Posts Tagged ‘Yumi Zouma’

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The Weather Station  –  The Weather Station

On her fourth (and tellingly self-titled) album as The Weather Station, Tamara Lindeman reinvents, and more deeply roots, her extraordinary, acclaimed songcraft, framing her precisely detailed, exquisitely wrought prose-poem narratives in bolder and more cinematic musical settings. The result is her most sonically direct and emotionally candid statement to date. The most fully realized statement to date from Toronto songwriter Tamara Lindeman. Self-titled and self-produced, the album unearths a vital new energy from Lindeman’s acclaimed songwriting practice, marrying it to a bold new sense of confidence.

CD – Digipack.

LP – Deluxe 140 Gram virgin vinyl LP features heavy-duty board jacket with full lyrics, full-colour inner sleeve, and high-res Download Card.

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Yak  –  All I Need Is Some Sunshine In My Life

Limited to just 300 Copies on 7″ Vinyl. Renowned for the ferocious intensity of their live shows, Yak are back with the new single All I Need Is Some Sunshine In My Life. Recorded with Tame Impala’s Jay Gum Watson in Kevin Parker’s studio in Perth, the track is Yak’s claustrophobic interpretation of The Dixie Nightingale’s cult gospel classic. “A loved one departed and on the way out sent me this song, so we ended up recording a delirious version in the blistering heat of Perth,” says Yak frontman Oli Burslem. “I love the original Dixie Nightingales’ version, it reminds me of songs like Wendy Rene’s ‘After Laughter’, which I imagined was recorded in the same studio with maybe even the same people playing.” On the b-side is Yak’s take on Lee Hazelwood’s Wait and See.

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Weaves  –  Wide Open

It’s been almost exactly a year since Weaves released their acclaimed self-titled debut LP, lauded internationally for its exuberant approach to guitar pop and recently nominated for this year’s Polaris Prize. It was a whirlwind year for the band who spent a nearly uninterrupted 12 months on the road, playing festivals across the globe, and touring with their fellow 2016 breakout artists Sunflower Bean and Mitski. Propelled forward by their own momentum, which they corralled like the barely contained energy of their explosive live sets, it was a life changing-experience, and upon returning home to Toronto the band’s leaders, singer Jasmyn Burke and guitarist Morgan Waters, found themselves possessed by an irrepressible burst of creative energy.

Burke and Waters half-jokingly refer to the album as their “Americana” record, and while the statement is made with tongues placed firmly in cheeks, the album, without discarding the punky pyrotechnics that defined their first LP, displays an expansive and anthemic quality in songs like the opener #53 and the sweeping Walkaway, that makes the joke ring half true. The record sees Burke extend herself as a performer – moving more frequently to the center of arrangements and revealing new facets of her unique and powerful singing voice – as the band find ways to interpret the growing diversity of her expression. From the glammy Saturday night strut of Slicked, to the stripped-down, pedal steel abetted torch song Wide Open, to the searing Scream, a warped duet with Inuit throat singer Tanya Tagaq that likely constitutes Weaves’ wildest recording to date, the album captures a band for whom exploration is a compulsion making a self-assured step into the unknown.

LP+ – Limited White Vinyl housed in Gatefold Sleeve with Download.

