• Record Label: 4AD
  • Release Date: Apr 19, 2011
User Score
8.1

Universal acclaim- based on 86 Ratings

User score distribution:
  1. Positive: 74 out of 86
  2. Negative: 5 out of 86
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  1. Oct 12, 2011
    6
    tUnE-yArDs produced that very good album by Thao & Mirah and appeared on the opening Eleven which also was the best track. Her second solo LP happens to be one of the most hailed releases of 2011. Itâ
  2. Oct 13, 2012
    6
    It really is some interesting experience to hear this album. At first listen, it sounds innovative and multi-influenced, the idea of electronic/african music being worldwide acclaimed. At second, it gets really repetitive. After a week within it, it showcases nothing left, it becomes a big musical shell of lo-fi and african beats with no purpose nor substance. At least her voice isIt really is some interesting experience to hear this album. At first listen, it sounds innovative and multi-influenced, the idea of electronic/african music being worldwide acclaimed. At second, it gets really repetitive. After a week within it, it showcases nothing left, it becomes a big musical shell of lo-fi and african beats with no purpose nor substance. At least her voice is something to praise, powerful and sweet at the same time. For me, it's biggest problem is that is not too much or too little. It's just medium. Expand
Metascore
86

Universal acclaim - based on 34 Critic Reviews

Critic score distribution:
  1. Positive: 34 out of 34
  2. Mixed: 0 out of 34
  3. Negative: 0 out of 34
  1. Jun 29, 2011
    91
    On the follow-up to her 2009 breakthrough album, "Bird-Brains," Merrill Garbus (aka Tune-Yards) again creates a clamorous assemblage of warm, overdriven kitchen-sink instrumentation, field hollering, layered stacks of processed vocals and a sonic smorgasbord culled from the world cafe-only more so.
  2. Mojo
    Jun 21, 2011
    80
    Genre-hopping in style with one-woman band Merrill Garbus. [July 2011, p. 114]
  3. May 25, 2011
    63
    w h o k i l l may be strange on first pass, but only by its uniqueness, a music whose microgenre would disappear in a whiff were Ms. Garbus to have never stumbled upon it within her.