Tag Archives: Yuck

cat_preview

Yuck Headline The Bowery Ballroom Tomorrow Night

February 14th, 2014

Yuck are an international band: Singer-guitarist Max Bloom is a Londoner, bassist Mariko Doi hails from Hiroshima and drummer Jonny Rogoff is straight out of Jersey. (Guitarist Ed Hayes recently replaced original member David Blumberg, while Bloom took over Blumberg’s vocal duties.) Yuck (above, performing “Operation”) have put out a pair of albums, a self-titled affair (stream it below) in 2011—which “recalls the aesthetic of some of the forefathers of indie rock,” according to Consequence of Sound, which also glowingly makes comparisons to Dinosaur Jr., Sonic Youth and the Jesus and Mary Chain—and
last year’s Glow & Behold (stream it below)—about which PopMatters says “it’s a real pleasure to hear their take on the past.” But in the very near future, you can see Yuck play The Bowery Ballroom tomorrow night.

cat_preview

CMJ Showcase – Mercury Lounge – October 18, 2013

October 21st, 2013

Yuck

Photos courtesy of Dana Kandic | www.danakandic.com

cat_preview

Music of a Bygone Era

June 8th, 2012

Unknown Mortal Orchestra – Mercury Lounge – June 7, 2012


The guys in Unknown Mortal Orchestra aren’t a chatty bunch: They said more on Twitter before the show than during their set last night at Mercury Lounge. Save for a couple “thanks” and a promo for another show, it was all business. And for UMO, business is orienting dense psychedelic rock for an authentic live experience—recreating the highly effected sounds on their first and only album, Unknown Mortal Orchestra. It takes work, but they’ve intently dedicated themselves to the task.

Lead singer Ruban Nielson is at the center of the three-piece band. His demos spawned UMO. And, live, his noise making is noticeably the most captivating element. Although it was nearly impossible to parse his actual singing voice from swaths of feedback and echo, it was fun to get lost in the sound. The lyrics usually complemented the melody, so distinguishing the verses to “Ffunny Ffrends” wasn’t necessary to enjoy the song’s giddy feeling. It was also in the moments when things felt like they’d fall apart—the drums and bass slipping in and out of time signature on “Strangers Are Strange” and “Thought Ballune”—when the band seemed most comfortable.

For the most part, Unknown Mortal Orchestra’s songs hit somewhere in between Beatles psychedelia and Hendrix rock. It is the music of a bygone era, but classic-rock revivalism is on the rise. As witnessed by the attendance of Joseph D’Agostino and Jonny Rogoff, the lead singer of Cymbals Eat Guitars and the drummer for Yuck, respectively. They, too, came to support the community: one that speaks quietly and carries loud guitars. —Jared Levy

Photos courtesy of Jeremy Ross | jeremypross.com

cat_reviews

A Band with Its Influences on Its Sleeve

May 9th, 2011

Yuck – The Bowery Ballroom – May 7, 2011

yuck-band
Yuck took the stage at a sold-out Bowery Ballroom beneath a hand-painted banner—a simple statement for a band probably just getting used to this level of attention. Saturday’s show was the last US date before Yuck returns home for another sold-out show in London. Their self-titled album on Fat Possum, released just three months ago, seems to have struck a few universal chords with fans on both sides of the pond.

A surprising match, with Daniel Blumberg and Max Bloom from London, Mariko Doi from Hiroshima and current drummer Jonny Rogoff from, of all places, New Jersey, the group is comprised of left-of-center outcasts who happened to find in each other a love for the golden age of indie rock, and they emulate those sounds like only those barely old enough to have originally witnessed them can. The band’s been hailed as the second coming of Dinosaur Jr. or Daydream Nation-era Sonic Youth, a true melting pot of growing up with the alternative-’90s sounds. Like with Brooklyn’s Blood on the Wall, the fond references are clear, but reinterpreted with a modern perspective, keeping an ear on solid songwriting.

Yuck, dressed in matching blue shirts, had an effortless pop ease that’s evident in early Pavement singles. But not trying to reinvent what works is how this young band stands out. Instead the four play songs they sincerely love. Almost too tall for the microphone, Blumberg delivered vocals hunched over, while Bloom played the melodic, fuzzy leads over Doi’s catchy basslines and harmonies. And in ending the show with the epic layered drone of “Rubber,” the group conjured up a My Bloody Valentine wall of sound to round out a perfect homage to their influences, a nostalgic mixtape of an era. —Jason Dean