Garbus currently lives in Oakland, and even in the days before the arrival of notoriety, she likely faced fewer financial and social obstacles than the majority of those around her. It seems right away that Garbus alludes to the complexities of identity and the drive to reconcile self-conception with outside perception: "Oh, but I trip on the truth when I walk that wire/When you wear a mask, always sound like a liar/I tried to tell him all the reasons that I had to never sing again/And he replied 'You better find a new way. '" Sorry for the inconvenience. From her days in Putney, Vermont at the Sunglass Theater improvising outlandish scenarios with her homemade hand puppets to her travels to Lamu, Kenya studying taarab, human engagement across borders and ages has served as her principal catalyst for creativity. Tune-Yards: "Water Fountain" Track Review | Pitchfork. Through the sun-spangled glare coming off of "Water Fountain", it's not always clear. La suite des paroles ci-dessous. The juxtaposition of "heavy" lyrics and "childlike" delivery becomes apparent in Garbus's other children's song vernacular, the nursery rhyme.
Listen to the words that I said. And so, at last, mankind began the conquest and colonization of deep space. I find it plausible that this technique—common in EDM and featured on other tracks such as "Water Fountain" and "Time of Dark"—is at least partly the new producers' voices coming out. Now i'm in your bed. This Dr. Seuss-like tale recalls the tinny, electronic harpsichord of "Find a New Way, " but with various modes of vocal processing deployed—most obviously vocal doublings at different degrees of asynchrony. Water fountain lyrics tune yards song. 14 One particularly robust illustration of Garbus's tendency to focus on the childhood games of girls can be found in a YouTube clip embedded in a log of her trip to Haiti, which is posted on the website, The Talkhouse. Use the citation below to add these lyrics to your bibliography: Style: MLA Chicago APA. The song decries complacent attitudes towards sexual assault through a synth warble and a metallic, electronic, patchwork drum ostinato that incorporates intrusive dissonances. 18 Dan Weiss, "tUnE-yArDs Uses her Lungs, " The Village Voice, 7 May 2014, accessed 1 May 2014,. Type the characters from the picture above: Input is case-insensitive. I can"t seem to feel I"ll kneel. I can't seem to feel lonely, lonely, lonely, the cold steel. But there's more than enough ideas bubbling up from under "Water Fountain" to suggest Garbus and Brenner have easily staved off a third-album drought. The song has been interpreted by some as a commentary on the decline of the singer's community and others as being about worldwide water shortages.
1, 131 people have seen tUnE-yArDs live. Much attention was given to w h o k i l l's singles, "Bizness" and "Gangsta. " I'll give a thing to caress. He gave me a dollar. Tune-Yards – Water Fountain – 111 BPM Categories: 110-119 BPM Workout Music, 2010s Workout Music, Alternative Workout Music Download or Stream This Song: iTunes Amazon Spotify This song contains explicit lyrics. FIFA 15 Soundtrack – Water Fountain by tUnE-yArDs –. Although Garbus invokes the American traditional song "Old Molly Hare, " "Water Fountain" provides a global critique. With verses composed of ten-beat vocal phrases and a chorus in 6/4, Merrill and her chorus belt out and overlap distorted dissonances of defiance. I'll barely going round and round and round. HEY HEY HEY HEY No water in the water fountain Floral bouquet A lyrical round-and-roundandroundandround No side on the sidewalk Take a picture it'll last all day, hey And you say old Molly Hare, Hare Nothing much to do when you're going nowhere Woohaw! Great Music Lives Here. 1 "An Interview with Merrill Garbus of tUnE-yArDs (101509) Dedicated Ears Music Blogs, " 3 November 2009, video clip, accessed 2 May 2014, YouTube, - 2 The unusual typography used for the duo's name and title of the first two albums derives from Garbus's plan to force those who would search for her on the once-thriving to depress additional keys (namely, shift and the space bar) at unpredictable—and thus memorable—times. TUnE-yArDs is the music project of New England native Merrill Garbus. SONGLYRICS just got interactive.
