In Tune-Yards’ latest album I Can Feel You Creep Into My Private Life, founder and front-woman Merrill Garbus once again tackles the current socio-political climate, reflecting on topics from race to cultural appropriation and the patriarchy. In comparison to the visceral, unsubtle critique of Whokill, Garbus’ latest output is more abstruse and perhaps more meaningful, but where Whokill’s message was accompanied by a fierce energy and infectious melodies which carried the listener through the album, I Can Feel You Creep Into My Private Life is lacking in the dynamism and engaging quality that has been a staple of Tune-Yards’ previous work.
The album opens promisingly—the first verse and chorus of ‘Heart Attack’ has some of the energetic rhythm that made ‘Bizness’ such a breakout hit—and there are bright sparks, notably ‘ABC 123’ and ‘Look at Your Hands’, but overall the record lacks the ear-worming hooks and choruses of the group’s high-water-mark; as a result Garbus’ message is let down by the music.
[Tim Abrams]
