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Archive for the ‘tUnE-yArDs’ Category

[DID NOT ATTEND: June 18, 2022] tUnE-yArDs / Anjimile

I saw tUnE-yArDs in 2018 and enjoyed the show. There’s questions about her appropriation of African culture into her music which makes me think, rather than enjoy, her music.

So I wasn’t likely to go to this show even if it hadn’t been right up against Kraftwerk, which there was no way I was missing.

Anjimile Chithambo is a folk singer from Boston, Massachusetts.  Her music is pretty, but I don’t care for her singing style at all, which is kind of slow and deliberate and, to me, a little tedious.

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SOUNDTRACK: mxmtoon-Tiny Desk (Home) Concert #137 (January 15, 2021).

mxmtoon is another young musician who has gained success through the internet.  Two years ago when All Songs Considered played her, they noted that the then 18-year old has “amassed a sizable following on Twitter and YouTube on the strength of her endearingly intimate presence.”

mxmtoon sings songs filled with dreams and anxieties. Much of the music comes from her recent 2020 EPs, Dawn and Dusk.  Those EPs included collaborations with Carly Rae Jepsen and Tune-Yards’ Merrill Garbus. For this Tiny Desk (home) concert, her sweet voice and ukulele are accompanied by Nicole Wakabayashi on piano and Cale Hawkins on guitar.  Her melodies are simple, with the words up front mighty and personal.

They play five songs and the blurb is absolutely right.  These are simple, pretty songs.  Maia’s voice is wonderful and she happily allows th eband to play behind her.

On “Fever Dream” Nicole and Cale play the delicate melody (which gets slightly large after the first verse) as she sings her intelligent and thoughtful lyrics.  Nicole throws in the occasional backing vocal harmony which adds a nice touch.  A

After the sing she jokes,

“Hi, I’m mxmtoon, and I’m doing my Tiny Desk at the world’s biggest desk!” And so it begins, from an eerily empty New York City office building,

It’s been almost two years now since we first played the Oakland-based mxmtoon on All Songs Considered. She was just 18 then, singing about crying in her “prom dress” (which I’m thrilled she is performing here).

On “Prom Dress” she adds her ukulele to this amusing and sad song about going to prom.

I can’t help the fact I like to be alone
It might sound kinda sad, but that’s just what I seem to know
I tend to handle things usually by myself
And I can’t ever seem to try and ask for help
I’m sitting here, crying in my prom dress
I’d be the prom queen if crying was a contest

One of the first songs she released is called “Feelings Are Fatal,” which she also performs. It’s a candid song about emotions and why we’re often afraid to share them. It’s a model for what mxmtoon does so well: humble, honest songs, sung here behind a massive desk.

She says she credits her writing style to “Feelings Are Fatal” because this was the first song that she was completely honest in wanting to share her feelings with the world. (According to bandcamp she had about a half dozen songs before this one).  It’s just her on the ukulele (it’s a large ukulele) singing these clear words.

i’m always sad
and i’m always lonely
but i can’t tell you
that i’m breaking slowly

closed doors
locked in, no keys
keeping my feelings hidden
there is no ease

“Wallflower” opens with the piano and her singing very clearly.  Her voice sounds like someone else’s here, although I can’t quite place it.

“Bon Iver” is a cute song started on the ukulele before the band joins in with lovely backing oohs.  The title comes in in this verse:

Playing Bon Iver on late night drives
My window, moon, and fireflies
Holding onto moments that we found
Even when the sun goes down.

It’s a lovely little concert and I look forward to hearing more from her.

[READ: February 21, 2021] “The Death of Jack Hamilton”

This is a long story about John Dillinger.

It’s told by Homer, a Dillinger flunkie.  He’s a colorful character who speaks colloquially.  He wants to set the record straight about Dillinger’s death.  He does this by talking about the death of John’s closest partner Jack Hamilton.

The three of them were escaping from a job and the police were after them.  After some bullets were fired, they realized that Jack was hit.  He said he was fine, but over the course of a few hours he started to look pretty bad–with a lot of blood leaking out.

The realized they needed a new car so they pulled over and waited for a car to come help them.  A family of three pulled over to help.  Dillinger and his men showed off their guns, but the family recognized him and seemed pretty thrilled to be meeting Dillinger himself.  He promised no one would get hurt–Dillinger robbed banks, he didn’t kill people  Dillinger was charming and could always make people smile. (more…)

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[ATTENDED: May 10, 2018] tUnE-yArDs

When I first saw tUnE-yArDs on a Tiny Desk I was really impressed by Merrill Garbus’ set up.  I loved that she looped things so much–she may have been my first real exposure to that much looping.

