Customer Reviews

center:level:roar

5 star:		(7)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

I first became aware of Youngblood Brass Band at a concert on the third floor of an old warehouse in LaCrosse, WI. I rarely buy CDs these days, but I bought their first two albums immediately. Their blend of New Orleans jazz and hip-hop, with distinct flavors of Afro-Cuban percussion and an arranging style right out of top-level drum corps (no doubt gleaned from co-creator David Henzie-Skogen's stint in the Cavaliers Drum & Bugle Corps), is not only one of the most seamless crossover styles ever created, but also has more raw passion and power than any other band I've ever heard. The other co-creator, sousaphonist Nat McIntosh, has such technical majesty you'll wonder if your ears are hallucinating. Throughout his material, he makes a tuba sound like a dj turntable, electro-synthetic bass, rock organ, and even some sounds that defy classification. Having started playing together in high school, the core of the band has developed an incredibly tight synchronization with each other, and it shows. Each of their songs is well-crafted and has beautiful transitions and grooves in it. Their infectious fire will keep you dancing and humming their tunes to yourself for weeks, even months. And "fire" really is the only word to describe it; it's like having a horn line throw gasoline on you, a snare drummer/mc master strike a match to you, and then having a whole sousaphone full of liquid oxygen dumped on you just to kick it up a notch. In short, there is no band more passionate about what they do or how they do it.

This is their third album, and it's an interesting one. As a band, they are noticably maturer than on their debut, Word On The Street; the sound is even MORE power-packed than before, hard as that might be to believe. Tracks like "Round One," "Brooklyn," and "The Movement" are the most toe-tapping, rip-roaring, tear-the-roof-off-and-set-the-street-on-fire songs ever to come out Nat and Dave's minds (or indeed, ever created by man). In fact, they've developed to the point that they're trying much more experimental stuff. "Nate McCavish Handbills For No Man," a track built solely of layers of Nat's sousaphone, is reminiscent of Bobby McFerrin; "And Leave Alone" has a much mellower, darker sound; and "Culture : Envy : War" has an outright, in-your-face dissonance that is a drastic departure from their earlier music. This departure, this experimentation, brings a much sharper edge to this album, not only in the musical arranging, but also in the hip-hop influences, which are starker and stronger than before. "Diaspora," for example, shifts back and forth between a dissonant minor pattern overlaid with a punchy rap about the state of hip-hop culture, and a poignant major pattern in the chorus, a style that turns up again in "Avalanche" and "Thursday." For the fans of the "classic" YB sound, there's the relentless party atmosphere of "VIP" or the slightly vinegar-laced "Camouflage." Special mention needs to be made for the absolutely gorgeous "Is An Elegy," which is Dave's tribute to a friend (the liner notes only say thanks to "a butterfly for inspiring [this] and letting me put it on tape") and features probably the most haunting, gorgeous sousaphone line you'll ever hear, as well as somehow making a horn line sound like a church organ, and some of the most enigmatic lyrics I've heard in a long while. Overall, center:level:roar is the culmination of Youngblood's musical development, but it's darker and edgier than their previous work. Of course, then again, nobody ever accuses Youngblood of pulling their punches. If you have their previous two albums, this will be the crowning jewel in your collection; if you're just starting out, I recommend the equally infectious but more rounded previous album, Unlearn.

A collage of brilliance. Innovative compositions, skillful imrpov, liquid mceeing, just beautiful. The real feature here is the rhythm section, though:

Nat McIntosh has invented a new style of tuba-playing which is highlighted in his "Handbills for no man," a veritable smorgasbord of (I'm guessing) five or six overdubbed tubas. Throughout the album Nat is constantly busting intervals, and sometimes he just strait-up yells into the mouthpiece, genius.

Bountiful props must also be given to the percussion section. Ranging from traditional second-line, to funk, to hip-hop, the snare is dripping with volume and soul at every turn while the base is so ridiculously in-the-pocket I wanna cry during every breakdown. This album contains some of best beats I've heard in awhile, amazing considering that its a two-piece rhythm section. The division of labor creates a hurdle for the drummers who have to be in sync with each other as well as the rest of the band but they've overcome this handicap allowing for more complicated rhythms and a diversity of sound which culminates in "Avalanche," a hip-hop triumph. There are definitely two or three weaker songs on the album but, as a whole, the CD overflows with potential samples, breaks, a treasure trove for any DJ searching the horizon. Don't know if its on vinyl (not likely), but I guess DJ's don't even need to spin vinyl anymore. DJ or not, this CD is inspiring.

