Review: Yuck dish out fantastically fuzzy grunge at Crowbar in Ybor City
It’s wrong to dismiss Yuck as purely a product of its 1990s influences, but those influences can’t be denied, either. Leading its eponymous debut album with Get Away, the London group’s most blatantly Dinosaur Jr-ish track, did nothing to quell the suspicion that Yuck prostrated itself at J Mascis’ pedal board.
Friday night at Crowbar in Tampa, Yuck buried any misgivings in a storm of youthful energy and glorious distortion.
Max Bloom’s guitar, equal parts Mascis and My Bloody Valentine’s Kevin Shields, was filled with thrilling squalls and wah-wah groans, but he was also handy with a simple, nagging hook.
Frontman Daniel Blumberg, his mop of curls a visual tribute to The Jesus and Mary Chain, is a discerning enough student to know that six-string overdrive works best over a strong pop base. He also knows when to switch off the distortion, as on Shook Down, as beguiling a piece of pop swoonery as you could want to hear.
Suicide Policeman was another respite from the storm, Blumberg taking the first verse solo before the rest of the band, including bassist Mariko Doi and drummer Jonny Rogoff, joined in on the chorus.
Charging numbers such as Holing Out and Georgia (“I’m so tired,” Blumberg sang as the band roared around him) dominated. But Yuck slowed the tempo if not the intensity for its final numbers, Suck, and Rubber, the latter a swamp-thick fest of distortion and feedback.
Porcelain Raft (singer-guitarist Mauro Remiddi plus electronic backing) made a powerful impression during his set, following an opening salvo by Palantine. Remiddi weaved his guitar into well-crafted electronic textures, Remiddi, supporting songs full of haunting melodies.
-- Curtis Ross, tbt*