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1
Aug
At the suggestion of my friend, Craig – underneath whose pastoral polos & churchly demeanor lies a decidedly eclectic and considered musical taste – I’ve been listening to the latest album, w h o k i l l, from tUnE yArDs, aka musician Merrill Garbus.
Aside from an undeniable physical resemblance, Merrill and I have little in common: she’s a hipster rock star scream-singing about violence, sex, lies and abuse, and I’m a mild-mannered, unemployed pastor who gets occasionally hot under the collar about, of all things, ecclesiastical polity debates.
But I like her. She’s fierce and unabashed, and on w h o k i l l, Garbus sings and screams and pulses beats through her throat, through her nose. “Sometimes I’ve got the jungle under my skin/drive up the rhythms, stick a fucking fork in,” she sings on Es So, and she doesn’t just mean the music. Merrill Garbus has some shit to say, and she’s here to say it. “The worst part about living a lie/is just wondering when they’ll find out” – that’s how the record begins, and Garbus proceeds to unravel at least a dozen lies, from the personal to the political all the way to the ultra-self-aware and cliché of current hipster culture (“I’m so hip/I cannot take it,” she screams at the finale).
Telling the truth would be enough to make the album memorable, but here’s why it’s especially so: Garbus encounters violence and humiliation head on, deep down, and still somehow manages to come out with a fiercely hopeful conclusion – are you listening, Church?
She screams her dangerous neighborhood’s gunshots on Gangsta and likens her lover’s abusive treatment to bombings on Powa. Wooly Woly Gang, a twisted lullabye, warns the sleeping baby that “they’ll try to arm you/that’s what they do” and asks, “how do you keep a bleeding heart wide open?” Riot Riot, a song about finding herself compellingly attracted to the cop who comes to arrest her brother, finally makes the album’s latent confession overt: “THERE IS A FREEDOM IN VIOLENCE THAT I DON’T UNDERSTAND AND LIKE I’VE NEVER FELT BEFORE.”
She sounds, at times, like Ernest Hemingway or Chuck Palahniuk, some manly pugilist bent on muscling through the world like a prize fighter. In fact, on Doorstep (a doo-wop-y tune about watching her lover get shot by a policeman in their doorway), she laments: “oh I’ve tried so hard/to be a peaceful, loving woman…but how many gone before you listen to the cries?/with my dead heart, how do I find my way through the truth and all the lies?” The lyrics would lead you to believe she’d given up any tenderness, any compassion. But it’s just not true. She’s making room for something else, something feminine and fierce, physical and pretty at the same time. “I’m a new kinda woman I’m a new kinda woman, I’m a don’t take shit from you kinda woman,” she sings on the final track, “and all my violence is here in the sound, singin make room for the shit to go down.”
I wish my church-y circles could find something like Garbus seems to be offering: Instead of toothless, onlooker pacifism and wishy-washy progressivism sending us all to be condemned by Bonhoeffer’s “cheap grace,” that we might find some honest, head-on encounter with the ugly realities of life. That, instead of avoiding the crap parts or piously standing neatly off to the side of conflict, we could confess that we actually kind of like all that violence and shit, and fight our way through to sing the violence out and find ourselves transformed into a new kind of woman, a new kind of man, a new kind of heaven and a new kind of earth.
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