François Virot

Yes or No

(Frenetic)

Record Review by Alex Pudlin

François Virot really loves handclaps. In fact, his record label is even called Clapping Music.  And with good reason. Handclaps are an easy to way to help ensure that your music is fun and carefree. Solid songwriting helps too. But let’s be honest. A mediocre song often increases in value just because of some strategically placed clapping hands. Most of Virot’s songs though are strong enough to exist just fine without this most primitive of percussion instruments.

Virot used to be a drummer and it shows. Although no songs on Yes or No have full drums, Virot’s use of the aforementioned handclaps, bass drum thumps and drumstick clicks is highly percussive, to the point where you don’t really miss formal drums. In addition to this spartan percussion, Virot relies exclusively on his explosive acoustic guitar playing and his high, often falsetto-infused vocal style, which is equal parts precious troubadour and spastic shrieker. Imagine Animal Collective’s Avey Tare with a hint of Phoenix.

Virot’s tunes all rely on the same basic materials, but there’s enough subtle variation to keep Yes or No fresh. The 32-minute running time helps as well. Album opener “Not the One” is about as layered as Virot’s sound gets, as he uses bass drum and other clicks to form a beat that almost sounds like a complete drumset.  Virot’s vocals here, - cute but not precious, endearing but not saccharine, winey but not tuneless, immediately draw you in. For the next nine songs, Virot keeps the energy at 8.0 or higher. Even the slower numbers like “Young Sand,” “Where O Where” and “Yes Sun” feature Virot’s frenetic quiver. Yet the more introspective lyrics, combined with slightly more developed melodies, ensure that the songs are more than just slower versions of the faster numbers.

Although Virot’s ultra-minimalist production sounds more full than many much larger bands, you do begin to wonder what these songs might sound like with at least a bit more diversity in instrumentation. “Cascade Kisses” is a solid song as is, but imagining it with something as simple as a trumpet blare or two whets the appetite indeed.  But on the other hand, Virot wisely realizes the importance of solidifying his unique sound before taking on more ambitious undertakings.  So we can dream of Virot with bells, kazoos and sousaphones, but for now, let’s appreciate the special way in which Virot keeps it real on Yes or No.