Over the past few years, I’ve written quite a bit about the internationally renowned synth pop act Yumi Zouma, and as you may recall the act, which is comprised of Christchurch, New Zealand-born Christie Simpson, Sam Perry, Charlie Ryder and Josh Burgess have been split across various locations across the globe — primarily New York, Paris and Christchurch — after the 2011 earthquake that ravaged both their hometown and the region at large. Primarily writing and recorded by email, the band wasn’t initially meant to be a live band; however, they’ve received attention across the blogosphere and elsewhere for a breezy yet bittersweet, 80s synth pop-inspired sound centered around Christie Simpson’s ethereal vocals. Since the release of their Turntable Kitchen released cover of Oasis’ 1995 full-length effort, (What’s the Story) Morning Glory?, the renowned synth pop act has been busily writing and recording an EP trilogy — with the last part of the trilogy EP III slated for a September 28, 2018 release through Cascine Records.
“In Camera,” EP III’s first single was a swooning bit of synth pop with a soaring hook that sonically nodded a bit at A Flock of Seagulls‘ “I Ran (So Far Away)“, complete with reverb fed instrumentation, a cinematic vibe and a clean, super more production sheen — and while seemingly effortlessly breezy, the song is underpinned by a deliberate and very careful attention to craft, as the members of the band refine each song until it’s absolutely perfect. “Crush (It’s Late, Just Stay)” EP III’s latest single is centered around thumping beats, a shuffling guitar line, shimmering and arpeggiated synths and a sultry and sinuous bass line and while being a hook-driven, dance floor friendly song, it manages to sound as though it were released in 1983 or so, as it recalls Cherelle’s “Saturday Love” and others.
Interestingly, as the band’s Josh Burgess explains in press notes, “This song began life as an experiment recording with a fellow Kiwi (Liam Finn) at his studio in 2015. The studio was aptly named The End as it was situated at the very end of Greenpoint Avenue overlooking Transmitter Park which was arguably one of the best views of Manhattan at the time. The End hosted a few different studios, including Jacob Portrait’s (Unknown Mortal Orchestra, Blouse) who mixed ‘In Camera’ as well as rehearsal spaces (I once walked in on The Congo’s rehearsing!). We smoked on the roof and had a bash at making a song together, which is what we sampled in the verses of ‘Crush’. The working title was ‘First Class Lounge’ because it sounded like some kind of musak that would be playing as background before rich people boarded a Concord.
Unfortunately, The End had a sad finale courtesy of a fire that ripped through the building. Thankfully no one was hurt, but a lot of the gear was wrecked. My girlfriend lives a couple blocks away and over morning coffees we’ll often stroll through Transmitter looking up at the shell of the studio. Like most things in New York it’s relegated to a memory now, but a lot of great music came out of that building!”
The accompanying video features the classically-inspired artwork of Aiden Koch, set among bold and bright colors, animated by Joseph Brennan — and interestingly, while reminding me of the introductory sequence of an 80s rom com, it manages to evoke the flirtatious nature of the song.