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W H O K I L L [Extra tracks, Import]

tUnE-yArDs Audio CD
4.6 out of 5 stars  See all reviews (8 customer reviews)
Price: 20.36
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
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Music

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Biography

Merrill Garbus has performed as tUnE-yArDs since 2009, and that band name has always been synonymous with forward movement—whether because of her explosive performance style or the always-surprising way in which her songs unfold. First gaining notice with the debut BiRd-BrAiNs, which The New York Times called “a confident do-it-yourselfer's opening salvo: a staticky, low-fi, ... Read more in Amazon's tUnE-yArDs Store

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Frequently Bought Together

W H O K I L L + Nikki Nack + BIRD-BRAINS
Price For All Three: 39.22

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  • Nikki Nack 10.38
  • BIRD-BRAINS 8.48

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Product details

  • Audio CD (2 May 2011)
  • Number of Discs: 1
  • Format: Extra tracks, Import
  • Label: Indie Europe/Zoom
  • ASIN: B004OUK3HC
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (8 customer reviews)

Product Description

Our product to treat is a regular product. There is not the imitation. From Japan by the surface mail because is sent out, take it until arrival as 7-14 day. Thank you for you seeing it.

Customer Reviews

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4.6 out of 5 stars
4.6 out of 5 stars
Most Helpful Customer Reviews
12 of 12 people found the following review helpful
5.0 out of 5 stars tUnE - yArDs gO lArGe 20 April 2011
By The Wolf TOP 100 REVIEWER VINE VOICE
Format:Audio CD
tUnE-yArDs' (aka Merrill Garbus) 2009 album 'Bird-Brains' was
an extraordinary debut. It blew me quite away just a bit!
It was so wonderfully rough and ready; stitched together
from left-over bits of macrame, wood-shavings and cardboard.
The re-formed detritus of a wild and original imagination, it
was going to be a very hard act to follow and Ms Garbus both
sort-of has and sort-of hasn't with her new release 'Whokill'.

The fundemental trace-elements of her muse are largely intact.
My reservations are less about what's missing than about that
which has been added. It's got a bigger, fatter sound (a bit
more money in her kitbag this time round probably helped) but
some of the fragile, ragged, fallible, eccentricity is missing.
The addition of a rumbling and abrasive bass guitar (played
by Nate Brenner) and a sound engineer (Eli Crews) has taken
Ms Garber off the front porch and into the studio. It's a risky
move. The listening world needs some magically small things too.

There are ten tracks in the collection. Best among them would
have to include : 'Es-so', a gloriously brash, jazz-tainted
invention full of jangling guitar and twitchy percussion; 'Powa',
a rather lovely song with enough open spaces to allow the voice
to bloom and shine; 'Bizness', a curiously affecting piece of
insect music (the busy hive of Ms Garber's imagination has
rarely sounded busier!) with a really uplifting vocal chant;
'You Yes You', too is bursting with sunny flamboyant energy.

It is to 'Wooly Wooly Gong', however, to which we must turn to
experience the true beating heart and soul of the project.
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6 of 6 people found the following review helpful
4.0 out of 5 stars 'All my violence is here in the sound' 4 May 2011
Format:Audio CD
After the joy that was contained within her rough-around-edges debut BiRd-BrAiNs, recorded using a simple digital recorder and free mixing software, the question was always going to be what effect a slightly less DIY approach would have on the unique sound of Merril Garbus, or whether she would keep things as unpolished on her follow-up. The great news is that she has managed to retain what makes her an exciting artist and augment it when necessary with a fuller sound or slightly more production. Yes, this is a more polished final product but that doesn't mean it isn't risky, in fact there's at least one track here that pushes things a little further than anything on that first album, and most importantly this is a sophomore album that doesn't disappoint, that makes you excited all over again about music which can be both popular and edgy.

Tribal drums, looped vocal instrumentation and distorted lead vocals on my country are all familiar and it's not until a huge keyboard stab comes halfway through that you realise what a bit of support can do giving the track an invigorating injection. Horns, group vocals, cowbells and marimba are all added to the mix in a furious finish that ends with the isolated line 'the worst thing about living a lie is just wondering when they'll find out.' that presumably referring to the lie of the American dream, which Garbus is keen to deconstruct, for after all 'we cannot all have it.' The first appearance of heavier guitars comes on es-so along with a stand up bass and Rhodes piano to help create a funky, almost jazzy sound which will be repeated on other tracks. But it finishes with an alarm sound that leads into one of the albums more adventurous tracks, gangsta, which opens with the challenge,'What's a boy to do if he'll never be a gangsta?
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4 of 5 people found the following review helpful
By Gannon
Format:Audio CD
Forget quirky, Merill Garbus must be mad, and that type styling of hers is just the tip off the iceberg. A legacy from her awkwardly intelligent debut BiRd-BrAiNs, it does the job of setting the tone for the kitchen-sink inventiveness of W H O K I L L well - an album that, once again, is never anything less than interesting.

Cleaning up the majority of the voice digitalisation that characterised that debut, as well as its bedroom-budget recording, Garbus has a sleeker beast on her hands with W H O K I L L, but happily it's not one untrue to her cut-and-paste ethics.

At a glance, the uninitiated might mistake Garbus's eccentrics for wilful destruction of sound, optimistic throwing of everything within arm's reach with the hope that something sticks. Yet, there's a deft majesty at play that bleeds throughout the record, cleverly gluing its disparate elements together.

Amidst squelchy, foreign rhythms and demented sax arpeggios, determined drum pulses provide the foundation to the infectious opener "My Country". Garbus, in turn, here and elsewhere, is way out of her shell ranging from the spoken word through general shrieking and impossible notes. As a result, W H O K I L L quickly contorts itself into a party record for the mentally questionable.

Proof, if required, comes courtesy of "Gangsta" - a track that, at least during its opening bars, recalls the outsider awesomeness that Beck used to knock out for fun. Amongst other things, Garbus takes the opportunity during its running time to vocally mimic the siren that periodically interjects during her bubbly beats.
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