Yea-Ming and the Rumours-Residue

Four albums into their consistent run, Yea-Ming & the Rumours have released their most provocative and pop-forward album yet with Residue. It's no secret that we all hear and experience music differently. It's all part of what makes the artistic world go round. We come to our favorite musicians and groups with certain expectations and on different levels of degrees. Whether it's a major stadium act adorned by millions by or a cult musician who seems tied down by work obligations, it's what keeps us anticipating new albums and searching the internet for show and/or tour announcements. Additionally, we have our preferred phases of our favorites and embrace their "return to form"-whatever subjective form that is.

Sidetracks

Stepping back from what makes listeners feel comfortable, allows musicians space for growth, development and surprise. Being multi-faceted, flexible, and versatile are still part of the criteria used to assess artists. While the Ramones perfected their formula early on and pretty much remained the same before eventually aging out, Blondie took a different trajectory. What if Blondie just stayed in their Lower East Side lane and never merged to bring seemingly disparate elements together for some of the most remarkable pop music of the 20th century? Both bands eventually became legendary, influential and iconic (i.e., t-shirts) which testifies we cannot make very valid or accurate assessments amidst the activity. Time and distance are required for comparison, contrast and reassessment.

Yea-Ming Chen, Photo by Corey Poluk

I came into Residue with an initial reaction regarding the denser production values and I left with the realization that Yea-Ming and the Rumours are making their own way, while striking a balance between the adventurism of Blondie and the straightforwardness of the Ramones. For instance, "Sweet Opiate," a slinky and shimmering dance pop song with a Cardigans/St. Etienne slant, makes clear sense in the context of a group diversifying their sound and expanding their range, while “Uncommon Dreaming” works for those who prefer them tapping into their innate strengths of twangy folk-rock-pop.

Things truly kicked in for me on "Waist" with its resonating line: “Oh, it’s been quite a year” and then a big smile broke over my face when I heard the dashing "Cold." It might be the best song of 2026! It reminded me of a Fastbacks number played by the Feelies! A joyous rush is felt in one vibrant sunburst of a song (albeit with stormy lyrics). Just as this punchy song gets up to full speed, it detours for one of the most charming organ solos ever.

“Cold” is also the transition point that sets the scene for the rest of the album. The second half of the record casts a melancholic, subtle and understated atmosphere, yet the songs retain an innate sense of catchiness and hope through the Darklands. Additionally, these finely-crafted songs are built with high structural integrity as this is arguably the most accomplished version of the Rumours. For instance, the sparkling and spiraling lap steel solo on “Uncommon Dreaming” could be Eóin Galvin’s finest recorded moment.  

 

The album takes on an additional hushed atmosphere a la Cindy on “Birds Fly Home.” Cyclical themes of personal & artistic authenticity contend with contradiction, compromise, the pull of the past, multiple standards and expectations as Yea-Ming musically pauses to gather her thoughts over the course of the second side. After this acknowledgement of cognitive dissonance, reconciliation and transformation can begin again with the human and humble admission of “Mistakes” made. This austere closer, featuring Yea-Ming’s ornate fingerpicking, also evokes Dear Nora’s moving cover of Dylan’s “Girl from the North County.”

As many young bands around the globe now emulate the ‘80s & ‘90s heyday of indie-pop and crash pop, Yea-Ming and the Rumours maintain their unmistakable, yet welcoming sounds. Operating from a perspective of possibility, Yea-Ming demonstrates the remarkable ability to further evolve and refine as she incorporates additional life experiences, lessons and musical approaches, while also retaining the youthful sense of wonder and undeniable melodies that attracted listeners in the first place. With Residue, Yea-Ming has taken another courageous turn and listeners can go along with her quest for understanding.  For me, it took a little longer this time around due to my own production preferences, but I’m thankful for the reckoning as there is really no other group out there like this in the world. 

L to R: Eóin Galvin: lead guitar, lap steel, Yea-Ming Chen: vocals, guitar, organ, Rob Good: bass
Luke Robbins: drums. Photo by Corey Poluk

Addendum, I added their cover of “Pale Blues Eyes” as a bonus track on the CD-R version I made following the path of the Feelies when they concluded Only Life with “What Goes On."

Program-It's A Sign

No major blocks of text this time around, but I just wished to highlight one of the better new records I have heard this year from this Melbourne band as we approach the midway mark of year 24. Overall their sound jumps right out of the speakers somewhere between the Chills, the Clean, the Apples in Stereo, EZTV and early Teenage Fanclub. My favorites are where they pick up the pace and cut down the meanderings and go into a sort of Ramones-mode. “Precious Things” follows Joey back to the “7-11” and the riveting “Live Without” is top level stripped-down rock‘n’roll excellence somewhere between Hunx and His Punx and the Lifeforms.  “Everything & Co.” stomps like the Troggs (on their album with R.E.M.), while flowing along like my favorite current Italian band Hakan.