I also loved that she played a kind of modified ukulele.  And I really liked her voice which was so unexpected for someone who looked like she does.  When I first heard them I assumed she was African American.

I loved the album w h o k i l l, but hadn’t really heard that much from them since.  There’s a new song that WXPN has been playing “Look at Your Hands” which I liked, but I didn’t hear anything else from the album.

So based on the Tiny Desk, tUnE-yArDs had been very high on my list of bands to see.  But that was many years earlier.  I still had high expectations and I found myself not exactly disappointed but like something of an outsider at the show.  Because while I didn’t know that much of her new music, the rest of the crowd knew everything and danced accordingly.

I had hoped to get tickets to see her club show at Boot & Saddle.  I don’t know how different that small show was but this show was simultaneously large and small.

I had heard that there were previously saxophones, background vocalists and percussionists on stage with her.  For this show there was only Hamir Atwal on drums and her musical partner Nate Brenner.

The stage set up was sparse: a big white backdrop and Garbus on a raised platform.  The drums on her right, the bass on her left.

Garbus still loops with abandon.  Indeed, Shara Nova made a comment about Garbus’ feet.  The key to Garbus looping (and there was plenty), is that she does a lot of the work with her feet.  However, there was a monitor in front of her feet so you couldn’t watch what she was doing up there.  That kinda stunk.

But she had a ton of energy.  She played a small drum pad a modified ukulele and those loop pedals.  She danced around on her platform and occasionally, briefly came down to the audience and danced a bit before heading back to her station.

Garbus and crew recreated three songs from the new album.  And everyone around me sang along.

I thought that Nate Brenner’s bass was too loud in the mix, but when he played a high riff it sounded great.

I loved hearing “Look At Your Hands” live where the dynamic was seven more dramatic than on record.

She played only one song from Nicki Nack, the catchy and pointed (like nearly every other songs) “Water Fountain.”

And then it was on to the songs from Who Kill that I was really excited to hear: “Es-So ” and “Powa.”

I had heard a lot about her new album which explores the nature of her relationship to African culture.  I’d always wondered about her voice and her intonations, just how African it sounds.  So in a recent interview in GQ she says:

When I was in college I studied Kiswahili, translating plays from Swahili into English and taking lots of African Studies classes and African American literature classes. I went to Kenya and was just so disgusted by the role of white people in colonial history—and, most importantly, present day postcolonial dynamics—that I just shut down. For years I felt like, “There’s no way I can make the music that I want to, which is all influenced by black music.” Bird-Brains, the first tUnE-yArDs album, was almost called White Guilt. So from the beginning of tUnE-yArDs, I have been grappling really awkwardly with that. The song “Jamaican,” a lot of it was me talking to myself: What’s going on here? Do you have a right [to make this]? Why is this music coming out of me? What will people think?

She grapples with serious issues of white guilt and colonization  (like the song “Colonizer”).  These songs are powerful and thoughtful.  And yet for the most part they are incredibly dancey.

In that interview she said:

I want people to dance. Really. That seems so simplistic an answer, but I really value the ceremony of bringing people together into a specific space and not thinking so much. [laughs] Ironically. I know there’s a lot to think about with this music, but when essentials of music take over… seeing people be literally on the same wavelength? It’s super powerful. I felt like making people dance was the right thing.

The audience enjoyed the show tremendously and there was ample dancing.  and I enjoyed hearing her make the music, but  I never quite felt on the same wavelength as everyone else.  Her appropriations of African culture (even how she danced) made me unconformable.  I knew what she was trying to address, but the music was more in my head than in my body.,

Knowing that she has bona-fides in the area makes things better, but can’t change the way I felt about the show.

Having said that, the encore of “Bizness” was totally killer.

This is a setlist from a few shows earlier, but I think it’s pretty spot on.

  1. Honesty*
  2. Look at Your Hands*
  3. ABC 123*
  4. Water Fountain
  5. Es-So
  6. Powa
  7. Colonizer*
  8. Coast to Coast*
  9. Gangsta
  10. Heart Attack*
  11. Encore
  12. Hammer*
  13. Bizness

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SOUNDTRACK: PAT JORDACHE-Future Songs [CST076] (2011).

I love this Constellation release. It is one of my favorite releases of theirs in a long time.  This album sounds like a kind of TV on the Radio demo/tribute.  I don’t mean that in a knock-off way, but there are many elements about TV on the Radio that I recognize here (voice and musical style).  But the fact that a) Jordache plays all of the instruments himself and b) he keeps things simple, makes this an impressive release.

