You Can Work It Out: A Review of Yabadum's "Careful Kid"

Yabadum's excellent 2013 self titled debut ended with frontman/bassist Laszlo Horvath wondering, "who am I?", a question in the context of the album, didn't feel too far off. Yabadum channeled the spirits of LCD Soundsystem, Interpol, The Strokes, and practically any other big name early to mid 2000's indie rock act, all through paper thin production and lyrics about mountain men and scaring yourself to death.

But who are Yabadum? Four New York teenagers who do the whole "teenagers who have decided to start a band on their own" better than the majority of teenagers who have decided to start a band on their own. The playing is tight and precise, the songwriting chops are there, and there's enough sweaty kids packed into small venue spaces to make you feel like you're part of a movement once again. But of course, such a strong debut from such a strong band unfortunately gives the opportunity to burn out early, something that young and talented bands have been subject to too many times. Unfair contracts are signed, poor artistic decisions are made, and then suddenly, an audience that can't comprehend the deeper meaning behind the music comes into the fray.

Fortunately, Yabadum are too smart for that. With their excellent new EP, Careful Kid, they've decided to go to an actual studio (Room 17), and have it mixed, recorded, and produced by guys who have been responsible for some modern stone cold classics by artists that have since then been canonized (Dirty Projectors, Animal Collective, Deerhunter), all while releasing the EP themselves, granting them full artistic control. And boy oh boy, does that production deepen the band's sound, all while expanding it at the same time. The debut felt as if every instrument existed on it's own, separated only by paper thin walls, but now sounds blend and morph into something completely new; the rerecorded version of "Cosmos" remains pretty much the same, but the updated recording makes it that much easier to shake to, and Robby Jenkin's drumming adds a new sense of rhythm and muscle that the band previously didn't have.


"Mountain Man" now lays on a bed of space age synths that are absolutely euphoric to listen to on headphones, as Chris Rivera's guitar is brought more to the forefront, it's sparse sweeps placed expertly as Schine's schmaltzy organ does it's thing. Whereas the original's ramshackle approach felt as if it could fall apart at any moment, the new one showcases masterful restrain in this field. "Winter" proves to be the best of the three rerecorded songs, as Horvath's chesty voice finds itself competing with the continuous crescendo of the song's second half, making it all the more thrilling. Rivera then lets loose on his solo, launching the song into the stratosphere.

If you thought Yabadum couldn't get any better, just take one listen to one of the three new songs. Epic closer, "All the Funds" sounds like Wolf Parade slugging it out with LCD Soundsystem as Schine's keyboards provide the American complement to Spencer Krug and Horvath's vocal inflections recall LCD Soundsystem's mastermind, James Murphy. "Ball and Chain" contains a jaunty little reggae guitar line, giving the most pop appeal of any other song on the EP. Horvath's somewhat abstract lyricism soars over Schine's stacatto piano ("we ask / who are you / there's not much you can say / just like to argue / there's no use anyway"). "Look Alive" opens with a sinewy guitar line that takes it's time unfolding, before Jenkins pushes the song forward and Schine's synths buzz in and out of your ears.

"Look Alive" contains one of Horvath's most disarming and honest couplets: "Word of mouth goes / great long places / and you should know that / secrets don't belong to anybody / I take pleasure / in seeming clever / but you're no better / we're getting older / something's getting colder / and I'm shrugging shoulders." The lyrics can ring true to many, whereas it's possible only Horvath knows the meaning behind them, it's weary and bleary eyed sentiments can hit like a brick. Such honesty hides itself in the cracks and corners of Yabadum's music, and it's a joy to pore over such lyrics to further understand their meaning and what they may be trying to convey. So, Horvath's observation of "growing older" does apply to the band itself, seeing how they've been able to survive the sophomore slump, where most bands grow old in the space of one album. Careful Kid doesn't just solidify Yabadum's place, it also certifies that they will most definitely age with grace.

Yabadm - Careful Kid
8/10
Recommended Tracks - Buy the whole thing sucker!