Inuit throat singing meets out-there electronics.
Toothsayer's five tracks make varying use of live drums, synths and pianos, with Tagaq's voice providing both rhythm and melody. Sometimes she sings, sometimes she coos. But more often she grunts, pants and shrieks in her inimitable Inuit throat singing style. "Toothsayer" and "Submerged" make heavy use of Martin's percussion, stitched into writhing rhythms that wouldn't be out of place in the furthest reaches of a Ricardo Villalobos set. The more ambient and piano-driven "Snowblind," inspired by white-out conditions, is sublime.
The way these tracks dramatically rise and fall, along with their largely wordless nature, recalls post-rock. Fans of that genre could make some Sigur Rós comparisons on the harrowing "Hypothermia," which ends with what sounds like the panicked breaths of someone trying not to freeze to death. Through throat singing, traditionally performed as a dialogue between two women, Tagaq tells ancient stories of the lives of her people from a modern perspective, preserving tradition while helping it evolve.