Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)
Yves Tumor
Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds)
Boomkat Product Review:
Yves Tumor's voice sounds fully evolved on 'Praise A Lord...', combining glam rock, R&B, '70s psych and tense electro pop to arrive on an earworm-heavy hybrid that's wholly their own.
When Yves Tumor pivoted from bumpy PAN-cosigned sound collages to spiky, lavish pop it felt unexpected but prudent. Since 2018's 'Safe in the Hands of Love' they've played the de-facto frontperson, bringing a glamorous energy to their performances and augmenting their songs with the kind of sleaze that was thought to have been lost during a weeks-long bender sometime in the late '70s.
'Praise A Lord...' is the evolution of that sound; if the previous albums were well-formed ideas, then this one's a finished product, full of hooks and nods to well-worn aesthetics but simultaneously unmistakable as an Yves Tumor record. The music's listlessness has always been part of Yve's appeal, and their willingness to jump from Zamrock-inspired psych to chilly electro-pop is why their legion of fans keep coming back again and again. Within two tracks - 'God is a Circle' and 'Lovely Sewer' - we're fired from rock 'n roll sleaze into brash, main title '80s pop perfection and it sounds just as it's supposed to.
While their early records polarized many listeners, 'Praise A Lord...' might be the album that will persuade the nay-sayers. It's hard to argue with perfectly formed skronk like 'Operator' or tweaked neo post-punk bangers like 'In Spite of War' - it's unshakably enjoyable music that's been assembled by an artist with keen understanding of the role they're playing and the rules of the game. Tumor's vocals are oddly bewitching, and their latest set builds on the promise of their flamboyant shows and neon-flecked visuals, melting algorithm-friendly familiarity into interlocking expressions of contemporary unease and hedonism.
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Boomkat Product Review:
Yves Tumor's voice sounds fully evolved on 'Praise A Lord...', combining glam rock, R&B, '70s psych and tense electro pop to arrive on an earworm-heavy hybrid that's wholly their own.
When Yves Tumor pivoted from bumpy PAN-cosigned sound collages to spiky, lavish pop it felt unexpected but prudent. Since 2018's 'Safe in the Hands of Love' they've played the de-facto frontperson, bringing a glamorous energy to their performances and augmenting their songs with the kind of sleaze that was thought to have been lost during a weeks-long bender sometime in the late '70s.
'Praise A Lord...' is the evolution of that sound; if the previous albums were well-formed ideas, then this one's a finished product, full of hooks and nods to well-worn aesthetics but simultaneously unmistakable as an Yves Tumor record. The music's listlessness has always been part of Yve's appeal, and their willingness to jump from Zamrock-inspired psych to chilly electro-pop is why their legion of fans keep coming back again and again. Within two tracks - 'God is a Circle' and 'Lovely Sewer' - we're fired from rock 'n roll sleaze into brash, main title '80s pop perfection and it sounds just as it's supposed to.
While their early records polarized many listeners, 'Praise A Lord...' might be the album that will persuade the nay-sayers. It's hard to argue with perfectly formed skronk like 'Operator' or tweaked neo post-punk bangers like 'In Spite of War' - it's unshakably enjoyable music that's been assembled by an artist with keen understanding of the role they're playing and the rules of the game. Tumor's vocals are oddly bewitching, and their latest set builds on the promise of their flamboyant shows and neon-flecked visuals, melting algorithm-friendly familiarity into interlocking expressions of contemporary unease and hedonism.
Boomkat Product Review:
Yves Tumor's voice sounds fully evolved on 'Praise A Lord...', combining glam rock, R&B, '70s psych and tense electro pop to arrive on an earworm-heavy hybrid that's wholly their own.
When Yves Tumor pivoted from bumpy PAN-cosigned sound collages to spiky, lavish pop it felt unexpected but prudent. Since 2018's 'Safe in the Hands of Love' they've played the de-facto frontperson, bringing a glamorous energy to their performances and augmenting their songs with the kind of sleaze that was thought to have been lost during a weeks-long bender sometime in the late '70s.
