Iowa debut
| Winding through the hallowed halls of traditional Québécois musicianship
with a clever, spunky approach to rhythm, harmony and arrangement,
Genticorum has been called “a sonic marvel of synergistic chemistry.” Though
earnest and well-studied, they don’t take themselves too seriously.
They are a power trio in the best sense
of the phrase, each member incredibly versatile — Pascal Gemme on fiddle,
foot stomping, and vocals; Alex de Grosbois-Garand on wooden flute, bass,
fiddle and vocals; and Yann Falquet on guitar, jaw harp and vocals. Their
unique blend of timbres and surprising vocal harmonies have made the band a
favorite at festivals and venues throughout the world.
The trio's last album, Malins Plaisirs,
won the Canadian Folk Music Award in the “Best Ensemble” category and was
nominated for JUNO (Canada) and Felix (Québec) awards.
Their latest, La
Bibournoise, was named “Best Traditional Album” at the Canadian Folk
Music Awards. It builds on the group’s trademark sound, combining rollicking
interpretations of traditional Quebecois folk songs with a collection of
original instrumentals written in the traditional style. The music is
energetic and folky at the same time, excellent in harmony as well as the
most frenzied rhythms; sometimes it’s hard to believe there are just three
people on stage.
Like old world storytellers, they spin
tales of mischief and a few of heartbreak and lament. On “Le Moine Blanc,”
from the new album, a monk’s secret lover covers her face with black ink,
thinking it is a bottle of perfume in the dark. Chaos ensues.
One more trick up Genticorum’s sleeve is
the use of uncommon meters or “crooked time” — songs that don’t fit evenly
in the usual 4/4 or 3/4 structure, adding a beat here and there. While these
rhythmic surprises are humorously and strongly rooted in tradition,
Genticorum is especially partial to them. “Hommage à André Alain” is a nice
“rare” example of this crooked rhythmical approach analogous to how well a
steak is cooked (or not). Another type of tune called grondeuse —
meaning “growler,” perhaps for the response of the audience or the tough
skill required of the musicians — switches between 3/4 and 2/4 time.
Says the world music magazine Songlines, "Their robust vocals and sheer
energy are satisfying, but ultimately it’s the sense of playfulness, married
to a sonic richness — and those interesting original arrangements — that
make this band such a devilish pleasure."
