Posts Tagged ‘Yumi Zouma’

 YUMI ZOUMA – ” Mona Lisa “

Posted: November 14, 2021 in MUSIC
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New Zealand indie-pop group Yumi Zouma shared a video for their new song “Mona Lisa.” The self-directed video stars frontwoman Christie Simpson and was filmed in Lyttleton, New Zealand.

“‘Mona Lisa’ came to us gradually over a long period of time—so its story has changed and shifted, developing new relevance with each new phase of our lives,” states Simpson in a press release. “It’s a song that ruminates on conflicting, shifting uncertainty—of wanting someone that maybe you can’t have of uncertain boundaries, of confusing interactions, misunderstanding, yearning. Trying to forget an obsession or shifting between losing all hope and giving in to the obsession lured back by the excitement and promise the moments of feeling so alive. The terror and joy of a big crush.

“And so we wanted the video to feel like a mirror to all those emotions along the passage of time—except in isolation. A year stuck inside (as we have been), alone with the big feelings, the big highs, and the low lows—dancing around your bedroom, losing it a little bit. Moving in, making it yours, moving out again. The strange phase we’ve been existing in, trying to thrive in (occasionally succeeding, but often not). The joy, the sadness, the conflict, the chaos—without ever really leaving your bedroom.”

In September, the band shared the track “Give it Hell.” Their most recent album, “Truth or Consequences“, came out last year via Polyvinyl,

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Since the release of their debut EP in 2014, Yumi Zouma’s evolution has been brisk and organic. The band sold­ out their first EP twice­-over before its official release and before having ever played live. Growing up together in Christchurch, New Zealand, they scattered after high school, moving to Auckland, Paris and New York, collaborating over email to create Yumi Zouma’s initial material.

The intense reception to these early tracks resulted in the group’s first band practices taking place on arena stages, as they were asked on tour by both Chet Faker and Lorde. Yumi Zouma has since released three breath taking EPs and two albums with Cascine Records, earning the hearts of a devoted fanbase and selling out venues on national and overseas tours. Each release serves as another essential chapter in the continuing Yumi Zouma storybook.

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Yoncalla (LP)

The 2017 debut album by Yumi Zouma follows two well-received EPs and multiple world tours. On “Yoncalla”, the band’s effortless waves of harmony have been refined and their creative process laid bare to expose an act more unguarded and interconnected than ever before. 

The group’s origins trace back to their history of playing concerts together in Christchurch However, the band did not begin writing music together until multiple members moved abroad and began collaborating over email following the events of the Christchurch eartquake This early material gained attention within the musical bloggers and encouraged American label Cascine Records to sign the band before they had played live or held a band practice.

The band quickly released their first full-length album, “Yoncalla”, the following year. As opposed to the long-distance writing of the band’s earlier releases, Yoncalla consisted of material that had been finished during tours for EP II. The majority of the album’s final material was recorded in Paris France following an American tour which stopped by the city of Yoncalla in Oregon, The band produced the album at electronic musician Phillipe Zdar’s Motorbass studio in Paris, enabling them to achieve a sound more akin to classic synth poppier than their previous records

Willowbank (LP)

For the making of Willowbank, Yumi Zouma settled on a plan to reunite for the New Zealand summer. To complete what would become their first significant work written and recorded entirely in their home country, they rented a studio in Christchurch’s semi-demolished CBD, on one of the few remaining blocks that still characterizes the city from before it was destroyed by a series of earthquakes.

When you know it’s there, the feeling of rootedness is undeniable on Willowbank. Being connected to their origins on the bottom of the earth allowed the band’s members to craft another essential chapter in the Yumi Zouma storybook.

After a year of heavy touring in support of “Yoncalla”, the band travelled home to record in New Zealand for the first time. A limited edition cover of the Oasis album “Whats The Story Morning Glory?” was distributed on vinyl in early 2017, before the release of the band’s second album, Willowbank, in October. The sessions for Willowbank marked the first time that the group had worked together in a professional studio, with the band initially questioning whether they should “all move into separate rooms” to recreate the remote song writing process from previous records. However, the sessions allowed for stronger collaboration and more organic instrumentation compared to earlier material, leading to jazz musician Olivia Campion joining the band as a live drummer. Lead single “Depths (Pt. I)” became a success on streaming platforms, and was accompanied by a video created by illustrator Frances Haszard. Following the completion of touring for “Willowbank”, Perry left the band in order to concentrate on his Serbia-based musical project DOG Power.

Yumi Zouma’s output for Cascine Records has been nothing short of prolific. In 2014, Yumi Zouma released their debut EP, and quickly followed it up in 2015 with EP II. After releasing two more albums in successive years – 2016’s “Yoncalla” and 2017’s “Willowbank” — the band bookended their series of short-form 10″ releases with 2018’s EP III. Long out-of-print, Cascine has now re-pressed each of the EPs on their original 10″ format with new vinyl colour editions.

