Yumi Zouma's Fifth Album Falls Flat as They Try to Reinvent Themselves
The New Zealand dream-pop quartet has spent a decade honing their signature sound, characterized by airy textures and lightly melancholic moods. But with their latest album, No Love Lost to Kindness, Yumi Zouma appears to be embracing a more extreme approach – at least in theory.
According to guitarist Charlie Ryder, the band's fifth record is the result of their "most friction-filled creative period" yet, marked by a desire for greater boldness and experimentation. The album's singles are indeed faster, louder, and more distorted than previous work, but these changes don't necessarily translate to a broader audience.
The results are somewhat inconsistent, with some tracks – like "Bashville" and "Blister" – showcasing the band's knack for crafting catchy, whistleable melodies that veer into predictable pop-punk territory. While these songs are undeniably fun, they may only resonate with Yumi Zouma's most die-hard fans.
The album's quieter tracks, such as the disorienting 95 and the haunting Waiting for the Cards to Fall, offer a more intriguing glimpse of the band's potential. The latter, in particular, features striking vocals from singer Christie Simpson, which take on a gothic quality without the usual reverb. These moments hint at a deeper well of emotion beneath the surface.
However, this sense of promise is ultimately tempered by the album's lack of cohesion and boldness. Yumi Zouma's reinvention efforts feel more like a series of incremental changes rather than a genuine overhaul of their sound. As a result, No Love Lost to Kindness feels like a missed opportunity – a chance for the band to break free from their dream-pop roots and explore new sonic territories.
Ultimately, change can be a slow process, and Yumi Zouma may not have fully realized their vision for this album. Still, fans of the band will likely find something to appreciate in their latest work, even if it doesn't quite live up to their lofty ambitions.
The New Zealand dream-pop quartet has spent a decade honing their signature sound, characterized by airy textures and lightly melancholic moods. But with their latest album, No Love Lost to Kindness, Yumi Zouma appears to be embracing a more extreme approach – at least in theory.
According to guitarist Charlie Ryder, the band's fifth record is the result of their "most friction-filled creative period" yet, marked by a desire for greater boldness and experimentation. The album's singles are indeed faster, louder, and more distorted than previous work, but these changes don't necessarily translate to a broader audience.
The results are somewhat inconsistent, with some tracks – like "Bashville" and "Blister" – showcasing the band's knack for crafting catchy, whistleable melodies that veer into predictable pop-punk territory. While these songs are undeniably fun, they may only resonate with Yumi Zouma's most die-hard fans.
The album's quieter tracks, such as the disorienting 95 and the haunting Waiting for the Cards to Fall, offer a more intriguing glimpse of the band's potential. The latter, in particular, features striking vocals from singer Christie Simpson, which take on a gothic quality without the usual reverb. These moments hint at a deeper well of emotion beneath the surface.
However, this sense of promise is ultimately tempered by the album's lack of cohesion and boldness. Yumi Zouma's reinvention efforts feel more like a series of incremental changes rather than a genuine overhaul of their sound. As a result, No Love Lost to Kindness feels like a missed opportunity – a chance for the band to break free from their dream-pop roots and explore new sonic territories.
Ultimately, change can be a slow process, and Yumi Zouma may not have fully realized their vision for this album. Still, fans of the band will likely find something to appreciate in their latest work, even if it doesn't quite live up to their lofty ambitions.
. They've been killing it for years with that dreamy sound, and now they're trying to switch things up and add some edge to it. Don't get me wrong, I love a good pop-punk vibe as much as the next person 
, but sometimes less is more, you know? It feels like they're trying too hard to reinvent themselves and end up with an album that's all over the place 
.
, like "Bashville" and "Blister", but others feel kinda... meh 
. And then there are these super quiet moments that just blow your mind 
, like on "95" and especially on "Waiting for the Cards to Fall". That song is hauntingly beautiful 
.
. Still, fans will love it for sure, even if it's not their magnum opus 
.
. don't get me wrong, i love "bashville" as much as the next person, but it feels like they're compromising on their artistic vision to fit into a trend 
. what really gets me is how inconsistent this album is - one day you're sipping tea with "waiting for the cards to fall", and the next you're mainlining "blister" energy 
.
they had this whole dreamy vibe going on that was so perfect and now they're just...not. idk if they can pull off these heavy riffs and still make it sound "emotive" 
the album's got some bops tho like "bashville" is a total earworm i need to listen to it again 
but overall i think they should've stuck with what made them famous in the first place 
. Their sound is still so dreamy and airy, but now it's like they're trying too hard to be edgy 
, but it's hard to get invested in something if I don't fully understand what they're going for 
. Still, fans will probably love it 
. Don't get me wrong, there are some cool moments, like Christie's vocals on "Waiting for the Cards to Fall" – it's like she's channeling her inner goth princess 
– but overall, it just feels like they're playing it safe and trying to appease their existing fanbase.
. I just wish they'd be bold enough to fully commit to their new sound and ditch the dream-pop cliches altogether 
.
they're trying too hard to be edgy and experimental but honestly its just not working out i mean don't get me wrong the songs that are slower and more atmospheric are really cool, especially waiting for the cards to fall its like a whole different vibe from their usual dream-pop sound but then again those songs feel like the only decent ones on the album...the rest of it feels like they're just trying to fit in with some current pop-punk trends and im just not feeling it 
. But hey, I can appreciate a good melancholy mood, so if that's what you're into, go for it 
! Still, I wish they'd taken more risks and pushed themselves further out of their comfort zone 
. Maybe next time?
like, christie's vocals on "waiting for the cards to fall" is insane 