YAWN has been a personal favorite of mine since "Acid" first showed up on Epitonic back in early August. "Acid" is a headphone song. Each listen warrants new discoveries, new approaches. The track quickly became a regular on my iPod, since it's especially comforting to hear on train rides into downtown, slowly cranking up the volume to drown out the droning of the tracks and the one-sided phone chatter from the bench in front of you. When the track is over, it takes some effort not to hit the repeat button.

YAWN released Open Season a few weeks after "Acid" was released to the interwebs. The group had released their self titled EP back in 2009 for free on their website to a warm reception from critics hailing YAWN as an "act to keep an eye on." Open Season -- the group's debut full length -- came after a two-year recording hiatus. The two years off found YAWN expanding their sound, citing artists like Brian Eno and Yeasayer as heavy influences on their first album.

As soon as I heard YAWN would be playing on the double bill with A Lull at saki Records, I knew the October 22nd show was not to be missed. We've had a lot of artists explore the sound capabilities in previous sessions: Amy Lavere's acoustic bass and improv drum-case drum kit filled saki with cozy fireside-style warmth, Chris Brokaw's stripped down approach drove home his emotions...I was anxious to hear what YAWN would do.

When I first walked to the backstage area at saki that afternoon, it was just starting to get dark and the back room had enough gear to be a Guitar Center warehouse. But YAWN's setup was incredibly minimalistic. YAWN's sound was anything but minimal, though. The spaced-out atmosphere they created was one that immediately set October 22nd distinctly apart from every other session Epitonic and saki have co-hosted.