howling guitars and distant bells of their music.

To me, this album was instantly satisfying. I wasn’t tempted to listen to 20 seconds of every track to find something that grabbed me, like most Gen Y’s. Instead I just had to listened all the way through. Twice. The Mercy Arms sound is original, what is more it’s sustained throughout the entire album making it a really strong work. Something that I may argue must be listened to from start to finished each time you put it on.


The album starts off quite mellow as the band lets you get accustomed to their haunting style. The opening track Down here, So Long is nothing short of an amazing opening. Its simplicity and raw emotion had me completely absorbed seconds in. After a few twists and turns the two tracks Kilby and Speed arrive, strung together seamlessly. Just try and stop yourself from tapping the floor or hammering away on your desk. Despite having a similar sound to the rest of the album these two stand out with such ingenuity. And after you think you’ve picked their next move Shine A Light Down has you frothing at the mouth for more surprises.

I would hate to have the task of picking a single to lift from this bunch. Mercy Arms have created an album so original and complete it feels like the work of an older, more experienced band.

4 / 5

Myspace: www.myspace.com/mercyarms

Tame Impala, (Self Titled E.P)

If you worshiped aging rock stars in your teen years then Tame Impala might present you with a little conundrum. They sound exactly the same as your geriatric idols. So here comes the tough question, do we hate them or love them?

As a band they consist of three weedy, long haired guys: Jay Watson Drums / Vocals, Kevin Parker Guitar / Vocals, Dominic Simper Bass Guitar. Their music is in the same taste as many psychedelic rock bands of the 60s and 70s so originality is not their strong point. This may explain why they are signed to the same label (Modular) as the recently disbanded Wolfmother. While these two bands both pulled on my nostalgic heart strings Wolfmother, I can now admit, is simply a pastiche of the past and present. Tame Impala redeem themselves by seeming more genuine... somehow. This isn’t a slightly popy mixture of glam-rock, it’s an homage, a revival of music these three guys obviously love.


Don’t come in search of inspiring lyrics or a new sound they just aren’t there. Instead expect to be sent back in time by the very first note of the very first track Desire Be, Desire Go. The grungy guitar and tinny drums couple seamlessly with mellow, removed vocals. The track Half Full Glass of Wine reeks of Eric Clapton and Cream but boy do they do it well. If you are one of those purists who classify Wolfmother as plagiarism then rest assured Tame Impala finish their E.P with a well orchestrated killer: Wander. The band really shows us their musical talent and although the breakdown and solo are a bit lackluster the rest of the track is flawless.

Tame Impala are definitely worth any hype surrounding them and I look forward to their full length studio album.

3.5 / 5