CHIN.IND.SPEC.REST. Aafke Romeijn

Apt cover art. The music of Aafke Romeijn has, at least, as many faces as the cover has. I heard a 13 year old, who was only listening at best casually say: "This is scary". Listen to a part of opening song 'Bmb/Ibb' and you'll know what I mean. If this is the voice in Aafke Romeijn's head, I'd opt for the one in 'I never promised you a rose garden'. It is that sort of voices that return every once in a while on CHIN.IND.SPEC.REST.; or in sound. The differences in mood are so huge.

Aafke Romeijn is a Dutch singer from Utrecht who's second album, after 'Stella must die!' (2011), has been given a re-release after she was signed by record label, V2. CHIN.IND.SPEC.REST. is a special record. Not that I think it is extremely good. It is more that I just don't know what to think of it. If anything, the songs on CHIN.IND.SPEC.REST. intrigue me. Suck me in, spit me out, to land hard on the too hard floor. Only to start all over again.

The songs on CHIN.IND.SPEC.REST. can be extremely small. Just Aafke Romeijn and her piano. Sing-speaking a song. The singing is not always the strongest part of the album, but fits the music. Romeijn is not afraid to take a risk either with her singing and goes off into uncharted territories as in 'Broertje'.  Where in 'Voorbeeldfunctie' her voice is treated mechanically and multi-tracked.

In the lyrics we can be either taken to school from the perspective of the teacher or to a fantasy world in which her brother, whether real or imagined plays a role as does her family. Often the songs with a piano. The school asks for a more aggressive approach. Electronic beats and layers of synth treated music. Really telling like it is perceived by the teacher. I am a role model, whether in a bad mood, when hung over, when happy, when sad, Aafke Romeijn sings in 'Voorbeeldfunctie'. Extremely stifling this song at times is.

Aafke Romeijn keeps playing with my head all through the album. What is going on at this point of the song, is a question I regularly ask myself when listening to CHIN.IND.SPEC.REST. Simply because the perspective seems to change, making it hard to keep the bigger picture. In combination with the estranging effects in the music, which easily keeps up with the story changes, this album can repulse and attract, attract and repulse within seconds.

Somewhere deep down Aafke Romeijn is a singer-songwriter. When listening to 'Terecht II' there's no doubt about that. If however you put on 'Kalashnikov' you'll never believe my claim here. Some songs disguise her true self quite well. From there she creates her own universe and uses what she needs to express herself. Piano, beats, processed sounds and all.

If anything CHIN.IND.SPEC.REST. has confirmed for me why I never wanted to become a teacher. That aside, Aafke Romeijn has made a record that is special. An album that I do not really know what to make of. Her voice is fairly monotonous, electronic beats are not my thing; in general. Still, they work on CHIN.IND.SPEC.REST. so, a review is well-deserved. Time will tell where we go, Aafke's album and I.

Wo.

You can listen to 'Kalashnikov' here:

https://www.youtube.com/watch?v=YnT13JIe7BE

Spiral road. Suzanne Jarvie

“I am a Toronto girl.  I have been singing and circling around song writing for most of my life; wondering about inspiration and where good songs come from.  J.S. Bach wrote music when he was happy, but I think he might have been the only one! Most of the musicians I love wrote when they were sad, and I’m no different, having been through some big personal challenges in the last 2 years.  Many great songwriters have described songs as emerging from an unseen realm that binds us all together.  Spiral Road is my first record, and it comes from that place. I love traditional country roots music and many of the songs on Spiral Road bear those influences. I am grateful for the songs, which are like gifts in mourning.  I really hope you enjoy my record!”.
 
Het bovenstaande was een week of wat geleden mijn introductie tot Spiral Road van de Canadese singer-songwriter Suzanne Jarvie. Het is een introductie die direct sympathie opriep voor Suzanne Jarvie, maar het is ook een introductie die me heel nieuwsgierig maakte naar haar debuutplaat. Het bleek al heel snel een debuutplaat die me wist te raken. In het begin voorzichtig, later steeds dieper.
 
De introductie van Suzanne Jarvie geeft al voor een belangrijk deel prijs wat je kunt verwachten bij beluistering van Spiral Road. Suzanne Jarvie houdt van traditionele Amerikaanse rootsmuziek met flink wat invloeden uit de country en schrijft vooral songs over de minder mooie momenten in het leven. Hiermee onderscheidt Suzanne Jarvie zich nog niet onmiddellijk van een heel contingent weemoedige singer-songwriters in het rootssegment, maar dat doet ze wel met haar songs, met de muziek op haar debuut en met haar stem.
 
Laat ik met de laatste beginnen. Bij beluistering van Spiral Road, moest ik en paar keer aan Lucinda Williams denken en dat is een pré. Suzanne Jarvie beschikt over een stem met kracht en emotie. Het is een stem die durft te stralen, maar ook kwetsbaar durft te zijn, wat de songs op Spiral Road een bijzondere lading geeft.
 
