{"id":31564,"date":"2020-10-29T19:13:16","date_gmt":"2020-10-29T23:13:16","guid":{"rendered":"https:\/\/panm360.com\/records\/polyphonies-tribales\/"},"modified":"2020-10-29T19:14:36","modified_gmt":"2020-10-29T23:14:36","slug":"polyphonies-tribales","status":"publish","type":"records","link":"https:\/\/panm360.com\/en\/records\/polyphonies-tribales\/","title":{"rendered":"Polyphonies Tribales"},"content":{"rendered":"\n

Generally associated with points east of the Danube, the practice of polyphonic song has a history in Europe\u2019s western end as well. That\u2018s revealed over the course of this rapid tour of the tradition\u2019s different threads, touching down in Russia, Ukraine, and Georgia, as well as Spain and Occitania. The French part of the latter region is home to Panderovox, a choir comparable to a small army\u2026 well, perhaps a platoon \u2013 un peloton<\/em>, si vous pr\u00e9f\u00e9rez \u2013 of forty or so singers and drummers, under the command of the lieutenant Greg Duveau. Following an incongruous welcome with a didgeridoo, Duveau and his drum-driven choral rabble perform examples of five national variants of polyphonic folk song. Unsurprisingly, the songs from east can be a bit grim (from the Georgian \u201cBindisperia sopeli\u201d: \u201cEveryone will be enjoying themselves, and I’ll be lying in my grave \/ I wish my house not to be destroyed, and my wife not to get married again.\u201d). The Spanish and Occitanian numbers, on the other hand, are upbeat and festive. As Duveau\u2019s choir is mostly an amateur affair, the singers never achieve the sublime heights of Le Myst\u00e8re des Voix Bulgares (the women\u2019s choir that made polyphony popular), nor the startling inventiveness of avant-garde contemporaries like Kiev quartet DakhaBrakha<\/strong><\/a>. The sense of collective enthusiasm is strong, though, making Polyphonies Tribales<\/em> gratifying as well as edifying.<\/p>\n\n\n\n