YlangYlang :: Interplay

Montreal’s YlangYlang (a.k.a. Catherine Debard) have delivered a flurry of releases since 2012 with diaristic titles such as Life Without StructureTender Freaky Sexy Moments, and Am I Being Overdramatic? Whether released as cassettes, CD-Rs, or embroidered caskets, they all feel like intimate transmissions beamed out from the soft-focus haze of her inner world.

Interplay, out this month from West Virginia label Crash Symbols, is as refined and stately as the project has ever sounded. Recorded shortly after Debard’s experiences as an artist in residence at Calgary’s National Music Centre, where she studied with Suzanne Ciani, it marks a passing of the baton from one musical voyager to the next. Fusing elements of new age ambience with neoclassical orchestration (cello, sax, trumpet, flute) and abstract electronics, its eight songs are guided by Debard’s English vocals with a lilting French Canadian accent. The album could be compared to a less sinister version of Inga Copeland’s Lolina, but may in fact have more in common with Rick Holland and Brian Eno’s poetronica. When YlangYlang says “I wear my emotions at the nape of my neck,” we felt that. words / j locke