Yeah Yeah Yeahs have commemorated the 20th anniversary of their debut album ‘Fever To Tell’ with the release of a half-hour documentary.
There Is No Modern Romance was shot on the band’s 2002 tour by their frequent collaborator Patrick Daughters.
“In honor of this whopping passage of time we present to you a look back at those early rock-yyy days with There Is No Modern Romance,” they wrote on Twitter.
“If [the] Meet Me in the Bathroom documentary had you jonesing for more juicy YYYs drama to sink your teeth into this is the perfect antidote!”
Our firstborn baby Fever To Tell is turning 20 🥳and in honor of this whopping passage of time we present to you a look back at those early rock-yyy days with There Is No Modern Romance. Available for streaming on @YouTube https://t.co/fZ6LfEh8b5 pic.twitter.com/u3MGVJWMKf
— Yeah Yeah Yeahs (@YYYs) April 28, 2023
Another post showed the band celebrating the anniversary in a restaurant with cake. “What a deeply felt honor to be a band of 23 years celebrating 20 years of our first record together! #fevertotell! Love you all and can’t wait to see you on the road starting next week! Luv YYYs,” they said.
Watch There Is No Modern Romance below:
The documentary isn’t the only major filmic project Yeah Yeah Yeahs have been associated with of late. They were also a part of Meet Me At The Bathroom, a film adaptation of the oral history by Lizzy Goodman’s acclaimed oral history of the early 2000s New York City music scene. Frontwoman Karen O is shown in footage from previously unseen interview tapes, relating her journey from Ohio’s Oberlin College through the New York anti-folk scene.
“She’s a person with a duality to her, starting with her own ethnic identity, being mixed race, but then she’s almost like two people,” director Dylan Southern told NME. “There’s a Jekyll and Hyde aspect to her in that she’s very, very shy, and not very forthcoming in real life but then on stage she’s created this monster. It was very liberating for her to be that person, but it was also incredibly destructive. I think the weight of the audience’s expectations on how crazy or how far she would go on stage was the thing that took its toll eventually.”