Yves Tumor started their profession within the low-ceilinged world of experimental noise, however from the outset, their craving—for greater phases, sweeping statements, limitless horizons—was palpable. “I solely need to make hits,” they mentioned with fun in 2017. “What else would I need to make?” Since signing to Warp, Yves Tumor has scaled upward so rapidly that it generally appeared their very own music was racing to include their ambitions. As 2018’s darkly sensuous Secure within the Palms of Love gave approach to the sex-god theatrics of 2020’s Heaven to a Tortured Thoughts, the one true fixed was Tumor’s near-religious devotion to the probabilities of recording—for the cautious placement of good sounds inside implied area. For Tumor, headphone area is holy area, a sanctuary by which all types of transfigurations grow to be attainable.
With Reward a Lord Who Chews however Does Not Eat (Or Merely, Sizzling Between Worlds), Tumor reaches an inflection level of their arms race with their very own expertise and ambition. They’ve bought Noah Goldstein on board, a one-time Kanye engineer who labored on My Stunning Darkish Twisted Fantasy, alongside Alan Moulder, some of the celebrated architects of guitar sounds in rock historical past. From the sound of it, they’re pursuing an ecstatic fusion of alt-rock and R&B, in search of the mysterious nexus the place Loveless meets Purple Rain. The guitars roar with jet engine propulsion, threatening to devour every little thing of their midst, a transparent trademark of shoegaze pioneer Moulder, whereas Tumor’s doubled vocals ring out in an unmistakable echo of Prince. On “Operator,” Tumor even lets out the pained, wordless eros-yip—extra feline than human, equally childlike and grownup—that was certainly one of Prince’s aural markers.
Numerous bands have turned to Moulder over the a long time, hoping among the comet-trail mud of his well-known shoegaze data would choose their undertaking. However solely somebody with an creativeness as glittering and beneficiant and expansive as Tumor’s can faucet Moulder and make a report like this. Purely in sensory phrases, it’s troublesome to think about many richer-sounding rock data being launched this yr.
Tumor treats sounds so lovingly they generally resemble a director framing and lighting a beloved actor, and each sound on Reward enters the combo with near-visible entrance and exit cues. The wall of guitar distortion that kicks in on “Meteora Blues” solely lasts a number of moments on every refrain, however it’s the most exhilarating evocation of the Smashing Pumpkins guitar sound that has ever existed outdoors of Melon Collie or Siamese Dream. When you hear it, you spend the remainder of the music craving for it to return. Ditto the synthesizers that properly up within the final minute of “Echolalia,” so dimensional and detailed it feels as if you happen to may attain and put your fingers via them like mist. It’s a testomony to Tumor’s loving contact that none of those gestures really feel empty or formal: Every one resounds with the fullness, one way or the other, of a life lived.
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