It's scientifically impossible to break an egg by squeezing it in one hand. Yet, there it is on the cover of the Yeah Yeah Yeahs' new album It's Blitz!: Karen O's hand reaches in from the right and smashes that thing up, exhibiting a symbol of intimidating power and strength that YYY's have done their best to embody in their seven years on the scene. Both the assertive title and the cover art are a little misleading, though. It's Blitz! marks a distinct shift in sound from one of indie rock's most heralded groups.
The opening track, ""Zero,"" represents the trajectory toward maturity the YYY's career had been hinting at. A buzzing synth sets the stage for the rambunctious Karen O, but instead she comes out sounding more like Madonna than Bikini Kill. Ultimately this dramatic shift in vocal delivery plays to the song's (and the album's) benefit. Karen O's riot girl persona on Fever to Tell has slowly dissipated into a sophisticated indie rock goddess.
Where she used to let out yelps of rage, she now ascends her voice above the sound, singing from her gut instead of her throat. Still, much of the credit for her transformation is due to the rest of the band. Whereas Fever to Tell was largely carried by Karen O's riotous yelps, she now blends in seamlessly with a band that's more overpowering than ever.
On It's Blitz!, YYY's sound like a band transcending their own music. They were always more avant-garde than edgy, an observation that becomes obvious on It's Blitz!. Even 2007's magnificent Is Is EP was a volatile force of nature, but its edges were noticeably smoothed down compared to earlier work. Here they've pared back their sound even more by fostering it. Instead of rushing through each hook, they nurture it, expanding their presence within it.
The important component that facilitates cohesion is Karen O's refusal to add intensity by straining her voice to its limits. Karen O's signature shrieks and growls are minimal, replaced by densely layered, multi-dimensional music, where any forced vocal delivery would belittle the power of the track.
Plain and simple, right now the Yeah Yeah Yeahs are untouchable. Everything they touch turns to gold.
On It's Blitz!, they sound like a band with a total mastery of their music, achieving any sound they put their mind to creating. Over the last seven years, they've perfected melody with sparse instrumentation, and here they've augmented their sound to blanket the entire sonic spectrum.
On one of the album's many highlights, ""Dull Life,"" they take turns bouncing back and forth from echoing guitars a la Beach House and rollicking chord progressions that sound like TV on the Radio. Then they completely turn it loose, creating an explosive fury of mayhem.
This is one of the only times YYY's really let their enthusiasm take over, though. In terms of energy, It's Blitz! is YYY's most conservative effort, and it all stems from the increased role of the band. For example, ""Skeletons"" and ""Dragon Queen"" are complete entities even before Karen O lays down her vocals.
It's Blitz! leaves you more awestruck than exhausted, overcome by the enormity of what was once a sparse garage rock outfit. And before you know it, album closer ""Little Shadow"" provides the soothing ending you didn't realize you needed until it came. A lullaby-like beginning signals the end of the road, rocking you to relaxation before it crescendos just enough to rouse the energy in listeners to hit ""repeat.""
So they've done it, they've broken the egg with one hand. They've forged a garage-rock sound that translates equally well to an arena. They've toned down their sound while making it even more powerful. They've grown beyond their own sound and fallen into a new one that fits just as well, and in the process, they've crafted an early favorite for album of the year.
