Yeah Yeah Yeahs, Show Your Bones (Interscope) 10-
I can see why some people are turned off by Karen O. People like their pop stars unchallenging, cookie-cutter pretty, and, if not stupid, a blank slate on which they can project their fantasies of glamorous affluence, sex scandals and stints at posh rehab clinics. Karen has her own high-concept fashion designer (Christian Joy) but dresses really weird. She might be just as likely stay in and read a book as swan around parties. She and drummer Brian Chase went to a fancy private liberal arts college. It might seem the artsy Brooklyn scenesters think they're better than you. While in interviews they are actually quite shy and modest, the truth is, they probably are. They are certainly better than your typical pop stars. I imagine pre-rock star Karen O as the somewhat funny-looking girl who is obviously more talented than most people, making her more attractive and intimidating. And that's exactly how I prefer my rock stars.
I once read that Yeah Yeah Yeahs were initially meant to be just a one-off project. A fun lark. Let's be an art-punk band, drink and rock, and then move on. All the members have a lot of projects going on, and as creative people, they restlessly jump between many ideas. Success surprised them when the plaintive love song "Maps" hit big. Despite the talk of the added pressures and strains in their relationships, Show Your Bones may never have happened without that success. And despite the fact that far too many bands hang around far beyond their creative capacities, we're lucky to get one more gem from this unit. It's as successful as one could imagine, as long as you're not hung up on the ragged post-punk of their first EP and first half of Fever To Tell. Show Your Bones is a progression while still retaining Nick Zinner's endless bag of the best riffs The Pixies never wrote. Karen doesn't yelp and slaver as much, but her vocal range remains wide. The staccato march of "Gold Lion" grows increasingly impressive as the intensity grows. "Way Out" initially seem like modest album track, but its melodic gifts gradually open up like intricate origami, making for one of the strongest songs. The lyrics are conceptually simple and direct, not getting bogged down by trying to do too many things at once. On the rockers ("Fancy," "Phenomena," "Honeybear") they bluster appropriately without sounding like hollow exercises in style. Were the first five songs released as an EP, it would already top any other album so far this year.
Things get really interesting with "Cheated Hearts," "Dudley," "The Sweets" and "Turn Into" which range from introspective to devastating. This is where it's clear that they're obviously not the same band as three years ago. Many layers of meaning can be found in "Cheated Hearts" beyond O's joyous chorus of "Sometimes I think that I'm bigger than the sound" which some have stupidly taken offense to. It's a post-breakup meditation on the competing emotions of regret, melancholy, yearning, hope, relief and ultimately release. It may not be Dylan, but it's fucking great, and Zinner's sensitive accompaniment of alternatively chiming chords and slashing crescendoes are genius. "Dudley" scores again on a slightly more delicate, gorgeously melodic base. "Sweets" and "Turn Into" are as stately as their crawling pace, making the explosive ending of the former all the more riveting, and the soaring riffs on "Turn Into" ecstatic. The album would be flawless were it not for the the less distinctive "Fancy," the slightly too campy "Mysteries" and "Warrior" tripping up the pace to nearly a crashing halt. Nevertheless, even "Warrior" could be a favorite for some for its memorable, enigmatic lyrics.
Karen O started working on her solo album even before starting this one. Like Polly Harvey, she may abandon her band and continue to grow. A great band chemistry should not be taken for granted, however. I'm hoping they'll give it another go.
