I can feel you creep into my private life

tUnE-yArDs - I can feel you creep into my private life
Critic Score
Based on 34 reviews
2018 Ratings: #421 / 757
User Score
Based on 278 ratings
2018 Ratings: #863
January 19, 2018 / Release Date
LP / Format
4AD / Label
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tune-yards.com / Website
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A.V. Club

It may lack the punch of Nikki Nack, but for those willing to hang around and appreciate its jammier approach, it’s a cathartic, worthwhile stop along the Tune-Yards catalog.

Drowned in Sound

At its most personal and bittersweet moments, ICFYCIMPL finds the duo sticking fingers into the darkest aspects of human nature through self-exploration.


Cogent and catchy all at once, I can feel you creep into my private life shows that, even amid doubt and distress, Tune-Yards can find a new way forward.

The Skinny

Despite the seriousness of the lyrics, I can feel you creep into my private life manages to remain an uplifting album, with a collection of intricately-crafted pop songs that tackle a range of important current issues.

The Independent
Expanded to a duo by bassist Nate Brenner’s promotion to full-time accomplice of Merrill Garbus, Tune-Yards’ characteristically confrontational approach acquires a new brusque confidence on this fourth album.
Tune-Yards might have taken a deep breath and a step back, allowing their infectious melodies some space, but their breathless skew-whiff eclecticism remains anything but safe.
The Guardian

I Can Feel You Creep Into My Private Life is a very 2018 kind of album, social justice meditation workshop and all: the provocative, messy, frequently brilliant sound of a talented and original artist working their way through what New York magazine recently called pop culture’s great awokening. It occasionally makes you grit your teeth and wince, but far more often it makes you want to dance – and there’s something weirdly compelling about it all.

Rolling Stone
Per usual, the core remains Garbus' beat science, hypnotically looped and stuttered, driven by handclaps, drumstick clatter and her increasingly varied vocal displays, which are more processed than usual here – fitting for an age where "truth" itself comes digitally warped.

Though many more artists became politically outspoken in the years following W H O K I L L and Nikki Nack, Tune-Yards' passionate commentary and innovative sounds are just as potent as ever, and i can feel you creep into my private life might just be their most cohesive set of songs yet.

The Line of Best Fit
This time out the songs develop with an organic elegance, even when they’re saturated with gated reverb and cut-up samples of Garbus’ own vocal takes, and the result is glorious.
Slant Magazine

While she does steep her fourth album, I Can Feel You Creep Into My Private Life, in the more uncomfortable realities of our discordant national discourse, she doesn't lash out at external forces. Instead, she internalizes that dialogue, resulting in her most contemplative album to date.

The Observer
The thrill of her cool self-appraisal is boosted by a new sound, more liberating party than pious penance, that integrates a taste for the euphoric early days of dance into the duo’s melange.
The 405
Tune-Yards latest is a record dominated by the society it both critiques and is a part of.
It’s a big, bold, entertainingly disruptive blast of a record with a mirror-ball lure, refracting everything from Motown to early ’80s disco and funk, boom bap, ’90s piano house and contemporary R&B (to which Garbus’s powerful, multi-tasking voice is brilliantly suited), which loses none of their oddness or playfulness, but puts issues such as race and cultural identity, privilege, intersectional feminism and looming ecological disaster under the lyrical spotlight.

I Can Feel You Creep Into My Private Life feels like a proper work in progress – one committed to forward motion, tangible change.

Under The Radar

I Can Feel You Creep Into My Private Life is a natural addition to the Tune-Yards catalog, a group of albums with songs so singular that practically every track seems like an evolution in the Tune-Yards sound.


Art-pop at its peak, it’ll take something special to tussle with the brains of listeners in quite the way this does.

FLOOD Magazine

Her flair for the dramatic is nicely balanced by the record’s fleet-footed pop craft, even as it enlivens her political fascinations. The result is a tUnE-yArDs album that’s as distinct as ever, but also broadly appealing—and, a protest record that doubles as a dance party.

Northern Transmissions

I can feel you is a step forward from Nikki Nack, as Garbus and Brenner mesh together genres and styles to carve out a sound like no one else’s. An exhausting listen but often an inspiring one, the duo’s latest is a whirligig of ideas and themes that lands more often than not.

