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ĪN YĪN, the highly touted Dutch quartet from Maastricht, returns with a sonically expansive third album Mount Matsu. Recorded collectively in their own studio in the Belgian countryside, the album is a kaleidoscope of sounds and influences, occupying a no man’s land between Khruangbin and Kraftwerk, surf music and Southeast Asian psychedelia, Stax soul and mutant 80s disco, City pop and Japanese instrumental folk (sōkyoku).

Mount Matsu sees YĪN YĪN at their most mature and adventurous stage yet. Infectious pentatonic melodicism calling for multiple rewinds.

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After capturing widespread attention with their beloved debut album The Rabbit That Hunts Tigers (2019) and its acclaimed follow-up The Age Of Aquarius (2022), the Dutch quartet YĪN YĪN returns with their third LP Mount Matsu, and an expansive new sonic direction. While their earlier releases were a result of the chemistry between its founding members, drummer Kees Berkers and multi-instrumentalist Yves Lennertz (who recently left the band), the group’s lineup change has brought forward a more democratic creative mode. Members Remy Scheren (bass), Robbert Verwijlen (keys) and Erik Bandt (guitar) from the onset joined Berkers in the songwriting process, making the music on Mount Matsu much more than a sum of its kaleidoscopic influences.

“Art and ideas are personal and precious and the process of doing this truly together has been about more than just making an album. It was also a study of how collectives work,” notes Scheren, YĪN YĪN’s bass player since day one. “It’s sometimes hard seeing your own artistic ideas challenged as a member of a group, but we’re very proud of the result. When you truly co-create, literally every sound on a record has been tested through and through,” .......
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