Posts Tagged ‘Yur Mum’

Chapter 22 Records – 27th October 2021

Christopher Nosnibor

After paying their dues pedalling their hefty wares in all the little venues the length and breadth of the country after relocating to London from Brazil, Your Mum are really starting to reap the rewards of some incredible sweat and toil for the release of their second album.

Having shared the stage with DIY stalwarts such as Maid Of Ace, Svetlanas, Healthy Junkies, Hands Off Gretel, I-Destroy & Dream Nails as well as well-established acts and legends such as New Model Army, The Adolescents, Vice Squad, Kirk Brandon, UK Subs, The Vibrators and TV Smith, they’ve scored prestigious deals with to Chapter 22 Records in the UK and M&O Music in France. For all that, their latest release is accompanied by a video which was shot entirely on a GoPro & edited by the duo, who are evidently staying true to their DIT ethos and their roots – no sellout here!

The title track of their new album, now released as a single, finds the duo weighing in hard and heavy with blistering overdriven bass that sounds like bass and guitar at the same time, propelled by thunderous drums: ‘Club Tropicana’ is ain’t and nor is it some mellow, languorous beach chillout with a cocktail: no, the only thong tropical about this is the raging heat, meaning it’s mostly about the fuzz, Anelise Kunz’ full-lunged vocals distorted by volume and it blasts away for a high-impact, high-octane three minutes of raw power.

If you’ve not yet met Yur Mum, let me introduce you – because you’ve been missing out, and this is a beast of a track.

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Yur Mum Press Shot 1

Aural Aggro favourites Yur Mum, an alternative Rock duo formed of Anelise Kunz (Vocals/Bass) & Fabio Couto (Drums/Backing Vocals), have released a video for their recent single ‘Banana Republic’. The track is taken from their new album, Tropical Fuzz, which is out now on Chapter 22 Records. It was inspired by Brazilian music & Brazilian musicians who lived through a dictatorship period during the 60s and 70s. They had to be creative in order to avoid censorship and persecution. As they were being constantly monitored, songwriters cleverly began to disguise their political views in between the verses of joyful pop songs.

Watch the video here:

Yur Mum are touring the UK and venturing into Europe until the end of the year: dates as follows:

2021 Tour Dates

Chapter 22 – 24th June 2021

Christopher Nosnibor

On 31 December 2019, writing on Yur Mum’s explosive Ellipsis EP, I closed with the lines ‘Fuck it, for my last review of the year, and of the decade, I’ll put it out there: 2020 is going to be Yur Mum’s year. And if it isn’t, then I give up.’ There was no way of knowing that 2020 would be no-one’s year, if it could even be considered a year rather than an immense, bleak desert of time without form or meaning. If it seems as if in 2021 we’re now just starting to emerge from a long dormant spell, it’s perhaps worth realising that it’s already the end of June and we’re past the longest day.

Still, it’s been a while in the gestation, but Yur Mum having scored a deal with Chapter 22, finally get to unveil their second full-length album, Tropical Fuzz. Apart from ‘Sweatshop’, the lead single form the aforementioned Ellipsis EP, this is a completely new set of material, penned since they cut back from a trio to a duo in 2019, and it feels very much like an album, a cohesive work that’s been planned and structured, with the second half comprising noticeably shorter songs as it builds up and races to the finish.

‘Banana Republic’ comes belting out of the traps with a colossal lumbering riff, the gritty, grainy bass and thunderous drumming tight as you like. There’s such a density to the sound that it punches you right in the stomach, and the production captures that live feel magnificently.

‘Black Rainbow’, premiered at the start of the year, marks a change of tone and tempo, with its slower pace, and more theatrically gothic feel, it’s a dark, brooding beast of a song that showcases another facet of Anelise Kunz’s vocal range.

It’s on third track, ‘Crazy’ where they deliver on the pitch of ‘more cowbell, more fuzz’, as drummer Fabio Couto goes all Blue Oyster Cult and Kunz grinds out a doozer bassline while coming on like Courtney Love, with a drawling sneer and full-lunged roar, and they pack the belters in back-to-back, the driving alt-pop of ‘Dig Deep’ is a fast and furious two-and-a-half minute harmony-filled rush of adrenaline. They step up the volume and fuzz another few notches with ballsy grunger ‘Kiss and Tell’.

The pairing of the jarring, ribcage-rattling ‘Sweatshop’ and the raucous hard-rock attack of the title track makes for a killer finale.

Each song feels fully honed, distilled to its optimal strength, with no fat or faffing about – this is, of course, one benefit of being a two-piece: there’s not a lot to faff about with – breakdowns and extended solos simply don’t work with such a minimal format, but where Yur Mum really make it work for them is that they achieve a maximal sound. And that sound is a driving, punky blast of energy that feels great.

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Yur Mum Press Shot 2

18th January 2021

Yur Mum’s reputation as a hard-gigging and particularly outstanding live act is one that’s been key to their building the fanbase they have. However, the question of how they will continue to deliver live since being reduced to a two-piece is somewhat moot under the present circumstances. That said, on the strength of this outing, being stripped back to a bass / drum combo suits them remarkably well.

The third Monday in January is widely believed to be the most depressing day of the year, and has come to be known as Blue Monday – and it’s for this reason the pair elected to unveil the release today, rather than on Friday, the day that’s come to be established as the ‘standard’ day for releases. Your Mum is rebellious and unconventional like that.

