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Deux vocalistes, femmes, et un batteur, homme. Une pochette illustrée d’un clown. Un concept, “idiolalla”. Terme désignant l’utilisation d’un langage inventé correspondant à une condition psychiatrique (bref, ce n’est pas le kobaïen, encore que Vander apparaît souvent comme un possédé!). Le martèlement, parfois erratique, parfois plus régulier de Jean Martin est propice à toutes les outrances orales, plus proches de la pratique d’un Phil Minton que de Lauren Newton ou de Maggie Nicols, puisque le langage de DB Boyko et de Christine Duncan est fait d’onomatopées, susurrées, éructées, vomies. Mais pas seulement. Cetrains passages se rapprochent des voix diphoniques mongoles, peuvent aussi évoquer certaines pratiques ethiniques collectives - les youyous, par exemple. Christine Duncan travaille régulièrement la voix aux côtés de Jean Martin au sein de Barnyard Drama, basé à Toronto (quatre CDs depuis la fin des années 90) après avoir œuvré dans des formations de gospels. DB Boyko est, comme elle, originaire de Vancouver mais s’est plutôt produite sur la scène contemporaine (acoustique et électroacoustique). Tous les trois ont déjà émargé sur le label québécois dans le récent oratorio de Danielle Palardy Roger Bruiducœur, prières des infidèles. Ecoutez Idiolalla. Une expérience des plus vivifiantes, à défaut d’être totalement inédite.
blogue@press-3200
press@3200
While I couldn’t find the intriguing sounding title word Idiolalla anywhere, I did however uncover the neologism “idiolalia”, which arose recently from “idio”: personal, distinct, private, peculiar, and “lalia”: speech; therefore “idiolalia”, meaning a private or unique form of speech.
On this CD, the two singers, DB Boyko and Christine Duncan, no strangers to the exploration and extension of vocal limitations, certainly make good use of idiolalia. Jean Martin, the polished jazz percussionist impresses us with his free improv chops and fine musicianship.
On first listening, the sheer range of vocal utterance astonishes, what with lightening quick switching between vocables and effective presentation of many extended vocal techniques. On the other hand, it did take me a while to relax with this mix of Dadaist-inflected aesthetics (which was originally designed to poke fun and agitate) and (much) nonsense language. Except when used in touches of irony, don’t expect to hear belle canto singing here!
There is more to this music than virtuoso exploitation of avant-garde vocalism. The lack of intelligible lyrics (much of the time) doesn’t impede the singers’ ability to sound in turn lyrical, childlike, declamatory, menacingly silly, hysterically scary or amazingly like Inuit throat singers. Just when one imagines they have run the gamut of emotional set-pieces, they pull out a comically operatic bit, including wicked Pagliacci laughter.
Stay with it. This CD rewards repeated listening and reveals initially hidden structural elements and an adventurous and playful soul.
blogue@press-3141
press@3141
Idiolalla è una malattia vocale, un’infezione della lingua inventata. Due vocalists, DB Boyko e Christine Duncan, e un percussionista, Jean Martin, esplorano le possibilità della comunicazione al di là dell’intelleggibilità semantica e quelle del canto, al di là del tradizionale concetto di cantabilità. I sintomi di idiolalla sono contagiosi e piaceranno molto; di sicuro diverranno luogo di divertimento e d’esercizio del bambino che è in noi, ancora non plagiato dai tabù comportamentali borghesi. Gli impasti vocali hanno una precisa caratterizzazione sottolineata dai ritmi. È giungla, circo e songbook surrealista. Il vocalese d’impianto jazz è terreno di divertissement tribali (Catherine et Cathy, Ringdingding) e l’evocazione d’un Africa distorta (Addowah Picapah) o d’un Tibet adulterato (Mine, Me), attesta il livello simbolico di pandemia che regna dell’album. D’altra parte, l’espressività ha propria sintassi e regole rispettate, come pure è percepibile il “senso dialogico” degli intrecci dei gargarismi o delle ecolalie e il ruolo drammatizzante della batteria (Soul Sausages). Lo spettacolo è dunque di grande godibilità. I piccoli vi tradurranno tutto e spiegheranno perché la mia valutazione sintetica è fin troppo prudente. (7/10)
blogue@press-3143
press@3143
Since a few years the Ambiances Magnétiques invests in new talent. With these both releases we have another proof of this policy in our hands. On both CDs we find a trio at work. With Today is a Special Day the trio with Philippe Lauzier (alto and soprano saxes), Miles Perkin (double bass and voice) and Robbie Kuster (drums and percussion) make their first statement. Lauzier is from Montréal where he studied saxophone and composition. He is active in the fields of jazz and new music. Miles Perkin, is another rising star in the Montréal music scene. The projects he is involved in, are to many to mention. As a composer he leads his own ensemble Common Thread. Also working on many fronts in Montréal is swiss-born Robbie Kuster. As a trio they exist about two years now. Most of the compositions are by Lauzier, some others by Perkin. Also they adapt two compositions by Béla Bartók: Mélodie pentatonique and Bulgarian Rhythm. Their jazz is far from traditionalistic, but also not superbly modern, but somewhere in the middle. With their disciplined and well crafted playing they create an open and dynamic music that is very mature. In all respects a very consistent trio of dedicated players with a clear concept and identity. Couldn’t find a weak spot here.
Totally different is Idiolalla, a collaboration of two female singers, DB Boyko and Christine Duncan, completed by Jean Martin on drums. This trio is specialized in very free form improvisations, with mainly both vocalists on the forefront. From Vancouver comes DB Boyko. She worked with the NOW Orchestra and made impression with her song-cycle Amphibious Tales in the 90’s. Of both Christine Duncan - with a five octave range - is the one who has the most experience. She worked with Kenny Wheeler, Paul Horn, etc. Percussionist Jean Martin worked with David Murray, Lori Freedman, and many others. So speaking of ‘new talents’ should be taken as a very relative notion. By the way, Duncan and Martin also perform as a duo. The non-verbal mouth music of this trio is very dramatic and intense. Drummer Martin plays modest but effective. But when listening repeatedly to this CD, I could not suppress the thought that all becomes a bit more of the same. Which is may be due to the free form character of their improvisations. So how expressive and adventurous the improvisations may be, this does not guarantee a CD that impresses from beginning to the end.
blogue@press-3110
press@3110
The cover of this album by DB Boyko, Christine Duncan and Jean Martin features the face of a clown, reminding of a fair. Both vocalists DB Boyko and Christine Duncan sing in an unusual way, creating and reciting their self-invented language. Jean Martin accompanies them with his multi-coloured percussion. It’s funny, almost childish and certainly very entertaining at the same time. The music ranges from playful vocal art to moments in which Tibetan monks seem to be singing.
blogue@press-3116
press@3116
I was just thinking about the human voice. Mostly everyone has one, uses one and it’s pretty much the basis for eminent music publications. Well kiddies, Idiolalla is two women with voices and one drummer with style. This is where the human voice approaches the realm of true punk rock attitude; not only are they not going to tell you what they’re talking about and leave you to make up your own mind but they’re going to make you laugh, roll your eyes and scare you into the bargain. The departure this CD takes from the avant-art-whatever genre of sound-singing is the inclusion of the awe-inspiring drumming of Jean Martin and Duncan and Boyko tag-teaming everything from basso growling to Japanese pop squeaks to faux light opera and Monty Python shanties. Mad skills and no fear to boot.
blogue@press-3120
press@3120