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youngveins(A pre-review of The Young Vein’s debut, “Take a Vacation”.)
Listening to the debut album of the Young Veins throws me back in time… but I can’t decide if I’ve slid all the way back to the days of 60s-era rock, which seems to be the popular opinion, or if I’ve started to take the slide and come to a shuddering halt in downtown Halifax in the mid-90’s.
Other people are crying Beatles on this fresh music from Ryan Ross and Jon Walker (both whom you’ve probably seen gallivanting around your MTV with Russian dolls or a bunch of vaudeville performers as a crucial part of the band Panic at the Disco), Andy Soukal (who is worth a follow on Twitter, let me tell you), Nick White (who you might have seen tooling around on tour with Bright Eyes and in Tilly and the Wall), and Nick Murray (who I know nothing about, sorry bud, but he gets points for some kick-ass linkage on his twitter account. ‘Exile’ outtakes? Yes, please). Instead, I am conjuring images of Sloan’s Coax Me and Thrush Hermit’s From The Back of the Film. They live in LA, and seem to like the weather there, but I think we should start a petition for the guys in the Young Veins to move to Halifax. The reception would be very, very warm.
The album, which drops on June 8th, 2010, on One Haven, is sadly not something I’ve gotten the pleasure of hearing in it’s entirety, though thanks to the generously click-happy twitter-fingers of many, at least five of the tunes have appeared for downloading purposes in the ether. These tunes are incredibly appealing to me. I caught the band in Toronto at Sneaky Dee’s, supporting Foxy Shazam (FOXY!), and heard what I imagine to be the entirety of the album, and I loved what I heard.
What I have heard is simple, clean and melodically pleasing. Easy rhymes and simple metaphors bring this new writing from Ross and Walker a step further than some of the heavily drenched lyrics to some of the latest Panic album’s tracks (“Behind the Sea”, I’m looking at you, babe).
There’s “Change”, the first single, backed by a chugging beat that drives the tune as it’s verses trip down the scale. I’m thinking the Kinks, and I definitely hear some “You Never Give Me Your Money”/ the bridge between “Carry That Weight” and “The End” Harrison lead in there, too. Which is pretty funny, because I could have sworn there was an interview somewhere in which Ryan Ross had said he didn’t know that one. The chords are stripped and Brit-esque, like the Libertines without the minor keys and the rough lyrics.
“The Other Girl” is the one that evokes Coax Me, “Take a Vacation” screams Beach Boys and “Defiance“‘s got that Bo Diddley beat, spun a little to make it work a la U2’s “Desire” and made me immediately want to head home and listen to Garrett Mason’s adaptation of the beat, which is definitely a good thing.
My Dad likes to tell me stories of his misspent, stoner youth. One of my favorites is a story about when the Tom Petty album Damn the Torpedoes was released, he and his friends threw a 24 hour party where they just all locked themselves in a house with the rule that nobody could leave until a certain time, and they listened to the record over and over again and got fucked up. Dad still can’t hear Here Comes My Girl without grinning his face off, because he says at this party, whenever the song’s intro started up, everyone would raise their glasses for a moment of silence for the awesomeness that is music. This was 6 years before I was born. The reason I mention that, is because the prospect of “Take a Vacation” makes me yearn for the days of listening parties. I might have one for it, albeit, shorter than the ones of my Dad’s lore, since there isn’t a song on the album over 3 minutes and the entire thing is supposedly on the short side. (Although I fear that any I try to have would morph quickly into ceilidhs, because we’re really not capable of letting music happen without picking up the various instruments that are lying around. I’ve got like, three guitars and a cajon and a bunch of random harmonicas and tambourines right here in this very kitchen that I can see by turning my head slightly to the left, and we really can’t be here in group form without just, like. Accidentally picking something up.)
According to my sources (read: twitter), the Young Veins are in the studio again already, without their debut even having been released, which is just another thing to add to the list of behavior that makes these dudes belong in a past-gone era. Instead of the cycle of album-release, tour, break, repeat, they’re recording when they have songs and when they feel like it, which is pretty much how all the greats of generations past went about it. (Do you know how many b-sides and unreleased tunes the Who had? Lots. See?)
Lastly, let me weigh in on the Young Veins’ live show. It was fun and simple, much like the album will be, and these cats handled it with the grace and charm of a sheepish supporting act. They were smiling at each other like they knew a secret, and instead of the secret being about the Beatles being a Great Influence on All Music Ever (BULLETIN: not a secret), I like to imagine that their secret is that Thrush Hermit is playing at the Marquee, and we’re all gonna be late.