Die lading wordt versterkt door de verzorgde instrumentatie op de plaat en warme en heldere productie van de plaat. Suzanne Jarvie heeft flink wat bevriende muzikanten opgetrommeld voor haar debuut, onder wie de legendarische Holmes Brothers, en deze zetten een mooi en buitengewoon gevarieerd rootsgeluid neer, dat eigenlijk in iedere song anders klinkt en dat varieert van ingetogen en akoestisch tot veel voller en elektrisch. Het vraagt wat van een producer om dit allemaal in goede banen te leiden, maar ene Hugh Christopher Brown heeft dit prima gedaan en Spiral Road voorzien van een gloedvol geluid.
 
Hiermee ben ik er nog niet, want ook de songs op Spiral Road zijn van hoog niveau. Suzanne Jarvie maakt van haar hart geen moordkuil en vertelt op haar debuut het ene na het andere indringende verhaal. Het komt allemaal hard aan, maar ach wat is het allemaal mooi en bijzonder.
 
Op basis van het verhaaltje van Suzanne Jarvie was ik al vrijwel om, maar inmiddels ben ik helemaal stuk van deze prachtplaat. In Nederland voorlopig een obscure parel, maar dat moest haast wel gaan veranderen. Spiral Road van Suzanne Jarvie steekt immers boven het maaiveld uit en niet zo'n beetje ook.

Erwin Zijleman

Je kunt hier naar Spiral road luisteren en de cd kopen:

http://suzannejarvie.bandcamp.com/releases

An assessment of Oor's 15 tips for 2015, Part 1

In its first issue of 2015 Oor introduces 15 Dutch acts that it expects to have chance to make it in the new year, 2015. WoNo Magazine takes up the challenge and lays down a listening ear and gives its first impression of these acts.

If we can find the tracks to listen that is. No saying at this stage. The acts are in different stages of their respective careers. Some have a full album under the belt, some one or two EPs and some only one song. So here we go.




1. Afterpartees
This band from the south east of the Netherlands, Horst in Limburg to be exact, has released its first album this January and was a guest in Giel Beelen's 3FM morning show. The album is presently found on the 3voor12 website. What I'm hearing is a mix of 60s garage rock, 70s punk melodies and melodies that don't forget a pop overtone. Singer Niek Nellen has this sneery voice, which gives the songs a punky attitude. There's nothing new here, but considering 'Glitter lizard' is the band's first album, Afterpartees is doing quite well. The Undertones have a grandchild and that is a compliment. Anyone who listens to 'Candy color wearin' weirdo' will recognise just that. Afterparties is not the new The Rolling Stones, but a band that certainly brings a smile to my face.

2. Bea
This singer from Amsterdam has one EP out, 'Good thinking'. Totally different music from the first act. What I'm hearing reminds me of Portishead over 10 years ago, the only triphop album in my collection is Portishead's live album. So I do not have a lot to go on here. Minimal beats and some electronic, synths sounds over which Bea sings with a lower and a higher voice, often harmonising with herself. Something Lana del Rey could have recorded without Dan Auerbach as producer. That's a description that comes close. Bea has that same sense of utter darkness in her voice, but just a little less of the sensuality. The effect comes close. After a while her voice becomes a bit flat, too much of the same. Perhaps caused by the fact this is not really my kind of music. Still, I can imagine why she's in this list, but also the comment on live shows and then I'm back to her voice, but also the music which doesn't have any highs or lows. Just middle.

3. Falco Benz
More electronic music. Falco Benz is around since 2013 and already has released three EP, of which 'May days' is the latest one. Falco Benz is Eelco Topper, a dance producer with disco influences. I do not have any experience nor opinions here that count, as I'm just not into this music. It's best to leave it at this. I just hear the talent. There's no 'Hey brother' sing-a-long quality here is all I can give you. But I doubt whether Falco Benz aims for that sort of songs. I have to give some compliments for the cover art. That is quite excellent by the way, but that is applicable to more albums in this list so I've noticed.


4. Feis
Ah, a rapper. That way I'll be ready soon. There's an album called 'Hard van binnen, gebroken van binnen'. Feis is Faisal Mssyeh from Roffa and active as rapper since 2006. He obviously took his time to record and release his debut. What I'm hearing is tough language, brought with a rough voice with a slightly aggressive diction. This collides with the quiet, almost jazzy sound of 'Hard van binnen'. Piano, violins, soft voiced girls. Not what I expected from a rap album, but what do I know as rocker? The collisions remain when I click through the album. A song like 'Excuses' could have been the new Bløf single, without the rap part. I leave the album before it ends.