The beloved and long out-of-print debut EP from Yumi Zouma — an understated classic since its release in 2014 — repressed for the first time on its original 10″ format and new seaglass vinyl edition. A second repress of Yumi Zouma’s debut ​EP​. Originally released in 2014, ​EP ​represents the world’s introduction to the New Zealand dream-pop band Yumi Zouma. Though the project has since grown considerably in profile, releasing their 2020 album ​Truth or Consequences​, their winsome allure remains. ​EP​ features early favourites from the band’s catalogue including “The Brae” and “Salka Gets Her Hopes Up.”

Tracklisting:
A1. A Long Walk Home For Parted Lovers
A2. Sålka Gets Her Hopes Up
B1. The Brae
B2. Riquelme

Yumi Zouma’s enduring and endearing second EP, newly re-pressed on its original 10″ vinyl format and new mist-coloured edition, following its original release in 2015. Originally released in 2016, EP II found the New Zealand band coming into their own as songwriters, developing their “soft-focus synth-pop” (Pitchfork) with hints of electronic piano-house pulse (“Alena”) and anthemic, movie-ready choruses (“Catastrophe”). Though the project has since grown considerably in profile (in 2020 year the band released their third full-length album Truth or Consequences), their winsome allure remains.

Tracklisting: 

A1 Dodi
A2 Alena
A3 Catastrophie
B1 Second Wave
B2 Song For Zoe & Gwen

The bookend to their EP trilogy, Yumi Zouma’s “EP III” is rich with effortless atmospheres, winsome hooks and stadium-sized finishes — now repressed on its original 10″ format and new cloud-coloured vinyl edition. Since the release of their debut EP in 2014, Yumi Zouma’s evolution has been brisk and organic. In the process, they’ve won the hearts of a devoted fan base and sold out venues in the US and throughout the world. Yumi Zouma now returns with EP III, completing the trilogy they started with EPs I and EPs II.

Though the project has grown in profile, their song writing process remains the same, working across continents and timezones, with Charlie Ryder now based in London, Josh Burgess in New York, and Christie Simpson in their hometown of Christchurch, New Zealand. This new collection finds the international act stronger than ever, sculpting effortless atmospheres, winsome hooks and stadium-ready finishes.

Tracklisting: 

A1. Powder Blue / Cascine Park
A2. Crush (It’s Late, Just Stay)
B1. Looking Over Shoulders
B2. In Camera

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To commemorate the re-pressing, Yumi Zouma are sharing “In Camera (Unplugged),” an alternate rework of their 2018 single recoded this winter. “‘In Camera’ was originally destined for the scrap heap” says Charlie about the original single. In 2018, as the band was pulling together the tracklist for EP III, Christie saved the demo from the cutting room floor and prompted the band to bring it back to life. The track would go on to be their most successful single across platforms and a clear fan favourite.

Re-recorded in 2020, the new stripped-back version of “In Camera” foregrounds its winsome melody with softer, organic instrumentation — piano, acoustic guitar — and culminates with a choir of voices joining on the chorus. “We wanted to record something reminiscent of The Killers’ piano-driven live sessions at Abbey Road, and bring to life the power-ballad that was secretly hiding underneath the surface,” Charlie said. 

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The new track and re-press news come on the heels two new releases from Yumi Zouma in 2020 — “Truth or Consequences”, and an album of alternate versions — released by our friends at Polyvinyl

Truth or Consequences”, Yumi Zouma’s third album and first for Polyvinyl was produced by the band and mixed by engineer Jake Aron (Solange, Grizzly Bear, Snail Mail)

Christie Simpson’s voice gives weight to whispers of impressionistic poetry, shielding hard truths with soft tones, while Burgess’ vocals reveal a rarified dimension of raw and lucid romanticism, with lead single “Right Track / Wrong Man”, in particular, exhibiting a Balearic tempo and bass-heavy energy that belies its underlying tension.

The first Yumi Zouma album to feature live drums, “Truth or Consequences” radiates a brazen spirit of perseverance.“I love the duality in a lot of disco songs, where they’re incredibly upbeat, but there’s real frustration in the lyrics – sort of like, ‘Nothing’s going the way I want, but I’ve got to deal with it any way I can,’” Simpson says.

Yumi Zouma ring in the new year with a re-press of their long out-of-print EP trilogy on their original 10″ formats. They’re commemorating the occasion by sharing a new semi-acoustic version of “In Camera.” Watch the official video, created by Josh using archival footage from 2014-2020,

A European tour is now happening March next year we’ve had to reschedule these dates from September/October this year to March 2022 – sadly due to restrictions it just wouldn’t be possible to do this tour as planned, as we’d initially hoped it might be by that time. we are so sorry to have to reschedule – but we hope you’ll come party with us across Europe when it’s safe and possible and the world is feeling a little more okay again!.

