Taking the stage in matching blue sack dresses, top knots, creepers, hoop earrings and oversized glasses with pom-poms fixed atop them, local duo Tamayugé thrust MUTEK's first night into a weirdo wonderland with welcome reception from a crowd caught off-guard.
As Tamara Filyavich busied herself generating exploratory accompaniment with a table of hardware, Maya Kuroki rallied the off-centre swirl into an avant-garde frenzy with guided rituals and interpretive dance, processing vocal chatter and moans into dizzying loops and shrill pitch sequences from behind the mic, eventually strapping on an electric guitar to project it somewhere along the brutalist orbit of no wave, only to later swap those jagged, clunky chords with a dusty, operatic ballad.
Operating from an unpredictable nexus of sound art, Dadaist pop, and avant-garde theatre, the growing audience walking in on it from the UQAM campus drank it all in without hesitation, excited grins all across the room.
As Tamara Filyavich busied herself generating exploratory accompaniment with a table of hardware, Maya Kuroki rallied the off-centre swirl into an avant-garde frenzy with guided rituals and interpretive dance, processing vocal chatter and moans into dizzying loops and shrill pitch sequences from behind the mic, eventually strapping on an electric guitar to project it somewhere along the brutalist orbit of no wave, only to later swap those jagged, clunky chords with a dusty, operatic ballad.
Operating from an unpredictable nexus of sound art, Dadaist pop, and avant-garde theatre, the growing audience walking in on it from the UQAM campus drank it all in without hesitation, excited grins all across the room.
