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Soon, the masses will queue anxiously to obtain vaccines in the
hope of staving off H1N1. Meanwhile, those who
befall the grips of Swine Flu's fellow pathogen Looking Through You,
the infectiously boisterous pop debut from intolerable newcomers The
Yeah You's (see that maddening apostrophe there?), should expect no respite from the ravaging of the ear and
mind symptomatic of even short-term exposure to its all-encompassing
catchiness.
So said the sinister, musical malcontent, having slithered
menacingly from emotional depths, mouth watering with Pavlovian predictability
at the mere suggestion of the notions 'infectious' and 'pop' being
uttered in close proximity. Linking the pair to the exuberant
Mika in terms of sound and pending popularity, as well as via
pop-purveying producer Greg Wells, further inspires a knee-jerk
cast-off.
The
noting of first impressions is important here. Under
scrutiny is an album that will, first and foremost, be known for its
on the spot accessibility.
Similar to the attachment of a virus to the host cell, material on
Looking Through You sticks aggressively to innards without warning. Upon reaching the third chorus, listeners will find
themselves atop a roof, bellowing every syllable of the ultra-cheery
and addictive single Getting Up With You, wondering how you managed
the ladder amid a piano-driven melody so satisfying and memorable.
Perhaps the smirk and eye-roll-inducing existence of enough layered
harmonies to choke a goat, the awkward use of synthesized steel
drums as the bridge approaches and flat-out cornball lyrics provided
sufficient opportunity to focus on the rungs.
These drawbacks recur too often, seemingly stemming from an
apparent need to exude overwhelming quirkiness. Interestingly enough,
whilst not partaking in crazily slanted stances or reversed films
depicting fish and chips consumption, lyrics like those in lead single
15 Minutes were penned.
The track shows the pair, at least on this
selection, offering a humble perspective.
In this case it's on the fleeting period of stardom that surely awaits them - it would seem Robbie
Williams egos may not be on the docket this time.
Ultimately, it's difficult not to forgive the missteps, given how
easy it is to simply delight in the enjoyable tunes, even if chordal
and vocal progressions do tend to run together as the album boogies
on. Surely, reliance on the catalogues of Queen, Keane,
The Beach Boys, The Police and various other rhyming,
semi-agreeable forerunners, helped shape a sound rather easy, if not
somewhat grating, on the ears.
All in all, The Yeah Yous (that's better) is a rather fun release deserving neither staunch,
immediate rejection nor instant ascension into record heaven, but
certainly a shimmy or two.
And so, with prejudices cast aside and dance shoes securely tied,
the grouch retreats, crestfallen, to his cave to brood. Some
Morrissey will do well to cure what ills him. Later, though -
the summer sun's still peaking through the clouds.
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