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New Zealand’s Yumi Zouma continue to make beautiful, gentle indie-pop worth swooning over on album number three “Truth Or Consequences”.

Their dreamy aesthetic remains intact, but there’s a heightened sense of confidence in the group’s songwriting and the way these songs are presented that makes it stand out from their past work. Truth or Consequences stems from sessions in Los Angeles, London, and Christchurch, where Yumi Zouma actively took a collegial approach, often working note-by-note, to ensure the foundations of the album reflected a sense of togetherness.

n the early 2010s, the members of Yumi Zouma spent time together on a New Zealand street that gave its name to their first single, “The Brae.” After the 2011 Christchurch earthquake destroyed that street and much of the city, its members took off for other parts of the globe and soon began writing their first songs over email.

As a result, the band was born, and distance became a recurring theme in Yumi Zouma’s work. This makes sense given the far-flung cities the group of musicians currently call home: New York City for Burgess, London for Ryder, Wellington for Campion, and Simpson remaining in their native Christchurch. Of course, distance can also manifest metaphorically, and it’s in these figurative chasms that Truth or Consequences, Yumi Zouma’s third album and first for Polyvinyl, finds its narrative: romantic and platonic heartbreak, real and imagined emotional distance, disillusionment, and being out of reach. There are no answers, there’s very seldom closure, but there is an undeniable release that comes from saying the truth, if only to oneself.

“In the age we’re living in, there’s an emphasis on making things clear cut” says Burgess about the album’s title. “But in life and in art, nothing is ever that definitive. The truth is usually in the grey zones, and I think that’s so much of what we were trying to explore and understand on this album.”

Whilst exploring these realms, Yumi Zouma deliberately pursued a deeper sense of collaboration in order to craft a record that reflects the bond between them. Produced by the band and mixed by engineer Jake Aron (Solange, Grizzly Bear, Snail Mail), Truth or Consequences stems from sessions in Los Angeles, London, and Christchurch, where the band actively took a collegial approach, often working note-by-note, to ensure the foundations of the album reflected a sense of togetherness.

“We wanted to make the song writing process as egalitarian as possible. Completely sharing the process helped us feel like we were capturing a purer sense of atmosphere,” says Ryder.

Much like how the first moments of a new year can usher in a wave of emotions, the first notes of Truth or Consequences wash over the listener with the contemplative yet rapturous opener “Lonely After,” in which Simpson softly sings “I was embarrassed when I knew who I was, so wild and zealous and overly down for the cause.” As Burgess recalls, it’s about “that pit in your stomach when you start to question your own identity,” who wrote the first lines of the song one lonely New Year’s Eve, during the nebulous beginnings of a budding relationship.

Lead single “Right Track / Wrong Man” exhibits a Balearic tempo and bass-heavy energy that belies its underlying tension. Simpson reveals, “At the time I was living with a boyfriend who was quite lovely, but there wasn’t that passion or excitement that you imagine for yourself when you’re young. That song is about accepting that something’s not working, and deciding to just be on your own for a while.” Album centerpiece “Cool For A Second” coalesces the motif of isolation and its ensuing fallout into a letter to a past connection: Whilst on “Truer Than Ever,” the band draws inspiration from the classics to radiate a brazen spirit of perseverance. “I love the duality in a lot of disco songs, where they’re incredibly upbeat, but there’s real frustration in the lyrics – sort of like, ‘Nothing’s going the way I want, but I’ve got to deal with it any way I can,’” Simpson says.

Throughout, Simpson’s voice gives weight to whispers of impressionistic poetry, shielding hard truths with soft tones, while Burgess’ vocals reveal a rarified dimension of raw and lucid romanticism. With this being the first Yumi Zouma album to feature live drums, courtesy of Campion, Truth or Consequences is a testament to the success of the band’s approach – a unified body of melody that mines the spaces in between.
It’s a gorgeous record whose depth has only grown richer as we’ve been able to spend more time with it. As we begin to enter spring it feels only right to revisit this hopeful, loving album made by long-distance friends. I hope you put it on and take a long walk out in the sunshine.

The quaint, atmospheric synthpop of ‘Southwark’ is hugely charming, the upbeat-but-gentle rollick of ‘Cool For A Second‘ has one of the best choruses the band has conjured up yet and there’s an immediacy to ‘Right Track / Wrong Man’ that makes it immediately endearing.

Some might say there’s a vintage feel to Yumi Zouma’s brand of synth-heavy indie-pop, but it’s more of a timeless feel. These songs shimmer now and will no doubt age beautifully.

