The British Post-Punk scene has seen something of a resurgence in the last five years or so. Dubbed the ‘Post-Brexit New Wave’ in an NPR article by Matthew Perpetua, the scene seems to be going from strength to strength, coalescing last summer with the Wide-Awake festival in Brockwell Park. I went with a few mates, one of whom kept talking about a small band from Leeds he wanted to see. I, admittedly a bit reluctantly, went with him to see them on the smallest stage at the festival. The band came on, and I was blown away by what was probably one of the most captivating and energetic performances at the festival. Yard Act left a huge impression on me, so I eagerly awaited their debut album.
The Overload, released 21st January 2022, vindicated the anticipation. A really solid album, Yard Act really deliver, especially towards the back end of the album. Though it doesn’t come near Dry Cleaning’s New Long Leg or Black Country, New Road’s For the First Time, Yard Act nevertheless have produced a great album which is sure to assuage any doubts people have about the staying power of British Post-Punk.
Whilst the title track is rather so-so, it doesn’t take long for Yard Act to really show what they do well; ‘Dead Horses’ is easily one of the album’s best tracks. With a funky bassline and some ‘Dance Little Liar’–esque guitar, the song perfectly encapsulates Yard Act’s distinct sound, especially with lead singer James Smith’s monotone monologue over the track. It’s a cynical exposé on what he sees as the myth of British culture, a culture which, in his eyes, has allowed the far-right to grow and persist. The politics are carried over to the next track ‘Payday’, an anti-capitalist anthem in which Smith rues against the rampant, hypocritical materialism in our country. Accompanied with some LCD Soundsystem/Talking Heads-esque dance backing, the ranting lyrics are perfectly contrasted by funky, energetic music.
There is no doubt in my mind, however, that the second half of the album is where Yard Act really cement themselves as a serious participant in the post-Punk scene. ‘Tall Poppies’, a new track on the album, is a fantastic demonstration of Smith’s talent at songwriting. The six-minute song, the longest on the record, concerns the life of a boy from a small village, and the girl he spends his life with. A rather melancholic song about the fragility of life, existence and ambition, ‘Tall Poppies’ is quite a departure from their typical sound, but a departure which should be encouraged more, as the story-telling nature of the lyrics, in the same vein as Dry Cleaning, really suits James Smith’s melodic voice. The album ends with the song ‘100% Endurance’. A remarkably uplifting song, where Smith ensures us that “it’s all so pointless it is and that’s beautiful”, ‘100% Endurance’ is the perfect closer to The Overload.
Yard Act may just be doing what The Fall did 40 years earlier, but the fact is they’re doing it so well means you can’t help but enjoy it. And if James Smith is our best chance at getting Mark E. Smith back, then I say play on. The Overload is a fantastic entry point into the world of post-Punk, and a highly enjoyable album.
Rating: 4/5
