Gypsy prog: July 15th, 2008 - Velvet Lounge, Washington, DC
Vialka combine the manic, stop-start spasticity characteristic of so much proggy avant-rock with a melodic sense that draws straight from Eastern European folk and what I ignorantly categorize in my head as “French music.” There’s a sense of whimsy that’s very un-American going on in their writing, which probably makes them sound ridiculous to some of the more jaded types out there, but gives them a certain irrepressible charm for me.
In concert, all the quirkiness embedded in the compositions came out in the open. I got a chance to chat with both band members - Eric Boros, the guitarist, and Marylise Frecheville, the drummer - before and after the show, and my very enjoyable conversations with them gave no hint of their stage personalities. When the show began, Eric donned a shiny metallic shirt and Marylise a sequined spaghetti strap top and the quirkiness just kept going from there. They danced around a lot - Marylise leapt up from behind her kit to dance in the middle of the crowd on two occasions, and Eric was bouncing around with a huge grin on his face the whole time - but more than that, their personalities just seemed to shine through in the vocals and the sometimes hilariously disjointed rhythms.
Good times.
——Brandon Wu / BrandonWuPhotography (07/2008)
VIALKA: December 11th, 2005 - The Patifon, Tel Aviv, Israel
"Vialka?" was my initial response when I was first notified of the band that threatened to conquer Israel in its mini tour. "What do they play?" was, of course, the question to follow. I think I have yet to receive the unequivocal answers, although on the duo’s homepage its music is referred to as "gypsy turbofolkpunk" and France is pointed as its current homeland. These, however, don’t seem to matter much once you witness the band in action. Vialka may be anonymous but they are working to the point of exhaustion in order to spread their music worldwide (and once again, a look in the proper section of their homepage reveals the duo’s extensive and highly packed touring); and judging from its Israeli gigs the outfit does that for an affordable, nearly symbolic, price of admission even when compared to the local counterculture/alternative scene. Despite the above, the word was the Israeli crowd kept its cool and did not hurry to attend the band’s previous gigs; and the closing set of the tour (discussed here) seemed, at the designated, official show time, to share the same destiny. Slowly but surely, however, the Patifon, one of Tel Aviv’s most intimate alternative clubs, got packed with one hundred people or so, before the set began. Then, the duo went on stage: drummer Marylise Frecheville went up in an old-fashioned robe and wig, failing to disguise her young looks that were later further uncovered with some more minimal clothes; guitarist Eric Boros appeared in an official suit, which could have been misleading if it was not for the fact that their power and volume did not tarry to follow. One word which would definitely come up in order to do describe Vialka is "noise," as the volume soared above any proportions to the two instruments played, mostly thanks to the layers of guitars Boros overdubbed entirely live with his sampling equipment. Another one, which might be a bit more observant to the material, is "post": folk as they blended some Balkan, Mediterranean and chansons; punk, for the music has a direct punch, and progressive for the dynamic shifts. But the duo did not fit comfortably into any of the previously mentioned genres (hence the "post") and their amalgamation was their own. At times they reminded me of Kruzenshtern & Parohod in being appealing and catchy yet unflattering. Unlike K&P though, Vialka were flirting with the audience without being limited to a frame, and their dynamics were evolving instead of deviating and regressing. The duo claimed to be exhausted after a long recording session that day, but that did not seem to affect their engaging drive and willingness to rock the house. In fact, as if she did not have enough with her wild playing, Frecheville occasionally came down from the stage into the audience to perform her own sort of ritual dance. As for the punch – you’ll get plenty of those if you go check them out yourself!
——Avi Shaked / Maelstrom - Issue 41

专辑评论：Succès Planétaire International
With their third album, this French duo has created their richest, most intricately arranged music, rife with musical surprises. Marylise Frechville's agile drumming and urgent torch singing, supported by Eric Boros' nimble, dynamic guitar work recalls the Spartan intensity and virtuosity of another mighty French band, Etron Fou Leloublan. Vialka’s wildly unpredictable compositions, full of unexpected twists and turns, combine elements of folk, prog rock, improvisation, jazz and cabaret within the group’s own eccentric, distinctly European aesthetic. Enhanced by a handful of guest players and Bob Drake's able production, "Succès" is another fascinating chapter in Vialka’s creative development.
