By Jef With One F
By Bob Ruggiero
By Corey Deiterman
By Marco Torres
By Angelica Leicht
By Angelica Leicht
By Charne Graham
Karen O is laughing. It's a throaty but light, even melodious, sound, not far removed from the slyly unpredictable, declamatory vocal style that has helped transform the former Karen Lee Orzolek into, if not precisely a household name, at least an alt-rock goddess in her role as the leggy fashion-plate frontperson for NYC-bred indie rockers-turned-international rock emissaries the Yeah Yeah Yeahs.
Okay, then, what's so funny? More to the point, how does one go about making the iconically bob-tressed, top-of-the-line, post-feminist role model-cum-nerdboy wank-fantasy that is Karen O, like, laugh? Well, kids, turns out it's a matter of grammar. During a brief phone conversation from her LA digs, this interviewer couldn't prevent himself from respectfully pointing out that in the chorus of the incredibly catchy super-rocking anthem "Phenomena" (track four on the YYY sophomore disc Show Your Bones), Ms. O repeatedly misuses the titular word. See, the (endlessly chanted) line in question, "I'm something like a phenomena," incorrectly employs the plural form, resulting in what is perhaps one of the most egregious usage errors in modern music. Especially bad, considering that the line is a well-known hip-hop clich that's been passed around for decades by artists from Grandmaster Melle Mel to De La Soul to LL Cool J to Fabolous, all of whom, needless to say, got it right.
Houston Press: What it sounds like you're saying is...Karen O: Hahahahahahahaha! Hahahahaha!
HP: ...is that you're perhaps claiming to be "something like" any number of multiple "phenomenons." Could that be what you meant?KO: (laughing even harder) Hahahahahahahahahahahahahaha...
HP: (trying to regain control of the interview) I mean, you find a lot of double-negatives and, like, clipped gerunds in pop lyrics but not usually this sort of blatant misuse of a word-form. Could it have been a matter of pure phonetics?KO: (regaining some composure) Well, what the words actually do sound like is one of the most important things to me when I'm writing lyrics. So...yeah, that's what that was. Honest. (giggles again)
While this is undoubtedly a stirring cautionary tale of what can happen when a young scribe surrounds herself with rock 'n' roll lifers and / or grammatical yes-men (yeah yeah yeah-men?), such niggling concerns are obviously far from the forefront of our heroine's forebrain. After the platinum success of her band's Grammy-nominated debut, Fever to Tell, expectations became absurdly inflated leading up to the release of Show Your Bones. After a brief period of totally baseless pre-release backlash, the new record finally signified a major growth spurt for the Yeah Yeah Yeahs, displaying an increased sonic palette and more sophisticated arrangements as well as a noticeably wider vocal range on Karen's part. Disc opener "Gold Lion" is sheer, catchy power-pop, while "Honeybear" starts off like an acoustic re-imagining of Donna Summer-style disco before seamlessly morphing into something else entirely.
This is all a far cry from the minimalist dynamic of the early YYY live experience. (In line with the current norm in the post-White Stripes alterna-world, the Yeah Yeah Yeahs never even had a bass player, just guitarist Nick Zinner, drummer Brian Chase and our Karen.) These days the band is joined by multi-instrumentalist (and respected indie solo artist in his own right) Imaad Wasif, who helps recreate the new recordings more faithfully. Throughout the record, Karen's in-your-face voice and occasionally abstracted lyrics manage to unite the disparate sounds into a coherent whole. She's definitely in control here.
Speaking of control, another big difference between Fever to Tell-era YYY and the current state of the band is that back in the day, one was just as likely to read a story about Karen's nearly Iggy Pop-like penchant for self-inflicted onstage flip-outs and resultant injuries as anything about the band's music itself. In recent months, these incidents seem to have decreased dramatically if not completely dried up.
"Well, yeah," says Karen. "I mean, I've learned how to get audiences to respond to really small gestures. Which is great, because it's nice to not have to run headfirst into the wall every night."
When it's suggested that her new performance style sounds reminiscent of the late Mr. Elvis Presley, once known for his uncanny ability to drive full auditoriums into states of hysteria with the single flick of a pinky-finger, Karen nods audibly.
"For sure. Elvis has been one of the biggest inspirations for me on this tour," she gushes.
Touring for Show Your Bones seems to have been a broadening experience in many ways. One thing that caught Karen by surprise was the band's off-the-chain reception when visiting foreign lands.
"We played in Poland for the first time," she recalls. "And people there don't generally speak English, not like some European countries where it's kind of the norm. And, you know, sometimes people sing along when we're playing and that's nice, but in Poland the audience was so loud singing along with every word that we couldn't even hear ourselves. That was just...incredible. I have no idea what to make of that; it's very humbling in a strange way. Gratifying. But very kind of weird."
These days the Yeah Yeah Yeahs are a bicoastal band, with Karen living in Los Angeles while the rest of the guys remain in their native New York City.