Yum-Yum was the short-lived task of Chris Holmes, a Chicago-based multi-instrumentalist who all experimented in a number of musical styles without ever settling for or excelling in virtually any of them. Ahead of developing Yum-Yum, which he was the just continuous member, Holmes have been the primary songwriter for Sabalon Glitz, a second-string entrance in the Chicago post-rock picture with a apparent fascination for ’70s Krautrock as well as the previous Television series Doctor Who. Yum-Yum was completely different; apparently motivated by chamber pop revivalists like Cardinal or the High Llamas, Holmes affected the appearance of a fairly pretentious graduate pupil in British and began composing songs intensely indebted towards the Seaside Children, Nick Drake, and Belle & Sebastian, with no tune-making ability from the initial two, but with all the current irritating preciousness from the last. He performed live with a string section and a French horn participant. Yum-Yum was agreed upon by Atlantic’s short-lived Label Information imprint in past due 1995. The Yum-Yum record, 1996’s Dan Adores Patti, was documented with Chicago mainstay David Trumfio (the Pulsars) on the handles, and was the thing of a massive promotional blitz upon its springtime 1996 release. Less than 10,000 copies marketed; Holmes was fell by Atlantic and Yum-Yum dissolved. Holmes after that jumped over the techno bandwagon, developing the electronica respond Ashtar Order. Normally, the storyplot would have finished right there, however in March 1998, Holmes’ years as a child friend and previous roommate Thomas Frank had written a ten-page content about Yum-Yum for Harper’s Journal, where Holmes stated that Yum-Yum was intended as both an ironic joke and a deliberate try to develop a subtly mocking industrial powerhouse. (This might be considered a misguided attempt if accurate; chamber pop under no circumstances did soar off the racks.) Right now, if Holmes got created a challenging, discursive parody from the Backstreet Young boys…. This after-the-fact revisionism didn’t capture on, as much other folks linked to the task disputed the theory that Holmes was not genuine in his desire to make the big style, but the truth continues to be that Yum-Yum, no real matter what the purpose, was under no circumstances destined to become anything more when compared to a enjoyable footnote to a quickly neglected subgenre of middle-’90s indie pop.