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Written
by Mike Yoder, posted by blog admin
Yam
Haus’ debut full length Stargazer
possesses a remarkable completeness quite unlike anything you’ll hear in any
style this year. Their embrace of electronic instruments, particularly
synthesizer, naturally risks accusations of artificiality, but the Minneapolis
based four piece successfully integrates keyboards and synthesizer with a
guitar sound that takes a number of surprising twists and turns along the way.
You can’t easily pigeonhole Yam Haus. They begin the album, however, with a
string of five star pop rock tracks as polished as one can hope for. The opener
and title song “Stargazer” introduces us to the band’s grandiose pop structures
but, despite the obvious sweep inherent to the material, you never get a sense
of the band lapsing into overwrought histrionics.
As
stylish as the first song is, “West Coast” is even more so. They cop to an
obvious Eighties influence during songs like this, but they mix it up with a
thoroughly modern guitar presentation nicely ornamenting the electronic aspects
of their style. The personal qualities of the songs, reflected through the
lyrics, aren’t diluted in any way by the presentation. “Kingdom”, the final
song of the album’s initial run of pop rock gems, has the same chorus strength
we hear with the aforementioned two songs and yet another variation on their
ability for pairing guitar with keyboards makes this is a winning number. They
strike up an improbable gospel influence with the song “Too Many People” and
lead singer Lars Pruitt’s voice plays off quite well against the song’s piano. The
chorus immediately connects with listeners and the backing vocals bring an
added sweetness to the song, but it’s the discreet guitar fills along the way
bringing crucial colors into the song’s sound.
“Bad
News” has a moody tenor despite its strong percussive pulse and electronic
instrumentation. There’s some lightly played funk flavored guitar running
throughout the song that never announces itself in the mix and Pruitt delivers
one of the album’s most soulful performances. The bridge is especially notable
thanks to how well it incorporates vocals with the song’s pop texture. Piano
once again makes its presence felt with notable effect. “We Are the Storm” has
a palpable rock edginess missing from the aforementioned songs and the tense
guitar work during the verses memorably explodes with the chorus.
Post-production effects lend a near claustrophobic quality to Pruitt’s singing
that’s particularly entertaining.
Vocal
presentation is important for the song “This Won’t Be the Last Time”, but the
song lives and dies on the back of Lars Pruitt’s lead vocal. He has an
effortless command of pop music formulas without ever sounding too clichéd and
much of that comes from his obvious emotional connection to the material. “Groovin’
(That Feel Good Song)” certainly lives up to its billing as one of the more
relentlessly positive, upbeat recordings included on Stargazer and other bands might have ended the release on this
note, but Yam Haus clearly has higher intentions. Those are manifested with the
album’s acoustic curtain “Something Better”, but Yam Haus artfully adorns the
closing with a number of tasteful instrumental flourishes never subtracting
from the essentially intimate nature of the performance. It’s a wholly
satisfying conclusion for this great album.
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