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On January 17th, the synth-pop project Laumė (rhymes with Pflaum) will deliver the aptly-titled new LP, Waterbirth, by way of Carpark Records, finally sharing her most lyrically complex and musically infectious body of work to date. The New Zealand-born songwriter and former Yumi Zouma frontwoman and co-founder, Kim Pflaum, worked with French producer Rude Jude to craft a 13-track LP that broadens the scope of Laumė. The irresistibly vibrant and funky sounds of each instrumental are inspired by visionary pop artists like Sade, Kate Bush, and Grimes, but sit in stark contrast with the ideas explored in Pflaum’s writing. “Spells (Oedipusi)” finds Pflaum knocking the antagonist down a notch, and doing so in style overtop a punching kick drum and groovy synths. Since releasing her debut EP, Bad Humors, under the moniker MADEIRA, Pflaum has renamed the project, had a stint in London, and spent the past three years working to better understand the complexity of the world around her. Her travels and new experiences shaped both the content and construction of her songwriting and recordings, giving way to this expansive new full length.
Between 2016 and 2019, Pflaum wrote and recorded new material for Waterbirth everywhere she had the space to–from Okie Dokie studio in Auckland, to flats around London, to even a train across Poland. “I began to question human nature and who we are.” Pflaum recalls. “We’re so complex and we have these dark sides to us—I’m equally reflecting on myself at the same time” as heard of “Darkside.” Each of her new tracks began to form like Russian dolls, filled with layers of meanings that are not easy to spot at first glance. Pflaum explains “Although at one level it might sound like I’m singing about a certain thing, I’m usually singing about something else altogether on another level.”
In late 2017, Pflaum traveled to eastern Europe, where her grandfather fled Poland during WWII, in an effort to learn more about her family roots firsthand, and examine the deeper parts of her psyche. ” Pflaum became more interested in lineage and the cycle of life, and the concept of birth and rebirth unified the new songs she was writing. “When I was a young child I drowned, so in a way the album is a reflection on getting another chance,” explains Pflaum, “The album is actually dedicated, in part, to the two people who rescued me from the water, as I’ve never been able to thank them.” Throughout the record Pflaum is constantly balancing the power of nature and the fragility of humanity, capturing the existential tension between both in songs like “Villains” and “Klara.” Slowly as Pflaum and Rude Jude worked together, each song they crafted would reinforce the record’s sonic and lyrical duality. Rude Jude’s production is reminiscent of the pop golden age of the ’70s and ’80s, but Pflaum’s writing and intentions make the album feel undeniably current.
