IMUR is a Vancouver, British Columbia, Canada-based trio, comprised of Jenny Lea (vocals, keys), Mikey J. Blige (production, guitar, DJ) and Amine Bouzaher (electric violin, bass, production) — and with the release of their debut EP, 2015’s Slow Dive, the Canadian trio received attention across Vancouver’s underground scene and elsewhere for an attention-grabbing sound that draws heavily from 90s R&B and soul, electro pop, electronica and experimental pop.
The members of IMUR released their full-length debut, 2017’s Little Death, an album that thematically explored and discussed drugs, heartache, strength, vulnerability and intimacy with a fearless lack of inhibition. The album amassed millions of streams across the planet, eventually landing on the Spotify Global Viral Charts — perhaps as a result of the album’s material being featured in ad campaigns by Patagonia and Lululemon and on TV shows like Wynnona Earp and Workin’ Moms. Building upon a rapidly growing national and international profile, the trio played Bumbershoot Festival‘s main stage, sharing with the likes of Jorja Smith, Solange and Lorde. And they closed out the year with a Western Canadian Music Award nomination for Electronic/Dance Artist of the Year and Best Electronic Song Award in the Canadian Songwriting Competition.
Since then, the act has released Little Death‘s follow-up, last year’s Thirty33 EP and a single, “Fever,” which was released earlier this year. The trio’s latest single “Lips, Tongue and Teeth” is a sultry and unapologetically sexual club banger, centered around shimmering and wobbling synths, thumping beats and an infectious hook that seems to draw equally from R&B, contemporary electro pop and classic house music. Interestingly, the song is a defiantly feminist anthem that generally says women should proudly be sexual beings, getting the pleasure they desire and need.
As the trio explain in press notes, the song’s unapologetically sexual nature in some way represents Jenny Lea’s personal and artistic journey in which she went from conservative banker to confident, world-taking badass. The song was penned as the first of a series of songs focused on female empowerment and autonomy — with this particular song having an audacious and brash message of defiant sexual expression.