Vessels | Yuki/Forever The Optimist

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Rock: Math Rock Rock: Instrumental Rock Moods: Type: Experimental
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Yuki/Forever The Optimist

by Vessels

Experimental post-rock with electronics influenced by indie-rock, metal and euphoric music.
Genre: Rock: Math Rock
Release Date: 

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1. Yuki vessels
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2. Forever The Optimist vessels
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ABOUT THIS ALBUM


Album Notes
''Dynamic post rock which stalks around your room before launching itself through a window.''
Steve Lamacq, BBC Radio 1

“salacious” Dom Gourlay, Drowned In Sound

This is the first official release by vessels following 2006’s self-released vessels EP which the band sold on tour and via their MySpace, and has gained them a steadily growing fanbase across the UK and beyond.

Having met in Leeds and been friends/bandmates for a few years, vessels was spawned in late 2005, consisting of members Tim Mitchell (drums/beats), Martin Teff (bass/guitar/synth), Tom Evans (guitar/vocals/keyboards) and Lee J. Malcolm (guitar/vocals/keyboards/producer).

Within months the band was hailed the “tightest, slickest and most musically proficient band I think I've ever seen on the unsigned circuit” (Leedsmusicscene.net). An eventful Leeds festival appearance, support slots with iLiKETRAiNS, Youthmovies, Jeniferever, The Appleseed Cast and Mono, and courting from Steve Lamacq, Huw Stephens and Rob Da Bank followed. 2006 proved to be a whirlwind year for the band.

February 2007 sees the first UK tour for the band, and this will conclude with the release of double-A sided Yuki/Forever The Optimist. The former is a live favourite that the band has opened many a set with. Yuki is characterised by a lot more restraint than previously recorded tracks like The Beast or Take It Outside (from the 2006 EP). Blending soft vocals with electronics as well as the trademark build-ups, Yuki was conceived by guitarist/vocalist/ producer Lee J. Malcolm in a dream!

Forever The Optimist started life as a groove-based instrumental track, but evolved rapidly into what effectively became “Leeds 6 collective project”, as friends were drafted in to add layers of vocals which contribute to its hypnotic and triumphant feel, very much inspired by Broken Social Scene. This open minded strategy has produced a track unlike any of their previous works, and bodes well for the future of this young band.


Reviews


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Judas Kiss Magazine

A band that are surly destined to set the genre ablaze!
Written by Lee Powell

Following hot on the heals of their excellent self-released, self-titled introductory CD the Vessels turn with their debut official release in the shape of the stunning double A side ‘Yuki/Forever the Optimist’.

Starting with ‘Yuki’ you instantly know you’re listening to something special. Accompanied initially be a lone piano is the low droney almost Tom Yorke styled vocals that captivate you almost instantly. The bittersweet melancholy that emanates from the amalgamation of piano and vocals is darkly haunting yet delicately uplifting. Setting a mood and intensity that is complexly sharp whist at the same time being invitingly isolated. These contradictory teams only help seal in the emotive power and aural descriptiveness that ‘Yuki’ demonstrates almost straight away. With the delicate infusion of immensely subtle glitched electronica ala Efterklang the depth and atmosphere the track projects slowly starts to build however with the inclusion of swathes of guitars ‘Yuki’ crescendos upwards and temporarily becomes another more powerful beast in itself before slowly sliding back into its original form of piano and vocals before drawing to a timeless end.

‘Forever The Optimist’ seems the expansion of the rockier elements the Vessels flirted with on their debut release, however on this occasion this is kept in check and in doing so it only add another slightly heavier dimension to the bands sound and presence as apposed to becoming too over powering. Here pounding drums are accompanied by guitars and wonderfully delivered multi-layered vocal arrangements that melt skillfully into one another to produce an impressively hypnotic intensity.

And then before you know it its over. Not even 10 minutes of music and then it’s gone, which is the only fault of this whole release. Hopefully this 7” will act as simply a proper introduction to a wonderfully additional to the multi-faceted word of post-rock by a band that are surly destined to set the genre ablaze!

