Little Dragon – Nabuma Rubberband [Synth-Pop]

Release Date 12th/13^th May 2014

Swedish synth-pop foursome Little Dragon is back with their fourth full length LP, Nabuma Rubberband. Formed in 1996, the group consists of Yukimi Nagano on vocals with her school friends Erik Bodin on drums, Fredrik Källgren Wallin on bass, and synth-master Håkan Wirenstrand.

The group’s name was inspired by a nickname Yukimi Nagano earned due to her explosive temper in the studio and short stature. Their distinctive blend of electronica, synth-pop, and trip-hop first caught my attention when their second album Machine Dreams was introduced to me by a friend at university (Hi Harry!); the masterful pop-driven grooves and rich, luscious soundscapes were made even more indulgent by Yukimi’s incredibly unique voice.

So it was with great delight that I caught the release of the group’s third album Ritual Union, another collection of infectiously catchy pop songs dealing with themes of (there isn’t a better way to put it) ritual unions. Marriage was an obvious theme, with the cover made up of pictures of friends and relatives of the band members on their wedding days. Commenting on the album title in a Canadian music magazine, Yukimi elaborated: “It can represent a band, a marriage, humanity, the universe. Whatever you feel connected to."

So fans of their last album might be interested to hear that to me, Nabuma Rubberband seems to move past the themes explored in Ritual Union, and turns its attention towards division, isolation, and loss. The album art features a young girl suspended mid air, and although on first glance it looks like quite a fun image, you soon realise this girl is completely alone.

Musically as well, this new LP is somewhat of a departure from their back catalogue; while the band’s sound hasn't changed too dramatically, it’s the image, themes and structure of this album which seem very different.This is a much darker, sombre, and more personal album than the band’s previous work, and has already begun to divide fans and critics into those for, and those against their new direction. The opening track, Mirror for example is perhaps the slowest and darkest song they've ever produced; with a measured, sluggish beat and starkly metallic percussion set against a brooding backdrop of swelling sub-bass and staccato synthesizers. Yukimi is icy and collected as she delivers the opening line:

“You know, you’re making me mad”

This highly atmospheric introduction to the album is so spacious it leaves me feeling as if I’m trapped in an abandoned factory; the drums, the synths, the bass all reverberate around this huge cavern, building in intensity, only to fade away again like an echo. The coldly delivered lyrics are a reflection (excuse the pun) on a toxic relationship with the narrator trying to get an objective view of said relationship by breaking away from it:

“I’mma climb up these clouds

And see things clear…       

You’re gonna make me put my fist through this mirror”

The next track and second single from the LP, Klapp Klapp kicks off with jazzy double bass and drums before exploding into a dark electro-pop melee of vibrato synths, crispy drums, and wailing vocals, and when the chorus hits the sense of urgency and delirium is palpable. 

Sonically, it’s a stark contrast with the album’s opener, and as result has some serious impact when listening to the LP all the way through. In my opinion this is one of the band’s best tracks to date, and again when juxtaposed with the first track shows off Little Dragon’s ability to both brood and croon, as well as rock the house.

In terms of the instrumental, the fourth track on here Underbart is more of a return to what I've heard on previous Little Dragon releases; immersive, packed with sonic bells and whistles, and some driving sub-bass to boot. The lyrics here deal with the sudden end of a relationship, in which one of the characters simply walks away, not burning his bridges, but blowing them up completely.

Perhaps the most personal track on here is Paris, which deals with the sudden loss of friend (or maybe a lover?) and the instrumental is absolutely fantastic on this track; lots of catchy melodies, interesting drum sounds, and wavy, fluttery synths, but yet again, the lyrics are what make the song. In the second verse for example, we’re presented with the image of a dead person’s answering phone message being the last thing the narrator hears:

“The hourglass that tick-tock too fast for a destiny

I've got a full drawer of letters

Remember it was Paris you said we were gonna meet?

Why your answering machine's still on?”

One of the best slow tracks on the LP is Pink Cloud, with eerie strings and smooth, warm synths backing her up, Yukimi’s voice which is pitched up and modulated at the start of the track making her sound both angelic and creepy. It’s a really beautiful, slow, patient instrumental, and the lyrics deal with the feelings of isolation, confusion, and disillusion that are a result of modern culture and technology. The track ends with some stunning violin melodies and lots of shimmering percussion.

The album’s ender, Let Go concludes the album beautifully; an ambient, down-tempo track, Let Go outlines the conflicting emotions of loss and liberation which come with ending a relationship. It fits the theme of the album perfectly, and is the epitome of bitter-sweet.

Fans expecting another album full of catchy pop melodies like Ritual Union or Machine Dreams may be left disappointed with this album, but after a few listens I'm convinced that this may be some of Little Dragon’s best work to date. Nabuma Rubberband is much more moody and progressive than their previous efforts, and much more of a grower. Patient listeners will be rewarded with a highly cohesive, more thematic album with great lyrics, gorgeous soundscapes, and lashings of atmospheric melancholy.

[8/10]