It opens with “Radio Generation,” which has a really cool bouncy guitar riff and bassline.  It doesn’t quite display the signature sound that I think of this album as having but it certainly points to it. “Get It (I Know You’re Going To) is where I hear the first signs of TV on the Radio.  Jordache sings with two voices at the same time–with his deep voice underpinning his higher voice.  It’s a great effect.  And the fiddly guitar bits are really interesting.

“Salt on the Fields” opens with some “wee ooh” vocals in a fairly high register but when the main vocals come in, they are processed and sound not unlike an old radio (and a singer who I can hear but whose name I can’t place) and then midway through, the song introduces a great guitar riff.  “Phantom Limb” features drums and looping from Merrill Garbus who I didn’t know when I first heard this album but who I now know is tUnEyArDs. And, heh, a little browsing tells me that they are in a band together called Sister Suvi.

“Gold Bound” feels more like a demo than the other tracks, it’s a very simple guitar melody with some echoed vocals.  It’s also the shortest song on here and it’s a nice change of pace.  It also ends with a strange excerpt from something else, a vulgar, rocking little piece advising you to run mother fucker.

“Song for Arthur” returns to that cool high-pitched ooo-ooing.  But “The 2-Step” changes things quite a bit.  An interesting processed guitar and loud echoey drums, but that voice is recognizably his.  There’s also more guitars than on other songs which brings a new texture to this album.

The final song “ukUUU” is a slow meandering piece. There’s some interesting sounds going on (reverse vocals and such) and a lengthy spoken piece about love, but it lacks the punch of the rest of the disc.

Nevertheless, this album is interesting, intriguing and a lot of fun.  I’m looking forward to more from him.

[READ: February 12, 2012] “Liability”

I recently saw that Narrative magazine picked three “30 Below” winners for 2011.  So I thought I’d see just what kind of short stories win their prizes.  This is the third place finisher.

I admit I was a little less than excited when I started reading the story.  It was written in second person, which I liked, but it seemed like a pedestrian story about “you ” and your wife.  How she is so beautiful and you feel you have let her down.  But my misgivings soon gave way.  And I think it was with this little section that won me over:

You crave energy and excitement, and to this end you have bought a beautiful condo downtown in the “bohemian quarter,” as the realtor pitched it, which means that it’s cheap enough for artists and poor black people.  That’s okay.  You love art and hate racism.”

By the middle of the next page, after the explanation of your wife’s job (guidance counselor in a poor school) we get to what turns out to really propel the story: “Although, to be honest, she has a small drinking problem.”  He diffuses this bold statement with a qualifier in the next paragraph: “But the drinking problem is only a problem sometimes, and the drinking problem is not a problem tonight.” (more…)

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SOUNDTRACK: tUnE-yArDs-Tiny Desk Concert #179 (December 1, 2011).

tUnE-yArDs perform three songs in this Tiny Desk concert.  Merrill Garbus doesn’t chat a lot between songs, but she’s clearly having a good time (witness them all jumping at the end of “You, Yes You” and how much she smiles at the end of the set.  This is a wonderful opportunity to see and hear her live sampling technique in a small setting (with close up cameras!).

Her voice sounds great–she pulls off all of those voices that she conjures on the record.  And her ability to sample herself and make it work is wonderful to witness (I never imagined that some of those “sirens” and “keyboards” are actually her voice).

The live band is also really hot.  The bassist really hold everything together and the horns sound great–duplicating the sound of the record with just enough flare to keep it original.

And to think she’s making all of  that guitar noise with a ukulele!  It’s pretty groovy.

Watch it here.

[READ: January 21, 2012] The End of War

This is a non-fiction book in which Horgan believes that in the not too distant future (his lifetime I believe), we will see the end of war.  Not the end of violence, nor anger nor aggression–he’s not crazy–but military campaigns against another country could be ended if we reversed our fatalism about war’s inevitability.

Horgan is a writer for Scientific American and in this book he uses the scientific method to show that ending war is utterly possible.  Now, although Horgan is himself kind of a pacifist (he’s not entirely one, this interview explains), his family is not–his father and grandfather are both veterans and his son is looking to enlist in the army.  Nevertheless, Horgan feels that war is not a viable way to solve problems and that the cost of human life is never worth it.

