OK, I must admit I've put off reviewing this album for the best part of 3 weeks in an attempt to find a reason not to give it 10/10.
Well, I've found one, but I'll reveal all later. Firstly, I'm gonna try to express in mere words how wonderful "Yankee hotel Foxtrot" is. For an account of the record company shenanigans and personnel changes within WILCO, read elsewhere.
Instead, your reviewer's going to concentrate solely on the musical content of my personal Album Of The Year so far.
The introduction of Chicago musician/ noise maker/ post-rock Godfather JIM O'ROURKE to the WILCO fold to mix this album had led to allegations of WILCO doing a "Kid A" by certain lazy ears. The main difference is that RADIOHEAD disappeared up their own arseholes to counter the post- "OK Computer" hype, while JEFF TWEEDY and co. actually proceeded to write some cracking songs.
As a result, the scratches and static, buzzing and bleeps serve as embellishments: a frame for each sonic picture rather than insubstantial attempts to create a full portrait.
WILCO aren't afraid to stick-in-your-synapses melodies either, In fact, to these ears, with certainly half these tracks, our Chicago heroes have produced a great POP album, with a brain, a heart and killer choruses (are you getting this Ben?). "Kamera" and "War On War" feature warm acoustic guitars, back-up vocals and harmonies. "Jesus etc." draws you in with a double violin opening hook and knocks you flat with a sweet chorus, although lines like: "tall buildings shake, voices escape singing sad sad songs" temper the saccharine factor, gaining new relevance in the wake of 9/11, before which most of "Y.H.F" had been recorded and mixed.
The album's second half follows up with the second "hit singles in a world where musical merit actually counted" trio of "Heavy Metal Drummer", "I'm The Man Who Loves You" and "Pot Kettle Black."
However, it's the combination of this pop sensibility with a willingness to explore the outer limits of melody and texture that really sets "Y.H.F" apart. The arrangements are constantly inventive (dare I say BEATLES-ish?! on occasion), special mentions essential for "Poor Places" and "Ashes Of American Flags"; this latter currently featuring my favourite moment. About 2 mins 45 in, the track threatens to float away blissfully into the ether of feedback and space sounds, before bein hauled back by a simple electric guitar figure for a final chorus.
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This does precede the album's one fault, one of only two occasions - the other being the climax of "Poor Places" - where the fascination with Conet Project radio signals veers into atonal self-indulgence.
Yet any complaints are soon dashed by the pure pop of "Heavy Metal Drummer", containing perhaps the most unsparingly honest lyrical revelations on the record - JEFF TWEEDY'S love of KISS!!
Seriously, though, Tweedy's heart-searching lyrics on "Y.H.F" follow several constant themes. Previous LP "Summerteeth" featured images from his dream world on many songs whereas "Y.H.F" seems to collate images gathered while travelling and touring the real world.
Relationships - as ever - feature strongly; a slew of tunes touching the place of honesty in affairs of the heart. "I've always been distant and I've always told lies for love," admits Jeff on closer "Reservations", the album's most open declaration of love where BIG STAR harmonies are surrounded by the sounds of a world - private or otherwise - collapsing in on itself.
And so ends a very personal album for all involved, certainly for WILCO. But as with so many great albums, personal is what it will remain for any listeners who choose to follow them on their continuing unique musical journey.
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