New-Noise

the melancholy of Sigur Ros
There’s the melancholy of Sigur Ros in the layered piano that whispers along like it's been played on a remote island and the sound is just drifting into earshot. Beguiling with multiple uses of bleeps and weird effects switches, it gives it an icy feel but also one that you can snuggle up warm to.

Tasty

‘Yuki/Forever the Optimist’ embodies a winning openness of vivid character that
A soporific, floating piano melody peeks through, peeling away layers note by note, chord by chord, to reveal ranks and echelons of crevasses, weaving in and out of a soothing and seraphic musical density. Instrumentals build and breakdown embrace one another with fluid correspondence, seamless and effortless. ‘Yuki’ unfolds to flood the sonic space with heavy-hearted distance and pulsates with flourishing spirit. This atmospheric dreamscape glides with whimsical cloud-like features, with instrumental peaks and bellows with modest vocals, seemingly batting gently behind veils of void. I can never confidently clear the precise wording, the works of guitarist/vocalist/keyboardist Tom Evans and guitarist/vocalist/keyboards/producer Lee J. Malcolm match the musical vibrations, contributing to what develops like a pristine and intricate mechanical operation, but still benignly organic and satisfyingly triumphant.

In charge of drums/beats, Tim Mitchell’s work genuinely shines in ‘Forever the Optimist.’ Martin Teff, bass/guitar/synth, additionally excels in the second track, igniting an anchor-like foundation that comfortably releases the tune into flight. A percussive explosion, an obsessive line of cries and careful harmonies, it whirls like a wary heat of haze, a smoky state of phantasmagoria. In force to stew a slow build, it climaxes to exhale with ease without crashing and burning. Vessels’ brand of post-rock ascends with weightless directness as ‘Yuki/Forever the Optimist’ embodies a winning openness of vivid character that truly glows.

Rhyannon Rodriguez

Whisperin' & Hollerin'

This single really delivers the goods.This is accessible, exciting music
Now that a full generation of young musicians has absorbed the beauty and scale of Montreal, Iceland and outlying parts of Scotland, Chicago and Texas, there’s a scramble on to make epic guitar music into something that can stir a response from an excited, wider and wiser music audience. Contenders are multiplying but it’s only very recently that I’ve been convinced. iLIKETRAiNS for one have successfully managed the appropriation to make their new history folksongs into something fresh and exciting.

And here are VESSELS, with more rock in their roots, but with the same yearning for something more nourishing, dynamic and euphoric. Their first demo EP was very promising. This single really delivers the goods.

”Yuki” is a modestly brief four minutes 42. It’s built around a three bar piano phrase of considerable beauty. The development glances over a shoulder at post-OK Computer RADIOHEAD, with some aching vocal, a glitchy ruffle or two in the rhythm track and some very careful, very accomplished slow crescendo-building. That piano phrase is still there at the end though and we seem to have hardly started when it’s all over and fading into the cold night of longing. This is successful hypnosis. We want to hear it again.

“Forever The Optimist”, adventuring a little further into five minutes 29, has a touch of TORTOISE in there, and things drive along with more urgency. Two voices (Tom Evans and Lee J. Malcolm) share the focus, coming in from different angles to set up an interesting tension. A bigger drum kit sound is very welcome (Tim Mitchell) and things start to get beautifully loud as Martin Teff wades in with bass and extra guitar. VESSELS have really cracked the quiet bit loud bit problem, so that (like a symphonic work), the changes come naturally, expressively and bang on time.

This is accessible, exciting music. The reaction VESSELS got at last Summer’s Carling Leeds Festival showed their huge potential for crowd pleasing with serious music. A recent tour, Radio One exposure and this debut single announce their full arrival as contenders.
author: Sam Saunders

Music News

Leeds’ Vessels present a refreshing take on the hazy and exhausted melancholia o
With their debut EP, Leeds’ Vessels present a refreshing take on the hazy and exhausted melancholia of post rock.
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An unusual, yet quite satisfying hybrid of electronica and gentle, pulsing piano make 'Yuki’ a pleasant reminder of how good Hood were when operating at the top of their game. Like most of Hood’s output, there is something geographically specific about this music’s inherent soulfulness which makes it impossible to separate from Northern suburbia.

