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).

Audio : "Île 32" & on http://www.myspace.com/baldesboiteux
Dutch intro : http://www.belgianmusic.net/baldesboiteux.htm
Homepage : http://www.baldesboiteux.com
Dutch gig review : http://www.cuttingedge.be/gigs/baldesboiteux/20060408
Dutch reviews : http://www.kkunst.com/kk/20040206312.php
& http://www.belpop.com/cdreview.php?820
& http://www.folkroddels.be/artikels/831.html
Dutch concertreview : http://www.belpop.com/concertreview.php?1843
& http://www.gentblogt.be/2006/02/06/bal-des-boiteuxnext release->
Private/Lowlands    Ballroomquartet : Soundmanifest (B,2007)****'

Ballroomquartet evolved into an ever more developing distinctive and intelligent sound, making it harder in its evolution to still classify them within any limited categories. Any folk association which is easily made with accordion is now more or less now completely dissolved to surely not more than an underwater layer, if still there. Elsewhere, Rony Deprins’ accordion delivers filmic touches. Mostly he is able to keep the instrument distinctive with its sound, adapted into the rest of the band’s compositions. I guess he manages this so well because he might think with this instrument the way he uses his “other” keyboard instruments, like the theremin, or even like with the vocoder with his voice. The violins by Andries Bone added chamber-like movements and arrangements, or elsewhere folkloristic drives. Besides Andries also plays mandolin, the Indian ‘bulbul tarang’, electric and fuzz guitars and sings. Every element in the compositions moves like differently coloured swimming fish in water, splashed up by its rhythms onto the surface (with groovier dance-like rhythms twice, without losing the new-progressive feeling), while rocking, or otherwise with filmic meanderings to more rivers with shores formats. I guess each member manages well to intermingle more than once with different characters in different layers, just like differently coloured fish, while always keeping the inventive rock drive going. There’s also ear to sounds bringing real new characters to the music. The only text on “Quasimodo” is “bang ping pung pang !”, like another instrument this text works like a comic character, while aggressive rhythms bring more difference to the folklore aspects in this track. Here and there it is as if some ethnic touch of inspiration is added, like the Swami singing on “the way to the top” or the Middle Eastern chords on “flamingo” or some strange semi-Indian flavours on “lucky number”, as well as something more undefeniable on “8 minutes with Walter”. It’s also good to hear how the whole previous EP is adapted to the new album, which gives a richer variation to the album, with tracks that have different but still fitting approaches compared to the new tracks, which also already has different phases of evolutions.

Homepage : www.ballroomquartet.com & audio : www.myspace.com/ballroomquartet
REVIEWS OF (NEW & REISSUED) MUSIC IN BELGIUM, PAGE 3
BELGIAN URBAN "CHAMBER MUSIC ROCK" part 2 :

listed here are :
Va Fan Fahre, Ballroomquartet (3x), Klezmic Zirkus,
Bal Des Boiteux (2x), Traktor, A Consommer de Préférence
Zephyrus Rec.Va Fan Fahre : Romski Robbery (B,2005)***°

In Belgium brassbands are part of a folk tradition and heritage which is hidden deep in people’s memories. It still is generally associated with festivities and social activity. More and more they were replaced by other things, and tend to disappear and become a memory only. Some youngsters however, after having seen some invited Balkan groups, who used to play on weddings and funerals on their homelands, are reconsidering the idea of a brassband, but in a modernized sense, especially a group like Think Of Fanfare from Antwerp who started in this direction. Some members of this new band, Va Fan Fahre, were or still are members of Think Of One (who were for a short time performing as Think Of Fanfare -fanfare is the dutch word for brassband-, Flat Earth Society, El Tattoo Del Tigre (a group that established a huge mambo orchestra), Proyecto Secreto, Moker Jazz Band, Two Russian Cowboys, etc. Besides the East European focus there are other useful influences added like klezmer and ska. One song, “Plakke Plakke" was written by chansonnier Saf, and is sung in Ghent dialect. I also recognise Peter Verdonck who participates a few times with his baritone sax.
The music is Balkan-brassband-like, shows its klezmer influence, but it is especially the thoughtful, well arranged arrangements that give the music an extra originality, like some funny brassarrangements, speeded up with ska, or even one time with the rhythm of a swaying drunk, speeding up and slowing down fluently.
There is a portion of humour evident, also in their biography where each member is presented as having some kind of rare disease that can only be solved by dr.Va Fan Fahre. Just one song is a bit different. “Romski" features the Indian Mahabub Khan from the Rajastan group Musafir (singing, harmonium, tabla) sounding somewhat like Nusrat Fateh Ali Khan. In general the music is a high degree street festival music, with some jazz improvisation touches, but at the same time there are also more relaxed and spherical instrumentals.
Their invitation from Italian radio and towards Moscow proves that the group has created a sound of their own.

