Tag Archives: yip-yip

Matt Kamm of Telethon has been very, very busy

So, this thing bubbled up the other day: a Telethon remix of seven songs from Yip-Yip‘s new album:

And that was pretty cool. Local-on-local action is always sweet, but it’s even sweeter when it’s cross-genre local-on-local action.

And then Telethon’s mad genius Matt Kamm sent me an email making sure I had heard that, and dropped a few more bombs on me.

Like this:

#1 Hits (1295-1802) is a 27-track compilation that brings together some of Telethon’s best moments over the project’s wildly disparate history.

And this:

A 24-track distillation of the best of the long-developing R. Stevie Moore tribute project. Of the nearly 200 tracks to submitted to the project (so far!), these were deemed to be the best, and right there alongside Ariel Pink is our very own Telethon. Sweet!

And this:

i also have 2 7″ releases coming out on Glowmobile. 1 due the end of this year with R. Stevie Moore’s cover of me and me of him.
Another is completely new material…

And that’s your most recent edition of “What’s up with Matt Kamm and Telethon.” In the next edition, look forward to scintillating tales of t-topped gold sportscars and backstage kerfuffles.

NEW MUSIC ROUNDUP: Howling Owls, Telethon, Yip-Yip, Bloody Jug Band, Neon NiteClub

Howling Owls have a new song up to preview their upcoming Purple on Purple EP. Check out “Spirits to Lift My Spirits”:

“Financial Children” is a brand-new track from Estate Sale Boat, from their long-in-progress album. (Hurry up guys!) It’s gotten some very nice press, even from as far away as Hungary. (Seriously, this blog post is 1000% awesome.)

The Bloody Jug Band's debut EP, First Drops, came out a few months ago, but it's now available for purchase on iTunes and Amazon.

Also available on iTunes and Amazon is the second EP from Neon NiteClub: Eighty 4.

Telethon has a great new song, because Telethon always has a great new song. This one is called “Get Things Wrong.”

And last, but definitely not least: Yip-Yip‘s new album, Bone Up, is pretty amazing, and now it’s out and available for everyone to enjoy. $3 for a download, $4 for a tape, $6 for a CD.

NEW VIDEO: Yip-Yip – "New Low"

No, it’s not about the long-running Orlando indie band … at least I don’t think it is.


NEW VIDEO: Yip-Yip – "Copy Cat"



Yip Yip (photo by Jenna Michele)

Every week at Orlando Music News, the site highlights a local band. A good local band. This week, the show-stopping electronica of Yip-Yip.

Yip-Yip celebrates 10 years of existence with an anniversary show at Will’s Pub this Friday, April 29. Also on the bill: Attached Hands, Dark Sea of Awareness, Telethon, and Surfin’ Serf. 

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Notable Noise column: Yip-Yip, why Orlando bands shouldn’t sign to major labels, Sol.illaquists sign to Epitaph, Summerbirds make a video (Orlando Weekly)

Something I love is to receive a publicity package from a reputable PR agency, open it and see that it contains new music from a band that lives a few blocks away from me. The new Yip-Yip album (In the Reptile House) arrived in exactly that fashion — with a note that I should check out their July 9 show at Will’s Pub, just like a real touring band. It made me realize that slowlyslowlyslowly, the cream is rising in Orlando. Bands that would have been criminally marginalized in the Matchbox 20 era are finally able to generate the audiences and hype they deserve, simply by being original, creative and, most importantly, working in a smart and reasonable way to get attention. The giddy grind of Yip-Yip’s electronic assault will never sell a million records; it will probably never sell more than a few thousand. But at the end of the day, I’m ecstatic that they — or Sol.illaquists or Summerbirds or Inkwell or any of the many other excellent hometown bands making small national waves at the moment — are providing a more balanced (and interesting) view of this city’s music scene than a parade of A&R-friendly pabulum.

I sound like a broken record on this point, and for that I apologize, but hear me out: I recently pulled up an article written in this paper in November 1999 by my predecessor. This article — again, written nearly seven years ago — clearly pointed out that though Orlando had recently experienced a burp of major-label notoriety, the effect of that notoriety was not entirely desirable. The disregard with which so many of this city’s bands were treated by the labels they signed to — I’m talking to you, Steve Burry … and JoJo … and Mighty Joe Plum … and Virginwool … and Virgos Merlot — should have been a klaxon in the ear of aspiring musicians, but alas, it was not. It’s easy to understand why: So many of the people mentioned in that article — all of whom still peddle the same outmoded dream, none of whom are musicians — are still around, clinging perilously to the hope that they can find one more band to 10-percent-piggyback into obsolescence.
The smarter (and better) popular musicians in this city have, for the most part, moved on — either out of town or into the comfort of entrepreneurism. They’re staying far away from the dangerous dreams of the music business and, in effect, have cleared the field for new players with different ideas of success. It’s this new metric that, despite the protestations of the 10-percenters, dominates our current music scene, and that’s something we should all be proud of. I’m still getting my brain around what this really “means,” but I’m sure it’s good. I just hope it lasts.

