Tune-Yards: I Can Feel You Creep into My Private Life 12"
I Can Feel You Creep Into My Private Life is the new magnum opus and fourth full-length overall from Tune-Yards. Thematically, the twelve new songs tackle race, politics, intersectional feminism and environmental prophecies head on. But in the billows of intense subject matter, the album arrives as Tune-Yards' most immediate and upbeat music yet - this is music to dance to.
On I Can Feel You Creep Into My Private Life, Tune-Yards is officially a duo as Merrill Garbus is joined by longtime collaborator Nate Brenner who produced and wrote the album together with lyrics by Garbus. Much of the album was recorded at John Vanderslice's new studio, Tiny Telephone Oakland, in Oakland, CA and mastered in Harlem, NY by Dave Kutch (Jay-Z, Chance the Rapper). Mikaelin "Blue" Bluespruce (Solange, Skepta, Kendrick Lamar) handled the mix.
Garbus on lead trakck "Look at Your Hands": "Yes, the world is a mess, but I've been attempting to look more and more inward: how do all of these "isms" that we live in manifest in me, in my daily activities, interactions? Some of the '80s throwback production came from wanting the vocals to sound robotic, maybe to counter the sincerity of the lyrics. I started sampling my vocals in an MPC which I've wanted to do for years, and there was something that felt really right about my voice being trapped in a machine."
I Can Feel You Creep Into My Private Life is the new magnum opus and fourth full-length overall from Tune-Yards. Thematically, the twelve new songs tackle race, politics, intersectional feminism and environmental prophecies head on. But in the billows of intense subject matter, the album arrives as Tune-Yards' most immediate and upbeat music yet - this is music to dance to.
On I Can Feel You Creep Into My Private Life, Tune-Yards is officially a duo as Merrill Garbus is joined by longtime collaborator Nate Brenner who produced and wrote the album together with lyrics by Garbus. Much of the album was recorded at John Vanderslice's new studio, Tiny Telephone Oakland, in Oakland, CA and mastered in Harlem, NY by Dave Kutch (Jay-Z, Chance the Rapper). Mikaelin "Blue" Bluespruce (Solange, Skepta, Kendrick Lamar) handled the mix.
Garbus on lead trakck "Look at Your Hands": "Yes, the world is a mess, but I've been attempting to look more and more inward: how do all of these "isms" that we live in manifest in me, in my daily activities, interactions? Some of the '80s throwback production came from wanting the vocals to sound robotic, maybe to counter the sincerity of the lyrics. I started sampling my vocals in an MPC which I've wanted to do for years, and there was something that felt really right about my voice being trapped in a machine."
Description
I Can Feel You Creep Into My Private Life is the new magnum opus and fourth full-length overall from Tune-Yards. Thematically, the twelve new songs tackle race, politics, intersectional feminism and environmental prophecies head on. But in the billows of intense subject matter, the album arrives as Tune-Yards' most immediate and upbeat music yet - this is music to dance to.
On I Can Feel You Creep Into My Private Life, Tune-Yards is officially a duo as Merrill Garbus is joined by longtime collaborator Nate Brenner who produced and wrote the album together with lyrics by Garbus. Much of the album was recorded at John Vanderslice's new studio, Tiny Telephone Oakland, in Oakland, CA and mastered in Harlem, NY by Dave Kutch (Jay-Z, Chance the Rapper). Mikaelin "Blue" Bluespruce (Solange, Skepta, Kendrick Lamar) handled the mix.
Garbus on lead trakck "Look at Your Hands": "Yes, the world is a mess, but I've been attempting to look more and more inward: how do all of these "isms" that we live in manifest in me, in my daily activities, interactions? Some of the '80s throwback production came from wanting the vocals to sound robotic, maybe to counter the sincerity of the lyrics. I started sampling my vocals in an MPC which I've wanted to do for years, and there was something that felt really right about my voice being trapped in a machine."
