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‘I never imagined this!’ How KPop Demon Hunters could make history at the Grammys and the Oscars

31 janvier 2026 à 06:00

As the film’s megahit song Golden looks likely to sweep everything in awards season, its singer Ejae explains why she’s ready to step out from behind her animated alter ego

‘The directors were crying, the producer was crying, and I thought: Oh my gosh, this is an incredible musical world.” It was February 2025, and Ian Eisendrath was conducting an orchestra through the final flourishes for the KPop Demon Hunters soundtrack. He knew that the team had built something special – “but I never thought it would be like this,” he laughs, marvelling at what came next.

Mere weeks after its release in June, the animated film – about Korean girl band Huntr/x who battle soul-hungry demons through song – became Netflix’s most-watched title ever. The film’s soundtrack, a fleet of emotionally charged, devilishly catchy hits crafted by real K-pop heavyweights, became a platinum-rated phenomenon all its own.

Yumi Zouma: No Love Lost to Kindness review – New Zealand dream-poppers’ reinvention doesn’t go far enough

The Guardian

Par :Katie Hawthorne

30 janvier 2026 à 09:00

(Nettwerk)
The quartet edge away from their trademark sound with louder guitars and bolder intentions – but their reinvention is more gradual than radical

Yumi Zouma are breaking up with dream pop. After a decade together, the New Zealand four-piece have honed an airy, lush, lightly melancholic sound – but now they want change. “More extreme everything, more boldness,” guitarist Charlie Ryder has said of fifth record No Love Lost to Kindness, written during the band’s “most friction-filled creative period” to date. While it’s true that their latest singles are faster, louder and more distorted, these bright, pretty tracks will rattle only their longest-serving fans.

Bashville on the Sugar locks eyes with an ex on the subway and rushes with Olivia Campion’s breathless drumming, while Blister flips the band’s knack for whistleable melodies into pogoing, enjoyably predictable pop punk that professes “venom and rage” but is far more fun than furious. Drag begins as a genuine switch-up, with threatening bass and an uncharacteristically deadpan performance from singer Christie Simpson as she picks apart an ADHD diagnosis, but soon blossoms into billowy, even dreamy, layered vocals and luminous guitar.