Tune-Yards - sketchy. Garbus's strategy entails sampling environmental sounds—the sound of a ferry in the case of "Lions, " for example—and spontaneously selecting fragments of them for use as rhythmic layers to undergird her vocal protrusions. Water fountain lyric video. Les internautes qui ont aimé "Water Fountain" aiment aussi: Infos sur "Water Fountain": Interprète: Tune-Yards. Nothing feels like dying like the drying of my skin and lung.
After a childlike teasing ("NAH-nah, nah, NAH-nah"/"nah, nah, nah, nah, NAH-nah") intoned by a small choir, Garbus pointedly speaks solo: "The worst thing about living a lie is just wondering when they'll find out. " 6 This is a complex issue, too dense to be explored adequately here, but inescapable nonetheless. We may ask what it means for African music to be transformed and transmitted to a mass audience by a white woman who grew up in the Connecticut suburb of New Canaan and attended Smith College. 7 Feld article offers four "critical ostinatos, " one of which collects these histories of the pygmy pop "genre. " Her instant and unpredictable oscillation between uninhibited yawping and sinuous, mellifluous shadings imbues the music with a sense of extemporized mischievousness. Water Fountain (arr. Kristopher Fulton) Sheet Music | Tune-Yards | SATB Choir. Label affiliation would force reconciliation between her methods and the technological options newly opened. 16 Nina Liss-Schultz, "tUnE-yArDs Went to Haiti, and All We Got was this Brilliant New Album, " 28 April 2014, accessed 2 May 2014, - 17 The fifth track, "Look Around, " also establishes a groove outside of the normative pop/rock 4/4 as it slouches in a Spiritualized-ish 9/4.
12 London, Village Underground (SOLD OUT). Nikki Nack is also more lyrically dense than its precursors, but the additional text has little effect on the songs' messages or meanings. "Gangsta" provided one of the first unmistakable contexts in which tUnE-yArDs's appropriation of the music of central Africa became most evident, an aspect of Garbus's music that has not gone unnoticed by critics. Lyrics © Kobalt Music Publishing Ltd. Water fountain lyrics tune yards music. The track is lifted from their upcoming new album 'sketchy'! Everything Indie Music related; from the newest releases and news, to discussion on the history of alternative music. A vertigo round-and-round-and-round. See 8:13 of "tUnE-yArDs Backstage at the Pitchfork Music Festival 2011, " 15 July 2011, video clip, accessed 3 May 2014, YouTube, - 11 Iona Opie and Peter Opie, The Lore and Language of School Children (New York: The New York Review of Books, [1959] 2001), ix–x. I cannot get the spot out but it's okay.
As such, they offer a more distant, less hegemonic arena within which Garbus is able to explore the structures of power that confine her agency as a white woman. A lyrical round-and-round and round and round. And you say old Molly Hare, Hare (Your fingers through my hair). In an interview with The Village Voice's Dan Weiss, Garbus averred, "It does seem so fucking simple, but students are raping girls on college campuses, just things that we can't believe are still happening. 10 The presence of these elements in Garbus's music places her in dialogue with the many other artists who have done the same, albeit in different ways. Thread your fingers through my hair Fingers through my hair Give me a dress Give me a press I give a thing a caress Would-ja, would-ja, would-ja Listen to the words I say! NPR transcripts are created on a rush deadline by an NPR contractor. And your father's name will shine again like a beacon in the galaxy. 3 Although not technically members of tUnE-yArDs, saxophonists Matt Nelson, Noah Bernstein, and Kasey Knudsen have been fixtures in tUnE-yArDs's live performances since joining the w h o k i l l tour in 2011. Say give me your head. Garbus's delivery of politically charged lyrics as vocalized schoolyard exuberance is reminiscent of the downplayed vocalization of lyrics in the folk/rock of Bob Dylan, who is of course channeling Woody Guthrie. Let it sink into your head.
