Yeasayer – Odd Blood

Whenever I listen to Vampire Weekend’s “Cape Cod Kwassa Kwassa” which is about globalization and a unified musical sound, inspired by Peter Gabriel, I instantly think of Yeasayer because if there is one band that has the means and the sound to translate their messages into every culture, it’s them.

I remember (This looks like a self-made video by IRsantiago, it’s well done, though)

Their second album “Odd Blood” has less of the percussion that made “All Hour Cymbals” so epic but now feels like a river – everything flows, nothing stands out and everything stands out, Chris Keating’s voice is warmer and more at peace with the world, the instruments blend in with a lot more electropop than expected and there is a certain perky air throughout the whole album that either makes fun of or opposes the earnest grandeur that “All Hour Cymbals” represented.
It’s difficult to compare these two albums, just as Noah and the Whale went from cheeky Indiefolk to sad Indiefolk, Yeasayer went from ambitious symbolism to an optimistic sound-haze.

Madder Red

This can disappoint at first, especially when you still have songs like “2080” or “Final Path” wandering through your mind but it really shows that Yeasayer can work on many levels without losing their creativity and besides, these are no interchangeable popsongs, far from it, if there is one album I sure will listen to frequently in the summer time, it will be this one.
First and foremost, it makes us wonder what the future will bring in the Yeasayer-universe and that usually means that a band is intriguing enough to keep our attention.

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