One of the things I've learned during my 90 + years in show business is that there's more than one way for a band's artistic development to unfold. Actually, there's exactly two ways, but rather than compare and contrast the DIY approach of Foster The People with the sort of intense media campaign mounted by The Great Kat let's instead recognize that sometimes, far removed from the rat race, there's transcendent rock'n'roll being conjured up by characters you're barely familiar with.
The Austin, TX quartet known as The Young have kept a somewhat shadowy profile since their inception in 2007. Though Guitarist/vocalist Hans Zimmerman successfully morphed a home recording venture into a full-fledged, elite punk unit with the additions of bassist Jason Costanzo, guitarist Kyle Edwards and drummer Ryan Maloney, the band underwent a stylistic shift shortly after the release of the first two sings (for Chicago's Criminal IQ and Austin's Super Secret respectively). With little regard for public reception, The Young would soon opt for something far more experimental in nature. On the heels of a 2010 appearance on Matador's 'Casual Victim Pile' Austin compilation, the band would record an astonishing debut full-length for Mexican Summer The 'Voyagers Of Legend' LP, characterized by Still Single's Andrew Earles as " a masterpiece of exhumation that uses once-dead sonic vehicles to communicate uncalculated, uncontrollable soul, inspiration, sadness, and what can only be called 'real shit,' not only captured the imagination of this record label, but staked a claim for The Young being the-next-great-American-psychedelic-wonder.
And that brings us to (ahem), another dramatic stylistic shift. 2011 was a tad less shadowy for The Young. For one thing, they're sometimes allowing venues to turn up the stage lighting. And over the course of a year+ , sharing stages with the likes of Sic Alps, Kurt Vile, Pierced Arrows, Endless Boogie and other masters of modern rock guitar, it would not be an exaggeration to say their meticulous interplay has become both uncanny and unstoppable. LP #2, 'Dub Egg', the product of a week's recording in an actual-cabin-in-the-woods (see Hans' notes below) is the sort of shimmering, incandescent, modern approach to classic forms that none of us could've imagined from these guys a couple of years ago. There's echoes of things you've heard and loved, sure (including but hardly limited to Crazy Horse, Television, Quicksilver Messenger Service, Karl Precoda's playing for the Dream Syndicate) but I don't think you've ever heard it all coming together in a manner so crafted or explosive. The only thing quiet about this band is their confidence.
Gerard Cosloy, Austin, TX, Feb. 2012
by The Young