With their latest single, Fades To Gray, joining its predecessors in keenly luring ears and praise their way, we thought it best to cut to the chase and drop in on the self-titled debut EP of THE YETS which was released as the year began to stir. It is a collection of tracks which tenderly align emotive contemplation with alternative pop imagination and haunting individuality.
Myrtle Beach, South Carolina based, THE YETS consists of vocalist/lyricist/keyboardist Robin Wilson and guitarist/multi-instrumentalist/producer Craig Anderson Snook. Together they have bred a sound which merges indie pop and classic rock with ethereal melodic exploration; a proposition embracing inspirations ranging from FLEETWOOD MAC and COCTEAU TWINS to counting ROXY MUSIC, DAVID BOWIE and SIOUXSIE AND THE BANSHEES. As their previous singles revealed, it is a proposition though casting its own individual character and presence with infectious craft and keen temptation.
The EP opens with Waterline, a track which swiftly got under the skin and led a union of imagination and involvement. The track initially bubbles within ears, its melodic instincts soon wrapped in magnetic catchiness as Wilson’s captivating tones join the keen persuasion. As those early encounters proved, there is a richness to the duo’s sound and emotionally bred musings which soaks every aspect of the first track, its nagging catchiness and ethereal beauty just as irresistible.
The following Remember strolls in on a guitar jangle, a lure soon wrapped in an Americana-esque breeze amid the glare of a rock pop sunspot. It too has an inherent infectiousness to its gait and enterprise which with the captivation of word and voice easily hooked eager attention. There is also a progressive pop essence to the band’s music which lights its appetite for exploration, the song and the following Lesser Evil radiating that aspect of captivation. The third song of the EP, it grows from electronic rustling to an ethereal romance of the senses, the earthier wires of the guitar a frame for the emotive fire and dynamics of the track and Wilson’s instinctive roar. With tempestuousness in its ambience and heart, the song unites atmospheric light and physical trespass within otherworldly lit drama, the song an enthralling and striking courting of pleasure and imagination.
A song examining unique and special feeling a mother has for her son, Letter To A Boy immerses the listener in a shoegaze and atmospherically woven rumination next. With shimmering veils of sound and crystalline oscillations in its texturing, the track is a hug of sentiment and emotion radiating beauty with Wilson’s thoughtful enchanting tones at the centre, a moment in the release which like the EP as a whole only drew us more deeply in and further impressed by the listen.
Evocative shadows and electronic intimation shapes Fades To Gray next, the song also a moment of earthbound rock wrapped in diaphanous melodies and paradisiacal suggestion around its musing of the beauty and frailty of life. Again, it was a moment proving as absorbing as it was haunting before EP closing Happy Now cast its own alignment of crystalline texturing and rock intensity around vocal and lyrical captivation. The song is almost clamorous in its sonic engagement; a plaintive smog of sound around again evocative thought and vocal consideration.
Coming to a rather fine end, the striking release has only blossomed in temptation and prowess by the play much like its creators, THE YETS equally placing a firmer hand on attention and high praise.
The Yets EP is out now via Royal Terns Records; available @ https://theyets1.bandcamp.com/album/the-yets
https://theyets.com/ https://www.facebook.com/theyets https://twitter.com/the_yets
Pete RingMaster 09/03/2023
Copyright RingMaster Review
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