The 2018 Tune-Yards album, I can feel you creep into my private life is an unflinching examination of modern identity, intricately rendered in their characteristic manically infectious manner. On it, founder, lead singer and multi-instrumentalist Merrill Garbus and her long-time collaborator, bassist Nate Brenner, flirt with the dancefloor as the kickdrum underpins wild polyrhythms and slinky bass grooves around atypical arrangements and song structures.
This is the natural evolution for Garbus, who first entered the indie world’s eardrums in 2009 with the lauded album Bird-Brains, self-released on a recycled cassette tape and recorded using a handheld voice recorder before being picked up by 4AD. Described as dazzlingly imaginative, ingenious and often irresistible, she creates distinct modern synth-driven mash-ups of global rhythms and art-punk dreams built on unapologetic songwriting that questions and critiques the government, pop culture and themselves.
It’s beautifully warped, intriguing and unsettling sunlit pop from a former puppeteer and ukulele player in the band Sister Suvi who recently scored the satiric sci-fi film Sorry to Bother You and also hosts the radio project C.L.A.W., a monthly guide and new music catalyst around female-identifying artists. Oh, and they happen to run Water Fountain, a water conservation charity and are writing music with David Byrne. It’s Tune-Yard’s great charm and impact: to get you dancing while making you care and think.
Biography by Kerry Clarke