The image of her prancing down sparkling silver streets amongst dismembered heads is almost as invigorating as the song itself, and that’s saying something coming from a woman whose most famous line is also her most straightforward. Jordan Sargent: Karen O won’t go down in history for her lyrics, and so “Heads Will Roll” is almost stunning in its opaque evocativeness.
I know some people who find Karen O’s voice annoying, but I really like the sharpness and energy in it, and her delivery of the stylish scenery of these lyrics is particularly confident. Martin Skidmore: They are blending dance sounds beautifully with trad rock instrumentation, and generating irresistible choruses. If this is the YYYs’ idea of community, then I’m ready to sign petitions. That’s what all great dance music demands, and I get off as much on Karen O’s joining the street party, Nick Zinner’s guitar dripping with punk-disco alchemy, and Brian Chase’s flippy-floppy percussion as I do on the whole glimmering package. This latest, and best, appropriation of the hallowed “Blue Monday” riff takes the message of Joy Division’s “Transmission” through a tour of wet streets on which men and girls pogo to ridiculous lyrics. Ferocious.Īlfred Soto: I’ve waited six months to hear a couplet as pithy as “Off, off, off with your head/Dance, dance, dance till you’re dead” on the radio. The epic, slightly wonky synths smoothly roll by while Karen O yelps over the top culminating in a dramatic all-out ravey chorus. Talia Kraines: I’m not sure what has happened with the promotion of It’s Blitz!, but I feel that had things been different, ‘Heads Will Roll’ could have been looking at a massive crossover chart hit. When I listen to it, it seems a bit more plodding, as if it were afraid to actually dance, and its lyrics seem a wee bit stupid.
#Yeah yeah yeahs heads will roll how to#
When I watch the video for this, it’s propulsive and vital, showing both rock and dance how to create the greatest amount of energy in under four minutes. Martin Kavka: I don’t understand how anyone can experience the Yeah Yeah Yeahs purely aurally. Result: perfect summer-driving soundtrack, whatever time of day or night.
Michaelangelo Matos: Ingredients: circus-organ rave loop, doomsday scenario, pointillist post-punk guitar, the shimmering synth progression Moby forgot to include in his ecstatic ’93-’95 run, and finally - finally - some power chords. Except for when she yelps “dance ’til you’re dead”, Karen O really does make me want to dance, and she is much better at being a synth-rock Chrissie Hynde than anyone has a right to be.
And she doesn’t exactly dance me to death even when she doesn’t fade into the mix.Įdward Okulicz: I’m not convinced by the chorus, which lacks the sharpness that would be required to behead and is a bit shrieky, but everything else here seems to work pretty damned well. Thing is, I don’t like It’s Blitz! as much as you probably do the YYYs seem to be savvily incorpoprating more dance-music-type space since the last time I checked in with them, but much of the new album still hits me as really vague - at least in part because Karen O’s already grating voice fades into the mix too much. Megalomaniacal crossover appeal.Ĭhuck Eddy: My favorite track on It’s Blitz!, maybe partly because I have a thing for Alice In Wonderland and pools of blood on the old dancefloor. And what’s really great about this song is that even though plenty of people around here would immediately dock it points at mere intimation of an “impromptu dorm room dance party” (um, including me), I’m betting it’s still going to do pretty well. Pharrell Williamsĭave Moore: I don’t think any other single song has warped me back to an impromptu dorm room dance party so effectively in recent memory.
Donnie Trumpet & the Social Experiment.I LIE HERE BURIED WITH MY RINGS AND MY DRESSES.Email (song suggestions/writer enquiries).
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