——Paul Lemos / The Big Takeover #64
Vialka are Marylise Frecheville and Eric Boros. They make their base in a farmhouse in central France, but are residents of the world. If there's a better case of musical nomadism than Vialka, I'm yet to hear it: on Succès Planétaire International, anything they pick up is theirs, and anything they put down returns to the flux. It starts with 'Premiers Pas', an eccentric stitching of countless styles - oompah tuba, flowery pipes, xylophone, tangled splatter-drumming, keening vocals from Marylise, funereal folk laments from Eric, and invasive technology courtesy of guest noisician Crank Sturgeon, who hurls all sorts of random vocal gibberish into the fray. It lacks any discernable backbone but still dances the room on sheer vivacity and thrill for life. Elsewhere, there is dancing mbira from Duracell's Andrew Dymond ('Good Riddance'), Chinese song from Dada-inspired Beijing vocalist Xiao He ('Dutar') and a closing piece where Marylise and Eric milk the German folk song 'Hole In The Bucket' for maximum comedic effect. It's Vialka's most fragmented, silly, playful record to date, and listening to it you're reminded that what you look for in this world isn't newness per se - would you even recognise it if you saw it? - but art created with a passion for its place in the universe, are created out of sheer love for the now.
——Louis Pattison / Plan B #45 (05/2009)
Guy is wearing a Peeesseye t-shirt on the inside-front cover of this rather sumptuously packaged offering from Dual Plover which is as good a sign as any of impending originality and stimulation. In fact it's a very honest, open and affectionate recording which manages to tease, frustrate, fortify and amuse all whilst being not in the least bit facetious or arrogantly ironic. Marylise Frecheville and Eric Boros' play is lovely, a constant bickering of guitars and percussion that raises musical ideas, questions and quandaries with avidity and spleen. Boros' unaffected notes are the spidery, stepwise grid underneath which Frecheville's percussion swerves and waltzes, her voice shooting off in epic tantrum or chuckling spree as the fancy takes her. The sheer joy of composition is happily at the forefront of all these pieces, "100% Hello" and "One for the Road" both like watching a game of Mousetrap in fast-forward and just as colourful. You can't help but know that a cup of tea at the merch stand with these people would be very, very nice.
An arrangement of a traditional Shona mbira piece is expertly done, referencing the mbira's cyclical patterns, syncopation, interlocking motion and repetition as key sites of exploration for both players' instrumentation, whereas tracks like "Dutar" ask you to keep track of what is being repeated yourself, to mentally arrange these non-stop offerings of disparate riff and rhythm as they're constantly juggled back and forth not in mimicry of song but in celebration of its fecund and elastic components. A wonderfully intimate rendition of "Hole in the Bucket" rounds off the record, a perfect summation of the cooperative, pragmatic and slightly mad tendencies of the music previous and testament again to the sincerity of approach that makes the rest of the album so enjoyable. Despite having some of its mania sapped by the deliciously candid production this is well worth investigating. (8/10)
——Joe Luna / Foxy Digitalis (04/08/2009)

合辑评论：KRUZENSHTERN I PAROHOD: Split
The French duo Vialka concluded their 2005 world tour in Israel, where they recorded a 20-minute set at Udi Koomran's Ginger's Studio. This set is here paired with a set by Israeli Klezmer pranksters Kruzenshtern I Parohod. Taken as a whole, Vialka's five songs represent the group's strongest release so far, in terms of both songwriting and performance. The duo offers a rather unusual instrumentation, with Marylise Frecheville playing complex drum patterns while singing, and Eric Boros playing angular riffs on his baritone guitar. The result sounds like a punked-up take on Etron Fou Leloublan. "Bamako" stands among their best songs ever, thanks to a demented opening riff and striking developments, but "Gothenburg" and "Nanaimo" are also very impressive. Kruzenshtern I Parohod has always been an avant-garde party band and that is exactly what they do here: party! Bassist Igor Krutogolov, clarinetist Ruslan Gross and drummer Guy Shechter are here joined by accordion player Olya Yelensky. To celebrate the newcomer's arrival in the band, two early classics of the trio are joyfully revisited: "Tort" from The Craft of Primitive Klezmer and "Young Ones" from Songs, both given exhilirating readings. These are complemented by two new compositions, "Piratskaja", frantically swinging, and "Karate", simply frantic. Like in Vialka's case, Kruzenshtern I Parohod's set is arguably their best outing yet. Put the two sets together and you get a strong, galvanizing album on its own, and a marvelous introduction to both bands. Highly recommended.
