Mui Zyu – ‘Nothing or Something to Die For’ album review: the soundtrack for an underwater movie about robots
THE SKINNY: To capture some of the best natural sound recordings, artists will travel deep into rainforests and jungles, knee-deep in rivers and lakes, holding up microphones to trees to capture tides, birdsong and the gentle breeze. The result sounds like you have fully immersed yourself in the world being recorded without having to leave the comfort of your living room. On her new album, nothing or something to die for, Mui Zyu weirdly manages to do the same thing.
No, this isn’t an album that Zyu has travelled to the corners of forests to create. It’s synth-heavy, laced with electronic music, minimalist in its conception but fulfilling in the way the tracks are delivered. The way that the noises present blend into one another and the lack of repetitive melody on synth hits that accompany tracks give it a natural sound as if someone has gone to capture field recordings in a future dystopian land that exists in a bubble underwater.
The sound is unlike anything available at the moment. To create something so evidently the result of a computer but still have it come across as natural is a triumph, and that’s before we get into the best part of the album: Zyu’s voice. The way that she can convey emotion subtly is tough to come by; the songs sound as though they come as naturally as breathing, as every syllable feels more like an extension of the artist than a separate piece of art.
The stripped-back style might feel quite repetitive to some, especially given that the LP is 14 tracks long, but the fact is this album is special and incredibly tough to turn away from. Every single track is a delight, and music like this doesn’t come along too often.
For fans of: Abstract sci-fi novels and small bubbles popping.
A concluding comment from a robotic amphibian: “Yeah, she wanted some samples laid down for the album, and I was happy to help out.”
Mui Zyu – nothing or something to die for track by track
Release Date: May 24th | Producer: Luciano Rossi | Label: Father/Daughter Records
‘satan marriage’: A sweet and serene opener, wetting the whistle of anybody listening. [3/5]
‘the mould’: A minimalist electronic track filled with interesting and off-kilter sounds, almost mimicking those of nature in a dystopian futuristic world. The constant is Zyu’s voice, which is delicate and delightful. [3.5/5]
‘everything to die for’: With a voice as fragile as the silence it breaks, this song sounds like something you should tiptoe around when listening. It is epic in its thematic magnitude but stripped back and serene in its delivery. It is truly a beautiful contradiction of itself, addictive and indicative of this album. [4.5/5]
‘donna likes parasites’: The track has an upbeat feel and remains relatively monotone in its delivery. The way that Zyu can convey emotion in her voice while still staying grounded on what is quite a chilled-out track is an exciting showcase of talent. Scattered out-of-tune synth solos give the song an added edge. [3.5/5]
‘an earthling can be’: The beat is a silhouette of funk, easy to move to, but not too much. Zyu’s voice remains the star, the light 8-bit electronic backdrop accompanying every step of the way. [4/5]
‘please be ok’: A tune that is almost pleading in its sentiment. Harmonies add to it, and the way the tone dances in and out of minimalist and maximalist creates sonic outbursts of energy. [4/5]
‘telephone congee I’: 30 seconds of intergalactic elevator music. [going up/5]
‘speak up, sponge’: The song is borderline anxiety-inducing, with the music sounding horror movie-esque and Zyu refusing to give anything away in her vocals. We are left tense while listening. It’s fantastic! [4/5]
‘what’s the password baby bird’: This is probably one of the most stripped-back numbers on the album, with light chords and one kick drum being the only musical accompaniment at times. It doesn’t sound like the song is lacking, though; this album has a unique ability to make tracks sound full, even when very few features are at play. [3.5/5]
‘hopefulness, hopefulness’: Hopeful by name and hopeful by nature. The song has an optimistic back-drop, with delicate strings, spaced-out drums and an overall uplifting theme surrounding it. [3/5]
‘telephone congee ii’: More elevator music. [going down/5]
‘sparky’: A serene lullaby, both in a good and bad sense. On the one hand, it’s peaceful and moving, but on the other, it will put you to sleep. [2.5/5]
‘in the dot’: There is a change of vocalist on this track, which is refreshing. While the theme this album goes for with a synthesised orchestra feel throughout is nice to listen to, after 12 tracks, it does become slightly monotonous, so the change is enough to keep ears pricked. The song sounds cinematic, with a string line in the background reminiscent of something from Charlie and the Chocolate Factory. [4/5]
‘cool as a cucumber’: The way that Zyu layers her vocals on this track and acts as her own subtle harmonies flex her talent as a singer. ‘cool as a cucumber’ sounds like something that, if you grab it tight enough, will help you fly. [4/5]
‘扮豬食老虎’: An instrumental outro that feels like a credits sequence. The album has felt cinematic in several aspects, and this is certainly a picture worth rewatching. [3.5/5]
Never Miss A Beat
The Far Out New Music Newsletter
All the latest New Music from the independent voice of culture.
Straight to your inbox.