Yard Act: The Overload review – witty post-punks confront post-Brexit Britain | Music

Given that the music enterprise has spent a lot of the final two years in a sort of suspended animation, there’s one thing fairly startling concerning the rise of Leeds quartet Yard Act. They appeared to come back out of nowhere – they launched their first single, the attention-grabbing Fixer Upper, on the peak of the primary nationwide lockdown – and swiftly rocket to the forefront of the pressure of alt-rock that eschews singing for sprechstimme vocals. Eighteen months on, they discover themselves on a significant label, touting a debut album that some observers suppose goes to enter the charts at No 1 (admittedly, not a rarity for indie acts in an period of diminishing gross sales).

Yard Act: The Overload album cover
Yard Act: The Overload album cowl

Their default musical setting is skittery-but-muscular post-punk funk: punchy disco drums, stabbing guitar, the melodies pushed by the bass. That it tends to resolve pleasingly into memorable choruses, throughout which frontman James Smith generally drops right into a bruised, untutored croon, has clearly aided their speedy progress. So too, one suspects, has the truth that their lyrics bluntly confront post-Brexit Britain – “the age of the gentrified savage … the overload of discontent,” because the title monitor places it. They specialize in waspish pen portraits: of ghastly alpha male businessmen (The Incident), defiant embezzlers (“I’m the sufferer right here,” protests the protagonist of Quarantine the Sticks), middle-class foodies “rising your individual lettuces within the potholes on the highway”. It’s on-the-nose however it’s additionally incisive and humorous – Lifeless Horse skewers the far-right’s notion of British tradition as “knobheads Morris dancing to Sham 69”.

For all of the expectation that surrounds The Overload, it’s generally clear that it’s the work of a band that’s barely been collectively two years. Yard Act are sporadically consumed by their very own influences, significantly on Wealthy which, with its hypnotic two-note bassline, percussive clatter and distinctly Mark E Smith-ish vocal intonation – “expert lay-BUUH within the personal sec-TUUH” – sounds a lot just like the Fall circa Perverted By Language you begin questioning if it’s truly a understanding double bluff, a wry touch upon the media’s eagerness to deliver up the Fall each time a band with a vocalist who speaks relatively than sings seems.

Yard Act: The Overload – video

At different factors, nevertheless, the sense of a band not but absolutely developed feels oddly thrilling. The Overload is a place to begin for a lot of routes, relatively than a wonderfully shaped finish in itself. Actually, there are flashes of a smartness and depth to Smith’s writing that transcend scabrous one-liners. Tall Poppies retells the saga of a provincial David Watts determine – assured, good-looking, a talented footballer – who decides to remain put in his residence city, turn out to be an property agent and calm down. Initially, it sounds perilously near sneering at “little world” ambitions, as if there’s one thing unconscionable about desirous to personal your individual residence and have youngsters. However the music slows, then collapses totally, and Smith flips the script, in a manner that recollects Arctic Monkeys’ A Sure Romance. The protagonist dies younger, of most cancers, and the narrator attends his funeral. “He wasn’t good however he was my good friend / He wasn’t good however he was considered one of us,” gives Smith, earlier than noting that the good friend wouldn’t have preferred the inscription on a commemorative bench, “as a result of he wasn’t too bothered about lengthy songs with a great deal of phrases”: Tall Poppies lasts practically seven minutes and its lyrics cowl two sides of A4 paper. It isn’t probably the most sophisticated message – we’re all totally different, we will all theoretically get alongside – however it feels genuinely affecting and highly effective within the context of an album so obsessive about divisions and spitting bile on the different aspect.

It’s a theme picked up – albeit with the profitable caveat “it’s hippy bullshit, however it’s true” – on the closing 100% Endurance, each the album’s finest second and its most atypical. Embellished with mild electrical piano, it’s a music that appears to have its musical roots much less within the post-punk period than a facet of Pulp’s oeuvre, lengthy buried within the fashionable creativeness beneath the radio-friendly anthemics of Widespread Folks and Do You Keep in mind the First Time?: the prolonged, conversational storytelling of Inside Susan and David’s Final Summer time. Its narrator is hungover after an evening digesting the information that sentient life had been found on different planets: relatively than instructing humanity something concerning the universe or the that means of life, “not considered one of them had any clue what they’re doing right here both”. This improvement doesn’t result in an existential disaster, however a wonderful, heat crescendo concerning the energy of the human spirit: “Seize anyone that should hear it … scream of their face: / dying is coming for us however not right now … all that you just ever wanted to exist has at all times with been inside you.” It’s a pointy U-turn from the previous monitor’s suggestion that all the things is “so bleak that giving your two pence on something isn’t price a fucking factor”: a sudden, infectious blast of optimism, from a band who at present have rather a lot to be optimistic about.

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