'Forever The Optimist’ is far less the linear narrative and as such a far more immediate proposition. Instantly and insistently alive with angular guitar lines and seriously tight arrangements, this is the obvious single and would probably meet the aesthetic requirements of people that wear incomprehensively tight jeans ' you know who you are,

An embodiment in music of that point where the countryside hits the town, or a daydream gets suddenly interrupted by reality, Vessels’ debut, in spite of the band’s tendency to drift towards sheer visceral energy, is captivating.

Owen Gillham

Rant Magazine

this is a great start
Debut outing from this Leeds based experimental rock four piece on fledging left-field pop label, Cuckundoo Records. A double A sided seven inch that won’t disappoint fans of peaks-and-troughs-core, ebbing and flowing semi-instrumental un-rock. Fuck it I’ll just say it: fans of post-rock. Ok? It’s not a dirty word in my little red book.

Yuki stands out (only just) as the most ear candy-esque of the single, it being a delicious marriage of Sigur Ros shy boy vocals, delayed piano melancholy, pulsing electronic rhythms and an aching acoustic guitar refrain to top things off. Forever the Optimist recalls the tethered stop-start dynamics of much missed Bristol band, Leave Land for Water, in its belligerent brute force - Dionysus to Yuki’s Apollo.

For band and label, this is a great start: both parties serving to sow the seeds of a beautiful today for a better tomorrow.

- Rich Hanscomb

Drowned In Sound

Vessels could be described as one of the most unique bands in the country today.
With no inclinations of adopting or - heaven forbid - following any particular kind of driven formula, Leeds sound collective Vessels could be described as one of the most unique bands in the country today.

Sure enough, though, there are always going to be a few obvious comparisons. A-side number one 'Yuki', with its piano-led melody encapsulating all that's both haunting and mesmerising in equal measures and sounds not too dissimilar to the dream-like passages of Shady Bard, sparks an (albeit slim) argument that Vessels are travelling along the same B road into bleak austerity.

Of course, what makes 'Yuki' different to the work of any of Vessels’ present contemporaries are the dissipating beats puncturing every syllable and key, almost like a pressure cooker whose lid is about to remove itself amid a series of jets of steam at any minute.

Even better though is ‘A-side’ number two, 'Forever The Optimist', which if you didn't know any better sounds like the corpse of Hüsker Dü given new limbs, lungs and better recording equipment, their 21st Century comeback complete with extra blasts of sonic assault. Except it isn't Bob Mould and co., it's an unsigned four-piece from Leeds with the insight and vision of seasoned veterans and a masterplan that knows no boundaries or constraints.

When they do channel their energies in one particular course or direction Vessels have the propensity to be a frightening proposition as they obviously hold no fear as to the endless possibilities that await them. Scary.

Gigwise

You don't have to be much of an optimist to predict that this assured offering w
"How far is not far enough," enquire Vessels on their debut. No idea, to be honest, but 'Yuki' is definitely more than sufficiently removed from the generic gloom of arena-straddling angst-lite peddlers. Glacial, graceful and ghostly, the Leeds band deliver a refreshingly genre-dodging dose of moping-free melancholia. Imagine Sigur Ros's ( ) downsizing its swelling crescendos or shoegazing revivalists Jeniferever lured from their FX pedals to examine subtle electro beats. A pinch of the hypnotic charms of Radiohead's 'Everything In Its Right Place' adds up to a captivating post-ambient-electro-rock hybrid, with which the four-piece execute a quantum leap from the post-rockisms of last year's self-released EP. Flipside 'Forever The Optimist' is strong too, but its angular anxiety and dense Broken Social Scene-esque sonic stew can't quite match the ethereal thrills of the lead track. You don't have to be much of an optimist to predict that this assured offering will catapult Vessels to wider renown.