Tune-Yards – Whokill review

Review number twelve! Late again, but I am keeping pace!

Right from the beginning of “My Country”, Merrill Garbus’s loop based music is evident, with some big drum loops (the bigger the better, to steal from Nelly Furtado’s “Big Hoops (Bigger the Better))””. (Nice, closed that last sentence with double end brackets and quotation marks!) Of course much more is added to the mix, including horns later on that are not looped.

When I saw her symposium at Pop Montreal last year, she mentioned how she would like to move away from the looping pedal and along with a singing group, she has been studying singing styles and applying them to her music, and will continue to do so. Which is great to hear, as she will certainly evolve as an artist. That is not to say Whokill is not good, anything but. Her loops, along with live (not looped) instrumentation, and her unique songwriting makes for a cool second album, after her super lo-fi debut album (BiRd-BrAiNs) (recorded mostly on a dictation machine), and its lack of bass. The lack of bass she said meant her drums had to be big. And they are big in this album too, along with some good bass (stand up bass in “Es-So”, or cool distorted bass line in “Gangsta”).

The big up-tempo songs may be what she is known for, but she also slows things down on “Powa”, and “Wooly Wolly Gong”. The latter being stripped down too, pretty much a Tune-Yards lullaby!

All in all, I am not a huge Tune-Yards fan, but I like that she is innovating! I look forward to see what her future holds!

She returns to Montreal for a show July 31, with local act Mozart’s Sister opening. The remaining tour dates, which sees her going to Europe in August can be found at her official site, tune-yards.com

Source used:
Bird-Brains | Wikipedia

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