A sequel to my first Halloween mix from four (!) years ago. Expect urgent and thrilling vocals from new wave/goth icons and a cross of grim, sinister atmosphere with pulpy fun.
love bites + devil in my life – GRACE JONES / el diablo anda suelto – ALASKA Y DINARAMA / face to face [batman returns soundtrack] + the double life – SIOUXSIE AND THE BANSHEES / out on my own – ROMEO VOID / heads will roll + isis – YEAH YEAH YEAHS / whirlpool – DEAD OR ALIVE / spirit – BAUHAUS / obsolete – TOYAH / nosferatu – MIRO MIROE / vampires – BAT FOR LASHES / to get over heartbreak – THE BEDROOM WITCH / astrid – THE LEGENDARY PINK DOTS / love crime – SIOUXSIE
Part of a new series where I look back at the formative songs that made me obsessed with music in the first place. The next entries will have a more chronological order.
My first memory of Yeah Yeah Yeahs is when I saw the iconic video for “Zero”, voted by Spin and NME as song of the year. It was a fresh, exciting, neon-lit burst of energy; the tempo and lyrics imploring to ‘climb, climb, climb’. The contrast of mellow cool with exhilarating heights was key to the appeal of the It’s Blitz! album itself. It’s been close to a decade since I overheard my older siblings play the CD, yet somehow it’s just as great as I remember hearing it again now.
It’s Blitz! is an album of twin strengths; an ideal blend of a punk/rock base with electronic flourishes. Uproarious synth-rock fusions take turns with rich, idyllic ballads. Each of the ten songs have their twists, adding up to one of the most well-rounded albums I know. “Soft Shock” shows this duality best in both its music and title: electric but therapeutic, it’s a lullaby with a groove; while “Runaway” is an ambitious pseudo-gothic ballad going from soft, lonely piano to a thundering string peak. Some uptempo songs even invert this pattern, like “Heads Will Roll” with its murky ‘Shut your eyes / you realize’ interlude or “Dull Life”’s haunting guitar shifting into a bold and determined chorus.
Every member added something distinct; Karen O balanced grit with tenderness more seamlessly than ever, Nick Zinner blended his guitar fuzz with a host of sleek, icy synths and Brian’s drumming added thrilling momentum. The synths brought fresh twists to their sound and helped build on the balladry “Maps” did so well.
Something about It’s Blitz! sounds all this time later, even if it makes such a great time capsule. Maybe it’s the less obvious execution of the electro-pop influence: while I can enjoy most forms of this, including the kind synthwave that lives and breathes flashy eighties kitsch, It’s Blitz! doesn’t sound that ‘eighties’ to me in the end. I don’t know if it’s the critics overstating on the mere fact they dared to include synths (as expected for critics of the time + guitar snobs in general) or the sheer personality of the album.
Ten years on I’ve realized how much It’s Blitz! influenced my taste: the love of synths, fierce rhythms, genuine attitude, mixing beauty with distortion. While their debut remains incredible, it sometimes overshadows the accomplishment of their third album. With today being its tenth anniversary, It’s Blitz! is overdue for celebration.
More like this – Yeah Yeah Yeahs’ Fever To Tell + Self-titled EP + Machine EP; X-Ray Spex, Gossip’s “Fire With Fire“
I have a theory that Gossip were the Arkansan equal of Yeah Yeah Yeahs and this EP is the closest they got in sound. There’s the unique and dynamic female singer in Beth Ditto, their later pop era, their indie rock breakthrough phase, and this early, very Fever To Tell EP. This isn’t a negative comparison; I’m convinced we don’t have enough like YYY’s, so I welcome it. After all, it’s been tricky for me to find much else that truly shares Fever To Tell’s special brand of punk chaos, or at least without overdoing the edginess + noise. This made Arkansas Heat both a throwback and a breath of fresh air.
Through the whole EP the guitar and drums make a persistent racket as Beth Ditto yowls and quivers over them with exciting intensity. It’s the opposite of the more stylish approach in later projects like her excellent solo EP but true to her range as a singer, she pulls it off just as well.
Every song except the 10-minute “Take Back The Revolution” is over within 2 minutes, making it a fun and digestible listen. Even better is how they made it so catchy despite this brevity. “Revolution” drags a little too much, of course, but skip it about halfway through and it’s an addictive 14-minute burst of energy. I just wish they put out more like this in their early days.