It’s the heavy-duty, gut-punching bass that dominates and drives this mid-tempo goth-tinged hard rock lurcher of a single that comes as a preface to their forthcoming album, Tropical Fuzz. It’s not depressing per se – there’s far too much energy and dynamic action going on here for that – but make no mistake., it is pretty heavy and pretty dark, and certainly a departure from their usual riff-churning grungy bangers, although the trajectory from ‘What Do You Want From Me’ and the rest of the Ellipsis EP is an easy one to chart.

There’s an almost mystical / occult vibe to this dense brooder of a tune, which feels far more expansive and epic than its four-and-a-half-minute running time. More Sabbath than Nirvana, it might not lighten the mood much, but it is the perfect soundtrack by which to channel that bleak angst and the hard, slow emptiness of cold, heavy days without light. It’s no vitamin D booster, but it is exactly what you need right now.

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Promo image

December 2019

Christopher Nosnibor

Having recently ben reduced to a two-piece, you might be forgiven for expecting Yur Mum to have gone quiet, but hell no. Having only released their debut single, ‘Road Rage’ in April 2018, they’ve packed in over 200 shows since their inception and won Tom Robinson’s backing with ‘Sweatshop’, the lead single from this self-released five-tracker.

They’re a band on the up in every sense, drawing reams of positive attention and for all the right reasons: they first came to my attention in their original triangular configuration while touring ‘Road Rage’ and supporting Svetlanas, and no two ways about it, they were outstanding and more than held their own even in the company of the ferocious firestorm of the Russian headliners.

This EP doesn’t disappoint, and is the sound of an act firing on all cylinders, and it blasts off in riffy style with ‘What Do You Want?’, which tears from the speakers with all the overdrive and locks into a hefty grunging groove. There’s grit and swagger and the incendiary guitar blisters and peels while Anelise Kunz delivers a full-throated roar and thunderous bass runs.

Aforementioned single ‘Sweatshop’ starts with a churning bass reminiscent of Shellac, and then the drums drive in and they pound at it, hard, for a hard-hutting two-minutes and twenty. This is grungy punk rock at its most exhilarating.

There’s no let-up with the title track, either, and if there’s a metal-edged 90s alt-rock tinge to it, then it’s al to the good: it’s les about originality and more about delivery, and Yur Mum showcase a knack for a strong delivery. Make no mistake: they’re pretty sodding heavy, and there isn’t a second where they sacrifice weight for melody, and ‘Rotten’ goes full L7/In Utero era Nirvana with roaring angst.

‘Closure’ does finally display a softer side, and there’s a pop aspect to it – in the same way Hole’s Live Through This had a pop aspect to it, blending dynamic range and a clear sense of tune with a gut-punching rhythm section and a raw edge.

Fuck it, for my last review of the year, and of the decade, I’ll put it out there: 2020 is going to be Yur Mum’s year. And if it isn’t, then I give up.

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MamaSkull

Christopher Nosnibor

If you look up scarily intense in the dictionary, you’ll probably find a picture of Olga, the dynamo shouter who fronts Russian hardcore punks Svetlanas.

The three strong supports have already done a decent job of getting the crowd warmed up. First up, Weekend Recovery have been touring hard in support of their debut album, and seem at ease in the intimate venue. Kicking off with a punchy rendition of the hooky ‘Turn it Up’ and signing off with a driving romp through the power pop of ‘Why Don’t You Love Me’, they deliver a neat tour of the album. Lauren’s in good voice, the band are tight, and the grunge heft of the album’s title track, ‘Get What You Came For’, is a clear standout.

Weekend Wharf

Weekend Recovery

Jaded Eyes and bring sheer, snarling fury and immense, brutal density. They crank things up several notches in terms of volume, too. There’s no pretence. There’s nothing showy. Just full-on, balls-out, aggressive punk, the songs played hard, fast and packed back to back with no let-up. Hardcore the way it should be.

Jaded Eyes Wharf

Jaded Eyes

Brazilian female-fronted three-piece Yer Mum don’t exactly go easy on the ears, either: packing some dirty, low-slung riffage worthy of Fudge Tunnel, theirs is a hefty, dense sound. There’s pace and energy to their full-throttle grungy punk attack, and my notes – appear to reference Nymphs and L7, although I wouldn’t necessarily trust my notes as they’re scrawly and very sparse – I was too busy watching the band. This is the main reason to go and watch live music, after all, and we always hope for those moments where the experience envelops us and everything else, all the bubble and froth of thought about work, life, and all the rest, is pushed out of the frame in favour of the moment.

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Yer Mum

Svetlanas achieve this, and then some. The band are mighty in the noise they produce, but it’s Olga who provides the focal point. Compelling would be an appropriate adjective for her performance, but fails to convey the fact that you watch the set with your eyes glued to her because you fear for what may happen if you don’t pay attention. She’s an incendiary force, and what she lacks in stature she makes up thousandfold with her fiery energy: the kineticism is exhilarating and exhausting. But it’s all in the eyes: the wild, wide eyes that she sticks right in people’s faces as she jerks and flails her way through the crowd. There’s mania and danger in those eyes. Paired with the pulverising sonic blast that explodes from the PA, Svetlanas live are the very definition of intense.

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Svetlanas