Building a reputation and an ever-growing loyal fanbase since their mind-blowing 2003 debut album Fever To Tell, there was always going to be high expectations for the Yeah Yeah Yeahs’ first release since 2009’s It’s Blitz!
Many listeners may be in two minds about this album, given it’s notable high and low points. Frontwoman Karen O is still a force to be reckoned with, but there are times when certain tracks leave you feeling a little disappointed.
“Area 52” is by and large the most disappointing in its unimaginative structure, bizarre lyrical content – “I wanna be an alien/take me please oh alien” – and general busyness that makes it hard to listen to.
Over saturated with computerised, “space-age” effects and loud, distorted guitars, it could easily be mistaken for the theme tune to a children’s TV program.
Karen O’s voice is most captivating in its high-pitched whisper, which thankfully features a lot on the album. Easily the standout track, “Sacrilege” opens with just that and draws you in immediately. It’s perfectly constructed and has a magnificent build, climaxing with the aid of a gospel choir that close the song a cappella.
It’s the sort of song that rewards you for listening all the way through as it just gets better and better, no doubt inciting many to hit the “replay” button.
“Subway” is at a significantly different pace and almost works as a comedown to “Sacrilege”. Punctuated by the sound of a train crossing over tracks, there is constancy to this song and it’s refreshing to hear Karen O hold back vocally the entire time.
“Slave” harks back to early Yeah Yeah Yeahs’ style a little more with its driving electric guitar and Karen O fluctuating between head and chest voice. A relatively subdued opening, it almost has a “drop” around the one-minute mark where the guitar comes in and it picks up the intensity.
Another taste of classic Yeah Yeah Yeahs is “Despair”, from its sparse, promising intro and expert build to Karen O’s awesome vocal gymnastics relaying the darkness-into-light lyrics – “we’re all on the edge/there’s nothing to fear/nothing to fear inside.”
Allegedly written for her husband, album closer “Wedding Song” is a beautiful love song driven by a heartbeat-like rhythm and the gently sung ode to her betrothed. Lines like “In flames I sleep soundly/with angels around me” show the frontwoman’s softer side.
While diehard fans may be left wanting more from the New Yorkers this time around, there is no doubt that they’re still a prolific band and will continue to be – as long as they don’t write any more songs about aliens.