——François Couture / AMG (12/2006)
Vialka is reaching the tail end of their recent US tour. They have a few gigs left in New York City before they fly back to Europe for a few more dates then tour Israel, and finally relax back into the French countryside. The thing is, Marylise Frecheville, the half of Vialka who drums, tap dances, runs in place and takes on lead vocals is 5 months pregnant right now. Marylise and husband/bandmate Eric Boros left an amazed audience behind as they passed through Charlottesville, Virginia and played at Dust. These two have a psychic bond and create wildly original music. They navigate endless polyrhythms, stops, starts, and odd time signatures with total confidence and ease. Their vocal delights, could be Haruki Murakami stories as retold as gypsy punk folk tales, or high pitched banchee howls, repeated choruses in unison, or any other sort of unexpected combination of thoughts or ideas. Eric rocks a baritone guitar through bass and guitar stacks and plays a hybrid style which evokes memories of klezmer, rasta, gypsy, punk, and free jazz. Marylise is one of the best drummers I’ve seen ever. (Not the best woman or best pregnant woman) Just one of the most original, creative, tight, fast and complex drummers I’ve witnessed, who also sings while she plays. You must see these guys to believe.
——Monkeyclaus - (11/2006)
Here’s a lovely band that should be on the coverpage of every decent music magazine immediately. A two piece progressive punk jazz gypsy folk fusion band, with unbelievable stage presence and fun factor. With a girl on drums and vocals, and a boy on electric guitar, the comparison with the you-know-who immediately sparks to the mind. Fortunately their music sounds not like the White Stripes at all, this is some kind of unique spazz art rock fusion, with Boros’ great folk inspired melodies and Frecheville’s frentic drumming and incredibly talented voice. I haven’t seen the Tiger Lillies live, but I think they might have a similar live performance. The band is used to playing small venues, and their performance is really energetic and down to earth in a cabaret style, that includes mrs. Frecheville doing a strip even!. They are really modern day nomads, who travel around the world playing music over 300 days in a year, playing wherever they can find and transporting with public transport. They ended up here in Istanbul en route to China going to some remote places like Bishkek and Dushanbe!
——Undomondo - (03/2006)

专辑评论：Curiosities Of Popular Customs
In a time where part of the neo-folk scene is getting comfortable to “mainstream” awareness and is slowly growing to the point of being just another aseptic product, it’s surely fresh to get in touch with such a hard-working outfit as the frantic duo Vialka, comprising Marylise Frecheville on drums and voice and Eric Boros playing baritone guitar and singing. ‘Curiosities of Popular Customs’, their third tome released in their own label, spans the later-studio-treated tour recordings from 2004’s far end. Travelers by nature, Vialka embody the true musical gipsy endeavors, both in the showcased music, a frenetic mixture of everything between punk and math rock, with a certain fragile folk feeling embedded, and their DIY attitude towards touring. This record is an unmistakable example of how to make very serious music through popular parody, as illustrated by the artwork. Only the wrong survive, indeed…
——Luís Oliveira / Ventrilocution.net (12/2005)
Hard-country duo with all sort of inspirations and resources from the realm of rock –progressive harmonies, electric folk, speed-metal back-beat, one-man guitar-walls or heavy-metal drum fills- striking arrangements and surrealist lyrics. Truly expressing their unprejudiced humour: “such a pity, honey; they really did look nice and young”. / Dúo Hard-country con todo tipo de inspiraciones y recursos del ámbito del rock –armonías progresivas, folk eléctrico, back-beat speed-metal, muros de guitarra sola o breaks de batería heavy- sorprendentes arreglos y letras surrealistas. Verdadera muestra de su humor sin tapujos: “que lástima, querido, parecían unos jóvenes tan agradables”.