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Lots of new albums announced this week that is keeping us busy. Out this week the new Julien Baker album, which is very good indeed. It’s her third album ‘Little Oblivions’ shows off more of his incredible story-telling with an intimate stripped-back focus some copies in limited coloured vinyl with a free postcard available.

Very limited 7″ single fromKings Of Leon, released as a taster for the album out next week.

Beautiful new record from Lost Horizons with an excellent set of guests vocalists on limited coloured 2LP . Lost Horizons release their new album “In Quiet Moments” on Bella Union label. The album features a stellar array of musical guests including John Grant, C Duncan, Marissa Nadler, Porridge Radio, Penelope Isles, Karen Peris (the innocence mission), Tim Smith (of Midlake), Ren Harvieu and many more. With all those voices, it’s testament to its creators’ judgment that it all flows so beautifully.

This week’s Neil Young release is ‘Way Down In The Rust Bucket’, a live album from 1990, on a 4LP set and a deluxe box set.
A ‘Greatest Hits’ double album from The White Stripes is out too. The new Alice Cooper album “Detroit Stories” is worth a listen.
PJ Harvey
finally gets round to reissuing ‘Stories From The City, Stories From The Sea’. plus A ‘Demos’ edition of the labrum available for the first time too!
Stereolab
offer us a fourth instalment of their ‘Switched On’ compilations.
50th anniversary
reissue of the seminal ‘Tapestry’ album from Carole King.
4AD label reissue two early albums by The National as well an EP – ‘The National’, ‘Sad Songs For Dirty Lovers’ and ‘Cherry Tree’ all available now.

Sooo many quality reissues as usual  from PJ Harvey, Stereolab, The White Stripes Greatest Hits, The National, Deftones, Neil Young, Black Crowes, Alan Vega and the Melvins.

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Julien Baker – ” Little Oblivions “

Little Oblivions is the third studio album by Julien Baker. Recorded in Memphis, TN, the record weaves together unflinching autobiography with assimilated experience and hard-won observations from the past few years, taking Baker’s capacity for storytelling to new heights. It also marks a sonic shift, with the songwriter’s intimate piano and guitar arrangements newly enriched by bass, drums, keyboards, banjo, and mandolin with nearly all of the instruments performed by Baker.

 

Way down in the rust bucket cover

Neil Young and Crazy Horse – ” Way Down In The Rust Bucket “

Recorded on November 13th 1990 in Santa Cruz, CA, where the band were rehearsing for their upcoming Weld tour, Neil Young and Crazy Horse played a club show at The Catalyst which is now released here for the first time. The show comprised three different sets along with a 12 minute encore of Cortez The Killer and all 3 sets including that encore are brought together here in over 2 hours of music. Said to be one of the great live shows that Neil Young and Crazy Horse performed, the album includes live versions of songs from their Ragged Glory album, released just prior, along with classics from across their catalogue.

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Mt Mountain – ” Centre “

Hailing from Perth, Australia, Mt. Mountain deal in a sprawling, motorik psychedelic rock sound that journeys between tranquil, drone-like meditations and raucous, full-throttle wig-outs that’ll blow your mind as much as your speakers. Taking cues from Krautrock pioneers like Neu! and Can whilst existing in a similar world to contemporaries like Moon Duo, Kikagaku Moyo and Minami Deutsch, Mt. Mountain are formidable torchbearers of the minimal-is-maximal tradition. Musically, the band’s sound is born out of long improvised jams so naturally much of the album was recorded live to capture the band at their most freewheeling. Growing up surrounded by religion but not a follower himself, Stephen Bailey (vocals / organ / flute) describes how, thematically, much of Centre is a dissection of faith – both spiritual and secular – and his personal, often complicated relationship to it.

“The album for me, lyrically, is mostly about my experience of religion. It explores these concepts and the rules that were told to me from childhood to adulthood and my thoughts on my own connection to them. Similar themes arise between the tracks whether it be lyrically or structural, both a play on repetition and simplicity.” With a number of EPs and singles and three albums behind them – their 2016 debut Cosmos Terros, 2017’s Dust and 2018’s Golden Rise – the Perth quintet have picked up a formidable reputation in their homeland and further afield, thanks especially to their wildly all-consuming live shows. Constantly touring across Australia with each release, they’ve also shared the stage with notable down-under comrades like King Gizzard & The Lizard Wizard and ORB, as well as a long list of international heavy-hitters including Sleep, MONO, Thee Oh Sees, Acid Mothers Temple and Moon Duo.

