Austin - Yip Deceiver doesn’t have much star power…yet. Even piggybacking off their status as Of Montreal alumni. Last year’s debut record Medallius was no instant breakout, good as it was. So, maybe those in attendance at their set at the Mohawk one night last week will be able to look back as that time they saw a great band before they broke out. Because Yip Deceiver should have a big audience. More to the point though, they benefit from it. The Athens, Georgia-based duo’s electronic/disco straddling dance music only gets better the more bodies there are on the dance floor. Their set teased out enough enthusiastic dancing to make the band’s energy convincing. But there was room for plenty more, too.
That was especially apparent with “Obnoxia.” It almost feels too big for a small venue, like it’s begging to be played on a festival stage. Which isn’t to say it wasn’t terrific to hear it at the Mohawk—just that it left me thinking of possibilities. As a song, it takes some good lessons from Passion Pit. Like “Sleepyhead,” “Obnoxia” is struggling to manage its joy and urgency. It leans more on urgency, though, which gives the cathartic chorus an even more satisfying sense of release. One that feels like it ought to be shared, too.
“Urgency” is the key word for talking about Yip Deceiver. Fundamentally they’re another 80’s revival band, but they also have a strong grasp for how to match the dark synth-centric sound of 80’s pop to the right emotional shades and high tempos. They marry that sense with an excellent grasp for where the hopeful major intervals go.
If you read that and googled Yip Deceiver songs, you’d probably think “Lover” is a great example of that kind of sound. You wouldn’t be wrong. Its best features are all in the bass range; heavy, blooping bass, and a drum line that skips a lot of beats in the verse but fills them back in in a driving chorus. It’s a great payoff. Think a slightly more creative Corey Hart.
If Yip Deceiver’s set had a weakness—if they have a weakness as a group—it’s their very one-note sound. Their biggest divergence, “World Class Pleasure,” doesn’t entirely divest itself of the super-80’s trappings that tie these songs together a little too neatly sometimes. It does something a little more modern with its synth melody, something reminiscent of The Blow that gives its upbeat moments a slightly lighter feel. On the other hand, you could also compare it to Devo and Danny Elfman.
As the 80’s revival phenomenon starts losing its legs, it’s an open question whether Yip Deceiver will have time to build the audience they deserve. But what’s wrong with straight 80’s songwriting, anyway? Yip Deceiver have made some good tunes with that heavily used toolkit. They deserve a shot at making a few more.
If Yip Deceiver is serious, we might not have to wait long to hear more. Their tour ended shortly after their Austin date, meaning a rest and then, hopefully, some new material. That’s if Davey Pierce and “Dobby” Dobbratz decide to continue the project. Here’s hoping they do.
Will Jukes
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