'Praise A Lord...' is the evolution of that sound; if the previous albums were well-formed ideas, then this one's a finished product, full of hooks and nods to well-worn aesthetics but simultaneously unmistakable as an Yves Tumor record. The music's listlessness has always been part of Yve's appeal, and their willingness to jump from Zamrock-inspired psych to chilly electro-pop is why their legion of fans keep coming back again and again. Within two tracks - 'God is a Circle' and 'Lovely Sewer' - we're fired from rock 'n roll sleaze into brash, main title '80s pop perfection and it sounds just as it's supposed to.
While their early records polarized many listeners, 'Praise A Lord...' might be the album that will persuade the nay-sayers. It's hard to argue with perfectly formed skronk like 'Operator' or tweaked neo post-punk bangers like 'In Spite of War' - it's unshakably enjoyable music that's been assembled by an artist with keen understanding of the role they're playing and the rules of the game. Tumor's vocals are oddly bewitching, and their latest set builds on the promise of their flamboyant shows and neon-flecked visuals, melting algorithm-friendly familiarity into interlocking expressions of contemporary unease and hedonism.
Boomkat Product Review:
Yves Tumor's voice sounds fully evolved on 'Praise A Lord...', combining glam rock, R&B, '70s psych and tense electro pop to arrive on an earworm-heavy hybrid that's wholly their own.
When Yves Tumor pivoted from bumpy PAN-cosigned sound collages to spiky, lavish pop it felt unexpected but prudent. Since 2018's 'Safe in the Hands of Love' they've played the de-facto frontperson, bringing a glamorous energy to their performances and augmenting their songs with the kind of sleaze that was thought to have been lost during a weeks-long bender sometime in the late '70s.
'Praise A Lord...' is the evolution of that sound; if the previous albums were well-formed ideas, then this one's a finished product, full of hooks and nods to well-worn aesthetics but simultaneously unmistakable as an Yves Tumor record. The music's listlessness has always been part of Yve's appeal, and their willingness to jump from Zamrock-inspired psych to chilly electro-pop is why their legion of fans keep coming back again and again. Within two tracks - 'God is a Circle' and 'Lovely Sewer' - we're fired from rock 'n roll sleaze into brash, main title '80s pop perfection and it sounds just as it's supposed to.
While their early records polarized many listeners, 'Praise A Lord...' might be the album that will persuade the nay-sayers. It's hard to argue with perfectly formed skronk like 'Operator' or tweaked neo post-punk bangers like 'In Spite of War' - it's unshakably enjoyable music that's been assembled by an artist with keen understanding of the role they're playing and the rules of the game. Tumor's vocals are oddly bewitching, and their latest set builds on the promise of their flamboyant shows and neon-flecked visuals, melting algorithm-friendly familiarity into interlocking expressions of contemporary unease and hedonism.
Black LP in printed inner sleeve in gatefold outer sleeve with fold out poster and download code
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Yves Tumor's voice sounds fully evolved on 'Praise A Lord...', combining glam rock, R&B, '70s psych and tense electro pop to arrive on an earworm-heavy hybrid that's wholly their own.
When Yves Tumor pivoted from bumpy PAN-cosigned sound collages to spiky, lavish pop it felt unexpected but prudent. Since 2018's 'Safe in the Hands of Love' they've played the de-facto frontperson, bringing a glamorous energy to their performances and augmenting their songs with the kind of sleaze that was thought to have been lost during a weeks-long bender sometime in the late '70s.
'Praise A Lord...' is the evolution of that sound; if the previous albums were well-formed ideas, then this one's a finished product, full of hooks and nods to well-worn aesthetics but simultaneously unmistakable as an Yves Tumor record. The music's listlessness has always been part of Yve's appeal, and their willingness to jump from Zamrock-inspired psych to chilly electro-pop is why their legion of fans keep coming back again and again. Within two tracks - 'God is a Circle' and 'Lovely Sewer' - we're fired from rock 'n roll sleaze into brash, main title '80s pop perfection and it sounds just as it's supposed to.
