It feels almost needless to say that western capitalism has become the laughing stock of the world-wide pandemic in what is a severely unfunny situation.
I may sound like a broken record, but how we continue to stand against the normality of it through creative ventures goes someway to at least to security our own sanity. New Leeds group Yard Act, through their debut single ‘The Trapper’s Pelts’, are doing just that – they are pleasingly derisive and immediately pertinent in this current state.
At it’s heart, ‘The Trapper’s Pelts’ comes across as a seething, garish protagonist – harnessed from the faux-vitalism of our capitalist society – it’s austere desire for it’s inhabitants heavily pertinent in its ideologies. Yard Act purposefully display the extremity of the personality – stealing from the flea market stalls of poverty and feeding off inflation and mark-ups and embodying the immorality in the desire for wealth. It intelligently breaks down the fortress of neoliberalism by feeding it its own greed – unveiling the obvious notion that gluttony can never fulfil emptiness.
The way in which Yard Act subjectify the saturated world of social commentary in the modern musical climate is to deliver it with the brash bravado of the narrative – spitting, unscrupulous and detesting. James Smith provokes the atmosphere as a sharp, taut rhythm churns around him, minimalistic yet sharp in its conscious need to garner attention. As Smith smirks with a grill of golden self-satisfaction, everything eradicates around him, living just the lingering screams of a royally fucked up future.
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