5. Lucas Hamming
The second name I've heard before. Not through the music, but because Lucas Hamming is the support act of Sunday Sun in March that I got tickets for. So what does the music sound like? A mix of Jeff Buckley, Arctic Monkeys and The last Shadow Puppets? That can't possibly be bad, can it? But so much talent in one Dutch guy, that would be exceptional. I'm listening to his EP 'Green eyed man'. The Jeff Buckley reference is understandable hearing opening song 'Once I tumble down', but please add Gary Lucas as the guitar wizardry can also be found in this song. The main guitar is 100% Jeff, in sound and in the way strokes are played, the singing sneaks towards Alex Turner/Miles Kane. At first listen I'm sure that I can come to like 'Green eyed man' and Lucas Hamming. And Lucas, please don't go off swimming with your boots on after the release of your album. Lucas is my Talent for 2015 so far.

6. The Homesick
Were we already down south. It's time to go north, to Frisian Dokkum to be exact, the city The Homesick comes from. Another band with an EP out called 'Twst Yr Wrsts'. The Homesick released its EP in an old fashioned style, on cassette. The last cassette I bought was in the early 90s of Leiden's blues best, Bimbo Box Blues Band. And let my then 1.5, 2 year old son find that unique tape to play with. No repairing there was. So what is on this cassette? Slightly psychedelic music, with uptempo rhythms and somewhat 80s post punk sterile drumming and driving guitars. The singing comes to me as if veiled by fog. The music comes as the band finds it. In another words it can be closer to The Cure on pills or like early Zappa and Ariel Pink. Especially in 'On Friday night (we dance to Johnny Cash)' that comparison pushes itself on me. In other words, these Frisians are on a trip that can take them anywhere. I'm not sure yet whether I'm really going to like The Homesick, but that might just happen.

7. The Indien
A name that you could have encountered on this blog, although I admit that it wasn't very complementary. In fact I thought the Blaudzun support act in Paradiso last December so nondescript that I couldn't make much from it and certainly could not get myself to write a whole review. The show was bland, without anything distinctive. Except for one song.

Here is The Indien in the list, so lets listen to EP 'Cologne' that was released very recently. Although the EP starts with a weird noise, the album gets under way in a right way. Rianne Walther has a voice that begs listening to; on record. The Adele/Duffy comparisons are rightly made. The music doesn't have much to do with these ladies. There is something 60s and poppy about The Indien. The guitars, the melody, the organ. Dead give-aways. Where does this fascination of 20 somethings for the 60s come from? (Grand)parents like me?, always playing their albums and singles? Must be. The music of The Indien seems to work on record, but I still hear the problems that I've encountered on stage. All songs are in the mid range. No highs and no lows, nothing that jumps at me. For a debut? Intriguing is the word.

8. Kovacs
When did I last hear a voice like Sharon Kovacs'? Somewhere in the 60s? May well be. The music has some of the atmosphere but is modern in a way that it could have been classical music as well. 'My love', the opening song is mesmerising. The song sort of envelopes itself around the listener. I can't help thinking of the already mentioned Lana again, but Kovacs is on her own planet. Not so far away from Caro Emerald and even French singer Zaz. There are hints of jazz, lounge and even the chanson. So I wasn't surprised when the final song proved to be a cover of Grace Jones' 'I've seen that face before'. Kovacs manages to stay her own and not take her songs the easy way in the same fast lane as Emerald. Kovacs rides the provincial highway with traffic lights and crossings that cause her to slow down and pay more attention. So there's more authenticity which forces the listener to pay attention. Even in the four song EP 'My love' there's enough turns to make for an interesting record.

Wo.

Next week the second instalment.

All albums can be found on Spotify.

The January Kairos by .No

Another month, another Kairos, the radio program by .No on Concertzender. Wo. delves again into music he usually does not hear and gives his unsalted version of the truth, according to Wo. that is.

The start of this Kairos is esoteric. The mystery of the mist in the fjords of Norway. Is that he hulk of a Viking ship I see there, passing through the fog? Filled with the barter of drunk Medieval sailors and the loot of long lost European cities. Like a movie that is played, soundless. The sound of the reel is mystified by the mind. My fantasy creates loops around it. The sound of long deceased Gregorian choirs in the large cathedrals spins in and out of my mind. That is the image the Seetyca's 'Bleakscapes 4' evokes in my mind. In this collaboration the German musician collaborated with the Oregon Origo String Quartet and Etheocles Stevens, who is
responsible for the lead singing. Again .No presents me with a piece of music that I would never have contemplated playing in my wildest dreams, let alone while awake. Seetyca's music is intriguing and has a pure sort of beauty, that kept me listening though the long song or better drones.