(source)
Listening to the debut album of the Young Veins throws me back in time… but I can’t decide if I’ve slid all the way back to the days of 60s-era rock, which seems to be the popular opinion, or if I’ve started to take the slide and come to a shuddering halt in downtown Halifax in the mid-90’s.
Other people are crying Beatles on this fresh music from Ryan Ross and Jon Walker (both whom you’ve probably seen gallivanting around your MTV with Russian dolls or a bunch of vaudeville performers as a crucial part of the band Panic at the Disco), Andy Soukal (who is worth a follow on Twitter, let me tell you), Nick White (who you might have seen tooling around on tour with Bright Eyes and in Tilly and the Wall), and Nick Murray (who I know nothing about, sorry bud, but he gets points for some kick-ass linkage on his twitter account. ‘Exile’ outtakes? Yes, please). Instead, I am conjuring images of Sloan’s Coax Me and Thrush Hermit’s From The Back of the Film. They live in LA, and seem to like the weather there, but I think we should start a petition for the guys in the Young Veins to move to Halifax. The reception would be very, very warm.
The album, which drops on June 8th, 2010, on One Haven, is sadly not something I’ve gotten the pleasure of hearing in it’s entirety, though thanks to the generously click-happy twitter-fingers of many, at least five of the tunes have appeared for downloading purposes in the ether. These tunes are incredibly appealing to me. I caught the band in Toronto at Sneaky Dee’s, supporting Foxy Shazam (FOXY!), and heard what I imagine to be the entirety of the album, and I loved what I heard.
What I have heard is simple, clean and melodically pleasing. Easy rhymes and simple metaphors bring this new writing from Ross and Walker a step further than some of the heavily drenched lyrics to some of the latest Panic album’s tracks (“Behind the Sea”, I’m looking at you, babe).
There’s “Change”, the first single, backed by a chugging beat that drives the tune as it’s verses trip down the scale. I’m thinking the Kinks, and I definitely hear some “You Never Give Me Your Money”/ the bridge between “Carry That Weight” and “The End” Harrison lead in there, too. Which is pretty funny, because I could have sworn there was an interview somewhere in which Ryan Ross had said he didn’t know that one. The chords are stripped and Brit-esque, like the Libertines without the minor keys and the rough lyrics.
“The Other Girl” is the one that evokes Coax Me, “Take a Vacation” screams Beach Boys and “Defiance“‘s got that Bo Diddley beat, spun a little to make it work a la U2’s “Desire” and made me immediately want to head home and listen to Garrett Mason’s adaptation of the beat, which is definitely a good thing.
My Dad likes to tell me stories of his misspent, stoner youth. One of my favorites is a story about when the Tom Petty album Damn the Torpedoes was released, he and his friends threw a 24 hour party where they just all locked themselves in a house with the rule that nobody could leave until a certain time, and they listened to the record over and over again and got fucked up. Dad still can’t hear Here Comes My Girl without grinning his face off, because he says at this party, whenever the song’s intro started up, everyone would raise their glasses for a moment of silence for the awesomeness that is music. This was 6 years before I was born. The reason I mention that, is because the prospect of “Take a Vacation” makes me yearn for the days of listening parties. I might have one for it, albeit, shorter than the ones of my Dad’s lore, since there isn’t a song on the album over 3 minutes and the entire thing is supposedly on the short side. (Although I fear that any I try to have would morph quickly into ceilidhs, because we’re really not capable of letting music happen without picking up the various instruments that are lying around. I’ve got like, three guitars and a cajon and a bunch of random harmonicas and tambourines right here in this very kitchen that I can see by turning my head slightly to the left, and we really can’t be here in group form without just, like. Accidentally picking something up.)
According to my sources (read: twitter), the Young Veins are in the studio again already, without their debut even having been released, which is just another thing to add to the list of behavior that makes these dudes belong in a past-gone era. Instead of the cycle of album-release, tour, break, repeat, they’re recording when they have songs and when they feel like it, which is pretty much how all the greats of generations past went about it. (Do you know how many b-sides and unreleased tunes the Who had? Lots. See?)
Lastly, let me weigh in on the Young Veins’ live show. It was fun and simple, much like the album will be, and these cats handled it with the grace and charm of a sheepish supporting act. They were smiling at each other like they knew a secret, and instead of the secret being about the Beatles being a Great Influence on All Music Ever (BULLETIN: not a secret), I like to imagine that their secret is that Thrush Hermit is playing at the Marquee, and we’re all gonna be late.
(source)
