Vivian Houle, vocalist
- Mandrake (with Peggy Lee, cello)
- Molehills mumps (with Lisa miller, piano)
- Paperthin (with Coat Cooke, saxophone)
- Gratte-moi le dos (with Kenton Loewen, drums)
- Quiet eyes (with Ron Samworth, guitar)
- It’s not the moon (with Chris Gestrin, analog keyboards and live sampling)
- Betters and bads (with Jesse Zubot, violin)
- Finely tuned is my heart (with Jeremy Berkman, trombone)
- Au revas (with Paul Plimley, piano)
- A little storm (with Jeff Younger, guitar)
- Bells hung in a tree (with Clyde Reed, bass)
- Song not for you (with Brent Belke, guitar)
- Curve (with Stefan Smulovitz, kenaxis)
The very essence of chamber music is perfectly captured in these thirteen tracks. Viviane Houle’s duets with each of these artists is raw music making – free improvisations that transcend the ordinary and provide sonic experiences unlike anything else. Houle’s sonic repertoire is no short of astonishing. Half of the time I can’t tell which sounds she is making and which are being made by her instrumental counterpart. On the same token, both performers on each track are so adept at listening to each other that the flow of events sounds totally organic and alive. While the bulk of the tracks are showcases for Houle’s vocal fireworks she is always blending with the ensemble and creating a sonic “hyperinstrument” that is neither one nor the other.
A few of the tracks feature a more traditional melodic and sung role for the voice. Houle, who also wrote all the texts, trends towards the smokey and hazy sounds of somber jazz or beat poetry. Her rich sound and warm emotional expressions are further featured on one of my favorite tracks, It’s not the moon. Houle’s voice is the DNA of Chris Gestrin’s synth work creating a haunting, graceful, and eternal sounding track.
The last three tracks on the disc transition smoothly from one to the next, making an excellent journey. Bells hung in a tree has a subdued ending that sounds like it continues as the next track fades in. Song not for you hits me right in my Heavy Metal spot. Houle and Belke sound like a great thrashing metal duo from somewhere in the Oort Cloud who have recently learned to sing using random Japanese phonemes (and I mean that in the best possible way). The thrash continues while the ambient sizzle of Curve takes over. Like It’s not the moon, Curve puts Houle’s voice in the background and she inexorably emerges from the synthetic world into an oozing and pulsating mass of delicious aural goo.