| | Yeah Yeah Yeah's Machine CD Single Yeah Yeah Yeah's Discography of CDs
A quickie to tide fans over until the 2003 release of their full-length debut, the Yeah Yeah Yeahs' Machine is appropriately economical and efficient -- once again, the trio manages to cram more ideas and attitude into a few songs than most bands do in a full-length release. If possible, this three-track single is even more impressive than Yeah Yeah Yeahs, demonstrating both their ever-expanding range and their increasingly focused style. In the Yeah Yeah Yeahs' case, however, "focused" doesn't mean tamer -- if anything, "Machine" is even more ferocious and unhinged than the songs on their first EP, a complex and somewhat cryptic mix of anger and desperate lust that recalls the scary sexiness that PJ Harvey displayed on Rid of Me and 4-Track Demos. Nicolas Zinner's guitars and Brian Chase's drumming are still simple and streamlined, but display a new level of sophistication, while Karen O's snarling vocals span smooth, high notes and choppy growls. "Graveyard" adds a dash of shockabilly to this rougher, tougher sound, but the real deal is "Pin (Remix)," the most remarkable song of their young career, musically speaking: a spooky but beautiful mix of dreamy vocals synths and guitars looped and layered over a minimal beat, it's a ghostly expression of their punk attitude that rivals Sonic Youth's "Shadow of a Doubt" in its eerie loveliness. Like Yeah Yeah Yeahs, within Machine are traces of the sounds of lots of great underground groups -- bits of Siouxsie & the Banshees and Royal Trux, as well as Sonic Youth and PJ Harvey, can be heard in the fray this time -- without specifically aping them. As if it was necessary, Machine offers more proof that the Yeah Yeah Yeahs are very much in the lineage of New York's classic art punk groups, able to define as well as transcend the musical fashions of the moment. ~ Heather Phares
This single is comprised of exclusive tracks from the band's studio sessions, as well as a previously unreleased demo from their formative days. Brooklyn's Yeah Yeah Yeahs have become the future of rock 'n' roll with their raw energy, enthusiasm and pure charisma. They're also press darlings, with features and reviews in Rolling Stone, Spin, Details, Mojo, The New York Times, The Chicago Tribune, The Village Voice, GQ, Fortune and much more. Touch And Go. 2002.
Yeah Yeah Yeahs: Karen O (vocals); Nick Zinner (guitar); Brian Chase (drums).
Producers: David Andrew Sitek, Yeah Yeah Yeahs.
Personnel: Karen O (vocals); Nicolas Zinner (guitar); Brian Chase (drums).
Photographer: Shannon Sinclair. Yeah Yeah Yeah's Machine Songs Machine Review
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Purchase Machine CD To buy, Click on price to add to cart | Yeah Yeah Yeah's Yeah Yeah Yeahs CD (2001) Extended Play
Machine album
 $9.45  
Karen O makes an entrance worthy of Warhol or Lee Van Cleef on her Yeah Yeah Yeahs debut EP, introducing herself on "Bang" with an unmistakably sexual growl, a rock-&-roll hunger somewhere between Mick Jagger and Jon Spencer. It's the sort of game-changing bravado ...
| | Flaming Lips Yoshimi Battles The Pink Robots CD (2002)
Machine CD music
$9.65   
"Approaching Pavonis Mons By Balloon (Utopia Planitia)" won the 2003 Grammy Award for Best Rock Instrumental Performance.
This limited edition includes a bonus DVD version of YOSHIMI BATTLES THE PINK
ROBOTS including the whole album in surround sound, videos and rare tracks.
