Where’s My Utopia?, is the second album by British rock band, Yard Act, and was released on March 1st, 2024. In comparison to their previous debut album, this LP has a dance rock and post-punk sound, whereas The Overload had a punk rock sound. It’s been out for a month, but I went into this album with a fresh set of ears, as I had never heard their music previously.
We open the album with the laidback sound of “An Illusion,” which has a groovy drum rhythm and funky bass riff. I like the flute interlude at the part in the song, where James Smith sings “I’m in love with an illusion, once the wheels are in motion, swear I’ll join the revolution.” I like how the song shifts musically. I also like the reverb soaked guitar, and how disjointed of a track it is, because sonically the track is all over the place.
Following that, is “We Make Hits,” which has another funky guitar and bass infused instrumental. This track is one where you can definitely hear the dance rock elements, and that saxophone before the second verse is an excellent touch. Smith raps that “the culture would’ve died and post-punk’s latest poster boys wouldn’t have got to ride,” cementing the band’s importance in the genre. I love the guitar riff in the chorus, as well. A favorite. Next track, “Down by the Stream,” is built around a heavy bass riff and turntable scratches. I do like how visual the track is, but it’s not one of my favorites, there’s a bit too much going on instrumentation wise, which can be distracting from the vocals. The spoken word outro is trippy, as is the sample, but it’s one I’d probably skip on a re-listen.
“The Undertow,” begins as a slower paced track with gentle, relaxing guitar chords, and a beautiful cacophony of violins. I like how it becomes more upbeat gradually with that glimmering synthesizer, and the guitar becoming more prevalent. I enjoy the dance rock sound of the track, and how melancholy the overall sound is as well, as Smith asks us, “what’s the guilt worth?” The guitar sounds almost surf rock -esque. Another track I like is “Dream Job,” which criticizes the monopoly a few selected record labels have over the music industry overall, not a new concept for a song, but a welcome one. I like the line, “I place a bet on a game knowing no one will score,” and I enjoy the guitar solo in the instrumental break. It’s a not so subtle criticism of corporations in music, and it’s executed well.
“Fizzy Fish,” is a track that references the popular jelly candy in the UK, which I’m going to have to try when I’m in London this summer. The guitar riff on this track is incredibly catchy, and I like the esoteric side effects in the verses. The track seems to be a nostalgia trip for Smith, as the candy reminds him of his childhood. “Petroleum,” likens the human body to a fuel-powered machine. More good guitar licks are on this track. So many modern mainstream rock bands forego that for a more electronic and synthetic sound, so when a band uses instruments like guitar and bass, it’s greatly appreciated.
“When the Laughter Stops,” featuring Katy J. Pearson, has great instrumentation, and I like the featured artist. This track sounds a lot more like a post-punk track, with some spacey synths, and prevalent bass. The chorus is also memorable, and I like that the track is able to incorporate a variety of different sounds in a short period of time. “Grifter’s Grief,” has a surf rock vibe to it, which I like. The bass riff is catchy, providing a good structure to the track, and I enjoy the synth refrain. The horns are also a nice touch to the track. Another solid guitar solo, so this cut off the record is another favorite of mine. The longest track on the record, “Blackpool Illuminations,” has calming guitar backing the spoken word from James Smith. I like that he’s talking about his childhood, and illustrating it in a way that puts us there. It’s a cool storytelling segment with a nice backing track, I especially like the percussion as it gives the song a more unique sound in comparison to the other tracks. It’s a bit too long of a track, but the production is wide and varied, so it’s not as hard of a track to sit through. It’s a song that truly wants the listener to walk in the shoes of the one telling the story. Finally, we have the final cut off the record, “A Vineyard for the North,” which is another dance rock cut off the LP, finishes the album strongly. The singing is pleasant to listen to, and I like the electric piano instrumentation. It’s a well produced track, and I like how illustrious the lyrics are.
Overall, the LP has a much stronger second half than first half, and it’s not a bad album, but I just don’t get the hype that so many publications gave it. I enjoyed tracks such as “Dream Job,” and “Fizzy Fish,” but the album doesn’t have a consistent dance rock sound, and while variety is important, I expected a lot more dance rock in the album. It’s more post-punk than dance rock, and while a few tracks fit within that genre, I’ve listened to better albums than this one, so far this year. In my opinion, I expected more based on the critics’ praise for this record. Therefore I can’t really give this album a high score.
Overall Score: 6/10
Favorite Tracks: “We Make Hits,” “Dream Job,” “Grifter’s Grief,” “Blackpool Illuminations,”
Least Favorite Tracks: “Down by the Stream,” “The Undertow.”
Listen: https://www.youtube.com/watch?v=Pc5t9m2Hg9c
Genre: Post-Punk