Karen O and her brood have entered the electronic genre.
But fret not loyal fans, the Yeah Yeah Yeahs flawlessly danced their way into electronic with It’s Blitz!, the anxiously awaited full-length release three years in the making. Known previously for their sexy and gritty sound (“Phenomena,” anyone?), the group both maintains its roots and explores the increasingly popular digital music frontier. The dirty rebel rock troupe may have seemed like the last band to allow a synthesizer into its lineup, but listeners should be both intrigued and pleased with the decision.
The album opens with the drilling beat of “Zero,” and Karen O’s invitation to “Shake it/ Like a ladder to the sun,” a feat made easy by the catchy melody and layers of synth. Her lilting cries provide an interesting point of conflict with the quirky loops, proving the trio still knows how to balance itself out and maximize its abilities.
Don’t be fooled, however, by the dance-y club feel of the opening track; the Yeah Yeah Yeahs are still driven by that powerful grinding core left most recently by Is Is, the band’s EP from 2007. If you need proof, flip to “Heads Will Roll,” the standout track of the album. Listeners will feel the urgent doomsday call to “Dance till you’re dead” as it steadily builds layers of recognizably abrasive guitar riffs (thanks to the unfailing prowess of Nick Zinner) and catchy dance beats to symbolize the compelling new world the group has crafted.
Solidifying this new direction is “Dull Life,” which is equally catchy and possesses an offhand cool that makes the Yeah Yeah Yeahs so admirable. There is no way to stay complacent as the song escalates into a destructive force to be reckoned with. As the group’s songstress asks, “How are you not goin’ to get high, high?”, there is no answer to this question (posed in “Dragon Queen,” which is equally likely to get you moving), and it only presents another reason to lose yourself in the album.
Contrasting with the new “rocktronic” sounds of the album is a subdued and simplistic sound that can’t quite measure up (“Soft Shock” and “Hysteric”). The pared-down pop vibe of these relatively forgettable songs would suit them well for mainstream radio play, perhaps to the dismay of seasoned listeners. Yet it isn’t too hard to find it in your heart to forgive the trio for these disappointments, which are still worthy of respect.
A new piece of equipment is not the only change to the sound expansion the group has undertaken; a lonely and haunting piano solo ushers in a very vulnerable and exposed-sounding Karen O in “Runaway.” It is the sensitivity of this song which shows the depth of the band, and convinces the music world of its very worthy (and hopefully expanding) popularity.
The success story painted by the rest of the album is anchored in “Little Shadow,” the slow and surprisingly pretty closing track. Rather than feeling anticlimactic as a sparse, whispery anthem, drummer Brian Chase creates a solid, regal closing to a refreshing and remarkable release.
It’s Blitz! proves itself to be an exciting foray into the electronic world. It distinguishes itself through the consistent mixture and experimentation with more traditional rock elements and synth-pop influences to create a new realm for the Yeah Yeah Yeahs. The brazen departure from their traditional groundings shows both versatility and opportunity. A broader array of music enthusiasts may find themselves pulled in by this brilliant musical maneuver, and rightly so. If listeners let themselves get drawn into this mysterious new experience, heads will roll.
4 1/2 stars out of 5.
