In what seems to be a theme this year for the international or non-rock bands, an extra long setup meant a truncated set. That may have been for the best in the case of Tanya Tagaq, because a full-length set may have caused the crowd’s heads to explode. Trained as an Inuit throat singer, the Canadian unleashes pure expression.
Accompanied (if that’s even the right word; more like “set up”) by violinist Jesse Zubot and drummer Jean Martin, Tagaq started out panting, building up her breath in intensity and speed, looping herself naturally in that unique throat singer style. As the drums became more propulsive, she started to squeal, huff, groan. Then the animal noises began, as if said critters existed in the nature of your nightmares.
Rasps not unlike extreme metal vokills alternated with orgasmic noises, which transformed into screams and ululations of no fixed emotional axis. Once she began rambling in a language even she doesn’t claim to understand, punctuated by demonic laughter, it appeared as though she was no longer in control. The voice took over.
Bluntly put, you’ve never heard anything like this before, not even if Diamanda Galas is a personal touchstone. For 30 minutes divided into two halves, Tagaq fused ancient and modern, nature and technology, with vocal sounds as old as human life itself. It’s as if she encompasses all life experiences – joy, rage, hunger, sex, sadness, violence, calm, death – and expresses them without words, taking all who hear on her journey.
Incredible.
Complete SXSW Music coverage at austinchronicle.com/sxsw/music
This article appears in March 20 • 2015.