Center:Level:Roar is the kind of music-making that those of us who bemoan the recent further deregulations of mass media could only dream of. Youngblood Brass Band, out of Madison, WI, represents the kind of honest diversity, integrity, and ingenuity that's hard to find in this society of air-brushed pop stars and watered down "music." Brilliantly composed by band leader Nat McIntosh, and tightly played by the band, the songs on this album are unlike anything you'll hear anywhere else -- a mind-blowing blend of hip-hop, nawlins-style brass band, jazz, rock, and overall greatness. MC D-Cipher brings to the mix some achingly lovely verse, as well as mad kickin beats. No independant music lover's collection is complete without this album.

Sometimes music is so good that it's unbelievable. Well written, well arranged, and well performed. This CD is just that kind of music.

Youngblood Brass Band is true "brass band" comprised of sousaphone, trombone(s), trumpets, tenor sax, bass drum, snare drum, and cymbals, the main feeling is POWER: the power to play loud or soft, featuring inspired solos backed by thick harmonies and counter-melodies to make the music interesting listen after listen. The drum beats are so tight you'd swear they were played by one person on a drumset instead of two people on separate bass and snare drums.

While the album does feature some "rap" over the music, if you (like me) dislike rap, thankfully two of the best songs, "Brooklyn" and "V.I.P.", are instrumentals. Also, the lyrics are more cerebral than most you'll hear these days.

"Brooklyn" is probably the best song, featuring trombone solos, tenor sax solos, and one of the most fantastic sousaphone solos you'll ever hear by Nat McCavish. Tuba players must listen to it!

I've listened to this group as often as possible for years, and have yet to become bored of their music. I suggest you visit their website for more of their music, too.

I love Youngblood and all their music. This is not a BAD album by any means, its just very different, more hip-hop / rap than the previous albums. I prefer more the jazzy YB, but this is great, sweet chillin' music.

Read everyone elses review, I'm just adding my 2 cents on how much you need to own this album!

First, this album is amazing. I dont know why one can critique the rap when it is so thought provoking and eloquent. Second, the tuba player did not use multiple tracks on "Nate Mccarish Handbills for No Man" By the way, thats the full title, not just ""Hanbills for no man"" He plays two notes simeltaneously by using a half-open valve. Yes, its possible. I highly recommend buying this album, it is an experience in itself which will hopefully increase your appreciation for all artists(emphisis on the point that not all musicians are artists, one must create to be an artist).
Peace

This CD breaks barriers. It has successfully combined underground hip-hop with brass band, and it sounds fantastic. The only bad thing about this CD is Nate McCarish's "blattiness" on the sousaphone, but its not unappealing because he manages fantastic tone on a sousaphone. Given the genre, "blattiness" isn't nessicarily an undesired characteristic. Being a college tuba player, I had to mention it. Besides, he still lays down the funk on a SOUSAPHONE! Check out "Brooklyn" and "Nate McCarish Handbills for No Man." These tracks highlight some tuba funk. "Thursday" and "Is an Elegy" are both good examples of a successful mix of hip-hop and brass band.

First off, yes, this is a hip-hop album. If you are not a huge fan of rap lyrics and "foul language" then you MAY not enjoy this album if you can't get past that fact. However, I would HIGHLY recommend this album to anyone who enjoys really great music. The MC of this group can write lyrics like nobody else that I know (the closest I can think of is Tomas Kalnoky from Streetlight Manifesto). Not only are the lyrics amazing, the sousaphone groove backed with the horn "sampling" is amazing. Diaspora would probably be my favorite track, followed by Elegy and Brooklyn.

I have the older YBB albums, and I have to say that this is my favorite one yet. What sets this album apart from the others in my opinion is the sheer variety in musical stylings. It seems that all of the older songs for the most part simply open up with the sousaphone walking a bassline and then the horns come in (which isn't a bad thing).

If you've never heard of Youngblood Brass Band and have an open mind for something a little off the beaten trail, then I'd recommend picking this one up. If you love Youngblood, then why don't you already have this album?

I was introduced to the Youngblood Brass Band after listening to public radio (NPR) one morning. The band was being interviewed and played their songs Brooklyn and Human Nature on air so that we could hear a sample of their talents. I was blown away and told everyone about what I heard on the radio. The Youngbloods said that those two songs truly represent their album and their style of music: Based on that statement I bought the album looking for more songs like Brooklyn and Human Nature. What I got was an album full of stupid raps that messed up the band. I would have been happier if the youngbloods made an instrumental version to this album for those who don't like the rap.

But what really made me upset is their constant dropping of the F-Bomb. I don't think it's right for an album that has cursing in it to not bear the Parental Advisory Label. I was highly upset. This album received two stars from me for the two redeeming songs that I like.

If you don't mind listing to a rapping band that curses, this album is for you. But if you just want to hear a great band, you may be disappointed.