Yvette Process

The menacing shadow of Swans looms heavily over ‘Process’, but the
roaring atmospheres and industrial thud emitted here comes from just
two guys recording in a garage.

With a whiff of early Godflesh, this is an album that kicks you fiercely in the

Yvette Process its whole execution – and the subsequent waves of thrashing
sound that spew forth – immensely corporal.

That said, while it can be a squealing, clattering, charging assault of an album, Yvette Process

it’s also one that knows the importance of space and restraint and employs the succinct and tactful techniques that Wire, at their finest, so seamlessly exude.

The album therefore rockets back and forth between burning, screeching balls of static,

acerbic stop-start guitar stabs and ghostly yet gristly atmospheres that weave from the grainy to gliding.

While it can occasionally border on the repetitive in its approach,

it’s mostly a consistently engulfing and evershifting LP – a throttling and throbbing record that chokes you

by the throat and will send your neighbours spiralling into madness if you play it loud enough.

“Inspiration is an output from ourselves and influence is our input
from other places,” says Fredrik, authoritatively.

“Life gives me inspiration to create, it’s rare that a specific thing inspires me.”

I turn to Yukimi who looks like she wants to get a word in. “For me,” she starts slowly,

“it’s inspiring to hear music that makes you feel like, ‘this is just for me’. The
Frank Ocean record – and I’m not saying this is the inspiration behind

[‘Nabuma…’] – I felt it was so good lyrically.

That was enough to make me want to write myself. It made me
think: ‘I’ve gotta go and do something now because I can’t just sit and listen
to someone else’.”

Little Dragon’s music is having that exact same effect on listeners too, if
their fans are anything to go by.

Yukimi reveals that they were given a poem three pages long in Germany and have seen their fair share of Little Dragon tattoos.

“I feel proud that it meant something and hopefully they don’t regret it,” she offers modestly.

“There was one guy,” Fredrik adds, “who discovered us through his girlfriend.

She was calling him to breakup and in the background she was playing [one
of the early singles]

‘Twice’, so he told us he discovered the band through the breakup call.”

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