The Girl Who Cried Wolf from Mechelen, in Belgium, is the melancholic-rock quintet of Heleen Destuyver (Vocals / Keys), Samir Boureghda (Guitar / Keys), Michael-John Joosen (Drums / Vocals / Keys), Sofie Sweygers (Cello / Keys) and Willem Meeus (Bass / Keys).
The Girl Who Cried Wolf
I would like to take this opportunity to welcome the Belgian journalist Sarah Gommers, who will be writing articles from time to time predominately focussed on the Belgian, Netherlands and French scene.
A band with a special name. A name that doesn’t just expose it’s secret, one that sounds mysterious. Does it have anything to do with wolves? Or a crying woman?
Without over-analysing, or trying to discover the why behind the name of their band, it’s easy to feel it fits in a somewhat dark atmosphere, one created to bring us a message.
‘The Girl’, as they call themselves in short, is not a group of friends that went on the play music together. They’re musicians that found each other in their passion for music, and because of that became friends. It’s quick to notice too. Five completely different personalities that somehow fit together perfectly. Even though all five of them are pretty down to earth about the possibilities of the band: growing organically, performing, improving and releasing some CD’s. They want to capture a place in the hearts of their fans.
Thanks Sarah, your contribution is more than welcome and I, along with the readers look forward to discovering more of your introductions.
It was back in 2013 that the English heavy-metal quartet SILAS were introduced.
SILAS – photo by Black Lotus Photography
A new LP is scheduled for release later in the year. Captured in live performance, Blurred Lines is a track that will be on the album.
SILAS have been able to remain the same unit for many a year, which has enabled the band to create a natural synergy between the players and a confidence in delivery that allows them to concentrate purely on performance and this is what brings Blurred Lines to life, allowing the audience to revel in the swooping riffs and raw rock that hurls out of the speakers.
Kjartan Bue is a Danish experimental-folk musician.
There are times when a Sunday needs a spike in it to give zest to the day and the just over three and a half minutes of I’ll Talk It Over With Mommy, which was made available a few hours ago, is just the ticket.
Country-Blues is torn asunder as Kjartan Bue slices through the chords with clashes of tinkling glass as though frenetically chopping wood whilst the vocal threads like a rabid wolf faced with a bowl of water. I’ll Talk It Over With Mommy is not a track to play if you are still suffering from a Saturday night hangover, but once you have recovered it will kick-start the day.
With a fairly regular live performance schedule Kjartan Bue can often be heard across much of Denmark, for those of us not so local, there are words of an EP in the process of being finalised.
thing is a psychedelic quartet from England I will get back to when there is more to hear.
Apologies to one and all for the delay in coming to this, as it has been languishing in my inbox since the 2nd.
For now, the one song available to stream by the quartet is the dreamy loquaciousness of carousel a track that for no reason I can fathom finds me reminded of the smell of liquorice and rather than concentrating on the music I am hunting for a packet of Bassets Liquorice Allsorts, I know I have sequestrated somewhere in a cupboard, such is the languid acid drips that inveigle into the veins.
thing is able to condense a forty minute Hawkwind expostulation, without loosing a moment of time, into a condensed carton of less than than three and a half-minutes as the quartet stretch the seconds to unfathomable lengths. Blousey guitar puffers from the speakers as the drum-kit spirals round the room and the stoical bass seeks to maintain a foothold on terra firma only to be lofted into the air as the flowered vocal sweeps through the ears.
I have much reason to anticipate the need to stock up on liquorice torpedoes before I am able to dwell with the quartet to let you know of further developments and I am already in pursuit of supplies, whilst hoping it doesn’t take too long before I can tell you more.
In Cardiff in Wales you will find, Joel Hertz (Vocals / Guitar), Ethan Hertz (Drums), Rhys Carey (Guitar / Vocals) and Tom Rees (Bass / Vocals) who form the indie-rock band Tibet.
There are odd moments when you just know there is a sound that is not better known for no other reason than the mechanisations of the detritus of mainstream ‘on-message’ media and the bloated pockets of the leeching major label show-boat. I also hear and read much by so called ‘sages’, of the music industry, who definitively lecture on how music creativity is dead and you just know they don’t listen to anything other than the plastic put out on the likes of Sony Records, so haven’t got a clue what is actually happening in the world of real musicians cutting their teeth. Tibet is a case in point. If anyone tells you music is dead – point them to this article about a quartet who are able to deliver everything that you need to make the world appear far brighter than it is in reality, giving a portal to the future, who are more than able to squash the drivel.
Formed only last year Tibet are able to combine all the best of the late ’60s ‘brit-blues’, scooping up along the way the ‘brit-pop’ of the ’90s and turn it all into a joyful bounce for the late ’10s with tracks that rarely last as long as three minutes and a confidence that belies their brief life as a unit thus far.
Tibet flex both pace and volume in their material as the guitars bustle around the room, only, to be hurried along by the percussion as a subtle bass gives the sound a depth of texture that keeps the ears fully tuned. The combinations of voices, which sparkle in their enthusiastic freshness, allow the band to fill the audience with the knowledge that those who suggest music is dying are out of touch with the world of music and would be better off closing up shop.
Tibet is a band one can only hope finds longevity without being subsumed into the morass of record deals that will inevitably flood their way in short order as they have much to add to the world of music.