I can feel you creep into my private life
The fourth Tune-Yards album bears more electronics and dance beats than its predecessors, but Merrill Garbus\' combination of sociopolitical savvy, outside-the-box creativity, and giddily infectious enthusiasm remains. While the R&B inflections and late-night club vibe of \"Heart Attack\" may represent something of a stylistic shift, the electronic beats of \"Private Life\" are sprinkled with the kind of world-music influences and playground-chant cadences that have been part of Tune-Yards\' tool kit for a while. And the minimalist, dub-like feel of the haunting \"Home\" comes off as organic as anything Garbus has done.
On her confrontational fourth album, Merrill Garbus wades into the politics of being white in America. It is musically and lyrically ambitious, but its grander themes land with an uncomfortable thud.
First Aid Kit delivers more ’70s folk-rock mastery with Ruins, while Porches sputters out on The House and Belle & Sebastian go deeper and darker on the second How To Solve Our Human Problems EP. These, plus Tune-Yards, Shopping, and more in this week’s notable releases.
Merrill Garbus must now be recognised as one of the most exquisitely playful and inventive voices of our generation.
On Tune-Yards' fourth album they've created an art-pop world that zings with colour and dances to its own clattering beat.
Also: The Residents – The Third Reich’n’Roll, Glen Hansard – Between Two Shores, Starcrawler – Starcrawler, and Daniel Taylor, The Trinity Choir – The Path To Paradise
Tune-Yards made a timely return with i can feel you creep into my private life, a vibrant album that explores the political and cultural tumult of the late 2010s with anthemic heft and individualistic perspectives.
Tune-Yards tackle important current issues on their most upbeat record yet, I can feel you creep into my private life.
It was hard to be optimistic when Tune-Yards released "Look at Your Hands" last October. The single traded the Oakland duo's signature rhyth...
Listen to "Hammer" from this, the fourth Tune-Yards album, and you can picture Merrill Garbus at the song's creation.
In 2006, Merrill Garbus released her scrappy debut, ‘Bird-Brains’. Its smartly looping arrangements of ukulele and percussion were darkly
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Tune-Yards' new LP, their fourth, is both a listenable pop record and a serious examination of inequality through whiteness.
The album promotes a personal reckoning of one’s complicity in an increasingly toxic culture.
The latest from Tune-Yards is as jubilant and groovy as listeners have come to expect, with strong political overtones and a unique personal touch.
Merrill Garbus’s identity politics may skirt self-parody, but by combining them with house and disco, she’s made an album custom-built for 2018<br>
On which Merrill Garbus goes from deep-sea diving to treading water. Album review by Howard Male