I Can Feel You Creep Into My Private Life
In places, the new Tune-Yards album “plays as little more than a high-concept workout tape,” said Spencer Kornhaber in TheAtlantic.com. That’s what can happen when vocalist-percussionist Merrill Garbus amps up both the dance rhythms and the self-interrogations. Her latest effort, the first in which she’s made a collaborator part of Tune-Yards, is “all twitchy body music and charged lyrics”—a voyage into one white woman’s internal dialectic about her cultural privileges and blind spots. The effect is undoubtedly self-centered, but Garbus is an “ever-surprising monologuist,” and the Tune-Yards sound continues to be “disorienting yet playful.” The core of that sound “remains Garbus’ beat science—hypnotically looped and stuttered, driven by handclaps, drumstick clatter, and her increasingly varied vocal displays,” said Will Hermes in Rolling Stone. Some listeners may find the lyrics too heavy, but I Can Feel You Creep is “an LP determined to conjure kinetic joy while staring down our present cultural fright show,” and it’s prickliness works.