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Flyying Colours – ” Fantasy Country “

Australian four-piece Flyying Colours release their sophomore album; taking inspiration from the early 90s UK psych / shoegaze scene, Fantasy Country is rich in sonic texture and shimmering atmospherics with a heavy dose of melody. From the swooning, sludgy ‘Goodtimes’ and urgent noise-fest of ‘Big Mess’, to the gorgeous melodic pop of ‘OK’, Flyying Colours look to redefine noise within the context of pop music. Elsewhere, ‘It’s Real’ is perfect, summery dreampop while the crushingly loud ‘White Knuckles’ and chugging ‘Boarding Pass’ is a hazy, echo-laden spaced-out affair. Having released their critically acclaimed debut album Mindfullness in 2016, Flyying Colours have spent much of their time on the road with headline shows across the UK and Europe.

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Vapour Theories – ” Celestial Scuzz “

Vapour Theories New album from brothers John and Michael Gibbons, the guitarists from psychedelic drone legends, Bardo Pond. A “heavy ambient” instrumental masterpiece that explores the symbiotic relationship of the duo as they build and dismantle sounds on a unique ethereal trip.

A full-length follow up to Joint Chiefs from 2006, Celestial Scuzz is a monumental sound piece created from hours of jam sessions and crafted into a cohesive mind-blowing trip. The result has a heavy ambience, like Eno locked in a dark room with Sunn-O))))) rehearsing next door.

While Bardo Pond’s trajectory takes them deep into rock music’s ever-imploding sound, the brothers Gibbons surf a more ethereal and eclectic plain; from a heady and consuming space, a “sanctuary; balm for the soul.” Describing the writing process, Michael Gibbons explains it as “a kind of spiritual experience. Most of the time it leaves us stunned; the more stunned we are the better the jam.”

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Lande Hekt – ” Going To Hell “

Lande Hekt’s voice in music is one that’s socially aware yet often introspective, drawing awareness to serious issues but at the same time baring her soul. Much of Hekt’s compositions act as a personal diary of what’s going on in her life at any given time. This is evident in her discography with Muncie Girls, the band which she formed in her hometown of Exeter as a teenager and have released two critically acclaimed albums to date. This knack of combining her own experiences and feelings whilst highlighting larger socio-economic issues has carried through to her more contemplative solo material, which began life in an EP Gigantic Disappointment, self-released in 2019.

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Cloud Nothings – ” The Shadow I Remember “

For a band that resists repeating itself, picking up lessons from a decade prior is the strange route Cloud Nothings took to create their most fully-realized album. Their new record, The Shadow I Remember, marks eleven years of touring, a return to early song writing practices, and revisiting the studio where they first recorded together. In a way not previously captured, this album expertly combines the group’s pummelling, aggressive approach with singer-songwriter Dylan Baldi’s extraordinary talent for perfect pop. To document this newly realized maturity, the group returned to producer Steve Albini and his Electrical Audio studios in Chicago, where the band famously destroyed its initial reputation as a bedroom solo project with the release of 2012 album Attack on Memory.

Another throwback was Baldi’s return to constant song writing à la the early solo days, which led to the nearly 30 demos that became the 11 songs on The Shadow I Remember. Instead of sticking to a tried-but-true formula, his song writing stretched out while digging deeper into his melodic talents. “I felt like I was locked in a character,” Baldi says of becoming a reliable supplier of heavy, hook-filled rock songs. “I felt like I was playing a role and not myself. I really didn’t like that role.” More frequent writing led to the freedom in form heard on The Shadow I Remember. What he can’t do alone is get loud and play noisily, which is exactly what happened when the entire band— bassist TJ Duke, guitarist Chris Brown, and drummer Jayson Gerycz—convened.

The band had more fun in the studio than they’ve had in years, playing in their signature, pulverizing way, while also trying new things. The absurdly catchy Nothing Without You includes a first for the band: Macie Stewart of Ohmme contributes guest vocals. Elsewhere, celebrated electronic composer Brett Naucke adds subtle synthesizer parts. The songs are kept trim, mostly around the three-minute mark, while being gleefully overstuffed. Almost every musical part turns into at least two parts, with guitar and drums opening up and the bass switching gears. “That’s the goal—I want the three-minute song to be an epic,” Baldi says. “That’s the short version of the long-ass jam.”

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The Cramps – ” Psychedelic Redux “

The Cramps Another superior release from Ill Eagle Recs (They did that RnR Monster Bash and the revamped alt version of Songs The Lord Taught Us) Now…This is truly an amazing piece of vinyl, Pschedelic Jungle but not as you know it ! Looks like a lot of research and hard work has gone into this… it’s quality… From the sleeve artwork and the liner notes. Compiled from very rare sources, Demos, Rehearsals and selected live tracks. It chronicles the development of The Cramps 2nd release. Plain and simply magnificent !.

Sooo many quality reissues as usual  from PJ Harvey, Stereolab, The White Stripes Greatest Hits, The National, Deftones, Neil Young, Black Crowes, Alan Vega and the Melvins.

