Yeah Yeah Yeahs已有相当大的进步——从他们同名EP那附庸风雅却又美妙的垃圾朋克，一直到Machine中直逼人心的紧迫感。《Fever to Tell》是乐队的第一张专辑（也是张标有Parental Advisory的专辑），乐队在专辑中的表现也同样显示他们的不断成长，但也显示这个组合开始不再完全拥有他们过去的一些特点。在时间利用效率上，他们的EP会是很好体现差异的范例，在乐队从前发行的EP中，噪音、旋律、混沌以及歌曲的总体结构所占的份额都在这个15到20分钟里安排得相当平衡。似乎乐队需要一张EP的时间限制来给他们的专辑限制界限——或许37分钟，因为《Fever to Tell》确实在几个不同的时段里听起来有点散漫而单调。这个问题主要是归结于差劲的专辑排序——乐队以他们所能录制出的最粗鲁最狂暴的声音作为专辑开篇，却又一下子转变成没完没了的实验以及优美的民谣作品——嘲讽的是，这种突然的转变就象这张专辑是他们有意把两张EP硬生生的拼起来的一样。乐队无论是崭新的一面还是延续以前的一面，都有非凡卓越——也有令人沮丧的时刻。 《Fever to Tell》的不足之处（象No No No，听起来冗长又罗嗦的一首朋克单曲，还捎加实验元素，不过这种实验音乐听起来有点笨拙。）也许他们应该从以前EP里拿来一些尝试过又获得成功的单曲，但这么做对于象Yeah Yeah Yeahs这种机敏善变的乐队来说无疑会让他们陷入停滞。事实上，他们在如此之短的时间内能够炮制出那么多的歌——尽管这只是他们的处女作——这张专辑听上去好象乐队正处于转型期；Yeah Yeah Yeahs也已经从根本上去重新思考他们音乐的发展。总而言之，《Fever to Tell》可能会让你觉得有些失望，但和EP中的好歌对于乐队成长的影响比起，专辑会显得更有价值，而这张专辑也无不证明就算Yeah Yeah Yeahs的音乐处于摇摆不定的阶段，但他们仍是一支令人激动的乐队。

千嬉年之后，美国纽约的地下音乐由The Strokes、White Stripes等乐队的迅速崛起迎来了垃圾音乐的复苏。而这支同样来自美国纽约的3人小乐团也是在这样的背景下诞生的。自3年前那张《Fever To Tell》发行后，他们就成了美国地下音乐的名角了，这不只在于他们在音乐上的杰出表现，更在于他们音乐所表述的那些关于性爱、同性恋等话题。 整支乐队给人映象最深的当然是女主唱Karen O了，你可以用一切诸如歇斯底里，放荡不羁等词语去形容她，对于这个需要偶像的年代，Karen O自然因此也赢得了不少Fans。在舞台上，她总是表现出那充满力量的情绪，用着那些“陈词滥调”去真诚的打动你，或者用她那特有的张力去唤醒你体内的荷尔蒙…… 3年之后，Yeah Yeah Yeahs带着这张依然前卫的《Show your Bones》再度出现在我们的视线中。 首支单曲Gold Lion随着木吉他的欢快节奏为我们款款道来，而随之而来的Way Out他们再度讲述着自己对性爱的理解，It's Just A Way Out...不知道这张专辑的下一首单曲会是哪首，但是如果是我，一定会选择这首Way Out，虽然只有短短的的不到3分钟，但是绝对可以体现他们这几年对音乐上的理解和专辑的概念。那首Phenomena的反复歌词不知道我有没有听错，They had sth.like banana...一滴汗。整体上，专辑依然是围绕着主唱时而欢愉时而忧伤的嗓音进行，乐队的另外两位成员Nick Zinner和Brian Chase也随着Karen O富有张力的表现力变换吉它的旋律与鼓声的节奏。一张近乎完美的狂放之作，推荐给大家

来自纽约的Yeah Yeah Yeahs，团员配置分别是Karen O(主唱)、Brian Chase(鼓手)与Nick Zinner(吉他手)。在2000年成军之始，Karen及Nick以Unitard之名呈现较为民谣风格之二人组合，直到Brian正式加入，YYY才立定Garage Punk明确乐符走向。就在同乡The Strokes/鼓击乐团和The White Stripes/白线条乐团全力支持，成为巡演上的座上嘉宾，嬴得「性感与质感兼具的车库摇滚」之美誉。声名逐步在地下摇滚界攀升，独立厂牌旗下陆续推出的作品，同获不小骚动与推崇。2003年签入主流大厂旗下问世之作《Fever To Tell》，进驻全美流行专辑排行Top55位置，并获得葛莱美奖「最佳另类音乐专辑」提名。纯粹以年轻人的思维大声且直接告诉大家YYY所喜爱之乐种，引领复古与时兴摇滚之共鸣，为新世纪乐种冠上新注解，沾染出深具前瞻性的音乐图像。 2006初春发行的第二张主流大厂专辑《Show Your Bones》，大胆采用制作界新秀Squeak E. Clean，试图齐力激迸出更为灿烂的火花。开场曲＜Gold Lion＞，以Acoustic吉他拨动指引出隆隆作响鼓噪气流，不时被Karen奔放腔调挑起注意力；畅快顺耳的吉他音线流入耳中，摇摆放肆的＜Way Out＞，早已冲撞出手舞足蹈兴奋音浪；Karen的感染力强烈声调，搭着节节上扬庞克劲道＜Honeybear＞，处处透着独树一帜的豁然爆发力度；小巧精乾的＜Mysteries＞一气呵成释放激烈吉他与人声相互极致搭腔；接连＜The Sweets＞及＜Warrior＞两首单曲，谱化出动人抒情小品，令人回味再三。更为内敛的摇滚气度，时而爆发无法招架之猛度，时而呈现低郁顺畅之音符，Yeah Yeah Yeahs全新出击，要让你刮目相看。