His research shows him that war should be thought of as a solvable, scientific problem—like curing cancer.  The difference is that cancer is outside of our control, while war is not.  But like cancer, war can infect any society–there is no “reason” for it, but it is like a virus–it infects all cultures, even peaceful ones.  If one culture is aggressive the peaceful neighbors need to prepare for war or move away.

Horgan anticipates skepticism, indeed, many of the sources he quotes are skeptics, and he deals with all of their arguments accordingly.  He looks at those who say that war is genetically part of humanity (as many people believe) or that the best way to prepare for peace is to prepare for war (as just about everyone seems to believe).  He looks at those who say that scarcity causes war (not necessarily true), to those who say that as long as there are guns there will be war (he disagrees).  He has a reasonable, believable argument for all of these doubts.  He even shows that the whole “alpha male, XXY chromosome” argument has been disproven and while men are more prone to violence, they are not more prone to wage war.

He also shows scientific evidence that war has not been around as long as people (or even apes) have existed.  Indeed, the first evidence for “war” (as opposed to violence) is 10,000 years ago (not much in humanity’s timeline).

He culls data from previous wars to show that the causes of wars can never be narrowed down to one thing.  And yet, rather than seeing this as a negative–that so many things cause war, he sees it as a positive–that causes of war are not monolithic and impervious to breakdown.

I was skeptical of this book when I started reading it.  I was willing to accept the various scientific answers that he showed (that war is not innate, for example) but my skepticism came because of what I guess you call the military industrial complex–that our military budget is huge and is not going to go down any time soon.  Just see how much protest is garnered by the miniscule amount that President Obama wants to reduce it.  [Everybody knows this truth but it’s worth seeing in print–our military budget is more than almost every other country combined.  China, who spends the next largest amount on their military has a budget that is 1/6 the size of ours.  That is shocking and depressing and a horrific waste of money].

But his point is that like with so many other things that we have outlawed or abolished over the years: slavery, apartheid, monarchy (as opposed to democracy), acceptance of torture; if we have enough consensus we can also abolish war.  He gives examples that it’s actually not as hard as we might think.  Germany and Japan become pacifist virtually overnight (it was forced on them, but they have taken to it with no problem) and even better, Sweden and Switzerland are pacifist voluntarily.

He also points out that war is already on the wane–although the United States was in two wars very recently, the warlike nature of the world is much less than it was even as recently as the first half of the 20th century.  The number of casualties from war has dropped dramatically compared to World War I.  We simply need to find ways to solve crises that do not involve killing people.

All of the chapters were interesting in this book (the book is more or less set up to deal with an issue per chapter).  Some of the chapters were a little long but at 186 pages (plus a bunch of citation pages) this book is short overall.  I appreciate all of his scientific rigor and his ability to show the arguments and then knock them down.

For me, the most interesting and satisfying chapter was the one that found that preparing for war, despite claims that it is necessary, actually does not keep a people safe. That the allocation of resources towards war removes resources from things that actually make people’s lives  better: art, culture, medicine, health.  Preparing for war doesn’t keep us safe, it actually harms us.

Similarly, he shows that competition for resources is not necessarily a cause for war.  To the contrary they have found that in some cultures scarcity brings out altruism.

In short, he says that the only thing that prevents us from abolishing wars is our fatalism that war is inevitable.  The more fatalistic we are about war the more we accept hawkish ideas which perpetuates more war. Once we stop believing that and we try to work towards the end, he believes that we war can end very quickly.

Horgan doesn’t really calm my fears about the military industrial complex–but who knows with enough popular opinion, maybe voters can change things.  It’s a wonderful thought.  And here’s hoping that this post can spread the good word.

And here’s an interview with Horgan that addresses a lot of these questions.

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SOUNDTRACK: tUnE-yArDs-WHOKILL (2011).

I bought this album because NPR was raving about it back in the summer.  When I first played it I was really disappointed.  rather than the interesting experimental music, it sounded like a kind of unpleasant R&B.  So I put it aside for a while.  And when I listened to it again, I was really blown away by it.

For those of you unfamiliar with tUnE-yArDs, there are three or four different singers in the band.  There’s the raspy voiced R&B singer that opens the album.  There’s the whispering vocalist and the spoken word backing vocalists of “Es-So.”  And there’s the rasta singer of “Gangsta.”  There’s the soulful male who sings “Powa” and the woman who can hit the amazing high notes at the end of “Powa.”  And all of those singers are named Merrill Garbus.  For she is more or less the one woman operation behind the band.  (I’m a little unclear if the rest of the musicians are part of her band or just session folks).

