Not every band thinks they’re a bunch of geniuses inventing music from thin air. Some know the songs are already out there in the ether, just waiting for someone to grab them. That’s the whole philosophy behind first known use, the Burlington, Vermont duo of Izze Kaukonen and Ethan Fitzpatrick. Their name comes from the idea that they aren’t the source material—they’re just catching and translating what already exists.
That lack of ego bleeds right into their new EP, Yielding. It’s a raw, five-track hit that runs on instinct. Kaukonen handles the vocals and the lyricism, bringing a buttery but sharp presence that demands you pay attention. Fitzpatrick is the guy behind the guitar and the arrangements, laying down a relaxed but wildly dynamic foundation. They do everything from their home studio, but don’t let that fool you. This doesn’t sound small. It sounds expansive and loud, like a band jamming in a massive, empty warehouse.
The sound is a strange, beautiful beast. It blends dreamy indie pop with heavy, guitar-driven art-rock. They cite influences like feeble little horse and may in the junkyard, and you can hear that DNA all over this thing. It drifts between delicate, quiet acoustic moments and full-blown, fuzz-laden explosions. They use music as a language to poke and prod at the cracks of the human experience, digging into memories that most people leave alone.
The EP kicks off with “Semantics“. It crawls out of the speakers with a creepy, hazy atmospheric edge. The laid-back acoustics and a woozy lead vocal pull you in, but then the bottom drops out. A wave of twangy, distorted guitars smashes through the mix. The way they seamlessly shift from lush, quiet introspection to a roaring rock assault is an absolute masterclass.
Next up is “Mirage“. It hooks you instantly with hazy, glistening guitar work and a vocal performance that feels like a spell. It stays tranquil and spellbinding, but the final minute is a total gut-punch as the vocal emotion just skyrockets.
“Synthesis” is another standout. The vocals do this incredible trick, moving from a spoken-word murmur into a hypnotic, dreamy state. The art-rock guitar manoeuvres jangle with a chugging undercurrent, creating a vibe that is impossible to shake.
You also get the track “Roadkill“, before the whole thing wraps up with the massive closer, “A knife“. Clocking in at just over six minutes, it’s the longest track on the record and it uses every second. It starts with fuzzy guitar washes and whispered vocals, stripping down to soft acoustic strums before building into a gorgeous, towering finale. The wordless vocals and textural haziness collide in a way that just gives you chills.
Yielding is a melodic, stylish achievement. first known use didn’t just sit down and force these songs into existence. They captured something real. If you want a record that challenges you while still hitting with a massive, fuzzy guitar punch, this is it. Turn it up.