Yuck - Macbeth, London - Gigs - Reviews - Soundblab

Yuck - Macbeth, London

by Matt Massara Rating:9 Release Date:2012-10-15

Since discovering I was the lucky individual to review Yuck's opening night at The Macbeth, I could scarcely contain my enthusiasm, telling anyone within hearing distance. Yet most people I'd told had never heard of the London-based band and would repeat their name back with confusion and borderline disgust, as although they were supposed to be appalled by the name. Having had the Yuck live experience, I can confirm it's time for everyone who has been eluded by this band to stand up and take notice.

From the get-go, the guitarist Ed tears into the band's new single 'Middle Sea', setting the precedent for the evening. Joined by his band mates, Max shouts the opening lyrics "I don't want to wait forever - I want it now!'" reflecting the audience's desire for their soon-to-be-released album. Max's voice is energetic, yet strangely soothing against the piercing sounds of the guitars. Yuck have certainly found a great balance, seamlessly flicking from their energetic riffs to the more melodic lullaby tunes. The change of pace is tightly dictated by Jonny (on drums) and by the pumping strokes from Mariko (on bass).

They fly straight into some of the old favourites, with 'Holing Out' and 'Georgia' quickly following to settle the crowd into familiarity. The tempo is sustained with crowds gathering towards the back stairs in order to have a better view of the band. After a track from their upcoming new album, Glow and Behold, Max calmly chats away to the crowd commending the preceding act, Poltergeist.

The band break into 'Rebirth', a more psychedelic sound which invites the audience to float over to a bean bag chair and cut their consciousness in half. Every member of the audience is in a dazed, fixated stare, directed at the band and the Yuck sign in the background surrounded in ambient fairy lights, while, in the foreground, Max lures them into a false sense of relaxation. This before tearing into a fantastic cover of New Order's 'Age of Consent'.

The catchy riff in combination with the now familiar and affirming vocals captivate all around. It would be wrong to say Max is the frontman, as Mariko and Ed both provide refreshing input, giving the band a fantastic balance. They mix roles most notably for the fan favourite 'The Wall', where Mariko takes centre stage. Ed Hayes has stepped up to the play, replacing ex-guitarist Daniel Blumberg, keeping the rich tones that make Yuck so distinguishable.

A spectacular finish was inevitable, with Ed's guitar thrashing the opening chords of 'Operation', a flawless execution of power, nurtured with the safety of Max's vocals. Yuck can only go up from here. It is time everyone else stood up and took notice.

This band is going from strength to strength and it's only a matter of time before they start coming into the public eye. There will be very few opportunities left to see them at venues as intimate as The Macbeth. I would snatch at those opportunities, my friends. You will not be disappointed.

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