Notable notes

The date is set: Sept. 26 will see the release of As if We Existed, the Anti/Epitaph debut of collectivist hip-hop crew Sol.illaquists of Sound. I haven’t heard it yet, but there’s no reason to think that it won’t make everyone involved — especially the Orlando scene that occasionally supports Swamburger and crew — incredibly proud … Speaking of pride, the video for Summerbirds in the Cellar’s “Trains” (directed by Mike Goubeaux) won first prize in the Scion XPress Fest music video competition. I don’t know what square cars have to do with top-notch indie-rock videos, but if you’ve seen “Trains,” you know that Goubeaux deserves the $20,000 prize … Marc With a “C” releases a new album Aug. 26. It’s called Life’s So Hard, and I can’t help but think that the title is more than a little tongue-in-cheek. Then again, this could be the point where he drops the smartass-on-acoustic-guitar bit and starts sounding like Tim Buckley. Or not … Don’t miss the Legendary J.C.’s at The Social on Friday (July 7); they’ll be recording the set for a live album and I guarantee they will tear up the place.

Speaking of Friday, July 7

So go to the Social, but you’ll need to go late. Why? Because a Rockcrit Battle Royale is going down at 8 p.m. at Redlight Redlight the same night, pitting me against Orlando CityBeat’s Bao Le-Huu. Bao has seen fit to do a little pre-match smack-talking (as have I), positing that I’m some obscurantist snob and he’s somehow a “man of the people.” The problem with that is twofold: First, he’d have to be a man. Second, how can you accuse a Van Halen fan of being a snob? Yeah, I’m likely to whip out some Peter Brötzmann or Erkin Koray as a trump card in our iPod battle, but his implication — that someone with good taste is incapable of enjoying simpler and more visceral pleasures — is laughable. Come and see what a real man’s music collection sounds like and witness a sonic ass-kicking.

First appeared in the July 6, 2006 issue of Orlando Weekly.

Notable Noise column: “Fuck you, move.” (Orlando Weekly)

You people suck. You know who you are: the obnoxious, lazy whiners who moan about the sad state of “the scene” in Orlando. You stomp your feet and plead for an explanation as to why nobody supports one another. You threaten to move to New York/Los Angeles/Seattle/Austin because in those cities, people respect the creative class. You can’t stop mentioning how it’s impossible to do anything interesting here because Orlando sucks and nobody gets it and nobody cares and there’s no place to play and “network” and any other excuse you can muster.

Fuck you. Move. The problem isn’t Orlando. The problem is you and the fact that you think a scene’s vibrancy and legitimacy are directly proportionate to how much it benefits you. When said scene doesn’t adequately reward you … well, it must be the scene’s fault, right?

This column is coming off like a fanzine screed and for that I apologize. But after living here for three and a half years, and listening to people complain about what this city has going on (or what they perceive it does not have going on), I was starting to believe it. I was beginning to think that my Pollyanna attitude toward Orlando was completely misguided.

But after witnessing the show that went down Saturday (Feb. 11) at Will’s, I’ll go ahead and say that the Orlando scene is doing quite well, and with no help from the complainers. A diverse and impressive bill of local talent – Band Marino, Yip-Yip, Country Slashers and Anna Becker – sold out the venue. What’s this? A sold-out Will’s Pub show? Surely the joint was filled with the scenesters who are working so hard to make this town a hip place to live. After all, with an indie band, some electro-freaks, a punk band and a singer-songwriter – all of whom are among the best local purveyors of said sounds – there was something cool enough for all of those discerning tastes, right?

Apparently not. The folks who sidle up to the bar at Bar-BQ-Bar or The Matador or Redlight Redlight on a regular basis to bitch about how nobody in Orlando cares about local music were nowhere to be found. “But,” wonders the self-important scenester as he sips his PBR and flicks his $70 haircut out of his eyes, “how did the venue sell out?” That would be The Kids. The place was packed full of ’em. Whether they were 14 or 24, it was incredibly encouraging to see a venue filled with enthusiastic (if spazzy) music fans who still had excitement in their eyes, rather than the deadness of pessimism that pollutes the air when hipsters congregate.

The best part? They weren’t digging bullshit. They were thriving on a clutch of artists who are good by any metric, and simply excellent by the soft expectations of local musicians. And they all have rejected the market-friendly approach that so many Orlando bands adopt, choosing instead to make music that’s quirky, personal or (in the case of the Slashers) humorously abusive. And, again, this show sold out.

See what happens when you put together a winning bill of prime local talent and promote it well? The scene-crabs cower in their studio apartments and everyone else has a good time. Let’s do it again soon.


Another constant complaint that I’ve never quite understood has been the one leveled at the sound system at Hard Rock Live. I’ve been going to shows for many, many years now, so I think I know what “bad sound” sounds like, and shows at Hard Rock have (at least in my opinion) never remotely approached that classification.

That said, it seems that the folks at Hard Rock have heard the complaints and gone and installed a brand-new sound system. According to my sources (who speak in the strange language of “sound guy-ese”), the new setup “is the brand new KUDO Line source array from L-ACOUSTICS. It represents the state of the art in sound reinforcement technology. Each of the two arrays consists of nine KUDO enclosures oriented in a vertical line. The angles between each element have been set to distribute sound pressure evenly from the front of the stage to the back of the balcony. Four SB218 subwoofers reside directly behind each of the KUDO arrays to provide a single point source for the entire bandwidth of sound. Additional MTD108 8-inch two-way coaxial speakers reside on the stage lip to provide front fill directly in front of the stage. The sound system is powered by over 100,000 watts of power amplification.”

I have no idea what any of that means, but 100,000 watts sounds really loud.

First appeared Feb. 16, 2006 in Orlando Weekly.