Anyone up for some dry bass lines, guitars that scream louder than abused children yet become calmer than a morning rain, rolling drums that move you like a rollercoaster at high speeds thrashing you about every chance it can get or vocals that blare out like a drunk at a quite bar? (Let me catch my breath, please. Okay, we’re back!) If so, listen to the ever so famous Comets On Fire. Now, if you want the exact opposite of that (e.g. muddy pianos brightening an aesthetic atmosphere, horns that jump into frame like an old 1920’s sing-along and vocals that wallow into a semi Yo La Tengo feeling), check out Colossal Yes.
Widely known as the drummer in Comets on Fire, Utrillo Kushner has embarked on something far from the upbringings of Comets. He has started something “different” and very unusual (out of the ordinary, if you will). Witnessed at so many Comets shows, Kushner’s drunken master playing style becomes ever so apparent here with Colossal Yes. This time around, however, he’s thrown the drum kit aside and taken seat on the musical bench, shining up his new work title, “Piano Man” — a title he utilizes with full force. On songs such as “Just Like A Mademoiselle”, “Suit with Feathers” and “The Phoenix”, one could only agree that Kushner was intended for the pressing of keys.
In all sincerity, Colossal Yes holds both honesty and intensity within most of their songs in terms of progression and songwriting. The sheer definition of “blunt” would undermine the end result of their songwriting but it’s not necessarily far from it. It’s a style that bridges listeners to such artists as Tom Waits, or even Paul Westerberg, at least on his earlier albums with The Replacements. Then again, comparisons aside, some just might enjoy the chance encounter of finding a new and inspiring musician/band, one who can inflict a significant spark within their mental den. For those willing, have fun.