Tune-Yards - "I can feel you creep into my private life"

Tune-Yards, AKA Merrill Garbus, for the last 10 years or so has become a pretty big player in the world of Indie Pop.  Merrill's first album under the Tune-Yards name, "BiRd-BrAiNs" however, is certainly a tough one to get into.  This is a Low-Fi album of the purest kind, being mostly only just Merrill and her Ukulele for most of this album.  The songs weren't very well produced, and a lot of Merrill's ideas were a little underdeveloped.  Tracks like "Jumping Jack" and "News" both had a lot to enjoy about them.  But still, while this album wasn't absolutely flawless tracks like "Fiya" and "Jamaican" really stuck with me.  While Merrill's craft had still plenty of room to grow, her performances to an extent were immensely captivating.  Now, on Merrill's next album under the Tune-Yards name, 2011's "Whokill", I have absolutely no idea what happened.  But Merrill was all of a sudden this very colorful, creative Pop star with tons of Charisma.  There were elements of Indie Rock, Art Pop, Low-Fi, Noise Pop, Electronic/Dance, World Music, and a WHOLE lot more.  It was a shocking turn for Tune-Yards.  But honestly, one that really worked so well.  Merril's ideas were really coming to fruition wonderfully, and I was actually really excited to see where she would take Tune-Yards next.  The answer is 2014's "Nikki Nack".  This album was filled to the brim with electric performances that were seriously passionate, as well as a slew of Fiery, political lyrics.  Tune-Yards seemed to be bigger and better than ever, with Merrill showing more personality than ever for sure.  Her ideas seemed to be completely nonstop, almost like she had just chugged a few coffees and recorded EVERY result.  This honestly though, made "Nikki Nack" really exciting.   Also, I really loved the electronic elements as well as the Jazzy undertones, even though the music of Tune-Yards remained truly adventurous Pop on its surface.  So it's actually been a few years since we've heard from Tune-Yards.  But these new singles are a bit strange.  They're just as unhinged and FILLED with personality.  But the production and beats aren't nearly as colorful or as punchy.  So I'm curious about how this album holds up overall, let's chat!

    This album starts off with “Heart Attack”.  Now, I don’t know if it’s just me.  But sure, this track is animated and eclectic and all.  But Merrill almost seems reserved to me and not nearly as colorful and vibrant.  Not completely, because there are some really good elements here and there, like that really solid beat, the intense grooves, and the world music flair is just as refreshing.  But I just can’t shake this feeling that Merrill is watering herself down.  As eclectic as this is, Merrill just seems chained down and not nearly as entertaining or as colorful.  It’s not until the last minute of “Heart Attack” or so so that I get into this one a little more.  Outside of that, this one is sadly more obnoxious than anything.  Merrill has always been sort of a love or hate artist, but this track just doesn’t do her any favors.  The more subdued performance on “Coast to Coast” really isn’t what I expected to hear either.  But at the very least, this is actually a cool change of pace for her.  I love the low-key synth grooves and the very gloomy mood, even though this is far from what I expected to hear.  It’s haunting, and lyrically this really packs a punch.  But Merrill remains the star, and her performance is truly commanding and eye-opening.  “Coast to Coast” is a weird track, one on paper that really I wouldn’t usually dig.  To be honest, it’s got nothing that I usually love about Tune-Yards.  But, it’s a solid tune, and it did stick with me.  As this album rolls on with “ABC 123”, it’s getting obvious quickly that this is some of Merrill’s more political work.  It’s something that she’s worked with in the past, but it’s never been this front and center.  It does seem to fit her usual style of music, and I would say that her performance is certainly passionate.  But for me though, I do wish this was a little more flashy and colorful.  It’s a decent tune with some lyrics that are commendable.  But without the usual Tune-Yards sound present, I hate to say it, but this isn’t nearly as interesting.  It may be a catchy Indie Pop tune, but I wish Merrill took this so much further.   I do get that this is supposed to be a much more serious album for serious times.  But Tune-Yards so far have just not been able to really nail the sound they’re going for.  “Now As Then” isn’t fun to listen to, it just really drags along with nothing exciting happening.  Even lyrically, this just sort of comes off as Merrill biting off more than she can chew as depressing as that is.  These are topics that obviously need to be brought up, but the presentation of “Now As Then” is dreadful.  So far, this album is seriously below average. 