Your fist clenched my neck we're neck and neck... No phone in the phone booth. On sale Friday 21st March at 9am. The prevalence of choral interjections in all their assonant, soulful glory ("Little white LIES/You rode my SIGHT/When I look into his EYES so") is also a welcome touch, one that can be found in other tracks such as "Hey Life" ("I don't KNOW where to GO/But I can't seem to GO SLOWly, NO). 12 Further, in The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop, Kyra D. Gaunt offers an updated and corpo-centric exploration of these issues in a different context, as she demonstrates "how black musical style and behavior are learned through oral-kinetic practices that not only teach an embodied discourse of black music expression" but also inform a "discourse about appropriate and transgressive gender and racial roles" in African American populations. "Real Thing" drips with sarcasm as it addresses unrealistic ideals of body type ("While you worry about chest size six/They're winning the tricks/those tricks, those tricks, oh" and "Ugly one be you, who you are"), as well as maintaining a celebrity persona.
An example that calls into question the notion of belonging is found in the song that opens w h o k i l l, "My Country. " Yet this is exactly what Garbus and bassist/collaborator Nate Brenner have in mind for their project, tUnE-yArDs, as they write songs that are machinic, sporadic, and at times frightening, yet simultaneously warm, exuberant, and carefree. The climactic accretion of textural density all'improvviso towards the end of "Find a New Way" offers a sense of teleology not commonly found in the first two albums, however. Writer/s: Merrill Martin Garbus, Nathaniel J Brenner. These novelties work in concert with the characteristics that define Garbus's idiolect, including her skip-rope-rhyme, boisterous vocal delivery, dark lullaby poetry, and a keenness for non-Western ways of structuring time. At other times Garbus's critique emerges from another channel: soul.
Round and round and round okay. This critique of everyday performativity is multifaceted, as Garbus provides listeners a perspective from which to recognize the multiplicity of their performative selves, especially as they engage gender and sexual orientation. I can't seem to feel all new all new all new the cold stew. A sparse bass riff underlies the timbre of Garbus's expressive, hostile shout-speech, which projects refrains defiantly, pleadingly, and exuberantly as if performed outside for ritual dance.
Although Garbus and Brenner have created a strong response to w h o k i l l, the first half of the album is considerably more packed with memorable moments than the second half, and overall there is not very much new there. Although well known by (ethno)musicologists, the musical practices and sounds of the pygmies are much more obscure to the average consumer of popular music. Give me your dress, give me your breasts. Despite that effort, in 2014 the Tune-Yards album Nikki Nack climbed the Billboard charts and got widespread critical praise. Under the "about" section, the tUnE-yArDs's Facebook page contains the quotation, "I [Garbus] thought, 'OK, if I'm going to grow as an artist, I need to do this differently'. 'Nikki Nack' is released on 6th May through 4AD. Over an ebullient clatter—and a mess of woo-hahs, each more in-check than the last—Garbus waxes unusual: One minute, she's saving her pennies only to give them away, and the next, she's outing her dad as a bear murderer. Embellishing sixteenths in beat three of every other iteration of these lyrics mimic the kind of flagrant jeering that asserts dominance.
Detached from an African cultural history (and thus a shared social and somatic memory), there are no authenticating links between the African Diaspora and Garbus's experiences and upbringing. Stuff me up with your home grown rice. I saved up all my pennies and I gave them to the special guy. We′re gonna get the water from your house, your house. The harpsichord and Garbus's jocular role-playing exist in an anempathetic relationship to the song's rather terrifying semantic content and the clearly inhuman, erratic modifications of the timbre and repetitions of her voice. Give me a dress, give me a press, I give a thing a caress. It's a song that draws inspiration from the politics of drought and dancehall reggae, and you'll hear how and why she tried to make this song less catchy.