Concert Review: Pat Jordache & tUnE-yArDs @ Turner Hall Ballroom Milwaukee – 11/11/2011

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Photograph by Ashley Jordan Gordon

words by: Marta Fieweger

Ah, the portentous 11.11.11. A great day for prophetic dreams and a phantom limb, brought to you by Pat Jordache.

I did not know much about Pat Jordache prior to the show, but what I had previously read was ultimately realized in their live performance. While I initially struggled to understand the text stating Jordache’s desire to embody “prophetic power of imagery dredged from the subconscious,” planting in me some concern that I would be incapable of writing about such intellectual musical stylings, the text’s significance “clicked” (in the most subjective sense, as I still might not know what the eff I’m talking about) during the show.

Jordache’s low vocals layered with a provocative bass and sporadic uninhibited yelps created an uneven balance of control and release. The vocals at times sounded altered, like a criminal attempting to mask his voice, adding an undoubtedly shadowy, ominous facet to the music. The lo-fi sound and strong baritone vocals nearly lead me to think that the sound was primarily dark, but then came the addition of tribal drums, math-rock rhythms and an element of Talking Heads-esque punch. Harmonious howls rounded out the sound, particularly in “Get It (I know your going to).”

Phantom limb, a single from “Future Songs”, was easily recognizable, again merging haunting howls with a quick cadence and a sort of contemplative repetition, taking on an element of post-punk.

Jordache’s music evoked a sense of mystery, not only because of the minor chords and richly dark Tunde Adebimpe-like vocals, but because they combined so many seemingly opposing elements into a fairly fluid sound. Confusing to some, no doubt, but for those who can appreciate contemplative layered with uninhibited layered with uncontrolled, seemingly cathartic yelps, the music at times evoked a strange sense of sad hope. Let’s hope it’s prophetic.

Similar to Pat Jordache, the much-anticipated tUnE-yArDs also exemplified multi-dimensional music. To an exponential degree.

A puffy-sleeve and face paint-clad Merill Garbus opened the show with a live sample of her own voice. Bam. During the excited whispers and utterances of “wow,” she somewhat abruptly transitioned into “Gangsta” with her siren vocals, compelling the hipster crowd to move like unapologetically awkward hipsters.

Garbus continued to bring out all the bells and whistles, with her much appreciated ukulele, yodel yells, Mariah Carey octaves, and of course, jumping. Her bassist and band channeled a similarly positive energy, jumping and bobbing and moving with that same genuine enthusiasm.

The bells and whistles, however, were not gratuitous in any way. The genuine nature of her enthusiasm was manifested in her music, pushing the crowd to take on a similarly free style of moving and grooving.

Perhaps the most impressive aspect of Garbus’ show, however, was her vocal agility. Especially evident in “Es-so” and “Powa,” Garbus quickly transitioned from soft femininity to formidable yells, exemplifying the ultimate in artistry and control. Few are able to seamlessly transition between such contrasting sounds, but Garbus seems to have mastered the vocally difficult feat.

All the good things you have read about the tUnE-yArDs are true. I highly recommend you see them so that you can experience these good things. That being said, I probably can’t formulate a sentence that relays new, exciting discoveries about their music, but I can tell you this: Merrill Garbus delivers. She delivers like Jimmy John’s to a high kid, quickly satiating a desire for something freaky fast and freaky good.