The music of Yves Tumor strikes like one thing molting. At first, it cleaves to style, taking recognizable form—a loping bass line, a gradual backbeat. After which the form dulls. It begins to look as a replica of itself, not a rock track however an imitation rendered from paling reminiscence. After which the shape splits, and from the break up comes one thing glistening and new, in the identical association because the outdated, dulled factor however rawer and extra perceptibly alive.
Throughout Tumor’s earlier two albums, 2018’s Safe in the Hands of Love and 2020’s Heaven to a Tortured Mind, the artist performs on this sequence of writhing, shedding, and revealing. Songs skirt near acquainted varieties after which bloom into grotesqueries. Usually, Tumor deploys adverse house to this impact. Take “Gospel for a New Century,” the lead single and opener from Tortured Thoughts, the place a horn riff sampled from a 1978 Korean funk observe rings out and abruptly cuts to silence, as if the sound waves produced by the instrument had been all of a sudden and impossibly sucked again up into its bell, the air returned to the lungs of its participant. The impact confounds the track’s sense of house, rendering it unstable, pocked with void.
On the brand new Asymptotical World EP, Tumor injects an analogous mutation into sure conventions of goth rock, dream pop, and shoegaze. Squalling guitars tower and topple, straining towards nice vertical heights after which spilling out towards the horizon. Songs like “Jackie,” a good rumination on tortured love that ranks amongst Tumor’s most direct and instantly gripping songs, channel the fever desires of late-’80s experimental rock bands from the UK, bearing traces of A.R. Kane and early My Bloody Valentine. As ever, dry humor and a refined playfulness shine by way of the deadpan temper, exhibiting in thrives like “Jackie”’s bass drum hiccup and the phaser wobble in Tumor’s voice simply earlier than the climax of “Crushed Velvet.” “We will go wherever/I don’t have a favourite spot/I simply wanna look you within the eye,” Tumor speak-sings in opposition to a post-punk bass throb on “Secrecy Is Extremely Necessary to the Each of Them,” a blase romantic gesture that promptly swings round to sly dismissal: “How can I miss you/In the event you gained’t go away?”
All through the document, Tumor eases ever extra deeply into the position of prismatic bandleader, shifting readily from tone to tone whereas sustaining a core sense of authority. The lovelorn wail of “Jackie” calcifies into “Secrecy”’s bitterly cool asides, which then evaporate as not sure sighs on “…And Loyalty Is a Nuisance Baby.” Throughout Asymptotical World’s six songs, Tumor performs a roster of characters gripped in varied turmoils, performing them out in several postures, from sweltering and susceptible to icy and impenetrable.
On the EP’s molten middle is a visitor look from the economic noise duo NAKED, whose vocalist Agnes Gryczkowska streaks “Tuck” with glimpses of physique horror. “I didn’t die for you,” she insists, “I really feel myself/Rising massive and arduous inside you.” Her voice lifts in a conspiratorial whisper amid scattered, buried beats; it’s the one observe on the EP that doesn’t foreground the rhythm part within the combine, and as such it feels boneless, amoebic, prefer it might at any level open its physique and swallow its listener.
That’s the regular promise of Tumor’s work, and its fixed menace: that its unusual, inverted intimacy would possibly spill into the listener and switch the self alien. If you acknowledge the form of a track however can’t repair its innards, can’t place its emotional register amongst your catalog of acceptable emotions, what does it do to you? What would possibly meet you there? The Asymptotical World’s motions are recognizable; they arrive in acquainted pores and skin. Below the pores and skin, one thing ill-fitting thrashes, attempting to flee itself, inviting anybody in sight to do the identical.
Purchase: Rough Trade
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