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.
Leaf House from Liège in Belgium is the existential indie rock quintet of Romain Cupper (Vocals / Guitar / Effects), Antoine Pirard (Synth / Drums), Ben Dubru (Bass / Percussion / Effects), Stéphane Rondia (Guitar / Synth) and Thibaut Gorissen (Drums / Pads).
Fusing electronics and instrumentation Leaf House come-up with an intriguing distillation of Madchester, to regurgitate a sound which sits perfectly in the ’10s with swarming tentacles of probing speculation, yanked back on track with a firm pull on the leash. Experimental yet attainable without sending the brain into a loop of internal de-fibrillation the quintet offer a semblance of the cognisant to flow around the cortex.
Meandering around the room the notes rebound one off the other into a conveyor belt of intricacy. Elements disappear from earshot to reform themselves in a tangential parameter as the sounds imperiously fragment and reformulate like a table magician with the sleights of hand and the more the deft shuffles occur the more fantastical the progressions become.
Leaf House deliver a sound which demands of attention, but like the best of the Seiðr, it is the ease with which the transitions are played out in-front of the mind, that confound and fascinate, which finds the very transformations so very easy on the mind and marks the quintet as something to add any-day you can’t find a cryptic crossword puzzle, but just want to test your head. What sublime sorcery – thank you Leaf House.
The trio of Lionel Beyet (Bass / Vocals), Bob Seytor (Drums) and Mathias Salas (Guitar / Vocals) from Brussels on Belgium combine to form the angst-rock band Missiles Of October.
Missiles Of October
Missiles Of October is precisely what you need to play loudly as you creep slowly through a traffic jam and you will find the palpable mood of mutual frustration amongst your fellow protagonists shifts to a nod of agreement as you are given headway to make progress. Unthreatening, yet sympathetic of the chaos surrounding.
What marks Missiles Of October out from the many antagonist rock vehicles that exist, is their cohesion – none of the candour is displaced, merely they are able to deliver it without flecks of asinine spittle dribbling down their faces.
Most certainly a band to get to know and one which I look forward to hearing much more of in the future.
O is the electro-ambient quintet of Levi, Kay, Jan, Ben and Yves who are divided between Germany, The Netherlands and Belgium.
Wait until dusk or draw the curtains before taking a delve into O. The music trickles into the room like an emergent stream source on a peat bog, clear though almost indiscernible, yet to gather the momentum to form a raging river feeding the oceans and as you allow the music to develop in the ears so the immensity of this sound becomes apparent.
O ask nothing more of you than to approach the music with an open mind and time to spare whilst allowing yourself the space and setting to let the quintet do their thing, providing a mythical journey of sound and thinking for the brain. It is the fragility of the threads of compositions which the players have mastered to provide the listener with an ever evolving shape-shifting experience of discovery, that marks this out for recommendation.
The releases all attest to the organic fluidity of the creativity and the out-put is best listened to in an isolated contemplative space to allow the music to wash unhindered around the mind.
The Fun Part from Overpelt in Belgium is the alt-folk singer songwriter Darleen Jansen.
The Fun Part
The haunting sounds that are The Fun Part add a fine mesh to the world of music. This is material for a period of quiet reflection and voice of Darleen Jansen has something of an hypnotic quality. Still relatively new on the scene there is a journey of discovery The Fun Part is taking, testing out ideas and instrumental styles, including loud backdrops of electronics.
In my view the pieces work best when they are pared back to the spectral and the listener is able to focus on the ethereal nature of the writing. There is a timeless quality to the music and it would be easy to draw comparisons to some of the iconic songwriters of eras gone by, yet to do so would be to detract from the freshness of the music.
Already establishing considerable interest for the evocative sounds by those who have had the opportunity to hear her music, I wish The Fun Part every success in the creative process and look forward to hearing more in short order.