Posts Tagged ‘Tune-Yards’

4AD - Final Four 'Bills & Aches & Blues' Tracks Out Now

In 1980, a new British independent record label was christened Axis, but discovered after its first batch of releases that another Axis already existed, so a new name was necessary to avoid legal problems. New name: 4AD.

Now, 41 years after its inception, 4AD came up with the idea to celebrate the label’s glorious past with current artists covering a song of their choice from 4AD’s impressive catalogue of releases.

In 2020, 4AD Records turned 40 years of age. Never one to be on time for a party, the label is commemorating that landmark this year with the release of “Bills and Aches and Blues”. The compilation features 18 of its current artists covering a song of their choosing from 4AD’s past: a creative experiment rooted in the spirit of collaboration and a snapshot of 4AD, 41 years after its inception.

Bills and Aches and Blues’ includes 18 recordings contain fascinating connections between artist and track. The earliest song chosen (by U.S. Girls) is The Birthday Party’s Junkyard, from 1981; the most recent are the two Grimes covers (‘Genesis’ and ‘Oblivion’, respectively by Spencer. and Dry Cleaning) from 2012. Suitably, for the one band that bridges 4AD past and present, The Breeders are all over Bills And Aches And Blues. They’re covered three times – ‘Cannonball’ by Tune-Yards, ‘Mountain Battles’ by Bradford Cox of Deerhunter and ‘Off You’ by Big Thief, whilst The Breeders cover ‘The Dirt Eaters’ by their ‘90s contemporaries His Name Is Alive.

Bills & Aches & Blues features 18 of the label’s current artists covering a song of their choosing from 4AD’s past: a creative experiment rooted in the spirit of collaboration and a snapshot of 4AD . 

From 4AD’s 40th anniversary compilation Bills & Aches & Blues, SOHN does a double cover, taking on This Mortal Coil’s iconic, Liz Fraser-powered version of Tim Buckley’s “Song to the Siren” and doing so in a very reverential manner.

Landmark songs such as ‘Cannonball’, ‘Song To The Siren’ and Pixies’ ‘Where is My Mind?’, will feel comfortable to casual fans, however by contrast, much joy can be found in the album’s surprise choices, such as Air Miami’s ‘Seabird’ and the Lush B-side ‘Sunbathing’, covered respectively by new signings Maria Somerville and Jenny Hval.

Bills and Aches and Blues is named, arguably (as Elizabeth Fraser never published the lyrics) after the opening line of Cocteau Twins ‘Cherry-Coloured Funk’. Perhaps too unique and uncoverable in their own right, their legendary take on Tim Buckley’s ‘Song To The Siren’, under the name This Mortal Coil (along with Buckley’s pre-Starsailor acoustic version) informs SOHN’s cover.

Some tracks unearth hitherto hidden shared DNA, such as Future Islands’ and Colourbox’s ‘The Moon Is Blue’; other tracks are more akin to reinvention. Aldous Harding distils the melodic essence of Deerhunter’s ‘Revival’ and recasts it in her own uncanny image. U.S. Girls’ future-disco ‘Junkyard’ and Bing and Ruth’s neo-classical instrumental ‘Gigantic’ are even more radical interpretations. Leading off the album, Tkay Maidza brings both her Art Rap and R&B game, but also an unexpected ‘80s synth pop template, to Pixies’ ‘Where Is My Mind?’, a perfect title for these chaotic times.

TRACKLISTING:
Side 1:
01 Tkay Maidza Where Is My Mind? (Pixies)
02 U.S. Girls Junkyard (The Birthday Party)
03 Aldous Harding Revival (Deerhunter)
04 The Breeders Dirt Eaters (His Name Is Alive)
05 Maria Somerville Seabird (Air Miami)
Side 2:
06 Tune-Yards Cannonball (The Breeders)
07 Spencer. Genesis (Grimes)
08 Helado Negro Futurism (Deerhunter)
09 Efterklang Postal (Piano Magic)
10 Bing and Ruth Gigantic (Pixies)
Side 3:
11 Future Islands The Moon Is Blue (Colourbox)
12 Jenny Hval Sunbathing (Lush)
13 Dry Cleaning Oblivion (Grimes)
14 Bradford Cox Mountain Battles (Breeders)
Side 4:
15 SOHN Song To The Siren (Tim Buckley)
16 Becky and The Birds The Wolves Act I and II (Bon Iver)
17 Ex:Re Misery Is a Butterfly (Blonde Redhead)
18 Big Thief Off You (The Breeders)

Beggars Group Digital Ltd.

sketchy.

Today Tune-Yards announce details of their fifth studio album, “Sketchy”.  The 11-track record, which includes the single ‘Nowhere, Man’, will be released on 26th March 2021.  Today, Merrill Garbus and Nate Brenner release another preview from sketchy., the grounding single ‘hold yourself.’ and its animated accompanying video directed by Basa Studio.

Beneath the layered sounds of ‘hold yourself.’ lies Garbus’ most explicit lyrics she’s ever written; a clear-eyed moment of grief and simmering rage that builds from the song’s calming introduction to its explosive culmination. “This song is about feeling really betrayed, by my parents’ generation, and at the same time, really seeing how we are betraying the future,” Garbus explains.