While their early records polarized many listeners, 'Praise A Lord...' might be the album that will persuade the nay-sayers. It's hard to argue with perfectly formed skronk like 'Operator' or tweaked neo post-punk bangers like 'In Spite of War' - it's unshakably enjoyable music that's been assembled by an artist with keen understanding of the role they're playing and the rules of the game. Tumor's vocals are oddly bewitching, and their latest set builds on the promise of their flamboyant shows and neon-flecked visuals, melting algorithm-friendly familiarity into interlocking expressions of contemporary unease and hedonism.
Yellow LP in printed inner sleeve in gatefold outer sleeve with fold out poster and download code
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Yves Tumor's voice sounds fully evolved on 'Praise A Lord...', combining glam rock, R&B, '70s psych and tense electro pop to arrive on an earworm-heavy hybrid that's wholly their own.
When Yves Tumor pivoted from bumpy PAN-cosigned sound collages to spiky, lavish pop it felt unexpected but prudent. Since 2018's 'Safe in the Hands of Love' they've played the de-facto frontperson, bringing a glamorous energy to their performances and augmenting their songs with the kind of sleaze that was thought to have been lost during a weeks-long bender sometime in the late '70s.
'Praise A Lord...' is the evolution of that sound; if the previous albums were well-formed ideas, then this one's a finished product, full of hooks and nods to well-worn aesthetics but simultaneously unmistakable as an Yves Tumor record. The music's listlessness has always been part of Yve's appeal, and their willingness to jump from Zamrock-inspired psych to chilly electro-pop is why their legion of fans keep coming back again and again. Within two tracks - 'God is a Circle' and 'Lovely Sewer' - we're fired from rock 'n roll sleaze into brash, main title '80s pop perfection and it sounds just as it's supposed to.
While their early records polarized many listeners, 'Praise A Lord...' might be the album that will persuade the nay-sayers. It's hard to argue with perfectly formed skronk like 'Operator' or tweaked neo post-punk bangers like 'In Spite of War' - it's unshakably enjoyable music that's been assembled by an artist with keen understanding of the role they're playing and the rules of the game. Tumor's vocals are oddly bewitching, and their latest set builds on the promise of their flamboyant shows and neon-flecked visuals, melting algorithm-friendly familiarity into interlocking expressions of contemporary unease and hedonism.
Limited edition black 2LP 45 RPM in printed inner sleeves in gatefold outer sleeve with fold out poster and download code
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Yves Tumor's voice sounds fully evolved on 'Praise A Lord...', combining glam rock, R&B, '70s psych and tense electro pop to arrive on an earworm-heavy hybrid that's wholly their own.
When Yves Tumor pivoted from bumpy PAN-cosigned sound collages to spiky, lavish pop it felt unexpected but prudent. Since 2018's 'Safe in the Hands of Love' they've played the de-facto frontperson, bringing a glamorous energy to their performances and augmenting their songs with the kind of sleaze that was thought to have been lost during a weeks-long bender sometime in the late '70s.
'Praise A Lord...' is the evolution of that sound; if the previous albums were well-formed ideas, then this one's a finished product, full of hooks and nods to well-worn aesthetics but simultaneously unmistakable as an Yves Tumor record. The music's listlessness has always been part of Yve's appeal, and their willingness to jump from Zamrock-inspired psych to chilly electro-pop is why their legion of fans keep coming back again and again. Within two tracks - 'God is a Circle' and 'Lovely Sewer' - we're fired from rock 'n roll sleaze into brash, main title '80s pop perfection and it sounds just as it's supposed to.