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The Distillers – The Distillers

Transparent Green With White And Black. To call The Distillers simply a punk band doesn’t do justice to either the band or the word “punk”. Guitarist, lyricist, and vocalist Brody Dalle uses her medium as a platform for a higher plane of visceral lyricism and independence. Few modern day-punk icons have not only embodied the genre so truthfully but also transformed the depth of what it can mean so thoroughly. Recorded in 2000, their self-titled album Distillers is a throwback to the raw, inyour-face aggression reminiscent of late 1970s / early 1980s punk. Fast and forceful cuts likeL.A. Girl, Oh, Serena, and Girlfixer are still exhilarating and inspired. In celebration of the 20th anniversary, Distillers has been remastered and is available on coloured Vinyl for the first time.

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Fountains of Wayne – ” Fountains Of Wayne “

Fountains of Wayne is one of those rare bands that digs back into what pop music is all about – good, fun tunes. Their self-titled debut studio album was released in 1996. Recorded when the band was just a duo, Chris Collingwood and the late Adam Schlesinger provided almost all the instrumentation during the recording. Schlesinger and Porter had also been members of The Belltower, and bassist Danny Weinkauf later played with Lincoln before joining They Might Be Giants. Although the songs were written over a period of years (as outlets to make each other laugh through inside jokes and references to suburban New York and New Jersey), the album was recorded in just five days. The song writing is straightforward and wonderful; nearly every song is a pop gem. The result is an innovative album – very few albums released in the 90’s are this pleasant, charming, and all-round likeable.

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PJ Harvey – ” Stories From The City, Stories From The Sea “

The fifth PJ Harvey studio album Stories From The City, Stories From The Sea. Produced by PJ Harvey with Rob Ellis and Mick Harvey, and originally released in October 2000, Stories From The City, Stories From The Sea features the singles Good Fortune, A Place Called Home and This Is Love and includes a duet with Radiohead’s Thom Yorke on This Mess We’re In..

The album won the Mercury Music Prize in 2001. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head.

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PJ Harvey – ” Stories From The City Stories From The Sea Demos “

PJ Harvey Collection of unreleased demos of every track written for the fifth PJ Harvey studio album Stories From The City, Stories From The Sea, including demos of Good Fortune, A Place Called Home and This Is Love. 
Audio has been mastered by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey collaborator Head. Features brand new artwork with previously unseen photos by Maria Mochnacz.

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Beachwood Sparks – ” Beachwood Sparks “

The original 2000 Sub Pop alt country masterpiece remastered replete with previously unreleased tracks. Never before issued on vinyl.

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The National – ” The National ” (Reissue)

The National Celebrating its 20th anniversary in 2021, The National’s self-titled debut album of sozzled Americana is a thing of beauty, laden with heavy hints that this was a special band in the making.

Their first release, The National arrived two years after The National formed, a time when they were juggling bandlife with needing to hold down full-time jobs. And while nods to the alt. rock artists that inspired them (Pavement, Silver Jews) can be heard, so too are the beginnings of something all their own – Matt Berninger’s stunning and unexpected lyrics being pinned to melodies that stop you in your tracks.

The National marks the start point for one of the best bands of their generation with its new master helping elevate it to new levels. A great primer to a great band.

Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

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The National – ” Cherry Tree EP ” (Reissue)

Released a year before The National broke through with their third album Alligator, 2004’s Cherry Tree EP is a thrilling record which – thanks to its collection of delicate ballads and anthemic crowd-pleasers – sums up what they do best in under 30 minutes. Now a firm fan-favourite, among Cherry Tree’s seven tracks are now National classics About Today and All The Wine, plus a thrilling live version of Murder Me Rachael that reminds of the band’s fearsome early live performances. Cherry Tree can be seen as the record that marks the moment when The National had truly found themselves, a bridge from what went before to a band ready to conquer the World.

Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

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The National – ” Sad Songs For Dirty Lovers ” (Reissue)

The National’s second album, Sad Songs For Dirty Lovers (2003) proved a leap forward from 2001’s eponymous debut, showing a band adept at delivering warm embraces and gut punches in equal measure.

With word of mouth now spreading on the band, critics proved equally enthusiastic… Pitchfork in their glowing review called it a “Gorgeous train wreck” that “Lives up to its blunt title (with) Matt Berninger’s self-eff acing barbs matched by the band’s equally potent hooks,” while Uncut also became early champions saying the album was “A genuine treasure… Livid as a bruise, this is brave, desperate, beautiful music.”

No longer a secret among those that know, Sad Songs For Dirty Lovers is an important record in The National’s discography with this new remaster showing that it’s more than standing the test of time. Having been remastered at Abbey Road Studios, the 2021 represses stay faithful to their original artwork while their stunning new masters help make these much-loved records sound as vital as ever, further emphasising the early signs of the sound that would go on to make them one of the fi nest and most beloved alternative bands of their generation.