Interrogating these systems and her role within them had left Merrill feeling heavy with guilt and grief and lost about how to move forward as a musician.  But then she began to rediscover the joy in making music.  Inspired by the Beastie Boys Book and Questlove’s Creative Quest, Merrill and Nate began jamming daily for hours in their home rehearsal studio “like athletes”.  They ditched computer screens for live instruments (Merrill on drums, Nate on bass) and before long full songs started to emerge

Unlike the lyrical introspection of previous outing i can feel you…, on “Sketchy”. Merrill balances self-inspection and reflection with bombastic rallying cries, reminiscent of the furious tones of early days Tune-Yards.  The result is a colourful and joyous record with lyrics that cut to the bone.  “I started remembering that people come to us to be entertained, to move, to feel joy.  And together, I think, we can wake up.”

Tune-Yards’ last release i can feel you creep into my private life, was a self-reflexive question mark at the end of a decade of outspoken, polyphonic indie music.  From 2009 to 2018, Tune-Yards (both Merrill and her partner and collaborator Nate Brenner) released four critically acclaimed albums, travelled the world relentlessly to play live shows, and composed the psychedelic score to Boots Riley’s surrealist cinematic masterpiece Sorry To Bother You.  “We had really been non-stop hustling,” Merrill reflects.  “And when we’re hustling, we’re complicit in all of the systems that I really don’t believe in.”

Today, Tune-Yards release their fifth studio album,sketchy. The album features previously released singles ‘nowhere, man’, ‘hold yourself.’ and ‘hypnotized’.  The latter two of which were performed on The Late Show with Stephen Colbert and Jimmy Kimmel Live! respectively marking a visual representation of the depths of the album – ‘hold yourself.’ was a vibrant, buoyant performance while the band crafted a moving and remarkable performance of ‘hypnotized’ that channelled Merrill’s puppeteer past.

The 11-track record balances self-inspection and reflection with bombastic rallying cries, reminiscent of the furious tones of early days Tune-Yards.  The result is a colourful and joyous record with lyrics that cut to the bone.  Merrill Garbus says of the album, “I started remembering that people come to us to be entertained, to move, to feel joy. And together, I think, we can wake up.” 

Hamir Atwal – drums Nate Brenner – bass, drum programming, percussion, keys, vocals Merrill Garbus – vocals, drum programming, DX7, Mellotron, piano, percussion, loops Matt Nelson – saxophone Ross Peacock – synths

Pre-ordersketchy. on limited yellow opaque vinyl, standard black vinyl, and CD, from the 4AD Store here +
Yellow vinyl pre-orders from 4AD Store will receive a limited signed 12×12 print whilst stocks last
+Getsketchy. on exclusive blue translucent vinyl from your local indie store +
Pre-order and pre-save on the platform of your choice here +

Tune-Yards

The absolutely glorious Tune-Yards are back and we couldn’t be happier, every second of everything Merill Garbus does is drenched with idiosyncratic, artistic sunshine. Tune-Yards return with their fifth studio album, “sketchy”. The 11-track record is out on the 4AD records label. Tune-Yards’ 2018 release I Can Feel You Creep Into My Private Life, was a self-reflexive question mark at the end of a decade of outspoken, polyphonic indie music. From 2009 to 2018, Tune-Yards released four albums, travelled the world relentlessly to play live shows, Unlike the lyrical introspection of their previous outing, on the project’s fifth studio album Sketchy, Merrill balances self-inspection and reflection with bombastic rallying cries, reminiscent of the furious tones of early days Tune-Yards. The result is a colourful and joyous record with lyrics that cut to the bone.

Tune-Yards’ last release ‘I can feel you creep into my private life’, was a self-reflexive question mark at the end of a decade of outspoken, polyphonic indie music. From 2009 to 2018, Tune-Yards (both Merrill and her partner and collaborator Nate Brenner) released four critically acclaimed albums, travelled the world relentlessly to play live shows, and composed the psychedelic score to Boots Riley’s surrealist cinematic masterpiece Sorry To Bother You.

“We had really been non-stop hustling,” Merrill reflects. “And when we’re hustling, we’re complicit in all of the systems that I really don’t believe in.”

Interrogating these systems and her role within them had left Merrill feeling heavy with grief and lost about how to move forward. The duo pressed on, inspired by the Beastie Boys Book and Questlove’s Creative Quest, and began jamming daily for hours in their home rehearsal studio “like athletes”. They ditched computer screens for live instruments (Merrill on drums, Nate on bass) and before long full songs started to emerge.

Unlike the lyrical introspection of previous outing I can feel you…, on “Sketchy”. Merrill balances self-inspection and reflection with bombastic rallying cries, reminiscent of the furious tones of early days Tune-Yards. The result is a colourful and joyous record with lyrics that cut to the bone. “I started remembering that people come to us to be entertained, to move, to feel joy. And together, I think, we can wake up.”

‘Nowhere, Man’ out now on all platforms: