As they lifted their name from a Walt Whitman poem, it should be no surprise that The Yawpers upped their literary ambitions on their second Bloodshot release, 2017’s Boy In A Well. It’s a concept album that imagines (with the aid of a delusion-inspiring combo of Dramamine and booze during the fallout of frontman Nate Cook’s marriage) an unwanted newborn who grows up in a well during post-World War I France. It’s hardly conventional, but neither is this Denver trio, which matches Cook’s unhinged howls with a maelstrom of sound from a drumkit and two guitars. The Yawpers land somewhere between psychobilly and swampy blues. Take “The Awe and the Anguish,” which uses spare slide guitar to set the scene of a dusty Delta back-porch before exploding into a primal stomp for the final forty seconds. The Yawpers push through with raw power.
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