on 24 July 2004
I have never in my life gone from disliking a band to absolutely adoring them until I heard this breathtaking debut from the New York trio. I must admit that on first hearing Fever To Tell I was completely unimpressed but it was not till many months later when I revisited the album and took the time to actually *listen* to it that I realised what an awe-inspiring debut it is.
Tracks like Pin and Rich overflow with originality while Date With The Night and Man are the ultimate tracks to get you dancing like a lunatic. The YYY's then rather daringly slow down the pace for Maps and Modern Romance, and in doing so have created two of the most beautiful rock ballads in recent years.
Karen O proves herself to be a shining female rockstar for this generation with the ability to go from hyperactive kitten to heart broken angel, while guitarist Nick Zinner makes a very powerful sound for such a little guy. I strongly recomend this album to anyone who appreciates raw talent as these New Yorkers have enough of it to become one of the best bands of the last five years. Buy this album and give it a good hard listen, you won't regret it.
on 26 July 2003
3 is the magic number, there is no doubt about it. I have waited with baited breath for this album and from start to finish it doesn't disapoint. After hearing the single Date With The Night i thought Quality! the world needs a band like this.
But then i heard the album and i have to say DWTN is probably the worst track here. Pin is the best 2 minutes of incredible raw punky sleazy trashy sexy song iv'e heard in ages and theres not one bad song on this album. YYYs leave off all previous LP tracks, which is great because it shows there moving further and further towards the gates of hell. Karen O & Co actually slow down and get a bit reflective near the finish line but it never gets crap. Lets just say if Barry White held the record for most people getting deep down & dirty to his songs, this band will surely blow that record to pieces. Go Buy Now.
on 25 January 2005
Heralded as the 'next big thing' to come out of New York since The Strokes, the Yeah Yeah Yeah's faced a weight of expectation that was always going to be difficult to live up to. And while it is true that Fever To Tell hasn't had the impact of Is This It?, it still stands out as one of the finest rock records of the last few years.
Sounding like one long adrenalin rush, the sheer inexhaustible injection of energy into every song immediately stands them apart from their contemporaries. In most part, this is down to front-woman Karen O, whose wild enthusiasm and unquenchable thirst to perform makes one wonder if she had been locked up in a cage for several months before being released into the studio in a fit of ecstasy. Barely a minute goes by where she isn't screeching into the microphone, accompanied by the occasional orgasmic yelp, or, as in the case of Black Tongue, the spewing of vent-up scorn. In short, she is charismatic, she is cool and she is the obvious successor to Debbie Harry's mantle.
But the appeal of the Yeah Yeah Yeah's goes further than that. At its finest, the guitar work is both raw and refined, accomplished yet edgy, but most of all it exudes a confidence to match the energy. When all these elements come together in the album's stronger moments, particularly on tracks like Y Control and the wonderful Maps, the Yeah Yeah Yeah's appear in a league of their own. Of course, there is still room for improvement. Some of the weaker tracks, most notably Tick, err on the side of self indulgence and there is the surprising omission of songs like Our Time from their highly acclaimed EP single. Nevertheless, Fever To Tell has more strengths than faults, and picks up the baton left by Is This It? in the NY indie-rock canon.
Album rating: 7/10
Highlights: Maps, Y Control, Rich
on 29 April 2003
If you have ever seen Karen O you will by now be aware that whilst not being the most stunning of creatures, you cannot help but be interested in every move she makes. And it is very much the same for the New York trio's debut LP, "Fever to Tel". Whilst "Is This It" or even "Highly Evolved" both gained much respect for being albums soaked in tuneful melodies and exciting vocals, the Yeah Yeah Yeahs have opted to go for the simply exciting. Irritatingly this often leads to a mis mash of tunes such as Tick and the quite bizarre No No No. But anybody willing to see past its faults will see an album with some incredible ability. Yes vocalist Karen 0 can be somewhat grating and no there is no obvious single past the awesome Date With the Night, but this is an album that is different. Not quite the grab and shake you delight of "Elephant", but if you like style, there is nothing better. If you want to break yourself in slowly, head towards the first Yeah Yeah Yeahs self-titled EP, (commonly referred to as the "Master EP".
on 7 June 2003
As a jaded 30 something, it is a very pleasant surprise to discover that the latest NY band are, unlike certain others one could mention, worth every ounce of hype they've received.
The majority of the album rocks like nothing since the Pixies. The half-snarling, half-pouting singer, the barrage of sound that the guitarist manages to create (the Devil alone knows how), the drummer maintaining such a taut rhytmn without the add of a bassist.
Then they astonish further with the instant classic Breeders-esque alt-power ballad "Maps" (the song Elastica never quite succeeded in making), and "Modern Romance", where the singer suddenly morphs into Nico...
