+ launch show at The Gasometer Upstairs on August 19
Melbourne’s Yi-Lynnhas today announced her new EP Foul Water, an exploratory art-pop collection evocative of Fiona Apple and Joanna Newsom, out now. Foul Water follows impassioned singles Pixelate and Just To Feed, both of which garnered warm praise upon release and support from tastemakers at triple j Unearthed, Pilerats, and more. Yi-Lynn will celebrate the release with a launch show at The Gasometer Upstairs on August 19.
The EP Foul Water encapsulates everything that makes Yi-Lynn such a special songwriter. The arrangements, sparse and deliberate, may be gentle and beautiful – but there is no coyness to this record. Yi-Lynn is flexing her power here, knowing that she only needs to whisper to command the attention of the room. Foul Water offers the very best of baroque-pop; unusual structures, exquisite and classic storytelling, and pure, dangerous beauty. Previous single Just To Feed practically hypnotises the listener, while Pixelate almost shakes with feeling as Yi-Lynn grapples with rage and hurt in the aftermath of the 2017 same sex marriage plebiscite.
The rest of the EP moves with similar emotional weight, as Yi-Lynn says to music blog Pilerats, “It feels like the plebiscite was an age ago, but it wasn’t. It just feels like that because there’s been a concerted effort to bury the whole mess under piles of corporate sponsorship and hashtag-pride and “representation matters” tweets.
“The songs on Foul Water are my attempt to excavate that heap of rubble, to get to some truth which has been intentionally obscured. What I found was that I was so, so angry – I still am. And so I wrote these songs, each one of them a little capsule of my emotions. It’s been such a treasure to be able to capture that with a full band and tease out the complexity of those emotions with woodwinds, guitars, percussion, piano and of course voices. I’m very proud of these songs.”
Foul Water will be welcomed into the world with an EP launch show at the intimate Gasometer Upstairs in Melbourne on August 19. Fans are urged to purchase tickets soon to avoid disappointment.
Foul Water is out now.
WE GOT TO SPEAK TO YI-LYNN, who shared her fave albums of 2022 so far >>
Rosalía – MOTOMAMI
I spent a good deal of 2018 crying to Rosalia’s first album, Los Ángeles. Particularly, in my basic anglophone way, the one English-language track: a cover of Bonnie Prince Billy’s I See a Darkness. In it, she manages to simultaneously capture a trembling newborn naivete and the kind of world-weariness earnt roaming the earth for several centuries. That is to say, she is a true freak of the best kind – she can wield polar opposites with a shrug of one shoulder, when the rest of us spend our entire lives trying to say one single thing. On MOTOMAMI she’s everything: powerhouse, horndog, comedian, hotgirl, futurist, alien.
Charli XCX – Crash
I love pop music, and I love Charli. Her hair has been absolutely massive for the Crash era, which I really appreciate, truly towering over her tiny form. The Barbarella volume seems to capture the vibe of this album, which sees her dial her hyper-focussed pop energy up to 11. Constant Repeat and Move Me are the best songs, or maybe they’re Baby and Yuck.
Grace Cummings – Storm Queen
Grace Cummings could read the NASDAQ and it would be the most emotionally arresting white-collar criminal directory you’d ever heard. Although Storm Queen has more fulsome instrumentation than her first album, Refuge Cove, you wouldn’t know it – Grace’s voice fills up the room, and your speakers, and your brain, pushing all other sounds to the sides. She sounds fearless and brilliant, with some of the best lines you’ve ever heard. “It looks like Heaven’s back/Wearing a ten gallon Stetson hat”.
Perfume Genius – Ugly Season
The cover art is beautiful and hideous, and the music is beautiful and hideous. I love Perfume Genius, and he feels more and more uncompromising with each record. Sure, I’ll listen to some breathy distorted baritone moaning. Sure, I’ll listen to a meandering two-line piano piece. And sure, I’ll listen to a 6 minute and 41 second screaming, shuddering song about leaving rehab – Hellbent – and it’ll be the best thing I’ve heard all year.
Marina Herlop – Pripyat
I read an interview with Marina Herlop where she described her former method of composition, using voice memos and writing chord by chord, as “hellish and chaotic”. I felt very personally attacked, as this is my method of composition; it is certainly hellish and chaotic, but I don’t need the whole world knowing that. Anyway, for the wonderful Pripyat, she changed directions and started working with Ableton Live, fusing her piano compositions with an array of gorgeous and unfussy electronic sounds. It’s intricate but robust, a meaty intellectual exercise for the listener, but an organic gut-punch, too.