Yak + Jesuits @ Start the Bus
I think Iâve developed tinnitus from spending last Wednesday at Start The Bus. Playing were two bands battling it out for the title of kings of feedback and noise; the newly formed, Bristol-based Jesuits and London based NME radar hopefuls, Yak. Itâs rare that you see the place so rammed at 9pm, but the excitement around Jesuitsâ was massive.
With the commanding figure of bassist Lily Cook set in the middle, guitarists James Maclucas and Arthur Jayness shared vocals, traded harmonies and generally made a lot of noise. Although this was one of their first shows, the band had a swagger and confidence about them, even after James admitted playing the wrong chords for half a song. The songs spoke for themselves though, moving from drifting psychedelic planes to sharp punk noise almost effortlessly.
After the substantial early turnout for Jesuits, it was odd that Yak had some convincing to do, despite being the headline act. Having just come off the road supporting Peace, I was a little ready for some standard Indie-by-numbers. Their first single, âPlastic Peopleâ, is good, but a little tame. What I was not ready for was to be pounded by stoner riffs with a glam rock stomp.
The band took to the stage in a screech of feedback even louder than Jesuits, as if the two were set in a war to bust each others ear drums. All long hair and intense gazes, it made sense that the band had just got off a massive tour with Peace, but Iâm not sure how into Yak most Peace fangirls would have been. Between the howling, Jack White-like vocals, the fuzzy bass lines and head banging drums, the only thing that the band shares with their touring buddies is their ability to write a catchy tune. Despite all the noise, it isnât very hard to imagine Yak playing in bigger venues to audiences that shout back every line in the not too distant future.
It was also easy to draw comparisons to The Wytches without all the charms of slapback delay, instead replaced by a gimmicky organ placed at the front of the stage that was used occasionally, adding a texture of pointlessness on the backdrop of chaos. The set veered between influences; a dabble of Bowie here, a sprinkle of Led Zep there, the band all the while doing their best to encompass all their heroes. Whilst the bass stayed glued to the floor, resolute and commanding, the guitarist was doing his absolute best to cause havoc. Â Kicking his synths, swinging off the lighting rig, it all seemed a bit much for a Wednesday. Maybe itâs just me being cynical, but it all seem a bit contrived. In the closing song the singer pulled the stage curtains round the stage, blocking the audience from actually seeing the band. I guess that's just 'rock n' roll' and, if nothing else, it was refreshing to see a young new band letting loose. A bigger stage maybe, a few more adoring fans, and it might have been wholly captivating.
Still, a sonic assault that was unexpected and pleasantly surprising. Whilst they wear their influences on their sleeves (prompting a friend to dub them âYak Sabbathâ during a song that sounded suspiciously like âIron Manâ), this band is likely to go far given their label backing, even if the music is somewhat derivative.
discoholicmusic
theartofmadeline
dailybridgerton
romaincrisis
izzy806