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Yumi Zouma – ” EP I “

Repress of Yumi Zouma’s debut ​EP​. Originally released in 2014, ​EP ​represents the world’s introduction to the New Zealand dream-pop band Yumi Zouma. Though the project has since grown considerably in profile, releasing their 2020 album ​Truth or Consequences​, their winsome allure remains. ​EP​ features early favourites from the band’s catalogue including “The Brae” and “Salka Gets Her Hopes Up.”

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Yumi Zouma – ” EP II “

Originally released in 2016, EP II found the New Zealand band coming into their own as songwriters, developing their “soft-focus synth-pop” (Pitchfork) with hints of electronic piano-house pulse (“Alena”) and anthemic, movie-ready choruses (“Catastrophe”). Though the project has since grown considerably in profile (in 2020 year the band released their third full-length album Truth or Consequences), their winsome allure remains.

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The day before the release of our third album, “Truth or Consequences”, the World Health Organisation declared COVID-19 an official pandemic. We’d arrived in the United States that morning to play the first show of our North American album release tour in Washington D.C. At this point, all of the tour dates were still set to go ahead, and we were excited to promote an album we had worked on for the last two years. This run was set to be our first ever fully sold-out US tour. The atmosphere was excitable, a little tense, optimistic. However, the chain of events that followed meant that by the time we finished our set that evening, restrictions on venues had been enacted by local governments across the country, and one-after-another, all of our remaining tour dates were cancelled. The performance at DC9 was the first and last show of the Truth or Consequences album tour. It was all over, we went our separate ways and flew home the next day – on our album’s release day.

Touring is often the final piece of the puzzle that is an album campaign – the part you fixate on alone in a room, when you perfect a song and imagine how a crowd will react. You may have listened to certain songs a hundred times during the making of the record, but when you’re out on stage, face-to-face with an audience, this is when you start to truly re-contextualise and re-interpret the music, exploring the boundaries, focusing in on different parts of each song’s musical fabric. A new vocal harmony there, a new bassline there – perhaps you add different chord voicings on guitar, or new drum fills that set a new-found intensity to a section.

So after returning home and spending a few numb weeks adjusting to this strange new way of life, April came, the reality set in, and we quickly started to miss that feeling of exploring our new songs by night. We’d missed out on such a crucial part of the process – with no concrete idea of when we might next get the chance. It felt too soon to move on – we felt the pull to work on new music, but still felt a strong attachment, an unresolved connection to this new record that we’d laboured over and had waited so long to release.

Writing new music around them, we took the songs of Truth or Consequences and found ourselves a new way of re-contextualising them safely, amidst the tragedy and fear going on in the world outside our windows – and the Alternate Versions were born. We encouraged each other to be bold, fearless, and to experiment like we would on stage – but from the comfort of our own bedrooms, living rooms and hallways. This new reimagining of Truth or Consequences is the result of that process. Ten new arrangements that reflect our feelings of optimism, helplessness, and a desire to keep exploring. –Yumi Zouma

 


The day before the release of our third album, ‘Truth or Consequences’, the World Health Organisation declared COVID-19 an official pandemic. We’d arrived in the United States that morning to play the first show of our North American album release tour in Washington D.C. At this point, all of the tour dates were still set to go ahead, and we were excited to promote an album we had worked on for the last two years. This run was set to be our first ever fully sold-out US tour. The atmosphere was excitable, a little tense, optimistic. However, the chain of events that followed meant that by the time we finished our set that evening, restrictions on venues had been enacted by local governments across the country, and one-after-another, all of our remaining tour dates were cancelled. The performance at DC9 was the first and last show of the ‘Truth or Consequences’ album tour. It was all over, we went our separate ways and flew home the next day – on our album’s release day.

Touring is often the final piece of the puzzle that is an album campaign – the part you fixate on alone in a room, when you perfect a song and imagine how a crowd will react. You may have listened to certain songs a hundred times during the making of the record, but when you’re out on stage, face-to-face with an audience, this is when you start to truly re-contextualise and re-interpret the music, exploring the boundaries, focusing in on different parts of each song’s musical fabric. A new vocal harmony there, a new bassline there – perhaps you add different chord voicings on guitar, or new drum fills that set a new-found intensity to a section.

So after returning home and spending a few numb weeks adjusting to this strange new way of life, April came, the reality set in, and we quickly started to miss that feeling of exploring our new songs by night. We’d missed out on such a crucial part of the process – with no concrete idea of when we might next get the chance. It felt too soon to move on – we felt the pull to work on new music, but still felt a strong attachment, an unresolved connection to this new record that we’d laboured over and had waited so long to release.

