Sometimes, one of the most difficult things about reviewing and broadcasting music is dealing with the social nature of music itself. For the reviewer, its not enough to try to understand the effect of an album or band– but there is the doubly tricky part about knowing where the album or band actually came from. Such a problem arises with the Yermo’s self-titled release on Last Visible Dog Records. Not only is half the album (specifically, the track “Irrlicht Verfallen”) a reissue from a previous Yermo release “Moth to the Sun”, but some portion of the band was previously in MCMS, an older project of label head Chris Moon.
You can begin to see where not being related to these guys would be a distinct disadvantage. In this situation, it would be nice to have some good liner notes– but the Yermo release only offers the barest of these, which is a shame, because listeners love to feel included– and that’s got to help any album.
But what the album lacks in liner notes, it certainly makes up for in terms of sound. Boasting excellent dynamics, and fine recording quality throughout, Yermo showcase some of the most avant-garde material I have yet to hear from the label. Pulsating sirens, tube whistle phasing, and earthen rumbles are all present in the intriguing (if somewhat meandering) title track. The second track reminds me somewhat of Aube, or a more contemplative Guilty Connector.
In the end, Yermo is a solid release– not as good as some of the real gold at Last Visible Dog (the re-release of Davenport’s “Free Country” immediately comes to mind), but certainly not among the few duds (I can’t imagine wanting to hear any more of Eastern Fox Squirrels, for instance). I’m very excited that LVD has some odd electronic noisiness lurking inside it, as well. This would be a great album to add on to your next order– it will be different from the rest, it will draw your ears in new directions, and you may even save on shipping.