Yuck at Triple Rock, 1/20/14

Categories: Last Night
Photo By Darin Kamnetz

With Prissy Clerks and Fury Things
Triple Rock Social Club, Minneapolis
Monday, January 20, 2014

For Yuck's celebrated return to Minneapolis at the Triple Rock last night, they wisely paired the London quartet with two local bands who share their same indie spirit and influences. Prissy Clerks and Fury Things rounded out a stellar triple-bill that brought out a good chunk of area music lovers on a frigid Monday night, and we were rewarded with a series of different interpretations of the guitar-fueled garage rock of the past two decades.

The irrepressible Dinosaur Jr.-loving trio Fury Things opened the night with a rousing 35-minute set that showcased not only where the band is pushing their sound in the future, but also the restless, untamed material that got them here. The band is working towards finishing up their forthcoming full-length, while frontman Kyle Werstein gets ready to graduate college in May, so a vital creative energy is clearly flowing within the group at the moment and their focused and fiery set reflected that.

They opened with a boisterous run through of "Harsh" that immediately warmed up the band and crowd alike as the club began to fill. "Hard to Breathe" and "Whatever" both churned forward with a raw intensity, with the group clearly taking full advantage of opening for two bands that they clearly love in a club that Werstein thought he'd never get a chance to play in. The group slowed things down a bit on a Built to Spill-like version of "Surf Ditty," which eventually dissolved into a blissful wall of distortion.
Photo By Darin Kamnetz

Werstein mentioned that they have a 7-inch coming out soon, and played one of the new tracks from that forthcoming release, "Matter," which mixed an urgent melody with a smooth rhythm generated by bassist Devon Bryant and drummer Andy Carson. Sharing the new track seemed to inspire the band, as the set closed with distortion-drenched versions of "Glasgow" and "Day" that ended the performance on a high.

Prissy Clerks also shared a couple of new songs during their concise 30-minute set, but started things off with a flurry of jams from their excellent 2012 album, Bruise Or Be Bruised. "Wisest" and the anthemic "Blast-Off Girls" got the set started with a shot, and the band didn't let up once during their breakneck set, packing ten insistent songs within their half-hour performance. The group recently hit up the Seattle area for a successful run of shows, and they clearly were road tested and ready to capitalize on the opportunity of opening for Yuck.

Photo By Darin Kamnetz

Songs like "Death Wish," "Psychic Hearts" and the album's title-track all took on an assured pulse driven along by Clara Salyer and Dylan Lee Ritchie's raucous guitar riffs, which gave the melodic tracks a rough edge. "No Sir" had a vibrant bounce to it that eventually blossomed into a wall of discord, as the quintet all lost themselves in the expansive outro. The last two tracks of the set were both thrilling new numbers, "Creep City" and "Bad Seed," which featured a balance between sunny, surf-rock charm and a rowdy punk fury. The crowd clearly wanted to hear more, but the group quickly put down their instruments, prompting the sound guy to ask, "You done?" Clara responded with a quick "Yeah," but with new (and old) material as stellar as this, we will clearly be hearing more from Prissy Clerks soon enough.

Yuck has gone through some pretty significant changes since their Minneapolis debut at the Varsity in 2011, as singer and founding member Daniel Blumberg left the band. But Max Bloom forged ahead, taking over most vocal duties on the group's new album, Glow & Behold, with new guitarist Ed Hayes rounding out their live lineup. And they clearly didn't miss Blumberg much at all during their catchy and captivating hour-long set, as both the new tracks and old numbers took on an inspired -- but slightly different -- edge. The tight rhythm section of bassist Mariko Doi and drummer Jonny Rogoff gave the songs a pulsating heart, while Bloom and Hayes both provided a spiraling wall of guitars that drove the songs forward.

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