Yuck, EMA @ The East BrunswickClub, Melbourne (03/02/12)

Tue 7th Feb, 2012 in Gig Reviews

American solo artist EMA begins promisingly, with a backing band that lays down a fuzzy, dreamlike pop backing. However, it quickly becomes apparent that she isn’t going to live up to this promise. It’s indie pop disguised as shoegaze with under-written lyrics and a severe lack of bravado. By the third song, and with no change in tempo or vocal inflection, it all becomes a bit samey and hard to define between songs. Add to this a plodding pace, along with Erika M. Anderson spouting some painful banter whilst retuning or changing strings, and you’re left thinking just how underdeveloped her performance is.

In the break between acts it strikes me that this will probably be the last act I see at The East Brunswick and it’s saddening to think of not being able to appreciate the cider on tap or the intimacy of the dark and dank band room. However for me, there couldn’t be a much better way to send it off than with a band like Yuck. Opening in a morass of My Bloody Valentine-style shoegaze, the band continue to subtly blend between styles, jumping into the lo-fi of Holing Out. While the influences are obvious and worn on their sleeve; Yuck pay homage so well, and create something new by mixing their flavours. It’s obvious that as good as Cajun Dance Party were, Yuck have matured plenty since Daniel Blumberg and Max Bloom’s former band; Blumberg in particular, having dropped the faux cockney accent that every second band was rocking for a while, for a more natural and individual vocal style.

The laid back Shook Down is representative of the flair Bloom brings, with its Pumpkins-like lead break, while Johny Rogoff, with his mushroom fro is a powerhouse of restraint and release behind the kit. The unusual arrangement of having the bass player centre stage brings attention to *Mariko Doi*’s lilting backing vocals on Georgia. Suicide Policeman sees an intricate solo from Bloom and the crowd singing along, while B-side Milkshake provides some dour Sebadoh-like tones. Doi’s intricate bass lines are crystal clear, without being overbearing in the mix throughout.

There is a certain level of naivety or innocence in the band, as if they’re not yet aware of just how good they are, and it translates into a warm sense of humility. Stutter and The Wall provide further chilled out bliss while Operation see’s Bloom take lead vocals sounding very much like a young Thurston Moore before closing with the eight minute long Rubber. While they only have one release to their name, it’s still disappointing when no encore is performed after only 45 minutes, but no doubt it will just make their future shows all the more sweeter.