Pretty Sick, Frost Children
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Yves Tumor shifts, alters, and plays with the boundaries of contemporary art and culture in a boundlessly visceral and authentic sonic signature. With an arc that effortlessly graces rock, psychedelia, and electronica in a constant re-invention of pop music, comparisons only serve as limitations intended to define that which cannot be. Yves Tumor melds restraint and chaos in a soulful clarity; diluting reality by giving meaning to the abstract and allowing for dissonance to be seen and heard as harmony.
“Yves Tumor redefines Rock Stardom” – THE NEW YORK TIMES
Yves Tumor has announced their most accomplished and anticipated album to date, Praise A Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds), set for release on March 17th via Warp Records with an accompanying world tour to commence at Coachella Festival. The album achieves new artistic heights for the project in an uncanny recalibration of pop music. This is Yves Tumor’s most intimate and personal statement to date, guiding the listener through a conceptually manifold spiritual journey –– circuitously weaving darkness to light, pop and innovation, cacophony to church-like calm. Picking up where the albums’ initial “God Is a Circle” single release left off, The album’s intoxicating melange of addictive melodies and adventurously executed arrangements is aptly demonstrated by “Echolalia,” the latest single + video. Both music videos are directed by visionary Jordan Hemingway (who helmed a previous Yves Tumor video ‘Secrecy Is Incredibly Important To The Both of Them’), that explores an emotive and transgressive world, brilliantly peppered with references of 70’s arthouse cinema.
Praise A Lord…. is produced by Noah Goldstein (Frank Ocean, Rosalía, Drake, Rihanna, Bon Iver), and mixed by Alan Moulder (My Bloody Valentine, Nine Inch Nails), lending the album with a sonic signature that acts as a distillation and amplification of Yves’ previous work. The album’s boundlessly visceral aesthetic is bolstered by invaluable contributions from long-time collaborators Chris Greatti (Yungblud, WILLOW), Yves Rothman (Girlpool, Amaarae) and Rhys Hastings, melding restraint and chaos in a soulful clarity. Throughout, Yves manifests their vision of diluting reality by giving meaning to the abstract and allowing for dissonance to be seen and heard as harmony.
The release marks the formal follow up to 2021’s acclaimed The Asymptotical World EP in where accolades for this EP included ‘Jackie’ as the #1 song of 2021 via Crack Magazine and in Pitchfork’s Top 25 songs of the year. Crushed Velvet was featured in Best of Spotify’s Indie for 2021 and in best songs of the year in Vogue Magazine. The preceding full length 2020 album Heaven To A Tortured Mind, of which also yielded a cavalcade of critical praise, including year-end accolades from New York Times, WSJ, Rolling Stone, Pitchfork, the FADER, NPR and more. More recently Yves Tumor surfaced as the only featured artist on the new WILLOW album <COPINGMECHANISM>. Yves Tumor embodies and controls the unique and influential power to redefine pop music as we know it, with much more to come.
“Tumor’s idiosyncratic and even intimidating aesthetic choices….. are precisely what gives the work its glowing modernity.”–– THE NATION
Yves Tumor will embark on a highly anticipated Global Tour, kicking off with a debut new live show at Coachella Festival and proceeding into an expansive headline and festival tour also including Primavera Sound. Yves Tumor has quickly become a coveted performance darling, having graced a slew of top tier music festivals from Pitchfork to Outside Lands to Portola to This Ain’t No Picnic, a coveted slot opening for Florence + the Machine, and a substantial run of dates both in the UK and US supporting Nine Inch Nails. The dynamic live performances throughout sold-out venues across North America, UK and Europe were met with critical acclaim. Throughout the impressive and ever-expanding trajectory, Yves Tumor has been praised by The New Yorker as “unmissable” and a “quintessential performer” by The Austin Chronicle, and has been compared to the likeness of musical and cultural force Prince by The Washington Post, Grace Jones by The Austin Chronicle and Joy Division by Variety. Yves Tumor embodies and controls the unique and influential power to redefine pop music as we know it, with much more to come.
“The quintessential performer, Tumor exudes Prince’s androgyny flare, D’Angelo’s tender masculinity, Iggy Pop’s freakazoid mania, and Grace Jones’ magnetic mystique.” –– THE AUSTIN CHRONICLE