I have deliberately been avoiding reading about Merrill Garbus before writing this because I didn’t want to be influenced by reality.  I honestly had no idea who she was or what she looked like when I started listening to the disc.  I assumed, by her voice, that she was a black woman.  But then the liner notes talk about Jewish grandparents and the disc itself includes samples of them, and they are clearly white.  And then yes I saw a photo of her, and she’s quite white.  None of that is of any consequence except to really highlight the chameleonic nature of the music and how it really transcends genres.  That’s pretty awesome.

 The trick that you will read about ad nauseam about tUnE-yArDs is that Garbus loops her own stuff live.  It’s not screamingly apparent on the disc but you can certainly hear stuffed looped as the disc goes along.

This album made almost every best of year-end list.  And that surprises me somewhat because it’s not always easy listening.  “My Country” has all kinds of screamed parts, a staccato horn solo and a cacophonous ending.   The second song, “Es-So” opens with a some clunking drums and what seems like a slightly out of tune guitar playing a simple, aggressive riff.  The rhythm and tune of the song is infectious and yet so…odd.  “Gangsta” is one of my favorite songs of the year.  It opens with a great bassline and then several “sirens” which I suspect are Merril’s own voice.  It seems to end after 2 minutes but there’s more…a bizarre interlude in which the song seems to have a hard time starting up again.  (“bang bang bang oy, never move to my hood coz danger is crawling out the wood”).

“Powa” is probably my least favorite song on the album although I still like it.  It’s slow and kind of ballady but the vocals are just so wild it keeps it from being dull.  “Riotriot” is strange meandering song full of peculiar percussion.  It’s a bit too long, but there’s some really interesting parts, especially at about 3 minutes when the song suddenly turns into a psychedelic freak out.  “Bizness” opens with Garbus’ crazy distorted voice over some pretty descending notes (which I assume are from Garbus’ pretty singing voice).

“Doorstep” has a bunch of fast sha la las that I normally dislike but which work so well within the song and with Garbus’ amazing, angsty singing near the middle of the song.  “You Yes You” has some great guitar work in the beginning and a very fun segment that ends with a big “Ha!”  “Wooly Wooly Gong” is a cool slow song, minor key with delicate vocals.  The disc ends with “Killa” another great song featuring Garbus’ rough voice and scratchy guitars.

The whole album keeps you on your toes.  There’s something for everyone, but it’s all mashed together so it’s not always clear than anyone will like it.  It’s a really fun release and although it took me several listens to really appreciate it, I simply can’t stop playing it now.

[READ: January 9, 2012] Ghosts

I had planned to read this book a little earlier than I did, but then three holds came in from the library which pushed everything back (those were all new and this book, well, to be fair, I’m not sure it was ever checked out, so I was allowed to renew it).  The only bummer thing about it is that this entire story is set on New Year’s Eve, so it would have been nice to post it then.  Oh well, what’s two weeks?

So, this is the first novel by Aira that I have read.  I really enjoyed his short story recently and, since Roberto Bolaño is a big fan, I wanted to see what he had written.  As I’ve mentioned elsewhere, Aira has written approximately forty-five novels (!) (since 1981 (!!)) He had five in 2005.  Most of them are fairly short (Ghosts is less than 140 pages), so it’s not quite as daunting as it could be.  And for English readers, there are only seven books translated into English.  So now is the time to jump on his bandwagon!

This novel was translated by Chris Andrews, who has translated many of Bolaño’s shorter works as well.  I did notice one or two British/Australian spellings in there (Andrews is Australian).  But I am very impressed with the translation, especially the occasional fifty-cent words that were wonderful choices (I wish I had written them down).

The story itself is fairly simple, although there are waves of complex ideas that come throughout.  As I mentioned, the entire story is set on New Year’s Eve in Argentina (which, North Americans please note, is really really hot–like super crazy hot, which is a little disconcerting to read during a cold January].  It’s also almost entirely set in one building (there’s a quick trip to the market).  And the bulk of the story centers around one (extended) family.

But as it starts, we see something altogether different. The building in question is a condominium.  It was supposed to be finished on January 31, but, of course, it isn’t.  All of the families who have bought into the condo have shown up to see the proceedings.  They are pretty much all there at the same time although some are coming and others are going.  We learn a lot about the building itself, the pool on the roof, the rooms and cabinets, the elevators.  It’s a pretty nice place.  We meet most of the families who will be living there when it is finally finished. The kids love running around in the unfinished house, watching the workmen carting things away and being a mild nuisance.  But it’s basically a holiday so no one cares all that much.

Oh, and there are ghosts all over the building.  (more…)

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