——Modisti.com (10/2005)
Vialka are modern-day nomads Eric Boros and Marylise Frecheville, a wispy-bearded undertaker and a young milkmaid presently making their temporary home in a farmhouse in central France. When not there, they crisscross the five continents with two Interrail passes and a bag of cymbals, singing for their supper in whatever café, bar, or squat will have them. Curiosities Of Popular Customs is the clearest recording of their sound to date - a patchwork of playful anarcho punk darned together from shreds of ancient Chinese folk songs, eccentric stand-up cabaret, and surrealistic Haruki Murakami verse, delivered with the dervish energy and billowing perplexity of Lightning Bolt. Follow these time signatures? You might as well read ancient Sanskrit. Instead, just live vicariously through this Dionysian testament to living by your wits: 40 minutes where rags become riches and the world is your reward.
——Louis Pattison / Plan B #6 (07/2005)

专辑评论：The Republic Of The Bored And Boring
Vialka are the duo of Eric Boros and Marylise Frechville, Canadian and French respectively, operating out of Slovenia these days. Their sound is definitely reminiscent of the jazz inspired free rock of the likes of the Ex, and aggro-compositional edges of Fugazi, though the bass-drum dynamic will probably bring some images of the Ruins to mind sans the Magma worship. Marylise (on drums as well as vocals usually in French) propels the unit into some totally fried zones on multiple levels while laying down some steady ground of Boros' bass flights (which sound quite guitarlike to be honest); you'd imagine the results to be a bit too indulgently proggy, but this stuff rides right along with the best Dog Faced Hermans and Crass. They also share with these bands similar elements of both heavy social context, and humor. This 3" CD seems to be part of a larger discography I'd love to get my hands on.
——Brian Turner / WFMU
Marylise Frecheville and Eric Boros, the two basic founders and members of Vialka have a specific attitude to art. Deriving from the underground-experimental-punk scene they break down the frames of simple artistic approach to music or performing. The style they develop is ever changing, full of levels in communication from "simple" rock segments, through brave and daring solos of common improvisation to jazz-splitted idioms, they develop specific moments of poetic atmosphere of the place they perform at, a certain ambient through which they tell their improvised ideas, opinions in an immediate music communication. They live, as they make music, they make music, as they travel, and they travel, as they live. Living nomads, like ambassadors of new sound and traditional humanistic thinking, they travel around the globe in order to make friends, to spread ideas of open musical frames and show, that personality is beyond art. The most important segment of their artistic role is the personal touch they develop by their art, in order to develop trust, friendship, a community of common open thoughts. The best way to present their ideas is the rich program of theirs, which operates as a multicoloured artistic circus, in which fun, poetry, social criticism, irony are together, it is both the king and the clown are telling their stories of the actual social situation, especially the place and the responsibility of art, to keep it working as a language of honest feelings that build up true impressions, real thoughts and new experiences. "Tonight I Show You Fuck" is a remarkable music CD of the Vialka Marching Band group, which does avoid talking nuts, but tells straight away through a kick of a hard bass-guitar and a sensible drum, with the backing floating sounds of a saxophone and a clarinet, that life can be joy, fun, humour and fresh wit, all through simple, nice, honest music. Just as if you drew a circle onto the surface of water.
——drMáriás / Bahia.hu