Colossal Yes is the quixotic side project of Comets on Fire drummer Utrillo Kushner. According to Kushner, this album was inspired by New Zealand indie rock bands like The Clean, The Verlaines, and The Tall Dwarves. Oddly, this influence appears to have had only a marginal effect on the band's sound, as they still most closely resemble the mellow '70s rock of The Band.
For this project, Kusher leaves the drum duties to the very capable Garett Goddard (Howlin' Rain) and devotes himself entirely to singing and playing the piano. He is also aided by Howlin' Rain guitarist Eli Eckert and Ben Chasny (Six Organs of Admittance), who handles mixing duties and plays on the instrumental "Permafrost Drip." The music, as alluded to earlier, is unabashed and unironic '70s rock worship and the trio do an impressive job covering the various tropes of the genre. The band's Achilles' heel, unfortunately, is Kushner's workman-like vocal performance. While his singing is not necessarily "bad," it is generally flat and unengaging. That is a troubling obstacle for a band that is largely dependent on the strength of its hooks (there is no focus on innovation or raw power).
That said, Colossal Yes possess a certain shaggy charm and the album has many pleasant moments. "They Feast On Us/We Feed On Them" opens with canned crowd noise, which is an apt harbinger for the arena rock piano balladry that follows. The rhythm section has a lagging, languid feel which suits Kushner's vocals quite well. Also, there is a recurring flute motif that serves as a memorable and effective hook. It's probably the best song on the album, primarily because Kushner's vocals tend to get overwhelmed when the band is at their normal degree of intensity. The closing "Smoldering Steeps" is similarly successful for the same reason. "The Fraudulent Singer," a fairly jaunty pop song with fuzzed-out bass and insistent double-time drums (before ending with a shredding dual-guitar solo and wild drum fills), is one of the few times on the album where the Kiwi indie rock influence is readily apparent.
However, that influence seems to have manifested itself in other ways. For example, this album is more guitar-based than its predecessor (Acapulco Roughs) and the production seems a bit more raw/lo-fi. Most importantly, Kushner has jettisoned meandering epic song lengths and generally adheres to a tighter and punchier three-minute pop song structure.
At this current stage in their career, it seems unlikely that Colossal Yes will make much of an impact, as people who are enthusiastic about '70s piano rock do not seem like the sort of people who will make the effort to discover semi-obscure new bands. Also, there is nothing particularly exceptional about this album. It is merely competent and intermittently enjoyable. However, Charlemagne's Big Thaw is certainly a step in the right direction and the harmonized dual-guitar solos and flute interludes are often endearing (both occur several times). If Kushner's vocals and songwriting continue to evolve, this could turn into something quite significant. Until then, Spirit and The Band can safely remain unconcerned about their genre dominance being threatened.
Samples:
• The Fraudulent Singer
• A Ballad Is The Air That You Breathe
• They Feast On Us/We Feed On Them
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