Safe In the Hands of Love was first released in fragments; from the single ‘Noid’ being labelled Pitchfork’s Best New Track, to the release of a Daniel Sannwald-directed video ‘Licking An Orchid (ft James K)’ to Zane Lowe premiering ‘Lifetime’ on Beats 1. 24 hours later, the whole album is laid bare in all its experimental-pop-music glory. Taking inspiration from trip-hop to jazz to the melancholy mourning of the synthesiser, the album expertly manoeuvres across genres.
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The looped horns that open ‘Safe In The Hands of Love’ don’t really tell you much about what the rest of the album. What they do tell you is that Yves Tumor has the capacity to find and hone in on moments of genuine beauty.
The album title claims that you’ll be ‘Safe In The Hands of Love’. But everything else about eh album suggests otherwise. From its artwork, to its music, to Tumor desperate repeating that “he’s scared for his life” on ‘Noid’. On ‘Recognizing The Enemy’ a defeated sounding Tumor duets with a cello, singing “I can’t recognise myself”, as the instrument wiggles anxiety deeper into the mind.
This is an artwork on the edge, it’s uncomfortable and disquieting. Tumor never lets us become too familiar with anything, remember the horns I mentioned earlier? For all their glory they never return, almost nothing does. The album has moments of rock, R&B, trip-hop, noise. There are tracks on here that album have a Burial-like quality. ‘Honesty’s drums bring to mind the mysterious producer’s iconic beats while tonally, it shares in his revelling in disorientation.
Final track ‘Let The Lioness In You Flow Free’ is a noise rock thrasher, pummelling you at the close. In its final moments the noise abruptly stops and a sample begins to play. A woman sings “let me be your angelfire”. Safe at last?
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