God Is in the TV

Although lyrically inferior to their previous albums (less clever rhyming wordplay and less intriguing due to not sounding like a surreal children’s storybook), on Tune-Yards’ fourth album I Can Feel You Creep Into My Private Life, Garbus speaks interestingly about her own actions in the face of gloomy issues.

Now officially including longstanding collaborator Nate Brenner, Tune-Yards have ... become a progressively richer, more explicitly political proposition - but in no way less infectiously joyful.

Suffice it to say that Private Life is as socially conscious as albums come. It can also be a slog to get through.


I Can Feel You Creep Into My Private Life doesn’t quite hit the immense heights of her first two albums, but this is still Merrill Garbus doing her own thing – which is something that’s always worth paying attention to.

No Ripcord

I can feel you… is her most sonically sharp weapon to date, and full of plenty to get excited about if you rifle through it.

Spectrum Culture

With I Can Feel You Creep into My Private Life, Garbus and Brenner haven’t slowed down, but they’ve focused their sound. After all, there are only so many beats and so many issues you can tackle at once.

If a deep conversation about identity politics with Merrill Garbus is what people want, ‘Private Life’ might be Tune-Yards’ smartest album yet. Unfortunately, musically, outside the snappy percussion lines and the occasional fuzzy synth riff (see the title track), Tune-Yards are leaving a lot to be desired, especially considering their usual ambitiousness.
It’s frequently a difficult listen, and not for the reasons Garbus intended.
Loud and Quiet
This record – though eminently listenable, with its upbeat intensity and light-hearted dance loops – seems void of the white-hot anger that ought to result from its subject matter. It is intellectually detached from the realities of the world it depicts, which I guess is at least a truthful representation of the hipster-millennial experience. It’s probably going to take more than intellectual introspection to change the world, though.
NOW Magazine
On I Can Feel You Creep Into My Private Life, Tune-Yards expand on their signature percussive sound and progressive themes, tackling everything from climate change (Coast To Coast) to white privilege (Colonizer), set to electro beats.

On the whole, I Can Feel You Creep Into My Private Life is a truly good album and a number of the songs on it are notable successes, but the stark shift in sonic style sets it apart from the rest of Tune-Yards' discography and not in a good way.

Crack Magazine

For an act as adventurous as tUnE-yArDs, it makes sense to experiment with digital manipulation and to tap into the political zeitgeist. But although I can feel you creep into my private life is a thematically ambitious record, tUnE-yArDs have come off sounding slightly out of touch.

The Needle Drop

Apart from a few bright spots, I Can Feel You Creep contains Tune-Yards' most uninteresting and obnoxious material to date.

Tiny Mix Tapes
Tune-Yards sound afraid to give themselves back to the world in these songs. But there’s so much fear already. We need embrace, boldness.
With each new release, the music has been taking more of a backseat to the lyrics. This is okay if the music is still a driving force of the entire record, as lyrics alone can't save a song. This new album sees Tune Yards continuing the pattern even further, only this time the music is nowhere near as engaging. And unfortunately, the lyrics have never been so heavy-handed. In the end, it's fine I guess. But any time I pay attention to the lyrics, the first thing I want to do is turn it ... read more

I actually used to like this album. It was even my favorite record by tUnE-yArDs, which sounds like such a stupid statement to make now. I can feel you creep into my private life is just so lifeless and dry. There's some cool production here and there, I guess, but it's not enough to save this 12-track slog of an album.
I always loved this tune-yards colorful explosive style of the previous albuns and though they have changed to a more electronic pop sound on this new album, their style brand is still in it with more focused and political lyrics.

Favs: Heart Attack, Coast to Coast, ABC 123, Honesty, Colonizer, Look at Your Hands and Private Life.
Tune-yards (I’m not going to put in the effort for the capitalization here) has always contained moments of dissonance — both musically and lyrically — but one of Merrill Garbus’s strengths on past records was her ability to make seemingly unappealing moments go down smoothly and seem catchy. “I can feel you creep into my private life” is aggressively un-catchy, and honestly feels like a chore to listen to. Garbus settles into a tuneless, generic ... read more
Super uninteresting. I loved Nikki Nack. This is a watered down, super poppy album that is boring by the end of the first track

Writing is worse, beats are worse... I am just super underwhelmed
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Added on: October 24, 2017