Yard Act - You're Gonna Need A Little Music

17/07/26

• Red with black splatter vinyl *

• Alternative sleeve artwork *

• Machine-numbered edition *

• Limited pressing of 1,500 *
  
  

*EXCLUSIVE to Dinked Edition 412

 

Since their beginning, breaking through as a smart, witty new force within the British guitar music

landscape back in the dark days of the pandemic, Yard Act have been wrangling with the knotty

complexities of the human condition.

Their Mercury Prize-nominated 2022 debut The Overload span wry, winking tales of capitalism

and the strive for success, wrapped in the sort of propulsive, serrated riffs that quickly saw them

labelled as post-punk’s new darlings. With its Top Five-placing 2024 follow-up Where’s My

Utopia?, the band - vocalist James Smith, bassist Ryan Needham, guitarist Sam Shipstone and

drummer Jay Russell - blasted both of those conceits apart, creating a musically-exploratory and

diverse record that worked to unpick and examine the very notion of ambition and fulfillment; of

‘what happens next’.

The journey of Smith’s lyrics across each of their albums, Shipstone muses, has always been

quite Faustian: “It’s someone who’s seeking a goal, and then makes a pact with the devil to get

the goods they want, but when they get them they’re corrupted so they get the rewards but also

this bitterness too.” “And how does Faust end?” questions Needham. “Oh, not well…”

If this sounds like a macabre place to root the objectively excellent third album from one of the

country’s most celebrated bands of the last decade, then it’s also crucial to understanding Yard

Act’s newest - and best - record yet, You’re Gonna Need A Little Music. Simultaneously the most

dynamic, collaborative, energised work they’ve laid to tape, but also containing some of the

darkest, most cynical and truly questioning moments they’ve concocted too, it picks up their tale

and examines the findings more unsparingly than ever.

It feels appropriate that, in order to interrogate these existential subjects, the writing and recording

of You’re Gonna Need A Little Music involved the four musicians coming together and

strengthening their own core unit more than ever. Weirdly, for a band so associated with

incendiary live shows and constant touring, their third LP marks the first time that the quartet have

ever made an album together, as a live band in the same room. “The first two records were both

laptop records essentially,” says Smith. The Overload was written alongside Needham before the

band had fully formed; its follow-up was carved out in snatches of time on tour buses and hotel

rooms, amongst a relentless schedule of “slinging [all our gear] in the rehearsal space, going back

home, and then a week later piling it back into a van again.”

If their last record was created like a game of Exquisite Corpse, each member taking the track

and adding their part in turn (“I always thought that was a really over the top name for a piece of

folded down paper…” Needham notes), then this time they laid down roots and gave themselves

time. Russell kitted out their new studio in Leeds with everything they required to track the band

live at the same time throughout the writing process, including an old piano passed down from

Smith’s late aunt that would become integral to the process. For the first time in a long time, Yard

Act were able to settle into an “uninterrupted five month period” of creativity, crafting “40 or 50

songs” and allowing themselves to follow their ideas with no external pressure. “It felt like

freedom,” says Smith. “It felt like everything I’d wanted from being in a band - to be able to make

enough money to be left alone.

The results speak for themselves. Recorded between Leeds and Glendale, Los Angeles with

producer Justin Meldal-Johnsen (Nine Inch Nails, Beck, St. Vincent), You’re Gonna Need A Little

Music rings with the chemistry and energy of a band absolutely locked in. Each track has its own

distinct character, whether in the ominous, guttural ferocity of ‘Redeemer’, the sleazy disco

odyssey of its title track, the fizzing indie smarts of ‘Cherophobe Rock’ or the loose, cerebral

meditations of ‘Janey Said’. It stems from a time of experimentation and exploration - ask

Shipstone about “The Code” and he’ll give you a technical explanation as to why these songs are

able to constantly veer into unexpected places whilst never undermining their melodic clout.

The sense is of a band hitting a purple patch, where all the efforts of the last half-decade come together and create magic.