Tamayugé beckons listeners around a fire in the deep dark woods, where a ghost story is spun and distant music creeps slowly towards the camp in glitching oscillations, reverberating water drop synths and macabre vocals.
Tamayugé's slippery electronic perspectives reflect the musicians' respective Japanese and Ukrainian roots, drawing on age-old musical and cultural traditions while mining a briefer history of post punk, psychedelia and the experiments and off-kilter sound of early electronic music, and performance art. The duo's incantations on synths, electric guitar, vocals and eerie effects seethe and howl to minimal electronic pulses, lulling listeners into a hypnotic state before delivering a shock of static and noise. Filyavich coaxes an unsettling dreamscape of ghostly noise and melody out of her synths—not unlike her solo endeavours and music in Moose Terrific with Sam Shalabi (Land Of Kush)—yet with a distinctly supernatural vibe in part supplied by Maya Kuroki's wildly phantasmagoric vocals and fuzzed out guitar. Having acted in and created music for stage and film for several years, Kuroki seamlessly bridges theatre and experimental rock in Tamayugé and in Montréal band TEKE::TEKE, a post-punk homage to legendary Japanese surf-rock guitarist Takeshi “Terry” Terauchi.
On stage at MUTEK, Kuroki and Filyavich turn their theatrical electronic art form into an end of summer ritual performance: crafting a tall tale, performing an otherworldly ritual and inviting everyone to submit to their spell.