I’m certainly not going to say that Yves Tumor came out of nowhere, as TEAMS he made music that drew all sorts of lines between sonic exploration and pop-minded accessibility, but this past is so fluid and unpredictable that it’s hard not to listen to Safe in the Hands of Love, his most fully realized work to date, as evidence of time or space travel. Similarly to SOPHIE’s debut earlier this year, the work smashes ideas of song form, album flow, genre all in one feel swoop and somehow lands on its feet for the most part.
Single Noid is the most focused exercise of the album. The album opens on an intro track that pushes and pulls a trumpet sound over static energy; followed by Economy of Freedom which again takes sound and stirs it up like soup, eventually adding yearning vocals; and the more structured Honesty, a song that almost sounds like something off of Laurel Halo’s Dust with an actual meter and lyrics about the early stages of love when you’re both unsure and infatuated. All this amounts to a gradual focusing of ideas, which to an extent is what Yves Tumor is all about. The listener is put out in the dark before a gradual sense of familiarity eventually sets in.
The beginning of Noid is thus both sudden and expected as the gradual decline from the no-man’s land of the very beginning of the album climaxes with some sort of indie-post-disco world with a tightly wound drum part and fat bass line. Here the lyrics somewhat approach protest music, showcasing how black people feel unsafe basically anywhere outside of their homes due to police presence: “Have you, have you looked outside/I’m scared for my life/They don’t trust us.”
From there, the project meanders a bit in this familiar-ish space before blasting off with distortion on the final track. A solemn string melody here, some punchy, sharp drums there, contrasted later by a distant maniacal preacher. More rockist tendencies set in with the vocals between the barked out verses and screamed out choruses of Lifetime or the (dare I say new metal sounding?) calls of “I CANT RECOGNIZE MYSELF” of Recognizing the Enemy. Even when the songforms somewhat make traditional sense with something approaching normal album flow, there’s a sense that you don’t know where anything is coming from.
The project is certainly an important exploration of sound, but to an extent its ambition is a bit over the top. Sure, we’ve been given great albums that don’t necessarily give a lot of hooks to hold onto, or leave the listener out in the dark for periods of time to eventually bring them back to light with a big pop moment, but there needs to be some sort of sonic through line, whether it be Sophie’s hyper-fake plastic sheen or Laurel Halo’s crunchy texture feel, or the dark cloudy feel of say Massive Attack; Tumor’s throughline seems to be the lack of one, which creates a unique experience but also makes it a bit hard to listen to repeatedly. He’ll for sure develop as a songwriter, however, and the project is certainly going to leave a mark on a particularly vivid year of fractured musical approaches.