Devastations - Yes, U reviews
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| Musicomh |
 Devastations were presented to me as a cross between Tindersticks and American Music Club by a friend. It was a description that was enough to gain my interest and buy their second LP, Coal. A soundtrack for winter months, from the opening waltz time rattle of Sex And Mayhem I was sold on the record's sultry strings, ashen musing and Conrad Standish's sepia croon....full text |
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| BBC |
Melbourne is Australia’s least sunny city (okay, forget Tasmania’s Hobart, we’re talking mainland Australia), and it was where this moody three-piece formed in 2002. Perhaps they found the climate a little too cheery, as they relocated to Berlin some time afterwards, and have since divided their time between there and London, slowly building up a small cult following.
Yes, U is their third album and finds their personnel boosted by ‘special guest’ Nigel Yang on keyboards, with additional synthesizer and violin by Andrea Lee, who now seems to have effectively become a member, since she joins them when they play live. Her most notable contribution is an icy retro synth tone on the likes of “The Pest”, which is strongly reminiscent of Martin Rev’s early work with Suicide....full text |
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| Drownedinsound |
| I’m yet to visit Berlin, but there’s something about how I imagine it to be – cold edges, narrow alleys, suffocating basements – that’s conveyed in the feel of Yes, U, Devastations’ follow-up to last year’s impressive Coal (reviewed here. Berlin is a city that’s changed, greatly, in the last century; as such, memories are trapped in brick and mortar, buried by progress but able to resonate through steel and glass; modernity but a filter for the perception of a past never truly laid to rest. Yes, U is an album of sparseness and dynamic subtlety, informed by aches and pains but executed with steady minds, consciences clean. It is all cold edges, narrow alleys and suffocating basements; oppressive and, simultaneously, progressive; the spaces between the sounds accentuating the shrieks that pepper these ten tracks....full text |
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