Ha'Rec.
Bal des Boiteux : Gods and Horses (B,2004)****°
In Flanders, I think that one of the most intelligent releases I heard so far, as one with a new mix and a certain foundation in folk, is this release from Bal de Boiteux.
On “Nib” this sounds almost like powerful and expressive Rock In Opposition, much more than any kind of folk-rock.
The arrangements on the second track, “Île 32” brings the chambermusic-like arrangements even further, to a more modern territory than that. This is another intelligent track, with Japanese narration, new dance pop rhythms, ballroom touches, with the folk elements coming through as equally interesting elements amongst all the others. Bal de Boiteux found here a perfect formula to overcome the lazy folk tune interpretations and uplif 'folk' to something that can stand next to other inspirations as an equal part, and as only partial elements that make ‘Music’ worthy as result of a new compilation of inspirations.
I have mentioned before my opinion and notice that when any Belgium group become able to go into the direction of chamber music-like-rock they have showed the best result, because there they seemed to be able to find the perfect creative middle between complex intelligent composition, emotionally driven playing, while collecting inventive and creative combinations of sounds. This group equally adds 'modern rock' or whatever to this complex core and inspirations.
The track “Djin” has also lush orchestrations to this mix.
“Aire 11” is comparable in energy to the first track,"ïle 32", with a powerful one note bass with complex rhythms and with chamber string Rock drives.
We hear more new ideas of folkrock (as rock) on “Cavalier Seul”, a track with power chamber-music minimalism, and on “Storingh”, which starts like new music chamber rock, which is at first continuing the earlier rhythmic pulses, and then breaks it into many more folk-driven new instrumental ideas.
“Lazarus II” is a composition built on a contrast with aggressive and almost native-primitive, but played fast double bass, with the sweeter flutes and accordion melodies. The last and very small part of this, is built from processed, distorted sounds of pipes ; it is a fragment which almost sound like the best avant-garde electronic music.
This is quickly and fluently mixed into an acid-jazz bass loop, with programmed, clever and danceable electronic beats, mixed brilliantly and powerfully with a tangofolk melody on accordion, and with more chamber music arrangements, called “Tangourrée”.
“Tröllsländapolska” is a calmer tango-like moment with bass, strings, and accordion, flute and a bird whistle, with a surprising break with a different version towards more inventive rock, with hysterical violins and something that sounds like an electric Hawaiian guitar. It happens more often that so many things, changes and new ideas happen so quickly and on such short moments that it becomes impossible to notice, even after many listens, all these inspired and inventive details.
“Hermes” and “7µz” are a ‘folk’ chamber music tracks with detailed variations in the arrangements, with “7µz” also having many melody-variations compiled into one complex composition.
“Apollo” which starts as another partly folk chamber music composition, has many more passionately played surprises.
Last track, "Helena", with acoustic guitar and accordion, has a small part played by a local brassband. A short disturbed blackbird whistle is the last thing we hear.
A brilliant, highly recommended album.
Bal des Boiteux is Jeroen Baert : violin ; Joris Blanckaert : accordions ; Lieven Nijs : guitars & bagpipe ; Tim Vandenbergh : double bass ; Boris De Laet : drums,
with guests :
- on “Île 32” : Karel De Backer : programming (like on “Tangourée”), Kobe Proesmans : percussion (like on “Cavalier Seul”), Jan Verstaan : alto sax; Bart Maris : trumpet, Pol Mareen, tenor sax, Pieter Kindt : bass trombone, Mito Shimonishi : spoken word.
- On “Helena” : 'Fanfare Eendragt Maekt Magt', Watervliet.
The album was co-produced by Stef Kamil Carlens (Zita Swoon, Deus).