In 2017, the musical term “electronic” is nearly obsolete given the ubiquity of computerized
processes in producing music. Even so, the prevailing assumption is that musicians working
under this broad umbrella must be inspired by concepts equally as electrified as their
equipment. Kaitlyn Aurelia Smith has demonstrated in her still-blooming discography that this
notion couldn’t be further from the truth, and that more often than not, rich worlds of synthesized
sound are born from deep reverence of the natural world. Smith (who by no coincidence, cites
naturalist David Attenborough as a contemporary muse) has embodied such an appreciation on
The Kid in as direct and sincere a way as possible by sonically charting the phases of life itself.
The album, which punctually follows up her 2016 breakthrough Ears, chronicles four defining
cognitive and emotional stages of the human lifespan across four sides of a double LP.
The first side takes us through the confused astonishment of a newborn, unaware of itself,
existing in an unwitting nirvana. Smith’s music has always woven a youthful thread befitting of the
aforementioned subject. Here she articulates it in signature fashion on the track “An Intention,”
which serves not only as a soaring spire on The Kid, but on her entire output. There is playfulness
here, but it’s elevated by an undertone of gravity into something compelling and majestic that is
fast becoming Smith’s watermark. The emotional focus of side two is the vital but under reported
moment in early youth when we cross the threshold into self awareness. The subject is profound
enough to fill an entire album, but rarely makes its way into a single track, indicating Smith’s
ambition to broach subtler and deeper subjects than the average composer. This side offers up
another highlight in the form of In The World But Not Of The World which serves its subject well
with epiphanic, climbing strings and decidedly noisy textures over a near-Bollywood low end
pulse. Side three emphasizes a feeling of being confirmed enough in one’s own identity to begin giving back to the formative forces of one’s upbringing, which is arguably the duty that all great artists aim to fulfill. This side ends with the exploratory album cut Who I Am and Why I Am Where I Am recorded in a single take without overdubs on the rare EMS Synthi 100 synthesizer. This humble piece of sound design serves as a contrast to side four’s verdant orchestral moments, all written and arranged for the EU-based Stargaze quartet by Smith herself. This final side represents a return to pure being, the kind of wisdom and peace that eludes most of us until the autumn of life. On To Feel Your Best this concept is voiced in the bittersweet refrain “one day I’ll wake up and you won’t be there” which Smith intended to be a grateful acknowledgement of life rather than a melancholy resentment of loss. The song has both effects depending on the mood of the listener, and both interpretations are equally moving. Kaitlyn Aurelia Smith belongs to an ilk of modern musicians who are defined by their commitment to creating experiential albums despite the singles-oriented habits of modern listeners, and here she represents her kind proudly. The subjects on The Kid are not simple to convey, and yet through both emotional tone and lyrical content, Smith does just that. There is a similar gravity to both birth and death, and rarely is that correlation as accurately and enthusiastically mapped as it is here. Alan Watts, another logical inspiration of Smith’s, once expounded that people record themselves to confirm their own existence, and as such, echoes and resonance are reminders that we are alive. “You’re not there unless you’re recorded,” Watts muses, “if you shout, and it doesn’t come back and echo, it didn’t happen.” The Kid speaks to this idea directly. As Kaitlyn Aurelia Smith explores her existence through music, she guides us in gleefully contemplating our own.
2LP – Double Black Vinyl.
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Yumi Zouma –  Willowbank

Following last year’s lauded debut LP, Yumi Zouma return to Cascine with their sophomore album, Willowbank, a collection of dreamy, disco-indebted pop tracks. The album’s namesake is a wildlife reserve in the band’s home base of Christchurch, NZ, a community on the mend in the wake of a devastating earthquake in 2011. The Yumis, whose four members are scattered across the globe, reunited in New Zealand to write and record Willowbank. The result is an album that channels both the tight-knit togetherness and the unparalleled beauty of their native land. Willowbank is also some of Yumi Zouma’s best work to date, refining their effortless, windswept songwriting sensibility, while also exploring a new pallet of sounds and textures.

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Cults  –  Offering

Cults made their name in black and white. A pair of film school dropouts who burst onto the New York scene with a perfect single and a darkly retro sound, the band’s first two albums play like noirish documentaries on a lost girl group. Four years after Static, Cults returns with Offering, an exciting collection of songs bursting with heart, confidence, shimmering melody and buzzing life. The time off has given the band new energy and new ideas–Cults are working in Technicolour now. The core duo remains the same. Madeline Follin and Brian Oblivion, both 28, still live in New York. They still finish each other’s thoughts and still share a love of catchy music and black humor (this is a band that sampled cult leader Jim Jones on their first hit). But the pair have put some blood on the tracks since their breakout debut: they’ve toured the world, built a devoted audience, survived a breakup, grown up in green rooms, parted ways with their old label and made a home of their new one.

Pains album cover

The Pains of Being Pure at Heart – The Echo Of Pleasure

The Pains of Being Pure at Heart have long set the benchmark for big-hearted, idealistic pop songs. With The Echo of Pleasure, The Pains push beyond their many inspirations and embrace their role as indiepop heroes in their own right. Showcasing the deft songwriting of frontman Kip Berman, The Pains‘ fourth album is their most confident and accomplished. After three critically-acclaimed records, 2009’s The Pains of Being Pure at Heart, 2011’s Belong and 2014’s Days of Abandon received praise from The New York Times, Pitchfork, The Guardian and Rolling Stone, they have put together a collection of songs that possess a timeless grandeur, deeper and more satisfying than anything the band has done since their iconic debut.

It’s an album that reflects the band’s most joyous moments while maintaining Berman’s candid and critical lyricism, free of the self-abasing insecurity of youth. “The album is loving. The music is heavier, more expansive,” he says. “To me, songs about love shouldn’t be thought of as light. Love is big- sometimes it’s emphatic, overwhelming or simple – other times it’s tense, anxious or just exhausting. But at its best, it makes you want to be something better.”