Audio : "31","Filou","Mofletuchi", "Plakke plakke","Zephyrus","Surfing with the Jews II"
Audio of earlier demo : "Araber tanz", "Bolter bulgar", "Dem tsadeks zemer", "Der khusid geyt tantsn", "Tanz tanz yidelekh"
Homepage : http://www.vafanfahre.be/ (or http://vafanfahre.cjb.net/)
Biographical background : http://www.proyectosecreto.com/vff/english/bioengtrue.htm
Live pictures : http://www.proyectosecreto.com/vff/bigbang.htm & http://www.aconv.be/vivalola/vivalola.asp?o=THEMELRIJK&p=VIEWALBUM&id=19
Dutch review I did for Kindamuzik : http://www.kindamuzik.net/artikel.php?id=11892


GO TO NEXT REVIEW PAGE FOR BELGIUM MUSIC : NEW MUSIC->

Other chamber music rock pages :
See Fleshquartet at the Swedish reviews page
and Chamber Music related inspirations page 1, page 2, page 3
and at the RIO pages (not updated yet)








PrivateBallroomquartet : Surfing Sufi (B,2004)***°

This quartet is very hard to place in any genre, but has one of its fundaments in folk. With ‘ballroom’ in their name (-ballroom nowadays still is associated with folk, and not with all the other traditions from older popularity-) and while playing some folkinstruments (accordion, violin,..) and with several folk themes, they already attracted the folk interest. With strange electronica sounds mixed in on the first track, “Thera Mina” (a track with Middle Eastern rhythms, accordion and wave-electric melodies), and more new mixes further on, like on “A Night in Venice” (hip beats and jazz bass, modern mixes) they also should attract the modern new hip seekers in pop. Also 10th track, “Exit” (with Tom Theuns on sitar droning) is a highly attractive rather emotional modern pop mix of styles with a complex modern beat, with use of some radio voices (with news fragments on some suicide attacks), some mandolin spheres, trance-like vocals, and lush orchestrations. In total the group does not belong anywhere specifically, but they are capable of attracting interest of all potentional listeners long enough, with the folk lovers being in the front row. “(B)eat this!” with some string arrangements shows also the classical chamber music interest. The few folkelements on “Doppelganger” become adapted into something more modern, complex and more arranged. “The Return of the gyronef” shows an almost classical composition with guitar and beautiful vocals by Inne Spelmans, who's vocal arrangements sound like an ethereal complete choir on her own. “Lydic Train” and later on "Mighty Mouse” are livetracks with well played public teaser instrumentals not only enjoyable for the folkboom lovers related public, but more than perfect for them (the public almost goes berserk on the second track, with handclaps and screams). "Escape from Perk" is another composition which starts from folk (accordions, bass, drums) but moves with some countryblues electric guitar, and with some manic American narration. “Jan mijne Man” is a Flemish folk traditional, which here in a “ballroom remix” redefines the ballroom again to a hip chill-out electro territory, with an entry door for the folk traditionalists: well done (even when the original tune is almost entirely hidden). The titletrack places the group once more in a more difficult to define area, mixing many of the previously mentioned elements, with additional slide guitar, freaking out a bit with emotional electric guitar, drums and accordion near the end, added with a few inventive mixing effect touches. An interesting album, strong enough for a world public interest.