While their early records polarized many listeners, 'Praise A Lord...' might be the album that will persuade the nay-sayers. It's hard to argue with perfectly formed skronk like 'Operator' or tweaked neo post-punk bangers like 'In Spite of War' - it's unshakably enjoyable music that's been assembled by an artist with keen understanding of the role they're playing and the rules of the game. Tumor's vocals are oddly bewitching, and their latest set builds on the promise of their flamboyant shows and neon-flecked visuals, melting algorithm-friendly familiarity into interlocking expressions of contemporary unease and hedonism.
CD in digipak with booklet
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Yves Tumor's voice sounds fully evolved on 'Praise A Lord...', combining glam rock, R&B, '70s psych and tense electro pop to arrive on an earworm-heavy hybrid that's wholly their own.
When Yves Tumor pivoted from bumpy PAN-cosigned sound collages to spiky, lavish pop it felt unexpected but prudent. Since 2018's 'Safe in the Hands of Love' they've played the de-facto frontperson, bringing a glamorous energy to their performances and augmenting their songs with the kind of sleaze that was thought to have been lost during a weeks-long bender sometime in the late '70s.
'Praise A Lord...' is the evolution of that sound; if the previous albums were well-formed ideas, then this one's a finished product, full of hooks and nods to well-worn aesthetics but simultaneously unmistakable as an Yves Tumor record. The music's listlessness has always been part of Yve's appeal, and their willingness to jump from Zamrock-inspired psych to chilly electro-pop is why their legion of fans keep coming back again and again. Within two tracks - 'God is a Circle' and 'Lovely Sewer' - we're fired from rock 'n roll sleaze into brash, main title '80s pop perfection and it sounds just as it's supposed to.
While their early records polarized many listeners, 'Praise A Lord...' might be the album that will persuade the nay-sayers. It's hard to argue with perfectly formed skronk like 'Operator' or tweaked neo post-punk bangers like 'In Spite of War' - it's unshakably enjoyable music that's been assembled by an artist with keen understanding of the role they're playing and the rules of the game. Tumor's vocals are oddly bewitching, and their latest set builds on the promise of their flamboyant shows and neon-flecked visuals, melting algorithm-friendly familiarity into interlocking expressions of contemporary unease and hedonism.
Cassette in cassette box with inlay
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
Yves Tumor's voice sounds fully evolved on 'Praise A Lord...', combining glam rock, R&B, '70s psych and tense electro pop to arrive on an earworm-heavy hybrid that's wholly their own.
When Yves Tumor pivoted from bumpy PAN-cosigned sound collages to spiky, lavish pop it felt unexpected but prudent. Since 2018's 'Safe in the Hands of Love' they've played the de-facto frontperson, bringing a glamorous energy to their performances and augmenting their songs with the kind of sleaze that was thought to have been lost during a weeks-long bender sometime in the late '70s.
'Praise A Lord...' is the evolution of that sound; if the previous albums were well-formed ideas, then this one's a finished product, full of hooks and nods to well-worn aesthetics but simultaneously unmistakable as an Yves Tumor record. The music's listlessness has always been part of Yve's appeal, and their willingness to jump from Zamrock-inspired psych to chilly electro-pop is why their legion of fans keep coming back again and again. Within two tracks - 'God is a Circle' and 'Lovely Sewer' - we're fired from rock 'n roll sleaze into brash, main title '80s pop perfection and it sounds just as it's supposed to.
While their early records polarized many listeners, 'Praise A Lord...' might be the album that will persuade the nay-sayers. It's hard to argue with perfectly formed skronk like 'Operator' or tweaked neo post-punk bangers like 'In Spite of War' - it's unshakably enjoyable music that's been assembled by an artist with keen understanding of the role they're playing and the rules of the game. Tumor's vocals are oddly bewitching, and their latest set builds on the promise of their flamboyant shows and neon-flecked visuals, melting algorithm-friendly familiarity into interlocking expressions of contemporary unease and hedonism.
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