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Miracle Legion  –  “Annulment”

First ever live album by Miracle Legion, Annulment was recorded during the band’s 2016 US reunion tour. Most of the album comes from a show at Codfish Hollow, Iowa plus tracks from the Bellhouse, Brooklyn show. Double CD with 25 songs

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Richard Thompson – Acoustic Classics 2

A continuation of the Acoustic Classics series, this collection features acoustic renderings of classic songs from the Richard Thompson catalog, including some previously recorded by other singers, some only available in a band format, and some only existing as cover versions.

3LP – Triple Gatefold Vinyl comprising Acoustic Classics II and the Acoustic Rarities albums.

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They might be the latest exciting act emerging from New Zealand, but before they embarked on their new record, Willowbank, Yumi Zouma never really felt like a band from New Zealand. It was only during what band-member Josh Burgess describes as, “a brief pause in all of our lives”that the band settled on a plan to go home to Christchurch and record their first release put together entirely in their home country. The fruits of that homecoming will become evident with Willowbank’s release next month, but ahead of that, the band have shared a video to new single, Half Hour.

Half Hour is inspired by Josh’s grandfather’s death back when he was just seven, as he explains, “the first time I experienced death in any significant way was when I was seven. My granddad died, and I still remember this feeling knowing that now he was no longer on the planet, and no matter how hard I searched, he could not be found”. It is perhaps no surprise that the song mirrors that sense of confusion, loss and longing for the past. Musically, it’s sad certainly but also strong, as singer Christie’s vocal entwines with Josh’s atop a backing of complex rhythms and pulses of bassy synth. A rush of electronics and gorgeous pop-tinged melodies, Yumi Zouma have never sounded more ready for the success that looks set to come their way.

Filmed in Christchurch, New Zealand, by Julian Vares. Willowbank is out October 6th via Cascine. ‘Persephone’ is the third single from Yumi Zouma’s sophomore album, Willowbank. Listen to previously released singles ‘December’ and ‘Depths (Pt. I) here: http://bit.ly/yumi_dec_sc

 

Sounds Delicious: Yumi Zouma - Morning Glory (Oasis Cover)

For its Sounds Delicious series, the Seattle website and label Turntable Kitchen recently commissioned the New Zealand synthpop group Yumi Zouma to record a full-album cover of Oasis’ classic album “What’s The Story Morning Glory” , also here is their take on “She’s Electric” . Now Yumi Zouma have shared their take on one of the album’s best-known tunes: The searching singalong “Champagne Super Nova” .  The new version is icy and removed enough that it only barely sounds like the original, but that grand central chorus hook still sounds great even in this new context.

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Yumi Zouma will be covering in full the seminal sophomore LP (What’s The Story) Morning Glory? by Oasis in its entirety for the series. Here’s what they told us about the project (sent from their tour…):

“When Matthew from Turntable Kitchen initially approached us to cover a record in it’s entirety for this project, we immediately said yes, and then came up with massive lists of favourite records that we had wanted to cover. The process of narrowing it down to one was completely impossible – we were in the middle of touring our own debut album Yoncalla, and so we would listen to albums in the van everyday.

This process continued until finally we came across the prospect of covering Oasis’s second full-length (What’s The Story) Morning Glory?. At first, the idea sounds ridiculous – covering the album with the most cliched songs from the most pigheaded douchebag rock ‘n’ roll band from an era everyone is tired of – it sounds like the scenario of what-not-to-do when choosing a record to cover. Anyone with a sense of decency would prefer Blur,

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Then we put on the CD, listened to it while driving to LA, and immediately knew it was the one. For kids who grew up in the commonwealth of the 90’s, this was the perfect album. The legacy of the Country House vs Roll With It battle, the bad reviews, the stories about the Knebworth gigs, the sibling rivalry, the breakups, and visceral ineptitude – those were all important to us, but given all that, it’s remarkable how (What’s The Story) Morning Glory? remains a classic illustration of power-pop songwriting spread over an entire release. Hate it or love it, this is the album of our youth. It’s been an absolute pleasure to cover, and we’re thankful to Matthew from Turntable Kitchen for allowing us the opportunity to do so.”

We are SO pumped that Yumi Zouma will be covering “Wonderwall,” “Don’t Look Back In Anger,” Some Might Say,” “Champagne Supernova,” for SOUNDS DELICIOUS. If you’re like us, you probably have some solid, angsty memories of the year the original album came out. Hearing Yumi Zouma reinvent it is already making our head spin.