Audio : here
Dutch intro : http://www.belgianmusic.net/balroom.htm
& http://www.kunst-stukjes.com/page.php?layout=4&id=68&shgroep=1
& http://www.folkroddels.be/artikels/241.html
& http://www.folkroddels.be/artikels/1611.html
French background info : http://www.lamediatheque.be/med/details.php?ref=XB079K
Homepage : http://web.jel.be/ballroom/index.php?page=audio&lang=EN
Dutch article : http://www.kuleuven.ac.be/ck/2004_05/08/ck16-08-jasperhautekiet.php
Dutch reviews : http://www.obtmb.nl/script/P_Keuzelijsten_detail.asp?KLrubriekID=&id=67
http://www.kwadratuur.be/releases.php?id=655
with in detail review of second track : http://www.kwadratuur.be/audio.php?detailid=57#indetail


PrivateBallroomquartet : The Thin Line -EP- (B,2006)****

These 4 very promising instrumental tracks, that hang together as one piece with differen sections, predate the next full release of Ballroomquartet. They start with an accordeon with violin lead, an instrument combination that has an inevitable folk flavour, while the band plays with a rock drive (bass & drums), and a bit of electronica (vocoder & theremin), with one great organic sound of a group. The second part is calmer (moody bass, guitars, drumming, accordeon) , and evolves to a more progressive evolution, with intelligent changes (rhythm and melodic evolution), more lead by the rock band and keyboards. The third track continues in this vein, giving the group a rather progressive rock core, while voice harmonies, and a bit of mandolin and accordeon with double bass give it a much richer folkrock flavour, while electric guitar (and a bit of theremin) keeps the (progressive rock) core in evolution. Last track with poprock rhythm (percussion, bass, guitar) gives back the lead to the moody accordeon and some violin.

Audio : http://www.belgianmusiconline.be/...
Dutch review : http://www.folkroddels.be/artikels/30205.html
& http://www.folkforum.nl/content/view/8007/55/next release->
Haiku Rec.     Traktor : Monster Lada (B,2004)****

Antwerp band’s Traktor uses roots in klezmer, brassfolk and Balkan gypsy fun without copying anything from there, to create their own form of well played compositions, with a vivid slightly speeded up rhythmic energy. The group used something of the living memory of how walking bands or crimping circus bands in the street, in Belgium especially from before radio and television were making people introverted into their own spaces, attracted attention with their vivid energy, making a public paralyzed by seeing them, something which can be remembered vaguely by seeing some Balkan groups playing. Also something of the free mind of Antwerp city, with a vision open to the world and its visitors can be felt here. Rhythmically this could be influenced by Brazil, ska or whatever : and it does not really matter. “Kosmito” probably has a rhythm from outta space, or are we really the only entity with feeling for intelligent humour ? Another favourite, also on their EP, is "Schorremorrie", a track with high pitched vocal accents, fast ska-like rhythms, an intelligent composition with a klezmer and Balkan influence.
Traktor is Gregory Brems: euphonium, sousaphone (="bombardon"), (trombone); Eva Eriksson : accordeon and lalala and vocals, Roos Janssens: tenorsaxophone, Saar Van De Leest: clarinet and saxophone, Barbara Van Hoestenberghe :violin and vocals; Boots (aka Berend Botten): drums and percussion, big mouth. Next release will also have Lenn Dauphin: Double and Fenderbass and Peter Pask: Organs, guitar. Barbara van Hoestenberghe also plays with the fantastic fun group ‘Maskesmachien’ (with three girls who also have a radioshow on the same radiostation).
This is their first full release, made just after having toured in Russia.

Audio : "Skariachi","Tina Trucker","Kosmito"
English intro : http://users.skynet.be/vanimpe/muziekmakery/traktor.html
Dutch intro : http://www.belgianmusic.net/traktor.htm
& http://home.tiscali.be/luc.vandereyde/traktor.html
German intro : http://www.datscha-projekt.de/shop/?mid=196&sid=&lan=
Homepage : http://www.traktorband.be/

Boom!Traktor : Direction planetaire (B,2001)**°

-might review their ep later-
I'also waited forever for their new release that was going to be send to me, but now I gave up.
back to Belgian reviews page 1
back to Belgian reviews page 2
back to progressive music index
go back to general index
Escadron Pomme / Home Rec.     A Consommer de Préférence :
Élevé en plein air (B,2006)***

The group labeled their eclectic mix as 'Positive Orchestral Music' taking the happiness of East European brass gypsy music (on “Milan-Venise” I am even reminded a bit of the early Jablkon from Czech Republic), or hints to Klezmer jazz, with adding classical composition and with serious passages lead by piano, without leaving too far the happy note. “Mon Bel Alezan” has a flamenco guitar core. It is this serious note between classical composition and rather East European folk sound that makes the group their own distinctive sound.

