Sonntag, 21.10.2018
Record of the Week

TUNE-YARDS “I CAN FEEL YOU CREEP INTO MY PRIVATE LIFE”

TuneyardsTune-Yards
“I Can Feel You Creep Into My Private Life”
(4AD)

As a person with white skin, there is no damage in bearing your privileges in mind once and again – and recognize your own racist mechanisms. Merrill Garbus, female half of the pop duo Tune-Yards has recently participated in a six-month workshop on racism. The goal of the workshop was to help white people to see themselves as part of a multinational community – naturally, this caused altered perspectives.

The song “Colonizer” on Tune-Yards new, amazing album “I Can Feel You Creep Into My Private Life” is a direct result of this new self-awareness: A bass-heavy dance beat is accompanied by Garbus’ lyrics “I use my white woman’s voice to tell stories of travels with African men … I turn on my white woman’s voice to contextualize acts of my white woman friends” – distressing for herself since the lyrics aren’t role prose, but her own further behavior.

But the self-accusation as a concealed racist is just one aspect of the work of the new Tune-Yards. New, because Merrill Garbus’ longtime companion and co-musician Nate Brenner is now an official member of the Tune-Yards. His elastic, buzzing bass lines have been a part of Tune-Yards’ music for a long time – but now it’s official, so to say. Also new is Garbus’ incarnation as a DJ: after the anti-racist workshop, she thoroughly studied dance and house music, which also explained the almost consistent danceability of the tracks. The trademark-sounds, such as ukulele, percussion and voice loops and bizarre synth sounds, are still there, but yet they gave way to a more songlike approach, as it was the case in the last album “Nikky Nack”. Not all of their fans like this, some of them have already complained about Tune-Yards becoming mainstream and sell-outs – but come on, please give this album a listen: If this is mainstream I’m in!

The topics are politically current; it’s gender equality, American politics, the destruction of the environment. Musically you can hear/feel Garbus’ and Brenner’s love for the 80’s – which in their case means: post wave and disco of the New York kind, 4-to-the-floor combined with free jazz in the spirit of Tom Tom Club, Liquid Liquid or KONK. Percussive, repetitive, pressing, bass-heavy; especially on tracks like “ABC 123”, “Heart Attack” and “Honesty”. Garbus also wanted her voice to sound machinelike-artificial: She puts her hot vocals through the MPC distortion, but always remains recognizable as Tune-Yards. Sometimes there seem to be too many ideas for one sone, but this chaotic-untidy element prevents overly smooth structures. In short: There is no reason to fear that Tune-Yards will turn into a mainstream act.

Translation by Denise Oemcke 

Tune-Yards live:
24.03. Gebäude 9, Köln
27.03. Festsaal Kreuzberg, Berlin
28.03. Uebel & Gefährlich, Hamburg

Verlagssitz
Kaput - Magazin für Insolvenz & Pop Aquinostrasse 1 | Zweites Hinterhaus, 50670 Köln | Germany
Team
Herausgeber & Chefredaktion:
Thomas Venker & Linus Volkmann
Autoren, Fotografen, Kontakt
Advertising
Kaput - Magazin für Insolvenz & Pop
marketing@kaput-mag.com
Impressum – Legal Disclosure
Urheberrecht /
Inhaltliche Verantwortung / Rechtswirksamkeit
Kaput
Kaput - Magazin für Insolvenz & Pop ist eine Publikation des Verlagshauses Kaput.

By continuing to use the site, you agree to the use of cookies and accept our data policy. More information

The cookie settings on this website are set to "allow cookies" to give you the best browsing experience possible. If you continue to use this website without changing your cookie settings or you click "Accept" below then you are consenting to this.

Close