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Reviews

Volapük — Polyglöt
(Cuneiform Rune 134, 2000, CD)

Polyglöt Cover art

I believe the third studio outing under the Volapük name for Guigou Chenevier is also the best one. Much of what he concocts here strikes me more as something I would expect from an Eastern European rather than a Frenchman. But the giveaway I suppose is his lightness of touch. The character prevalent on Polyglöt is joyous, easy to imbibe, full of color, giddy merriment, and melodic invention. Volapük's music is wrapped snugly in arrangements that allow Chenevier's ideas to speak simply and eloquently. And he never commits the unpardonable sin of sacrificing the essentials of good solid structural forms to goofing off and silliness for its own sake — something that mars much of what passes as experimental music. The drums here are like another lead instrument — taking part in an equal musical dialogue with violin and bass clarinet in a manner that captures all the nuances of these acoustic instruments. When he adds to the sound spectrum by employing drum machine (on one track), or marimba, they fit idiomatically right into the musical scheme. One thing is for sure: Chenevier is an original, and it makes you wonder how he lasted all those years without asserting his own compositions. (It does urge me to return to Etron Fou to see what I may have missed). Taste and delicacy abound on this recording, which I find hardly difficult to recommend.

by Mike Ezzo, Published 2000-10-01

Polyglöt is the fourth album by French drummer Guigou Chenevier and his trio with bass clarinet and cello. Also added for this incarnation is the violin of Takumi Fukushima (ex improv unit, After Dinner). The group is a curious mix of styles from jazz to modern classical and reminds me of lighter Univers Zero or Magma and even less dissonant Henry Cow. From the opening track, "Vieux Futur," the new addition to group, Fukushima, takes an aggressive role by adding a wonderfully twisted solo. But the group is not all dire circumstance indicated by Lars Holmer's composition for the band, "Voila Pük." This piece espouses the composer's gift for comedy by recalling cabaret themes, but twisting them only slightly. "Sanza" even has an Eastern feel colored by use of the taragot accompanied by pin piano. I don't detect too many overt folk elements despite the obvious bent to the instrumentation. Much of the music can also be contrasted to that of Carl Stalling. On "Marimba" a steady repetition conjures images of ants crawling over the mound (at least for me) — that is, until the violin solo kicks in again. The low frequency is owned by bass clarinetist, Michel Mandel, but he also carries a bit of melodic weight as well. I'd say this album is probably one of the safer introductions to a RIO based act for the uninitiated. My guess is that the quartet is to be treasured on the live stage. That's why I'm seeking out album #3 for confirmation.

by Jeff Melton, Published 2000-10-01

Filed under: New releases, Issue 20, 2000 releases

Related artist(s): Volapük

More info
http://cuneiformrecords.bandcamp.com/album/polyglot

 

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