Reviews

Yeasayer
Amen & Goodbye

(Mute)

8/10

Six years have passed since Yeasayer made their mark on the wider world with second album ‘Odd Blood’, a record that hammered home the fact that in their hands electronic pop was a thing of real beauty. They’re a band who, at their best, can conjure a feeling of pure euphoria both live and on record, and whilst their last album, ‘Fragrant Worlds’, was short on these moments, it feels like ‘Amen & Goodbye’ is reaching for them once more.

The New York trio have always had their epic tendencies, but in opener ‘Daughters of Cain’ they appear to have gone full concept-album on us; a slow, sweeping, anticipation-building slice of music, which is straight out of the annals of prog-rock and more inline with their debut album, ‘All Hour Cymbals’. Such semi-ironic posturing is now pierced immediately by a segue into the superb ‘I Am Chemistry’, which is, truly, pop music at its finest – slick, shiny, huge-sounding and laden with hooks. And there’s a children’s choir to boot, while ‘Silly Me’ is reminiscent of early Madonna, and ‘Half Asleep’ is shot through with overt eastern influences and sitar. But it’s the lengthy mini-epics that are the album’s highlights, and ‘Gerson’s Whistle’ sees Chris Keating and Anand Wilder emote and vocally posture with unabashed earnestness.

‘Amen & Goodbye’ is a heavyweight album. For those who mourn the scarcity of ‘credible’ pop, give thanks for Yeasayer.

Loud And Quiet needs your help

The COVID-19 crisis has cut off our advertising revenue stream, which is how we’ve always funded how we promoted new independent artists.

Now we must ask for your help.

If you enjoy our articles, photography and podcasts, please consider becoming a subscribing member. It works out to just £1 per week, to receive our next 6 issues, our 15-year anniversary zine, access to our digital editions, the L&Q brass pin, exclusive playlists, the L&Q bookmark and loads of other extras.