Today’s Track: YĪN YĪN – ‘Takahashi Timing’

A three week gap between posts is a new record in recent times. Time for a new post!

Pictured: Kees Berkers (Drums), Remy Scheren (Bass Guitar), Erik Bandt (Lead Guitar) & Robbert Verwijlen (Keys) (2023) (Photo via Periferias.org.uk)

Good Afternoon! I’m Jacob Braybrooke and it was previously my day-to-day pleasure to write up about a different piece of music every day before my adulthood got right in the way! January is always a difficult time to find new music because we’re gearing up for the festival season where more opportunities for promotions at live festivals are greater and the mood of the globe is generally low. However, the mantle has been adopted by Bill Ryder-Jones, Marika Hackman, Sleater-Kinney, The Vaccines, Patricia Taxxon, Sprints (See my previous post for more on that) and a few others to fulfill this year’s lineup of take-whatever-you-can-get lineup of the bleak midwinter supplies. My favourite LP release of the month was from Yin Yin, a 4-piece from Maastricht (The Netherlands) who pitch their rich, comforting sound as Khruangbin meets Kraftwerk.

If you are enticed by a vibrant concoction of Psychedelic Funk, vintage-leaning Disco and East Asian-influenced Soul as the gin connected by a colourful blend of Surf Rock and Japanese instrumental sounds as the mixer, I feel you would enjoy their vibe too. I have been aware of Yin Yin’s flair for a few years, having seen their performance on KEXP’s YouTube channel and vaguely dipping into their space travel inspired record ‘The Age Of Aquarius’ (2022) and the Samurai Cinema-enhanced ‘The Rabbit That Hunts Tigers’ (2019) debut LP in the past, both of which make for nimble, curious and rewarding listens. For their latest album, they have democratically replaced founding member Yves Lennertz (Organ, Stylophone and Percussion) with new lead guitarist Erik Bandt. ‘Mount Matsu’ (out Jan 19th via Glitterbeat Records) was produced in their studio-turned-home in Belgium with the dynamic quartet combining traditional synthesizers with conventional Chinese instruments, most notably a Guzheng, which is known for its spacious flow between melodies. My sampler is ‘Takahashi Timing’, a single which Yin Yin calls an ode to their tour manager who ensures their punctuality.

“Art and ideas are personal and precious and the process of doing this truly together has been about more than just making an album, it was also a study of how collectives work”, the Dutch band say about their most recent full-length, adding, “We have decided to only use vocals sparsely, which leaves plenty of room for the listener’s imagination: you can really let your fantasy run wild as you listen and dance to it”, in an article for Ebb Music, as they visualise the process of creation like the ascension of the fictional mountain of the album’s namesake, hence the title’s theme.

A real sense of bond strikes through on ‘Takahashi Timing’, which kicks off with a groovy, percussive intro which brings the evocation of warmth to the dancefloor – or my headphones. The guitarist strums away at an uptempo pace before the glistening qualities of the bell-type percussion creates a groove that seems reminiscent of La Roux’s ‘Supervision’ album tracks. “Never too late” is the recurring vocal refrain that suggests a positive and uplifting tone, while the decent collection of disparate Disco and soulful Funk elements drive the beat forwards. New elements get added to the mix at their respective intersections, with some particularly refreshing Synth chords towards the end that modernises the experience of hearing the track. The track feels quite busy, admittedly, but it never sounds too chaotic for its own right. Instead, the sound is one that feels characterised by a passionate bunch of musicians cheerfully jamming away at real-time in a studio. Overall, it’s a hands-in-the-air style of track that manages to channel an alternative spirit while remaining accessible and radio-friendly enough to pick up potential listeners along the way because the mood is straightforward but the influences are more complex and niche. It appeals to a fairly general audience but its worthy of the credibility of any crate-digging vinyl fans’ shelf.