Emerging sometime in the '80s, Oklahoma boys The Flaming Lips have held steady to a peripheral, but significant location in the indie-rock world, visionaries blessed with a hyper-keen pop sensibility. In 1999, four years removed from the surprise alterna-pop hit "She Don't Use Jelly," the trio fronted by the fetching, impelling whisper of Wayne Coyne hit a remarkably high note, making scores of year-end 'best of' lists with THE SOFT BULLETIN, a mellifluous, masterful slice of Brian Wilson-level pop distorted through a few looking glasses. Following an acclaimed album is always a craggy cliff of anticipation, but if BULLETIN was the Flaming Lips' PET SOUNDS, then the ethereal YOSHIMI BATTLES THE PINK ROBOTS may be their SMILEY SMILE, a record which skillfully straddles the line between pop and experimentation.
YOSHIMI offers lush, enveloping arrangements, forging a soundscape both comfortably predictable and satisfyingly, even dizzyingly, diverse, awash in Todd Rundgren-like grandiosity, yet startlingly simple in structure like the ...
| | Interpol Turn On The Bright Lights CD (2002)
Machine music CDs
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To make music marked distinctly of a specific period that's somehow so compelling as to be timeless is no mean feat. Interpol initially sounds as if they must have been roaming about Manchester as the 1970s screamed to a close, yet they emerged across the ocean in New York City some two decades-plus later. Combining the insistent drone of Joy Division with the dreamy melodies of the Chameleons, the fire of Mission of Burma, and an occasional jagged edge a la The Fall, the foursome inconceivably manage to defy anachronism on their debut full-length TURN ON THE BRIGHT LIGHTS. Just how they do it is indefinable, perhaps it's just a trick of the light, or the life that breathes gloomily, radiantly throughout, but it's undeniable.
Vocals which fall somewhere between Ian Curtis's plaintive, edge-of-oblivion wail and the winking, laconic drawl of James's Tim Booth, ripping uncompromisingly through unpredictable, unforgettable lamentations from the reflective ("NYC") to the imploring ("PDA"). When the darkly etched, implosive, mournful lyrics poke ...
| | Liars They Threw Us All In A Trench And Stuck A Monument On Top CD (2001)
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One of many post-punk-influenced bands to emerge from New York City at the beginning of the new millennium, Liars announced their arrival with 2001's THEY THREW US ALL IN A TRENCH & STUCK A MONUMENT ON TOP. Revealing a penchant for Gang of Four angularity (as well as bizarre phrases) on the searing opening track, "Grown Men Don't Fall in the River, Just Like ...
| | Yeah Yeah Yeah's Fever To Tell CD (2003)
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FEVER TO TELL was nominated for the 2004 Grammy Award for Best Alternative Music Album.
Punky New York scions the Yeah Yeah Yeahs may have been strapped with an unfortunate albatross by receiving Next Big Thing status in the wake of the supernova explosion of the Strokes, the White Stripes, et al. However, if one hasn't already heard either of the Yeah Yeah Yeahs excellent Touch & Go EPs or witnessed one of the outfit's electric live shows, one listen to FEVER TO TELL should swiftly dispel any doubts about the trio's credibility. Visually outrageous singer Karen O., primal drummer Brian Chase and devilish guitarist Nick Zinner take an artier-than-most approach to the garage-rock world; think the Velvet Underground as channeled through the Fall or Sonic Youth with just a wisp of the Pretenders.
The Yeah Yeah Yeahs' music explodes in a sea of overt sexuality and frenzied emotion, hinting at hooks and sometimes even getting totally enveloped in them, as on the disarmingly charming "Maps." On the other end of the spectrum lies the raw MC 5 full-on punk-blues of tracks such as "Man" ...
| | Yeah Yeah Yeahs - Tell Me What Rockers To Swallow DVD (2004)
Machine CD music
 $10.55 
Rising from art-school backgrounds to form one of New York City's most potent bands, the Yeah Yeah Yeahs have attracted a sizeable following for their delirious tunes. Charismatic singer Karen O is the focal point for much of the attention lavished on the group, but the engine room of guitarist Nick Zinner and drummer Brian Chase are vital allies for the inimitable vocalist as they whip up an unholy racket ...
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