There's something about that image-high and low, playing against each other, rarely hitting at the same time and kept at arm’s length, but connected by a central puppet master and, aggregated, producing a complete and stirring image-that seems, to me at least, apt for tUnE-yArDs. Find a video of Garbus performing as tUnE-yArDs and you'll more than likely see her standing behind two microphones-one to catch sounds for looping-flanked on her right and left by floor tom and snare, playing the two drums with arms wide open, as opposed to the cross-armed compactness of a sitting set-player. Bass and snare-a boom of the heel of the hand against the snap of a pencil on a lunchroom table. Those drums aren't coming from a traditional drum set but from Garbus' makeshift high/low, two-drum set-up. Sleep tight, kiddo the adults are going to talk now. But the sample is swiftly cut off by a propulsive beat-and we're off. W H O K I L L, the second album from Merrill Garbus as tUnE-yArDs, begins with a brief recording of her grandmother introducing her as a performer when she was a toddler-a moment, for a child, in which all attention is on them, and the ways of the world, revolving though they may be around her tiny head, are as other as other can be.
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