Basically, the best rock album so far this millennium, that's all
on 18 August 2003
The first time I saw the Yeah Yeah Yeahs was in a picture in the NME. I was vaguely aware that Louis Theroux and a man who's hair was eating him were there, but my eyes were inevitably drawn towards Karen O. Based on the fact that I was quite frightened of her, I assumed that was the last I would pay attention to them. Then I heard the first single from Fever To Tell; Date With The Night. Sounding not unlike the singer being beaten to death with drums and a guitar, I was still quite scared, but intruiged as well.
Since then, this album has turned up on my shelf without me having any recollection of buying it. However it got here, I'm pleased it did. Over the past year or two there have been multifarious acts whose debuts have been ridiculously over-hyped, but this is one of only two that really justifies it (The Vines' Highly Evolved is the other).
It's quite impossible to tire of Fever To Tell. The songs don't last long enough to outstay their welcome, half of them don't even hang around long enough to be offered a cup of tea. For the most part, the songs are whirlwinds of guitar noise, pounding rythyms and a lot of yelping. But like, say, Oasis, the vocal delivery is compelling enough to make you not care whether the words are any good or not: hence, two of the best moments here are "Bom bom bom bom bom bom bom bom, Duh-nuh, duh-nuh duh-nuh duh-nuh " and "Uh-huh, uh-huh, uh-huh, uh-huh, AAH!"
The best two songs here, though, come after the excitement has died down. Modern Romance sounds rather like the Velvets at Christmas, whilst Maps, when it is released as a single in a few weeks, will be the single of the year (taking Seven Nation Army into account too). Entirely at odds with Date With The Night, it's a gorgeously romantic song with some wonderful yearning guitar noises complementing the chorus of "Wait... they don't love you like I love you".
It's fantastic. All the album is. Karen O doesn't seem QUITE so scary any more.
on 28 April 2003
Pounding drums, spikey guitars and Karen O's half-sung, half-yelped vocals combine to produce a debut album that will give the White Stripes 'Elephant' a run for its money come the end of year 'best of...' stakes.
'Fever To Tell' rattles by in under 40 minutes, but it feels like 10. The opening seven tracks follow the Yeahs formula we've come to expect and will get you pogoing around your bedroom (trust me on that one!).
The Yeahs are so cocky that they feel they can afford to omit EP classics 'Bang', 'Miles Away', 'Our Time', 'Machine', etc... They're right. The fact that you hardly notice these omissions is a testiment to both their talent and self belief.
Things slow down toward the end, allowing the beauty and fragility of Karen O's vocals to shine through, especially on 'Maps' and 'Modern Romance' (and the heartwarming untitled ballad that follows it).
"We're all gonna burn in hell", sings Karen O on 'Man.' If 'Fever To Tell' is playing on the stereo, set me a place next to Satan.
on 28 April 2003
The Yeah Yeah Yeahs had shown a lot of promise with the release of their two EPs, but, good as they were, there was definitely a sense that they could do better. Their debut album shows a great improvement from those two EPs, still keeping that raw sound, but with a definite sense of progression and expansion. This album is much more dynamic - as well as the raucous tracks like first single 'Date with the night', there are slower, more sensitive songs like 'modern romance' and 'maps' - but while being more sensitive, they never comprimise their rock ethic. It's a very good first album from the yeah yeah yeahs, a band that shows a lot of promise.
on 30 January 2007
They had a lot to live up to I guess... and they've done really well. Let's not take anything away from them - I've given four stars just because I preferred all the songs off the EP. However, there are some gems on here as well... I personally can't get enough of Date With The Night, Man, Tick, Black Tongue and Pin - all in the middle of the Album.
So, is it worth buying? It sure is. I can recommend it without concern. Karen O shouts through a lot of stuff... screams even... but in tune, y'know? Some of her lyrics lines are so long I just can't keep up when I'm trying my best to sing along... and I certainly don't have the squeaks and whoops that she does! It gets the heart racing, y'know? It gets the blood up! What more could you ask for - all contained in one shiny piece of plastic! What a deal!
And, yes, it does seem to make me drive that bit faster... especially Pin!
on 30 April 2003
On seeing that NME had compared it to This Is It and Highly Evolved I approached it with understandable caution. The first time I played it I was getting on with other things. It sounded OK until track 9 which stopped me in my tracks. Sounding lush and bare at the same time it's quite a beautiful track. I decided maybe the album deserved more attention. On Second listen it begins to sound like it deserves the praise. To me it sounds a bit like PJ Harvey fronting The Stooges and produced by Sonic Youth (and if that’s not the most useless comparison on this site then I'm a music critic), in places. All in, an impressive start; it taps into that punk-funk thang and has enough soul to make it an enjoyable and not just directional listen.