Album Review: Le Vent du Nord, ‘Tetu’

This time around, the Vent boys (Nicolas Boulerice – hurdy gurdy, accordion, Oliver Demers – fiddle, mandolin, Rejean Brunet – bass, Simon Beaudry – bouzouki, with each contributing to vocals and much more) have gone ‘back to basics’, recording the album in a backwoods studio not far from their Quebec base. On it, they explore their Quebecois roots, and some long forgotten traditions, both of song and dance. ‘Tetu’ blends self-written and traditional pieces, all bound together by the band’s seamless energy and sense of innovation.

Catch a glimpse of opener “Noce tragique” and you will catch a feel of ‘Tetu’ straight away, complete with Jews harp and finely-tooled vocals. You’ll get the swing of rising fiddles, and the album’s perfect juxtaposition of an old, country, almost ‘rustic’ feel (that recording process again) and a youthful, thrusting musical attitude. Add in razor-sharp instrumentation and harmonies, and ‘Tetu’ can’t have a better start.

“Loup-Garou” has a swinging bounce to it, from its hurdy gurdy, bass guitar and percussion-filled opening, to the clever swapping between lead and harmony vocals, and “Le rosier” shows how at ease LVDN are with their material. It sounds easy, it sounds fun, as they move between light and shade, happiness and blues.

Tune sets like “Cardeuse-Riopel” and “D’ouest en est” take traditional pieces, where they are from and what they represent, and thrust them far into the future. The band deliver them with foot-stomping fever, the end results being overwhelmingly uplifting and optimistic.

“Confederation” is a Boulerice song about “North American French-speakers who can often be forgetful”. Make of that what you will, but it is clearly a comment on the relationship between language, culture (and indeed music), whilst “Chaise ardente” sees its hero descend to hell in the name of curiosity. “Forillon,” meanwhile, is the story of Forillon Park, which was created in part by a forced re-settlement of several families in the area, by an allegedly bullying firm of private contractors.

By contrast, “Petit reve IX” is, while ‘just’ an interlude, a beautiful moment, with a piped hurdy line, subtle guitar, and sliding fiddle – like the dream that it is. As you would expect from a song called “Pauvre enfant,” there are some affecting, emotional vocals on this one, which are complemented by soaring fiddle lines later on. And “L’echafaud” is darker still, with the resounding vocals full of sadness and bittersweet regret, as a man sentenced to death looks back on his life. This short track ably demonstrates the variety of ‘Tetu’.

“Papineau” shows once again the strength and control of the interplay between lead and harmony vocals, whilst closer “Amant volage” swings and cuts with some deft fiddle and piano to finish things off.

‘Tetu’ is highlighted by some seeping, swooping, expert playing, and sympathetic singing – LVDN are a group who really work together on all fronts. A delight.

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