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Yumi Zouma’s music – budget-plush, instantly poignant – sounds placeless. It could have come from anywhere, and yet it was made everywhere – or at least in countries as far-flung as France (Charlie Ryder), America (Josh Burgess) and New Zealand (Kim Pflaum), where the three members live. It’s a very modern way of operating, via Dropbox. They used to live together in a house in Christchurch, until it was destroyed in the city’s 2011 earthquake. They used that terrible event as the impetus to scatter, but their connection lingers in the songs they file-share into existence. It’s dreampop, only this time there is a good reason for them to be making hazy, drowsy music – it was often assembled in half-waking states after the demos arrived across conflicting time zones.

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You would never know that Ryder and Burgess (who works in NYC for Captured Tracks, specifically on the label’s Flying Nun catalogue) used to be in NZ disco-punks Bang! Bang! Eche! They’re all about softness, hardly sharing rock’s essential mistrust of the mellifluous, flaunting Pflaum’s cut(i)e vocals, which rarely reach beyond a whisper. If you measure a band’s worth, their ability to convey authentic emotion, by volume and technique, be warned that Pflaum is more Sarah Cracknell than Sarah Vaughan. Her voice works perfectly as part of Yumi Zouma’s music.

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Yumi Zouma are a New Zealand band based in Christchurch,The band have been honing their exquisite craft since 2014, at times separately, from all corners of the world, at others, in a collective space.  this meticulous, bountiful songwriting process had, up until today, yielded a pair of extended plays and last year’s full-length debut, Yoncalla.  it’s a very pleasant surprise, then, that Yumi Zouma has announced Willowbank, its sophomore album, due out october 6th via Cascine Records .

Willowbank marks the first time the band has had time to write and record a large group of songs together in their native New Zealand, so perhaps it’s fitting that the album’s first single, “December,” seems like the perfect distillation of summer at the bottom of the planet. as always, counter-melodic motifs are interwoven with ease, though Christie Simpson’s lead vocal sits more squarely in the mix than ever before, feeling less a part of the overall texture and more like a distinctly separate entity.  capped off by a stout, brassy coda, Yumi Zouma’s latest single retains a peaceful majesty that has easily become the outfit’s calling card.

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“December” is another gorgeous achievement for a pop group that seemingly has no ceiling.

 

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Seattle website and record label Turntable Kitchen sponsors a vinyl subscription service called Sounds Delicious in which notable artists cover an entire classic album. Today we’ve got a preview of the first release in the series: In a pleasant and unlikely convergence of artist and material, New Zealand dream-pop greats Yumi Zouma are taking on “(What’s The Story) Morning Glory?”, the 1995 sophomore LP that turned Oasis from UK superstars to a worldwide household name. Ahead of the full release, they’ve shared their woozy rendition of “She’s Electric,” which applies the full Loveless treatment to the Gallaghers’ jaunty rock tune. It’s a stunning re-imagination of a splendid song,
Yumi Zouma’s version of “(What’s The Story) Morning Glory?” will be limited to 1,000 copies. Get it by subscribing to Sounds Delicious . Upcoming entries in the series include Foxygen’s Jonathan Rado covering Bruce Springsteen’s “Born To Run”, Ben Gibbard covering Teenage Fanclub’s “Bandwagonesque”, and the Pains Of Being Pure At Heart covering Tom Petty’s “Full Moon Fever”.

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Yumi Zouma - (What's The Story) Morning Glory?

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Yumi Zouma will release their highly-anticipated debut full-length, Yoncalla, on may 27th via Cascine Records. there aren’t many adjectives left in our arsenal that haven’t already been bestowed upon the inimitable New Zealand quartet, so we’ll just leave you with “short truth,” a sprawling, synth-saturated dreamscape that further pleads the group’s case for having an album-of-the-year contender on their hands. take a listen below.

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Yumi Zouma – Barricade (Matter Of Fact)

“Barricade (Matter Of Fact)” is the second single taken from Yoncalla, the debut album by Yumi Zouma. Yoncalla will be released May 27th by Cascine Records . This spring, the Yumis head out on tour that stretches across New Zealand, North America, Europe and Japan.

