About halfway through this record, something hit me. I hadn’t done my usual pre-listen research, and I couldn’t get over the vocals. Naturally, for most of the album, I pictured the unconventional screech that dominates w h o k i l l was coming from a dude. Now, you could write a whole dissertation on what that says about sexism in the indie community or something, but it’s the truth. Merrill Garbus, the sole member of tUnE-yArDs (case-sensitive), sounds like a man.
Now, don’t get me wrong, I do not care at all. I’m not sexist to the point that I let the gender of the singer effect how I perceive the music. It just really threw me off. I feel like I’m only digging myself into a deeper hole, so just listen to this, and you’ll understand what I mean.
Okay, straight-up, w h o k i l l is not for everybody. It’s classified as “freak folk” (a genre name that I usually despise, because people apply it to almost anything unconventional—it’s becoming the new “alternative”). That term almost fits when applied to tUnE-yArDs, though. There are plenty of elements of folk music that shine through, but overall, this music just has an extremely weird, unconventional sound—and I love it.
I was trying to come up with a list of the different elements that can be heard throughout w h o k i l l, which proved to be nearly impossible. Part of what gives this record such a strange sound is the large number of instruments and samples that come together to form something truly awesome. Chances are, you may not like tUnE-yArDs. Give man-lady a shot, though, and listen to a couple of songs. If nothing else, you will hear something unlike anything you’ve heard before.
Swole Ear 
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