A hothead is described as someone who becomes easily angered or violent. Chicago-based, indie-punk band Yada Yada reclaims the word with their debut EP Hot Head that seeks to heal rage and takes listeners through a sonic exploration of tapping into feelings of anger and its triggers. In a musical landscape where rage is often stigmatized, the four-piece ensemble provides a platform for cathartic exploration of these intense, fiery emotions.
Composed of singer and frontwoman Meagan Hoch, Wesley Kise (guitar), Ian Williams (bass) and Lorenze Cordova (drums), Yada Yada draws inspiration from the raw energy of early 2000s indie-rock and garage-rock revival. Their sonic palette echoes the rebellious spirit of iconic bands like The Strokes, Yeah Yeah Yeahs and Interpol.
“There’s a common theme of being very quick to anger, which ties in with the title of Hot Head,” Hoch says. “Each song is very representative of its own issues, ranging from rage, to stopping and acknowledging where that anger comes from and how to heal and process it.”
With unapologetic fervor, Yada Yada’s EP begins with the brooding intensity of “Nitro.” Hoch wastes no time in delivering a vocal performance that oozes palpable anger. The lyrics confront the antagonist of the story, challenging their motives and questioning the narrative. The transformation from “Isn’t that what you want me to think?” to “Isn’t that what you want me to say?” is a powerful shift, leading to the searing declaration, “I don’t bleed, I am God.”
Though “Nitro” is the fiery introduction to Hot Head, the band isn’t afraid to get raw while handling heavier topics such as grooming, quick-to anger-attitudes and self-destructive tendencies.
“‘Nitro’ is about grooming culture and how much of a blind eye society turns to it,” Hoch reveals. “The speaker who’s in this situation is having to assert themselves in that type of situation.”
In the rebellious soundscape of Hot Head, the track “Scumbag” emerges as a standout with its infectious energy and a mantra that resonates with biting intensity. The song’s memorable and repetitive mantra revolves around the visceral act of biting one’s tongue – a symbol of suppressing frustration – and the subsequent experience of losing one’s mind. This lyrical theme, combined with glimmering vocals and a fierce energy, creates a sonic experience that demands the listener’s attention. “Scumbag” doesn’t shy away from embracing the gritty, DIY spirit that defines the genre, instead, it revels in it.
Beneath the rage lies a beautiful balance to the blazing emotions. There’s a softer vulnerability to some of the tracks such as “Sucker Punch” and “Split,” that delve into a more introspective realm where intimate confessionals take center stage. The juxtaposition of intense, pulsating rhythms and the quieter, more contemplative moments lies in the band’s musical versatility. Accompanied by rhythmically jarring grooves from Cordova, carries even the quietest parts of the record.
Hoch elaborates on the thematic essence of “Split,” explaining that the song explores the dichotomy within oneself – the parts that lean towards self-destructive tendencies and the simultaneous desire for breaking destructive cycles.
“‘Split’ was more difficult to write because it involves looking inward and expressing subjects I wasn’t necessarily ready to talk about,” Hoch says. “The song is about the parts of yourself that seek out to be self-destructive, while the other part of you desperately wants to break the cycle and heal. There’s a lyric in the chorus that says ‘keep running away / think you can run from me,’ which at the end of the day means you can’t really run away from yourself.”
“Emoticon” is introduced by driving bass lines and fervent guitar riffs. The lyrics, “lately you’ve been getting under my skin” gives each line a burst of energy, enchanting even the most recent fans to belt out the newly familiar words and breaking into a chorus of “ahhs” that continually has the effect of sticking in your head. “Asking if you ever loved me really / or if hating me comes easy” adds to Hoch’s frustration while still seeping through her saccharine delivery, culminating in something of a Scott Pilgrim Vs. The World soundtrack highlight.
Hoch’s raw and emotive delivery, coupled with the band’s tight and energetic instrumentation, creates an atmosphere where anger is not dismissed but rather embraced and transformed into a potent force for personal growth.
“When it comes to playing live, you’ll notice a lot of familiar faces from previous shows,” Cordova says. “It’s amazing to see how our community has built itself organically, and I think we all strive to foster a space where folks feel comfortable introducing themselves to each other and making friends regardless of whether we’re there to help facilitate that interaction or not.”
The band’s song structure is intentional as “Nitro” starts with the topic of grooming culture and then leads to “Scumbag’s” confrontation of vicious cycles of self-sabotage. “Split” deals with looking at the inward parts of yourself that seek to be self-destructive. “Emoticon” helps realize self-worth and transitions to “Sucker Punch” touching on reconciliation and vulnerability. Lastly, “Outro” is about realization and acceptance.
Hot Head’s closing song “Outro,” serves as a poignant and unique conclusion to the confessional and intimate ballads that precede it. In an epilogue-style arrangement, the song skillfully weaves together lines from the previous tracks, creating a cohesive narrative that encapsulates the emotional journey of the entire EP. “Outro” takes on a delicate dance, employing feathery-like whispers that hover in the air. The ethereal quality of the vocals adds a layer of intimacy, creating a sonic space that feels both personal and shared. As the closing credits roll, an ensemble of party-goers in the background brings an authentic and inclusive atmosphere, inviting listeners into the recording booth with Yada Yada.
“The scene has been instrumental in the sharing of all of our music and its creation,” Williams says. “We’ve made so many friends in the last year and a half that have all helped make this possible. It’s a constant barrage of new discoveries and cool sounds.”
Who are we if we can’t sit with ourselves behind closed doors? The band’s choice to confront and explore anger head-on is an intentional, thought-provoking move to foster healing and self-discovery.
Yada Yada transcends the boundaries of conventional punk narratives, delving into a space where vulnerability becomes a source of strength. The band’s willingness to explore these intricate facets of the human experience sets them apart, creating an EP that not only packs a punch in its energetic moments but also resonates on a deeply personal level. Through the yin and yang of fiery anthems and introspective ballads, Yada Yada proves that true power lies in embracing the beautiful balance of emotions, making Hot Head a compelling and multi-dimensional musical journey.
The Divine Feminine 