Where Yumi Zouma’s previous EPs were created in isolation, capturing the nuances of each member’s life half a world away, the new material was given a singular voice. “Yumi Zouma has always been an exercise in refining ideas and collaborating,” reflects guitarist Charlie Ryder, “but this was the first time we weren’t limited or protected by distance. With Yoncalla, the process was different, and it can be scary to present raw ideas to your friends ‐ but it’s also incredible to see songs evolve through the sparks of inspiration that bounce between people in the same room.” That intimacy is apparent on Yoncalla ‐ an album about being close to people, rather than miles apart. Yumi Zouma’s effortless waves of harmony have been redefined and the creative process laid bare to expose an act more unguarded and interconnected than ever before.

Yoncalla sees Yumi Zouma continue their tradition of creating collectable vinyl releases, with the new album including a limited grey 7” that features two studio outtakes from the recording sessions. The 7” will be bundled with the first 500 copies of the Yoncalla 12”. These outtakes are exclusive to the limited edition vinyl and will never appear digitally.

To capture the concepts on Yoncalla, New Zealand visual artist Henrietta Harris was tapped to create the cover art, illustrating the band together on a front cover for the first time.

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Yumi Zouma - Yoncalla

After the release of their first single “The Brae” at the very start of 2014, New Zealand’s Yumi Zouma has pretty much solidified themselves as a band of note pretty soon after with the release of their first EP. With two rapidly sold out EPs that spawned a combined EP collection, the band is finally poised to make their full length debut late next month with Yoncalla.

“Keep It Close To Me” is the first single from Yumi Zouma’s debut album, Yoncalla, due out May 27th on Cascine (and Arch Hill in Australia, Rallye in Japan and Double Deer in Indonesia). The band will embark on a tour in support of Yoncalla that stretches across New Zealand, North America, Europe and Japan starting next month. Dates below.

Where Yumi Zouma’s previous EPs were created in isolation, capturing the nuances of each member’s life half a world away, the new material was given a singular voice. “Yumi Zouma has always been an exercise in refining ideas and collaborating,” reflects guitarist Charlie Ryder, “but this was the first time we weren’t limited or protected by distance. With Yoncalla, the process was different, and it can be scary to present raw ideas to your friends ‐ but it’s also incredible to see songs evolve through the sparks of inspiration that bounce between people in the same room.” That intimacy is apparent on Yoncalla ‐ an album about being close to people, rather than miles apart. Yumi Zouma’s effortless waves of harmony have been redefined and the creative process laid bare to expose an act more unguarded and interconnected than ever before.

Additionally, Yoncalla sees Yumi Zouma continue their tradition of creating collectable vinyl releases, with the new album including a limited grey 7” that includes two studio outtakes from the recording sessions. The 7” will be bundled with the first 500 copies of the Yoncalla 12”. These outtakes are exclusive to the limited edition vinyl and will not appear digitally.

To capture the concepts on Yoncalla, New Zealand visual artist Henrietta Harris was tapped to create the cover art, illustrating the band together on a front cover for the first time.

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“Keep It Close To Me”, the first single from Yumi Zouma’s upcoming full length debut, essentially continues right where the band left off albeit with Christie Simpson sliding into Kim Pflaum position as the band’s frontwoman/vocal lead. The band members are still scattered across the globe in New York, Paris, and Auckland and still predominantly writing songs via the Internet but some thing’s have changed: Yumi Zouma has gone from a sort of secret project between friends never to really be shared to a full on touring band and that experience has surely made a mark on their process.  Yoncalla also marks the band closing the distance between somewhat as they shared ideas and worked on it in part together in the same room for the first time.

Where EP II introduced a faster, dancier edge to Yumi Zouma’s soft focused, walking tempo electro pop, “Keep It Close To Me” more closely resembles the moderate pacing of their debut EP.   And yet as much as it’s a return to form, the foursome push forward as well channeling the best of both EP’s into their latest effort to create a wonderfully pop gem featuring subtle, sparse production, affecting vocal hooks, and just a hint of danceability.

YUMI ZOUMA – ” EP Collection “

Posted: September 8, 2015 in MUSIC
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we’ve done a rather poor job of masking our affinity and love for the band Yumi Zouma here , so we’re appropriately elated that the band’s upcoming 12″ compilation for Cascine Records features an unearthed track.  “Right, Off the Bridge” is packaged with the rest of ep i, and on its surface the track mirrors the laid-back, guarded nature that defined Yumi Zouma’s earlier approach to songwriting.  as it progresses, however, “Right,Off the Bridge” gradually cedes musical direction to the mindset that birthed the more anthemic styled hooks found across ep ii, signaling it as the perfect segue between the band’s two distinct chronological periods.

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