I did listen to their previous record, 2019’s Show Me and It’s a Sign is meters/miles ahead in production, execution and delivery. I hope they will continue to make every song as propulsive, poppy and catchy as the aforementioned and keep leaning towards the Ramones and step off the Pavement. However, I understand their need for contrast and appeal somewhat to the ‘90s revival. Time will tell where they will go next. For now, they have some standout songs that coincide with my favorite cover art of the year.

The Wildebeests – Go Wilde In The Countrye

With 1997's Go Wilde in the Countrye, the Wildebeests arguably released one of the best garage rock albums of the ‘90s. The Edinburgh, Scotland trio are one of those groups, like the Cynics, who took the best from ’66 & ’77 and beyond to forge their own distinctive sound. While the unsung group had the courage to set out on their own path during the ‘90s garage revival, by and large their recordings have somewhat unjustly slipped through the cracks over the decades. The band features Lenny Helsing of the Thanes, bass player John Gibbs (the Kaisers, Holly Golightly Band, the Masonics) and vocals/guitars provided by Russell Wilkins. Wilkins is also a key figure in the Medway/Billy Childish scene and has extensive experience with the Pop Rivets, Thee Milkshakes and the Delmonas.

They were a last minute fill-in for the Kaisers at the first Las Vegas Grind weekender in October 1999.  I remember attendees being pretty crestfallen as they were anticipating seeing both the Neatbeats and the Kaisers on the same night at the same festival. They whipped the crowd into an instant frenzy and canceled their disappointment as soon as the first chord was struck. Their stage command and incendiary, yet melodic sound carried them through to impress the international audience and set up things perfectly for the Neatbeats (who played at the peak of their powers).  Russell Wilkins exhibited a certain savoir-faire with his resolute vocals and stage presence.  Further, he was able to achieve a pretty bold tone on the guitar that both growled and snarled.

The Wildebeests-at the Las Vegas Grind-October 29, 1999

This record encapsulates their sound that is simultaneously raw and ready, yet refined due to the accomplished and astute musicians involved. Their distinguishing characteristic is their ability to achieve a pretty fierce, thick, murky, melodic and full-blown sound within their self-imposed limitations. Additionally, their well-versed knowledge of music is second to none as exemplified by their deep-end covers that truly stretch across the decades of recorded music, while also displaying their propensity towards variety. The rumbling opener “I Need You” is not the Kinks song, but the next one “World Keeps Going Round” was definitely inked by Ray Davies. Next, they explore the unvarnished Pacific Northwest ‘60s sound with the R&B instrumental “5A Gibbs Entry.” The trio also excel at pointed manifestos (“This is My Year”) and determined declarations (“Standing Alone” CD-only).  There is an overall dynamic flow to the sequencing as their standout cover of the Ramones’ “Suzi is a Headbanger'' is perfectly placed between the aforementioned “This is My Year” and “Bad Storm Coming.” By the way, “Bad Storm Coming” sounds like quintessential American moody '60s garage punk. However, it was originally done by London’s Downliners Sect on their 1965 Country Sect album.

Beat & pop sensibilities frequently shine through their jagged sound that sometimes veers off into freakbeat. They also prove they can pull off the ‘40s and ‘50s blues on the old Bukka White/Mose Allison standard “Parchman Farm” and the Willie Dixon/Muddy Waters' vehicle “I Live the Life I Love.” The Wildebeests certainly go much further back into the roots, weeds and bogs than most bands. For instance, “Temptation” is the old 1933 evergreen first made famous by Bing Crosby and they deliver in formidable fashion making it sound like the natural precursor to the rockabilly/garage standard “Jezebel.”

It may be heresy in some quarters, but the Wildebeests go beyond the Medway sound and frankly, no other group sounds like them. Go Wilde in the Countrye captures their forward momentum of the time. It’s also one of those perfect albums to play on the drive home from work. In a way, they presaged the Kent 3, the Embrooks and Reigning Sound with their ability to combine surging immediacy and concision with expansive knowledge and skillful musicianship. Once again, the SFTRI label had the foresight to release another stellar record that has more than stood up and endured here in the '20s. This album should remain on the forefront when it comes to ‘90s garage rock.

L to R: John Gibbs (bass), Lenny Helsing (drums), Russell Wilkins (guitar)

Ramones-Rock 'n' Roll High School on the big screen

A couple of weekends ago, the Chandler Cinema screened this Roger Corman production. I enjoyed viewing it on the expanded screen after seeing it diminishingly on VHS years ago. Also, now knowing more of the individual personalities which comprised the Ramones, it was fun to watch see and hear the film from another vantage point with the Ramones' power, glory, workmanship, tensions, tenderness, humor and excitement projecting off the big screen and from the speakers.

Todd Rundgren, Cheap Trick, Van Halen, Tom Petty were all were considered as the main musical act for the film. Good thing they all didn't work out because I wouldn't be posting this graphic almost 30 years later.