The Guardian: The line crystallises the mood of her second album as Tune-Yards: it's tart, bright, forthright; fiercely feminist in outlook; utterly self-possessed.
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Rolling Stone: whokill overflows with hip-hop, reggae, Afrobeat and funky noise freakouts -- plus ukulele riffs, fluttering doo-wop vocals and what sounds like a percussion orchestra composed of pots and pans.
Spin: Adding bassist Nate Brenner, fancier mics, and augmented sonics, this sophomore album cleans up without sacrificing charm.