Writing new music around them, we took the songs of ‘Truth or Consequences’ and found ourselves a new way of re-contextualising them safely, amidst the tragedy and fear going on in the world outside our windows – and the Alternate Versions were born. We encouraged each other to be bold, fearless, and to experiment like we would on stage – but from the comfort of our own bedrooms, living rooms and hallways. This new reimagining of ‘Truth or Consequences’ is the result of that process. Ten new arrangements that reflect our feelings of optimism, helplessness, and a desire to keep exploring.

Yumi Zouma are:
Christie Simpson, Josh Burgess, Charlie Ryder, and Olivia Campion.

Releases October 28th, 2020

Yumi Zouma‘s glorious Polyvinyl Records debut, “Truth or Consequences”, arrived back in March and today we get an official music video for fan-favourite track “Sage“. the video was filmed by Jack Shepherd in 2019, and edited by Austin Roa, in the band’s native New Zealand. Watch below.

Earlier this month, the band shared a remix of their ToC standout, “Cool For A Second,” courtesy of Australian singer/producer Japanese Wallpaper. Look for more exciting news in the coming weeks from the zoomies!!!

“The video for ‘Sage’ was shot by the brilliant Jack Shepherd, who managed to discreetly capture us in-between our various band activities on his Super 8 camera, before passing the footage onto our good friend Austin Roa, to create a beautiful homage to one of our most loved songs from the new record.” – Yumi Zouma

“Sage” is taken from Yumi Zouma’s third album, Truth or Consequences, out now.

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Yumi Zouma returns with EP III, completing the trilogy they started with EPs I and II. This new collection finds the international act stronger than ever, sculpting effortless atmospheres, winsome hooks and stadium-ready finishes. I think for us, we always like to be working on stuff.  A really good analogy I heard from Ed Sheeran is when you turn on tap water, you have to let the dirty water go through until the pure water flows. I think that’s pretty true for Yumi Zouma – sometimes you have to push through the stuff that doesn’t feel that great. I would prefer to be trying something new than a better version of something you’ve already done, and I think a way to be on the track is just to be constantly working. While it’s rare that we sit down to talk about exactly what we want to do next, we all agree we want to keep on working and keep the train rolling.

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EP III was released on 10″ vinyl November 16th, 2018.Yumi Zouma 

Yumi Zouma 2020 © Jack Sheppard

Alternative pop band Yumi Zouma revel their third album, “Truth or Consequences”, released Friday, March 13th on Polyvinyl Records.

Originating from Christchurch, New Zealand, the four-piece band consists of Christie Simpson (vocals, keyboards), Josh Burgess (guitar, bass guitar, vocals, keyboards), Charlie Ryder (guitar, bass guitar, keyboards), and Olivia Campion (drums). Yumi Zouma’s first two records, Yoncalla (2016) and Willowbank (2017), received great reception from a growing fanbase, with tours following both albums. Constantly working and wanting to produce new material, the group have also released plenty of EPs and singles in between full-lengths, including the single, “Bruises” (2019). Truth or Consequences greatly emphasizes the growth Yumi Zouma have had as a band over the past few years.

Christie Simpson’s ethereal vocals, the band’s dreamy pop melodies, and honest lyrics blend perfectly together and capture the Yumi Zouma sound. Songs like “Truer Than Ever” and “Lie Like You Want Me Back” dive into the complexities of life and this idea that answers may not be as clear as you want them to be. Each song questions the relationships we have and keep with others, and even the relationship we have with ourselves.

The writing process for this album in particular was quite different from the band’s previous works. All living in different locations, the band members became immune to writing songs individually and coming together later on to complete the process. When writing Truth or Consequences, all four bandmates rented out studios in various locations and started writing from scratch. As a result, the record revolves around a solid, central theme, and presents an easy, beautiful flow between each track.

Yumi Zouma’s third album, Truth or Consequences.

 

New Zealand indie-pop band Yumi Zouma released a new album, Truth or Consequences, today via Polyvinyl, their first for the label. Now that the album is out, The band self-produced the album and it was mixed by Jake Aron (Solange, Grizzly Bear, Snail Mail). While formed in New Zealand, Yumi Zouma’s members currently reside in various cities around the world: New York City (Josh Burgess – guitar, vocals), London (Charlie Ryder – guitar, bass, keys), Christchurch, New Zealand (Christie Simpson – vocals, keys), and Wellington, New Zealand (Olivia Campion – drums).

Yumi Zouma shared Truth or Consequences’ lead single, “Cool For a Second,” via a video for the track The album also includes “Right Track / Wrong Man,” a song the band shared back in December. Then they shared another song from the album, “Southwark,” via a self-directed video for the track,

The band released a new EP, EP III, last September 2018 via Cascine Records. EP III was the follow-up to Yumi Zouma’s sophomore album, Willowbank, which was one of our Top 100 Albums of 2017. In May 2019 they shared another brand new song, “Bruise,” that was a standalone single .