Working-class rock—and that’s the bell the Yawpers ring again and again on American Man (Bloodshot)—has gone through a lot of permutations through the decades. This music is all over the map, stylistically; “Doing It Right” skews to amped-up speedway boogie, while the title cut and “Beale Street” bring more country trappings, though it’s a revved up country that would be totally alien to CMT. And there are left-field moments like “Kiss It” that go full-on dirty blooze hard rock. For all that variety, the music works well on its own merits. The Yawpers—singer/guitarist Nate Cook, guitarist Jesse Parmet and drummer Noah Shomberg—will be guest editing magnetmagazine.com all week.
Parmet: I first met Eldren in 2012, when the Yawpers happen to share a bill with them in Tulsa, Okla. Both of us were on our way to Austin’s SXSW festival. They were my introduction to the Denver music scene, being the first great local band I’d heard. Since then, we’ve shared the stage many times.
I find it difficult to describe their music. They cover a lot of ground, from psych and baroque pop to gypsy punk. It’s quite ambitious, but they manage to pull it off. The songs take unexpected turns, but remain accessible. It’s always bursting with melody.
Individually, there is a lot of talent in this band. Most importantly, though, they share a real connection with each other. Check out their recent release, Welcome To Deathville.
Video after the jump.