Nobody could have predicted that Clap Your Hands Say Yeah's self-titled debut would be one of the most critically acclaimed albums of the summer. This unsigned Brooklyn band's self-released album garnered amazing amounts of buzz among Internet music magazines and blogs upon its release, causing some to hail them as this year's left-field indie surprise, akin to last year's Arcade Fire lovefest. Others have deemed them a media creation, dubbing them "Clap Your Blog Say Hype."
The first track of the album, "Clap Your Hands," walks the thin line between witty and annoying. Over a carnival-like backing track, lead singer Alec Ounsworth sounds less like the head of a hip, young band and more like a seedy guy trying to sell you cotton candy. His commands to "clap your hands" are answered by the band's complaints of loneliness and unhappiness. Though the juxtaposition is somewhat clever, the song feels lazy and isn't a satisfactory opener.
If the first song leaves the listener feeling that Clap is nothing but hype, the third song, "Over and Over Again (Lost and Found)" begins to shine light on the band's talent. Ounsworth's vocal ability is on full display in this song. While his voice can be irritating and slightly screechy, on this track he sounds like Thom Yorke if he'd ditched Radiohead for a pop band. When Ounsworth delivers the line "Start another fire / and watch it slowly die," his voice floats along the melody, like a boat riding gentle waves.
While it has those flashes of brilliance, many of the songs in the middle of the album are unremarkable and too similar. Tracks such as "Is This Love" and "Heavy Metal," while not unpleasant, don't stand out. These songs are not filler, but they don't really leave a lasting impression.
Ounsworth opens the final song, "Upon This Tidal Wave of Young Blood," singing, "Know that everyone is here / Could we please have your attention?" Even if you haven't fallen asleep or given up several songs ago, heed Ounsworth's advice and wake up for this last song. The pieces that have been present in each of the previous songs - the hooks, Ounsworth's sometimes mesmerizing vocals, and the urgent playing - come together here for one final triumph.
The song ponders the troubles of the transition into adulthood, wondering what will happen to the hopes and fears of childhood. "Will we give ourselves a fright / When we become less than human?" Ounsworth wonders. Losing these special abilities of youth are now a special concern for the group: they will be brought into the record business on a tidal wave of hype, forced out of their low-fi studios, and told to grow up. The big question is whether they can still hold onto what they had when they were just another band in Brooklyn.
For most, Clap Your Hands Say Yeah won't live up to their strongest supporters' accolades, but their hype is not completely unwarranted. Coming into the album with your expectations set for a classic, flawless musical achievement will only leave you disappointed. Many spots on the album sound like the work of a raw garage band (which is understandable, since they are).
A full run-through of the album leaves the listener with the feeling you get when your favorite baseball team brings up the hot young prospect you've been watching, only to see him get knocked around a little in his first big-league outing. You know he's got the stuff to become huge, but you're just not sure he'll be able to pull it all together. The coming years will be telling: either these guys have MVP stuff or they'll be riding the bus back to Pawtucket.
