Press

 

“Dutton’s gargantuan vocalising [is] fascinating, inventive, grippingly obsessive . . . Grunts and snorts, squelches and rattling, overtones that hum and buzz, braying, moaning, whimpering, whining, susurrations, hesitations and growls . . . The solo releases Mouth Pieces and Oralizations make the richness and versatility of Dutton’s mature voice abundantly clear.”

—Julian Cowley, The Wire

“Dutton remains one of the very few magicians of the human voice.”

—François Couture, All Music

“[T]here’s no one else who comes even close to what [Tanya Taqaq] does: not Bjork, not Meredith Monk, not Iva Bittova, not Mike Patton. Maybe Paul Dutton . . .”

—Michael Barclay, Maclean’s

“Riveting vocal pyrotechnics . . . milewide range.”                                              —Chicago Tribune

“His poems are extraordinary—full of puns, paradoxes, language probes . . . juicy and reflective oral-theatrics . . . an incontestably great innovator.”

—Henri Chopin, Poésie Sonore Internationale

 “Marvellous language, at once subtle and obvious, flowing, engaging and delightful.”

— Michael Kenyon, Malahat Review

“. . . creepy, sputtering vocalist”                                                        —Bill Werde, The Village Voice

“Way beyond Celine Dion . . . His unique vision is a dynamic syncretic crunch of intellect and primal.”

—Bart Plantenga, Yodel in Hi-Fi

“. . . the excitement of Dutton in performance . . . stunning . . . explosive.”

—Stephen Scobie, Books in Canada

“. . . a psychologically acute mind which loves to explore the strange-sounding and often illuminating byways of language.”

—Douglas Barbour, Canadian Forum

“Dramatic and profound . . . an amazing range of sounds.”

The Irish Times, Cork, Ireland

“Rich, varied works . . . playful sense of humor and innate musicality.”

—Chicago Reader

“Dutton’s piece ‘For the Letter That Begins Them All, H’ tracks . . . H to the ends of the language and beyond, to explore its breathy sound in a stunning performance.”

Ear

“Dutton’s Mouth Pieces series of sound poems . . . feels like Dutton has described the circumference of the furthest limits of the sounds possible for the human mouth to make.”

—Dan Waber, Big Bridge [dot] org

“. . . the kind of gibberish people change seats on a bus to avoid.”

—rt, Splendid

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