The group consists of Jonathan Aussems : piano, compositions ; Corentin Aussems : guitars, compositions ; Guillaume Van Parys : saxophones ; Sophie Bayet : violin, flutes ; Simon Laffineur : guitars ; Gérald Bernard : percussions, drums.

Audio : "Le Fennec Qui Court", "Trhabelwet", "Milan-Venise", "Cédolabédac", "Adanah", "La Kénapo", "Shting", "Mon Bel Alezan", "Blim Bit", "Foelia" & http://www.myspace.com/acdp
Label info : http://homerecords.be/anglais/en_ACDP/en_eleve_plein_air.php
French review : http://www.cdmail.fr/gb/affich_fich.asp?refcdm=CDM715441
Dutch review : http://www.folkforum.nl/content/view/8139/55/
Home Rec.       Klezmic Zirkus : Vitamine K (B,2007)***'

I begin to be convinced that Belgians quickly are very clever with chamber-like arrangements. The name Klezmic Circus assumes this is a fun group for uplifting festivities, and they surely are a group able to do this, inspired by different kinds of genres. I assume there are hints to Balkan/East European wedding bands. Klezmer in the name of the group partly could refer to the genre for the best idea of it, but more than once it is also used as one certain fundament. Some parts almost use Ska rhythms. So, there definitely is feast music to it, to some degree, but also, this is composed like very serious music by conservatory people, and equally balances between chamber-music and even rock music, then adds a certain folk ambience, with ideas from marching bands and the already aforementioned genres. The patchwork compositions drive from one theme to the next, sometimes are assembled with themes just like a potpourri, but much more often this is more cleverly stitched with evolving and changing patterns for the arrangements. Some other occasion can be shown a tango-like evolution with eventually a heroic or elsewhere a more classical approach. The last track even hinted quickly with clarinet to “Kleine Nachtmusik” (Mozart), and there was another just very small spoiled spot of reggae. Fun and intelligence can go hand in hand very well. Very good !

Audio and info : http://myspace.com/klezmiczirkus
Label info with audio : http://www.homerecords.be/anglais/en_klezmic/en_vitamine.php
Homepage : http://klezmic-zirkus.be




















Keremos Rec.Bal des Boiteux : Small House, Wide Open View (B,2006)****

Of various small label or private Belgian releases I think it is a shame that there hardly is attention given or promotion of them, especially when it does not fit too well with restricted scenes, like with the deliberate limitations of folk to traditional fundaments for instance. This is something I do not understand, because for me, quality takes priority over limited expectations, and this is all-in-all fundamentally acoustic instrumental music, like a mix of chamber music (the string instruments, violin, cello and double bass) with accordion, and the rock elements of drums and guitar, making this an album that could interests all people with classical education, or interest for serious rock. If DAAU, and now, Aranis, receives attention in more places, also internationally, so should this group. The music sounds like it is being driven by improvisation, like a rock-tango mixed with a flavour of minimalism without ever being so. The album is produced by Stef Kamil Carlens, ex-bassist van dEUS en frontman van Zita Swoon.

For this album Bal Des Boiteux is Jeroen Baert : violin ; Joris Blanckaert : accordion ; Lieven Nijs : guitar ; Tim Vandenbergh : double bass (I also heard electric bass) ; Boris De Laet : drums, with guests : Kobe Proesmans : percussion (2) ; Serafien Stragier : cello (1,2,6) ;  Marianne Michaux : sample (2).

Audio : http://www.myspace.com/baldesboiteux
Homepage : http://www.baldesboiteux.com

Dutch reviews : http://www.kwadratuur.be/releases.php?id=2394
& http://www.kindamuzik.net/recensie/bal-des-boiteux/small-house-wide-open-view
Dutch articles : http://www.gentblogt.be/2006/07/21/bal-des-boiteux-aan-sint-jacobs
& http://www.gentblogt.be/2006/02/06/bal-des-boiteux