Yeah Yeah Yeah's "Mosquito" gets grimy

Few bands have been as consistent as the Yeah Yeah Yeahs have been in their decade-long career, and their latest album, “Mosquito,” is just as strong as their three preceding records. “Mosquito” is the grimiest-sounding album the band has recorded since 2003’s “Fever to Tell” and is in sharp contrast to 2009’s electric-driven “It’s Blitz.”

The album begins with one of the finest songs the Yeah Yeah Yeahs have ever crafted, “Sacrilege.”  The single is backed by an electrifying guitar line and erupts into a full-blown gospel sing-along in its climax. It’s a pitch-perfect Yeah Yeah Yeahs single — extremely catchy, surprisingly hard rocking and a solid demonstration of the album’s sound. The band is also at its best on the more driving numbers such as “Mosquito” and “Area 52,” thanks to Karen O’s wildly energetic singing and Nick Zinner’s creative guitar lines. You can expect these songs to add an extra punch on the Yeah Yeah Yeahs’ live tour this summer.

Karen O once again shines as the major star of the Yeah Yeah Yeahs as she provides a diversity of performances on “Mosquito.” The album’s slower songs find Karen O at her most vulnerable moments, such as on “Subway,” where she delicately delivers her vocals along a desolate guitar line and train loop.

Elsewhere, the Yeah Yeah Yeahs continue writing catchy indie rock songs better than many of their contemporaries. “Under the Earth” is a great song with a strong hook and a clunky bass part that reminds me of the Gorillaz circa 2005’s “Demon Days.” “Despair” is textbook Yeah Yeah Yeahs with a glitchy synth line and thundering drums. Also, album closer “Wedding Song” is one of the most gorgeous tunes the trio has produced, and it ends the album on a thoughtfully uplifting note.

The album’s only shortcomings are near the album’s center. “Buried Alive” has one of the album’s slickest guitar licks, but it’s overused and feels dull by the song’s lengthy conclusion. Also, as great as it is to hear Dr. Octagon rapping again, his placement on the track is distracting and unnecessary. The next track, “Always,” sports a surprisingly weak, repetitive chorus as well and is easily the weakest moment on the album.

While “Mosquito” isn’t the best Yeah Yeah Yeahs record, it’s an exciting step forward for the band as they play with more ambition and diversity in their sound than ever before.

By Bronson DeLeon