Posted on Monday 21 February 2011
Review: Alex Schaaf | Photo: David Andrako/Courtesy of Kaufman Center
The human voice is perhaps the most interesting instrument of them all. It is the only instrument that you are born with, and the only one that you will have to live with for the rest of your life. Sure, you can take voice lessons and try to shape the way you present your voice to the world, but nothing can change the pure essence of the voice you were given. My favorite singers are the ones that have the least formal training; the ones that are using the full nature of their voice rather than trying to hide their own uniqueness by trying to sound like someone else.
Last Saturday’s installment of the wonderful Ecstatic Music Festival in NYC was a full-on presentation of the wonders of the human voice. The artist that drew me to this show was Merrill Garbus, of experimental pop group tUnE-yArDs. Her debut album, which came out in 2009, was an impressive display of her own voice, sometimes smooth and sensual, sometimes harsh and grating, but it was always her voice and no one else’s.
The Ecstatic Music Festival is a series of concerts at the Kaufman Center in Manhattan; concerts which often pair a group of experimental, but classically-trained musicians, with someone from the “indie” world. Dan Deacon performed with So Percussion a few weeks ago; Nico Muhly’s music was performed by the Chiara String Quartet, Owen Pallett will perform in the future, as well as a collaborative performance between Clogs and the Brooklyn Youth Chorus.
Saturday night’s concert featured Garbus along with two other composers, Caleb Burhans and William Brittelle, whose works were performed by Roomful of Teeth, an eight-voice vocal ensemble that proved to be a sort of “blank canvas” on which the composers would paint their works of art. The vocalists are dedicated to studying vocal styles from around the world, and are incredibly capable of adapting their own voices to fit whatever style they are asked to. In that way, they were working as interpreters: they were the master carpenter, rather than being the architect. Whatever was asked of them they could accomplish, from Tuvan throat singing to yodeling, to more pop singing styles and more operatic vibrato-filled passages.
The majority of the crowd seemed to be drawn there by Garbus’ appearance, as the heartiest applause came after her pieces. The group performed two pieces without Garbus on stage, but those pieces, “Quizassa” and “Ansa Ya” were unmistakably created by the mind behind tUnE-yArDs, as they seemed to come off as more extended, experimental versions of Garbus’ normal pop-structured songs.
Later in the show, Garbus came on stage to join the choir, and they performed two songs – “Hatari,” from Garbus’s debut, “BiRd-BrAiNs,” and a song from the upcoming album “w h o k i l l” called “doorstep.” The performance of “Hatari” was a near replication of the recorded version, as Garbus looped her floor tom and vocals as usual, but the female singers of Roomful of Teeth were able to fill in the call and response vocals that are present on the album, along with adding harmony to Garbus’s African-inspired vocal passages.
The new song “doorstep” was right in line with the first tUnE-yArDs album, but it seemed to take a more personal step forward, with lyrics that were more straightforward and calmly delivered, with the same amount of rhythmic complexity and soulful background vocals. The new album comes out on April 19 on 4AD, and I could not be more excited for it. Garbus seems poised for a major wave of praise, and the crowd seemed aware that this was her “moment” as well (David Byrne’s appearance in the crowd only added to this sense of excitement). It was a special, intimate night that showcased a familiar artist in an unfamiliar environment, and in the case of Merrill Garbus and tUnE-yArDs, a night which only served to raise my anticipation for the new album even more.
Pre-Order: tUnE-yArDs – W H O K I L L
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MP3: tUnE-yArDs – “Bizness”







