I often realized that in Belgium (especially in harbor city Antwerp and in European political capital Brussels, pressed between the French and Flemish parts) we, and especially creative musicians are sandwiched between so many world influences it is easy and might even better to adapt all of it. Often I saw musicians play very well into one so easily but well adapted world music style and then, to prove their own egos and talents, and also, our own origin and grown talent throughout our historical evolution of Belgium, of a great ease with adaptation, switch already to the next project. So I think : why not constantly adapt all what is near us, all at once, and spontaneously enough to create our own middle expression and show this core creative vision immediately ? This is something which this trio did, ambitiously and with its open creativity. This is embedded in a cabaret and chamber-music concept which also works like a journey trough all these visions, adaptations and consciously consuming process.
The concept stands very much for the process itself, and is about a singer who, after realizing and disappointment he is not the most successful talent in the world, goes adrift with his boat, and writes a blog about his travels with a ship. And even when this is only rather locally, on canals and rivers, it provides a wide world of experiences. With his mind blank, not predicting anything, not expecting anything beforehand, he really goes into the trance of events, and starts to hallucinate with exotic dreams. The same wild ego now forms his wildest dreams with a flair of the exotic that finds his true originality. All kinds of references are touches without always being identified with them. First track seems like associating itself with Kurt Weil's cabaret, a German song. On another track it seems like the reference is to Tom Waits who also identified himself with his own late night cafe cabaret. Tom Theuns therefore made his voice convincingly to his own form of a theatre piece. And of course, one Middle Eastern track is there too, with additional sitar, not too far away from those origins. Tom plays elsewhere the harmonium very clever like barrel organ. Singer Aurélie just once sings a song as if taking a distance and singing about the story as if this is literature. Also the percussion once gives a few exotic notes. Elsewhere a touch to Chinese opera is touched, but quickly changed, amongst many other things. Great is also the last piece, "Let Me - Aria" which obviously, but not mentioned, refers to a very dramatic part of one of Purcells operas, (a song in these times made again popular by Klaus Nomi). Also here the form is completely their own.
An interesting journey, which for me also says something about the essence of a Belgium quality in relation to creativity.
psychedelicfolk.com, Gerald Van Waes