Emerging Leeds, UK outfit YARD ACT have today shared their new track “Peanuts” – out via their own Zen F.C. label. “Peanuts” welcomes new guitarist Sam Shjipstone to the fold, whose work brings a more progressive slant to the sound of Yard Act: more angular and more melodic in equal measure. Shjipstone’s grandad Ronnie Ronalde (otherwise known as ‘The World’s Most Famous Whistler’) is sampled underneath the second half of “Peanuts” with his touching rendition of “In A Monastery Garden” from 1917. Continuing Yard Act’s use of outlandish characters in their lyricism, “Peanuts” sees the turn of an imaginary husband murdered via a peanut allergy by his wife; the steadfast guitar lines and jutting rhythms propelling frontman James Smith’s striking social observations.
Formed in 2019, Yard Act began life when friends Smith (Vocals) and Ryan Needham (Bass) started creating minimalist rock tracks using a primitive drum machine and borrowed bass guitar. Later drafting in original guitarist Sammy Robinson and George Townend on drums, whom they met at their spiritual home The Brudenell Social Club, the band clicked instantly and played their first show within a month.
In his own words, Smith says: “While “Peanuts” is quite clearly about a woman killing her imaginary husband, it’s also about accepting that we don’t all see the world in the same way. It feels to me that divisions are getting more extreme. We’re continually squeezing what should be a wide ranging spectrum of opinions and beliefs into two immovable castles towering either side of an unelected, unaccountable line in the sand. We’re all so scared about getting something wrong that we share mantras in the form of failsafe memes rather than asking ourselves, and each other, the hard questions. We’re so certain we’re right that we can’t comprehend why someone else could see the world differently to the way we do.”
“I’m as disappointed in those who chortle ‘gammon’ as I am those who cry ‘snowflake’ because it’s just doing the same thing but filtered through a different version of reality. I think the only way we’re going to get through this is by communicating and empathizing with each other, so even though people might have been brainwashed into believing utter bollocks it’s important to accept that their emotions are real. That’s why ‘Peanuts’ ends with the friend in the kitchen coming on board with the story and aiding and abetting in the imaginary murder. By empathizing with her friend and validating her emotions, she can help her begin to move on from the bonkers version of reality that’s built up around her. We’ve all got tunnel vision, and we’re all cowering in the burrows of our own stubborn minds.”
Yard Act’s previous singles “The Trapper’s Pelts” and “Fixer Upper” have proved an instant hit with UK national newspapers, the likes of The Times, The Independent, and The Guardian, alongside the music press, including: BrooklynVegan, Loud & Quiet, CLASH, NME, DIY, So Young, The Line Of Best Fit, Dork, Upset, and Gigwise. The tracks received repeated airplay in the UK from the likes of Steve Lamacq on BBC 6 Music, BBC Radio 1’s Huw Stephens and Matt Wilkinson at Apple Music. The band found themselves the cover stars of Spotify’s Hot New Bands and The Punk List (“Do NOT question our punk credentials,” adds Smith) and “The Trapper’s Pelts” / “Fixer Upper” 7” sold-out its vinyl pressing on the day of release, landing at number 3 in the Vinyl Singles chart.
“One To Watch…There’s acuity, pathos and wit, deadpan storytelling over catchy, snaking riffs and relentless grooves” The Guardian
“The Fall with a bit of Happy Mondays shuffle in there as well.” BrooklynVegan
“a satirical take on neoliberalism driven by James Smith’s menacing vocals and fuzzy bassline, most notable for its killer one-liners” NME
“Nick Cave and John Cooper Clarke would’ve been proud to have written this” The Line Of Best Fit
“an immediate and blistering punchy number” DIY
“Yard Act have cemented themselves as one of the most exciting bands on this Green earth” So Young
“A whip smart take on current affairs and a bulging back pocket of infectious yet unpredictable bangers that satisfy both brain and feet” Loud and Quiet
“unnerving slice of post-punk” Dork
“With a strong live reputation preceding them, they’re surefire ones to watch” Gigwise
“Vivid, witty lyricism from the Leeds post-punks” The Times
“A rabidly entertaining piece of acerbic post-punk” Clash
