Yves Tumor // Safe In The Hands of Love (Warp)

#41

in a shocking turn of events Noid is on the work playlist

#42

makes sense. if you dont pay much attention to the lyrics its a pretty enjoyable and catchy tune, even when it starts going hellish in the second half

#43

You’d better believe I bang that shit in the earbuds every time I suffer a small indignity at work that causes me to rethink my life

#44

I finally listened to it in full and I feel seen. Ever since I started my new job I feel like there’s been this cacophony in my head that I get whenever I’m stressed, which is basically all the time now. It’s white noise, brown noise, screaming, breakbeats, little snippets of songs I’ve heard. This record puts all of that into as solid a form as can be, one that lets me know I’m not alone in feeling this way. I want to make something like this.

#45

really like that comparison, and i think thats the difference of how the sonics make me feel compared to other classified indie/pop tunes or what have you

the artifacts from effects, recording quality, cutup stuff the guy does is impeccable tho…you can feel the flow he channels in making this stuff with so much energy. not at all like in the germanic/analytical way artists of his caliber produce

i dont have much criticism for it, but need to mention that last song. really, really powerful stuff

#46

This is definitely the kind of album that’ll make you think “how the hell did he do all that?” and the answer is probably so simple any of us could’ve done it, and it will reveal that we’ve had the power within us all along

#47

Cool album, he’ll never capture the raw magic that was on Serpent Music again for me though, that album had a subtle, magical out-of-nowhere quality that I really connected with. This album is too much of a Big Statement type of record for me to fully connect with, it sounds too labored over and poppy but good for him getting the recognition. Lifetime and Economy of Freedom are such bangers. And Noid to a lesser extent. Really into what he does on the lower frequencies. And the drums are just insane throughout

#48

I’ve been thinking about this album for a bit and, though this might sound like sacrilege to some, I think this album has a lot more in common with the “emo” nostalgia/throwback sound that has been a big part of a specific strain of mainstream contemporary rap music since at least 2015/2016 - Lil Uzi Vert, Trippie Redd, Lil Peep, and XXXtentacion probably being the most important touchstones.

Compare for instance the production on Trippie Redd’s track Wish (Poduced by Diplo of all people!):

Malibu/DJ Lostboi has also been mining a similar aesthetic:

I also think the Yves Tumor vocal style is related to early 2000s emo bands like Brand New:

#49

I’ve been listening to a lot of 90s emo and the new Yves record, and I’ve never connected this, but it’s so true!

#50

honestly i feel i might be getting in over my head by saying this but i feel calling this emo or emo related kind of nullifies the fact that its repeatedly making statements on the current state of the world especially as a black person, not to mention the direct references to mental health problems such as depression and ptsd in noid

#51

In my post above, I wanted to draw attention to sonic similarities between contemporary hip hop/rap production and aesthetics, not necessarily lyrical content.
I think that Yves Tumor’s lyrical perspective (POC living in Trump-era) is not so similar to early 2000s emo, however, I do believe that it should be possible to find examples of similar preoccupations in the work of rappers who wouldn’t seem to be the obvious choice to be grouped along with Yves Tumor.
In other words, I think that the relationship between music like XO Tour Life and Licking an Orchid is something that can be thought about both in terms of sonic qualities and lyrical content, and that thinking about this relationship is fruitful because both works are part of a broader trend.

#52

thanks for the clarification, i understand what you mean better now and i agree :ok_hand:

#53

Boring aside but had no idea Malibu was DJ Lostboi until you posted that. Made a post on instagram last year about +33006 and wondered why Malibu had liked it a couple months back, heh.

#54

take care of yourself hope all is better x

#55

also interesting in there is the arabic subtitles - looks edgy in modern america i guess

even in UK drill there’s some crossover aesthetic going on – look at unknown t & digdat in this: skinny jeans, metal/goth fonts on the tops (trapstar arguably always borrows from that)…

#56

also interesting in there is the arabic subtitles - looks edgy in modern america i guess

that video was directed by Virgil Abloh so it’s probably edge factor plus pointless aesthetic appeal

#57

I don’t think that its “pointless”. Obviously, it is perfectly acceptable to take a music-is-all-that-counts position, but I think it is exactly these extra-musical gestures that can enrich music or draw out different aspects. Just as movies aren’t just moving images, music can be enriched by the relationships and contexts in which it appears. Perhaps these are aesthetically or conceptually “bad” decisions but I don’t think that means they are pointless or empty.

#58

I think you may have misinterpreted my intent, I really only meant to take the piss out of Virgil Abloh

#59

whatcha think?