At the turn of the twenty-first century, the New York City music scene floated in a surfaceless orbit of samplers, shoegazers, and delay pedals. The city's guitars lay choked by a digital fog, or else they lay dustily forgotten. Then, in 2002, an unbridled five-song EP by an unknown band brought noise, sex, passion, and mayhem back to the stage and to the stereo. The band's name evoked the kid who knows that whoever's in charge is full of s**t -- "yeah, yeah, yeah" -- but it also rang with the affirmation of pure rock and roll: F**k yeah! The Yeah Yeah Yeahs' first full-length album, Fever to Tell, was simultaneously filthy, infectious, sloppy, and brilliant. You could dance to it, and you could probably die to it. "Maps" was nominated for a Grammy, and the record went gold in the UK. The Yeah Yeah Yeahs spawned a new breed of power trio. They work together as a single organism, but each member maintains their own personality and contributes their own strengths. Think of them as a three-piece Earth, Wind, and Fire. On second thought, it's probably better if you didn't do that. Brian Chase's drumming couldn't be tighter or more precise, even as the band descends into the pitch-dark caves of noise he frequents in his free-jazz spare time--and one can hear rigor and experiment behind even his simplest, no-frills (or -fills) rhythms. Nick Zinner's guitar pushes back--hard--against Chase's formalism, grounding the group in rock and roll at its ballsiest, dirtiest, and most shredly. His soaring, sometimes grinding lines are wires connecting Chase's drums to the psychologically kaleidoscopic vocals of Karen O, who, as the New Yorker has noted, would have been a success "had she appeared with nothing more than a microphone and a pair of maracas." The band developed an itchy and unshakeable aversion to repeating itself. It would have been easy enough to record another spastic, live-sounding garage album after the success of Fever, but their next full-length, 2007's Show Your Bones, added acoustic guitar and more serious compositions that picked up on the direction suggested by a song like "Maps." Rolling Stone called the record a "textural triumph," and the group honed their legendary stage performance -- one cannot understand the Yeah Yeah Yeahs without seeing Karen O writhing and thriving onstage. A handful of great songs that didn't make it onto Bones became tour staples (and fan favorites), and the band sat down with the celebrated PiL/Slits/Gang of Four producer Nick Launay to record 2007's EP Is Is. Last year, the Yeahs shook their Etch A Sketch® clean to start work on a new record with producers Dave Sitek and Nick Launay. "We usually go into these things totally blind," Karen O said. "We have no idea what's going to happen when we sit down." This empty page feeling was helped by geography: they began writing the record in the middle of a snowstorm, in a hundred-year-old barn in rural Massachusetts. "You looked out the window and it was just pastures and pastures of snow-covered fields," she said. Zinner had brought along a synthesizer to work with during the writing session, not expecting it to end up on the album. "That was an old keyboard I bought on eBay," he said. "Literally, it was the first day we were setting up, plugging things in. Ten minutes later, we'd written that song 'Skeletons.'" The song--and the whole record--have a new feeling of space and atmosphere that's unusual for the band. "Obviously, synths have been in rock music forever," Zinner says. "But to us it feels new, which is all we really care about--that excitement." It's Blitz! signals both a glance backward and a step forward for the Yeah Yeah Yeahs. Zinner's vintage Arp--the same model used on records by The Cars, Joy Division, and Kraftwerk--contributes atmospheric washes ("Skeletons"), disco wiggles ("Dance till you're dead!" Karen sings on "Heads Will Roll"), and New Wave melodrama ("Soft Shock"). The first single, "Zero," combines all these elements to create a dance-floor anthem that sings directly to the listener. "We've got a death grip on the adolescent way of feeling things," O said. That's something I'll never be able to shake in the music I write. It's almost feels like a John Hughes 80s movie." But acknowledging the past in this way doesn't sound make for a nostalgic-sounding album. "I think there's a cool stability reflected in this record," Brian Chase says. "It reflects our transformation, and how we've developed as people."