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On sale Friday 21st March at 9am. So listen to the words I say, baby. Again, we may hear the "Nah-nas" of "My Country" reinterpreted. ) Your fist clenched my neck we're neck and neck... No phone in the phone booth. Above you can listen to 'Water Fountain' song and read its lyrics below: tUnE-yArDs – Water Fountain Lyrics. I saved up all my pennies and I gave them to the special guy. It comes ahead of the release of their new album 'sketchy. Our systems have detected unusual activity from your IP address (computer network). And you say, "Oh, mighty hell, what you doing there?
Water Fountain Lyrics Tune Yards Songs
HEY HEY HEY HEY No water in the water fountain Floral bouquet A lyrical round-and-roundandroundandround No side on the sidewalk Take a picture it'll last all day, hey And you say old Molly Hare, Hare Nothing much to do when you're going nowhere Woohaw! Also clearly present here is her penchant for incessantly repeated words or phrases ("A lyrical round-and-roundandroundandround"). Garbus worked on the project with bass player Nate Brenner at a studio in Oakland, California. I cannot get the spot out but it's okay.
As Sasha Frere-Jones wrote shortly after the release of w h o k i l l, "Garbus needs none of the fetishized authenticity of [BiRd-BrAiNs's] lower fidelity to charm anybody: she is a musician of startling range, and a better recording of her is simply better music. " A vertigo round-and-round-and-round. Features Garbus telling a story, "doing all the voices" as if back in her days as a nanny. Thread your fingers through my hair Fingers through my hair Give me a dress Give me a press I give a thing a caress Would-ja, would-ja, would-ja Listen to the words I say! Accompanied by a video akin to a tribal, dance-infused, pastel-colored episode of Pee-Wee's Playhouse, Brenner's simple, ostinato bass line holds up syncopated choral exclamations that create a sense of levity and repetitive motion. Emphasis in original. Find more lyrics at ※. 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. Is she taking a stand against water shortages, or examining the husks of a dried-up relationship? Use the citation below to add these lyrics to your bibliography: Style: MLA Chicago APA. Through the sun-spangled glare coming off of "Water Fountain", it's not always clear. NPR transcripts are created on a rush deadline by an NPR contractor. We′re neck and neck and neck... No phone in the phone booth.
Water Fountain Lyrics Tune Yard Sale
"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. It still works in the store. They're all over the place. In this episode, Merrill Garbus of Tune-Yards breaks down "Water Fountain. " It is, however, a good sign that tUnE-yArDs has hardly backed down from the challenge of producing an impressive answer to their "break-though" second album. NO PHONE IN THE PHONE BOOTH. You will ride the whip, you'll ride the crack, no use in fighting back. I can't seem to feel itAnnotate. Scheduled start: 8:00 PM. The harpsichord and Garbus's jocular role-playing exist in an anempathetic relationship to the song's rather terrifying semantic content and the clearly inhuman, erratic modifications of the timbre and repetitions of her voice. It references everything from 'Alice in Wonderland' to folk standard 'Old Molly Hare', and seems a complaint against economics / neo-colonialism today.
Perhaps as a result, notable extensions of their highly acclaimed sophomore recording w h o k i l l (2011) can be found, including a greater reliance on Brenner's spacious and groove-driven bass lines, a freer use of choral interjection and hard panning, a mixing and matching of verse-chorus form and flash refrains, and a propensity for climactic textural accumulation near songs' conclusions. Your fist clenched my neck. 6 This is a complex issue, too dense to be explored adequately here, but inescapable nonetheless. 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. No water in the water fountain No side on the sidewalk If you say Old Molly Hare, whatcha doin' there? At other times Garbus's critique emerges from another channel: soul. 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. This is the lead single for tUnE-yArDs 'Nikki Nack' album, released online March 18th 2014.
Water Fountain The Song
See 8:13 of "tUnE-yArDs Backstage at the Pitchfork Music Festival 2011, " 15 July 2011, video clip, accessed 3 May 2014, YouTube, - 11 Iona Opie and Peter Opie, The Lore and Language of School Children (New York: The New York Review of Books, [1959] 2001), ix–x. And you say old Molly Hare, Hare (Your fingers through my hair). La suite des paroles ci-dessous. A lyrical round-and-round and round and round. The saxophone section is featured here as well, twirling out of tune around lyrics that address a privileged subject's process of acclimation and acculturation in a foreign environment. 'Nikki Nack' is released on 6th May through 4AD. "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. I'll barely going round and round and round. Showing only 50 most recent. No use in fighting back. Your fist clenched my neck, we're neck in neck and neck, and neck, and neck. There's no way you can translate all those lyrics into one specific meaning. Drink deep from "Water Fountain, " though, and you're liable to detect a little arsenic. And I know it, Friday use.
Nothing much to do when you′re going nowhere. 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. Sound like a floral bouquet. 16 "Left Behind" similarly engages a politicized critique of power structures through its text while simultaneously being sonically playful ("Nikki Nikki Nack"/ "We said we wouldn't let 'em take our soil/ These days don't it just make your blood boil"). "Water Fountain", the first single from the forthcoming Nikki Nack, finds Garbus and bassist Nate Brenner engaged in a lively round of double-dutch, tossing schoolyard chants against percolating rhythms.
Water Fountain Lyric Video
Great Music Lives Here. 7 Feld article offers four "critical ostinatos, " one of which collects these histories of the pygmy pop "genre. " Lose another one, I say give me your head. I"ll kneel I"ll kneel the cold steel. Give me your dress, give me your breasts. The first lyrics heard on the album are "My country, 'tis of thee/Sweet land of liberty/How come I cannot see my future within your arms/Your love it turns me down/Into the underground/My country bleeding me; I will not stay in your arms. " This item is not eligible for PASS discount.
Why do we just sit here while they watch us wither til we"re gone? Garbus often brainstorms songwriting ideas whilst walking by the lake. Sound like a floral bouquet A lyrical round-and-roundandroundandround Okay Take a picture it'll last all day, hey Your fingers through my hair Do it 'til you disappear Gimme your head Gimme your head Off with his head! Se pou zanmi zwen, se pou zanmi zwen. Although signing to the label 4AD in 2009 has provided tUnE-yArDs with access to increasingly sophisticated options for creating and editing sound, Garbus's compositional methods have hardly changed since her first self-produced album, BiRd-BrAiNs (2009). Detached from an African cultural history (and thus a shared social and somatic memory), there are no authenticating links between the African Diaspora and Garbus's experiences and upbringing.
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. Minimum order quantity for this product is 10. By Michael P. Lupo, CUNY Graduate Center.