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It's true, it will remind us that we are, after all, not God. Nikki Nack couches aspects of identity, Otherness, and violence in alliterative and consonant soundscapes, embedding social critique in the innocence and power dynamics of playground antics. And you say, old molly hare, whatcha doin' there? 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. After a crazed, no-questions-asked MegaMix of her new album, Tune-Yards has shared the first track from 'Nikki Nack'. 6 This is a complex issue, too dense to be explored adequately here, but inescapable nonetheless. Tune-Yards - Water Fountain Lyrics & traduction. See Merril Garbus, "Merrill Garbus (Tune-Yards) Talks Haiti and Exploring a Non-Western Musical Tradition, " The Talkhouse: Musicians Talk Music" 1 June 2013, accessed 5 May 2014, - 15 The reference to gender construction may be somewhat of a response to Chuck Klosterman's 2012 dismissive review of w h o k i l l in which he negligently and egregiously conflates androgyny and asexuality. Discuss the Water Fountain Lyrics with the community: Citation. How did I get ahead? I saved up all my pennies and I gave them to the special guy. Nikki Nack continues to explore Otherness through careful distancing, with the innocence of schoolyard negotiations of dominance being even more pervasive.
A lyrical round-and-round and round and round. No water in the water fountain. Drink deep from "Water Fountain, " though, and you're liable to detect a little arsenic. No side on the side walk. 13 Gaunt inverts the assumed unidirectionality of the flow of influence between African American popular genres and such social practices, claiming that the latter may offer much to the former. Send me anything, make me ship as wise. He writes, "From Afri-nationalism to Euro avant-gardism, from electroacoustic modernism to digital postmodernism, from highbrow to low, there's a pygmy product to fit every viewpoint on authenticity and collaboration, every celebration of roots and hybridity. " I can"t seem to feel I"ll kneel. You'll ride the crack. Water Fountain (arr. Kristopher Fulton) Sheet Music | Tune-Yards | SATB Choir. Phoneless phonebooths, two-pound chicken dinners, and cherry pies procured with blood money: Welcome once again to the weird world of Merrill Garbus' tUnE-yArDs.
American Music Review. Songs Similar to Water Fountain by Tune-Yards. 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. Whether tying the music-making practices of children to an urban, contemporary setting to reveal how they articulate gender, race, and identity, or inspecting these practices for their more general socializing capabilities, the above texts help contextualize Garbus's use of children's orally transmitted musical practices. Water Fountain is a Pop song by Tune-Yards, released on May 5th 2014 in the album Nikki Nack. 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.
Create an account to follow your favorite communities and start taking part in conversations. Is she taking a stand against water shortages, or examining the husks of a dried-up relationship? In this episode, Merrill Garbus of Tune-Yards breaks down "Water Fountain. " And you say old Molly Hare, Hare. Water fountain lyrics tune yards 2. What comes across as like a radical agenda…the radical agenda that girls on college campuses should be protected from rape? " Kim Kardashian Doja Cat Iggy Azalea Anya Taylor-Joy Jamie Lee Curtis Natalie Portman Henry Cavill Millie Bobby Brown Tom Hiddleston Keanu Reeves. Life without your water is a burning hell. No phone in the phone booth. 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.
Textures, like conversations, become thickened by the polyphony of overlapping voices and then suddenly dissipate just as quickly as they amassed. Your, your finger through my hair. The same tone permeates "Time of Dark, " an open, mixed-meter groove that uses the verse-chorus form to great effect. Created Dec 24, 2013. "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. Water fountain lyrics tune yards youtube. It's a childlike chant, but the words are about heavy topics. "
On sale Friday 21st March at 9am. Paroles2Chansons dispose d'un accord de licence de paroles de chansons avec la Société des Editeurs et Auteurs de Musique (SEAM). They see men come and take my world. Now I'm in your bed, looking to get ahead. As it turned out, w h o k i l l (2011), originally conceived as Women Who Kill, did that and much more.
TUnE-yArDs Concert Setlists & Tour Dates. 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'. The song decries complacent attitudes towards sexual assault through a synth warble and a metallic, electronic, patchwork drum ostinato that incorporates intrusive dissonances. Ethically and technologically they were a million years ahead of humankind, for in unlocking the mysteries of nature they had conquered even their baser selves, and when in the course of eons they had abolished sickness and insanity, crime and all injustice, they turned, still in high benevolence, upwards towards space. He gave me a dollar. We're naked naked naked naked naked. Lyrics © Kobalt Music Publishing Ltd. 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. This piece combines the different aesthetics of drought politics, dance hall dub and youthful drive to create something that is at once as ordered as it is chaotic. Whatcha doin" there. With their economic capital catching up to their cultural capital, tUnE-yArDs's release of their third and most recent album, Nikki Nack (May 2014), brings in more chefs than have typically been allowed in Garbus's kitchen, most notably producers John Hill and Malay. And you say, "Oh, mighty hell, what you doing there?
Much attention was given to w h o k i l l's singles, "Bizness" and "Gangsta. " 8 Steven Feld, "Pygmy POP: A Genealogy of Schizophonic Mimesis" Yearbook for Traditional Music 28 (1996): 26. 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. We′re gonna get the water from your house, your house. Get your unlimited access PASS! We may speculate that experiences in Oakland and Africa solidified an awareness of issues related to class and race, but regardless, we hear anger, strength, satire, and perseverance.
Lose another one, I say give me your head. See Chuck Klosterman, "The Pitfalls of Indie Fame: On tUnE-yArDs and the Perils of Critical Adoration, " 27 January 2012, accessed 2 May 2014,. 7 Feld article offers four "critical ostinatos, " one of which collects these histories of the pygmy pop "genre. " "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. Animals and Pets Anime Art Cars and Motor Vehicles Crafts and DIY Culture, Race, and Ethnicity Ethics and Philosophy Fashion Food and Drink History Hobbies Law Learning and Education Military Movies Music Place Podcasts and Streamers Politics Programming Reading, Writing, and Literature Religion and Spirituality Science Tabletop Games Technology Travel.
By Michael P. Lupo, CUNY Graduate Center. 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. " And I know it, Friday use. 4 Sasha Frere-Jones, "World of Wonder: How Merril Garbus Left the Theatre and Took the Stage, " The New Yorker, May 2, 2011, accessed 1 May 2014, /arts/critics/musical/2011/05/02/110502crmu_music_frerejones. 18 Garbus raps an MIA-infused refrain, "Don't beat up on my body, " which is laid on top of a sixteen-pulse time-point pattern and is one of the more overt adoptions of the yanvalu rhythm she studied in Haiti in preparation of Nikki Nack. It contains the lyric '£2 chicken tastes better with friends', backed by pow-pow synths and 'WOO-HAH' chants.
Do it til you disappear. There's no way you can translate all those lyrics into one specific meaning. 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. Anything make me s*** nice. 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. 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. By couching a pointed critique of the nation's collective attitude on the support of popular music and the acceptance of "alternative" lifestyles in the putative innocence and ignorance of children's song, Garbus's message remains effective in its opacity, plasticity, and multidimensionality. 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. Her aim was clear: embrace the ability to capture and create sounds with more fidelity while maintaining the sense of improvisation so essential to her method.
Listen to the words that I said. 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.