The British group, which took off during the pandemic, delivers a post-punk sound to the sangé-spoken bite to discover on their first album, “The Overload”, and in concert.
Canceled tours, repulsed albums … In Britain as elsewhere, the pandemic has cut the momentum of many musicians. But she allowed Yard Act to take his own. If this group trained in Leeds (Yorkshire), in 2019, by singer James Smith and the bassist Ryan Needham, had to wait before going back on stage, he took the opportunity to distill the acid drops of first singles (The Trappet’s Pelts, Dark Days, fix upper), exciting curiosities. Before shaping a first album, The Overload (published on January 21), including the ironic verve and the bristling dances confirm that the disengaged kingdom holds fristers columnists from its tensions.
“The Overload of Discontent / The Constant Burden of Making Sense” (“overloading discontent, the constant burden of giving a meaning”), evoked in the title song, James Smith expresses it as a derteur, whose The soliloques embody, between empathy and sarcasm, a gallery of characters at the thick accent of northern England. While gigting on the post-punk funks erected as garlands barbed by the minimum groove of Ryan Needham and the energy of its accomplices, Sam Shjipstone (guitar) and Jay Russell (battery).
Attachment simultaneously by teleconference in their respective households, apart from a few kilometers in the countryside of Leeds, the singer and the bassist find that the COVID-19 provided them with the right tempo. “People were deprived of concerts, but listened all the more music at home, assured James Smith. Our first titles benefited from this appetite, and were pushed by an English music press always on the lookout for news. Can Being because they resonated with their time “, analyzes the thirties who, during the confinement, nurtured his inspiration and rage at the rhythm of television newspapers. “The greatest impact of the pandemic has been, for us, the time it has offered us. We had nothing else to do only music,” says Ryan Needham, recalling the productivity of Digital exchanges at the origin of a pleiade of songs.
Not really young first, one and the other had multiplied group experiences, brushing recognition without ever reaching it, whether with Threat Beach for Needham or at Post War Glamor Girls for Smith. They find themselves in 2019 for a new start. “Ryan no longer wanted to be the leader of a group and I no longer wanted to sing and play an instrument,” explains the vocalist.
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