    Merrill does slowly get her act together, very slowly.  “Honesty” at the very least comes off a little interesting.  There’s a vibrant, pulsating beat and Merrill just sounds so much more comfortable.  She continues to pack quite a punch lyrically, so she can obviously find a pretty good medium as far as this new sound and her more adventurous side goes.  I love some of the wailing guitars in the back of the glitchy beat pulsating through the track.  Overall, “Honesty” more or less is what I wanted to hear Merrill accomplish here.  Even that last monologue comes off really cool.  But instantly, Merrill throws that away on “Colonizer” and ends up sounding really awkward here.  Once again, instrumentally this is just ugly.  There isn’t anything vibrant here or even energetic.  And sadly, Merrill once again sounds like she’s biting off more than she can chew.  I have no issue whatsoever with Tune-Yards scoping out a more political sound.  But to be performing these charged lyrics over casual dance beats just doesn’t come off as flattering.  I just think Merrill could really have done so much more with this.   But like I said, a lot of these later tracks show Merrill really waking up.  “Look At Your Hands” packs just as much of a punch lyrically as earlier tunes.  But in a surprising twist, this one is actually exciting and interesting.  Merrill’s performance here is so animated, and it’s just so refreshing to hear her dishing out some explosive vocals.  So much so, that I honestly feel like Merrill can handle these charged topics she’s presenting.  “Look At Your Hands” is catchy, artsy, and honestly a little puzzling in the best way, in the way that you question what you’re listing to.  Tune-Yards keep it together for this one and push out the most exciting track here yet.  On the other hand, “Home” is much slower.  In a weird way though, I’m actually totally into just how haunting and striking this one comes off.  Here, Tune-Yards sounds like the ballsy and eclectic pop group that they once were.   But as far as Merrill’s verses go, man is this one ever dull.  I’m totally down with this more atmospheric sound.  But Merrill’s spoken work passaged do nothing for me.  I’ll give “Home” credit because it’s interesting and different, but I still feel like this album overall just hasn’t been a good shift for Tune-Yards.  

https://www.youtube.com/watch?v=zAadziqcQZw

    “Hammer” is up next, and Merrill does really have a way of playing sounds and giving you something interesting out of nowhere, often reeling you in quick.  And between the Afro-Beat percussion and Merrill’s multi-layered vocals, that’s what happens here.  On the other hand, her very jazzy and classy performance on this one is so freakin’ cool that it gives me chills.  It’s not like Tune-Yards can’t make very focused material obviously.  “Hammer” while it’s much more colorful, it’s still smooth and sweet to listen to.  Tracks like this I really wouldn’t mind listening to another few times, go figure.  By the time we get to “Who Are You, Merrill finally really sounds like she knows that she wants to do with this album.  Yes, this track isn’t nearly as eclectic and colorful. But the more chilled out and spacey production on this one is the real story.  I still think that Merrill is biting off more than she can chew lyrically.  But on “Who Are You”, for a few short minutes, it’s a stunning display.  I love some of the effects on Merrill’s vocals, and some of those backing instrumentals are wild and should be more front and center.  Merrill still does have a lot to offer.  But once again, Merrill ends up sounding scatterbrained on “Private Life”.  The beat is there, as well as the eclectic performance.  But absolutely nothing about this one clicks.  Half the time, Merrill just sounds like she’s playing a completely different tune compared to the instrumentals.  For as long as Merrill has been working on this album, I really feel like so much of this is all over the place.  Not to mention, this album has taken a bizarrely dark turn.  And sadly, this album’s finale “Free” really isn’t that much better.  You would think I would be so much more into Tune-Yards going for a more abrasive sound.  But this one is just so sloppy.  Merrill’s moans are nothing short of obnoxious, and the instrumentals surrounding her almost constantly just sound messier.  I don’t know what Merrill was going for with this album, but outside of a few tracks, this one falls very short.  

Rating: 6.7/10

Give A Listen To: "Coast To Coast", "Honesty", "Look at Your Hands", "Hammer"

Genre: Indie Pop / Indie Rock

Overall Thoughts:  This is easily the biggest mess of a Tune-Yards album from Merrill’s debut of the project years ago.  These are telling times, and there are plenty of topics that need to be discussed more in music.  Merrill’s always had a slight political edge in her music.  But her going all out and trying to accomplish this incredibly political album has resulted in her really biting off more than she can chew.  Not to mention, her performances aren’t nearly as charismatic or eclectic, and the instrumentals are hit and miss.