What happens next is that I was under the impressions that the song changed its structure and that Etheocles Stevens got a larger role, until I realised that .No had me again. This is a totally new song that merges with the drones and comes out solo. 'Her Sacred Spirit Soars' is a vocal composition, with male and female voices that move  around  and about each other in all sorts of counter melodies which remind me of the church of my youth. The composition of Eric Whitacre is sung by the Eric Whitacre singers. He also has a virtual choir, singers from around the world that come together online. Whether this composition is part of that, I can't tell. Complexly structured, 'Her Sacred Spirit Soars' has a deep inner beauty. Not my cup of tea, but certainly worth while listening to.

From a churchlike choral to the ambient music of ex-Roxy Music member, producer and of course solo musician Brian Eno. 'Lantern Marsh' from his album Ambient #4 ON LAND, is a slow composition with little development, with the sort of instrument as a part of the whole that clangs and rattles in the wind, hanging on a porch or veranda. There are sounds that could be the wind coming towards the hanging contraption in a slow but deliberate way; bringing nothing but more heat. The drone is the reflection of heat and light close to the horizon. Not exciting enough for me, but the music stirs my imagination with vivid images and senses.

'Lantern marsh' melts into 'How can I recognise my home' by Estonian composer Veljo Tormis. The composition is sung in Estonian by Eve Härma en Kadri Ratt while Marrit Gerretz-Traksmann plays the piano. Lone chords and notes, the vocal melody repeats itself regularly giving off the impression of a bedtime song for little children who do not want to sleep yet. Because of the language, but also faintly in the melody, the composition reminds me of the Finnish Complaint Choir. Also, this song, in a different arrangement, can easily be on the record of one of those modern folky girl duos or trios.

In 'Luminous insects' by Matthew Cooper & Mark T. Smith a million things happen. There is a composition, looped?, underneath samples of a million things, sounds and people in conversation, until a slow trance sounding synth comes in and I'm waiting for David Guetta's foghorn to sound and announce the moment the dancers are supposed to let it rip on the heavy beats; that of course never come. The melody just fades out leaving us with everything underneath that is also then faded out also.

And melts with the guitar sounds of Hans Kockelmans, who plays Francois Dufaut's 'Gigue'. Again Kockelmans shows his prowess on the guitar in this home recording. The guitar sound is so neat. This short composition is played just for me as if in the room. By far the most intimate recording on this Kairos.

The mix into I Am Oaks' 'Firm hands' from the band's latest album 'Ols songd' is more abrupt than usual for Kairos. Almost as if Hans Kockelmans plays a chord horribly wrong. It made me pay attention alright. 'Firm hands' is I Am Oak's composition that reminds me most of the late St. Thomas. A fine folk song, subdued and strong at the same time. 'Ols songd' was reviewed on this blog last year.

From Utrecht folk to Japanese flute. Kohachiro Miyata plays the traditional 'Honshirabe', which translates into "basic melody", if I'm to believe You Tube, where the song can be found in other versions as well. What can I say, someone blows on a flute Long, lingering notes. That's all that I can write here and add that it sounds somewhat mysterious. The theme of this Kairos? Mystery?

The flute is slowly mixed into the intro sound of 'All the years have fallen away' by Karine Eps, a duo, Chris Gowers and Frazer McGowan. A song in which the guitar and tape (hiss) mixes with the lone piano chords played by McGowen. All of a sudden the line "She's a visitor" is repeated over and over. A soft chant. Something that could be part of an art exhibition. Something from a video artist, in a video in which it is never clear what I'm looking at. The people and their going abouts may be understandable, but not within the presented context. Again mystery in sound and meaning. Robert Ashley's 'She's a visiter' is played over 'All the years have fallen away' until the tapes and loops take over created by the Dutch Ensemble MAE. Experimental electronics, a choir singing drones, weird sounds and hisses, the chant going on uninterrupted. A seance?, a gathering of witches?, it is hard to hear, but mysterious this composition is. And very far out out. Too far? Yes, it is. For me that is.

Next Douglas Dare comes by again. By now we can call Douglas Dare a .No favourite, having heard him in some previous Kairos episodes as well. 'Clockwork' is this month's choice. Ensemble MAE's hisses flow into Dare's piano playing. Listening to 'Clockwork' I can imagine this song in the charts if Dare tweaks the composition just a little in the right places. This song is as powerful as Hozier's 'Take me to church' and certainly James Bay's 'Hold back the river', both songs that chart as I write. 'Clockwork' holds the same power as those to songs do. It is a beautiful song and by far my favourite of this set. (Yes, .No, I know it's the most traditional sort of song here, but still.)

Kairos ends with a Dutch language song, 'Ben ook maar een mens' van Hans Andeweg. Again a DIY recording from Dutch soil. With a text that is what we call Kleinkunst, "Small art". I haven't got a translation here that does right to this word. Andeweg sings in a way that is from years back. The late Frans Halsema seems a large influence here. The song is melancholy and there are some surprising instruments that come into the song, that certainly lift the quality (and fun aspect). A beautiful, small song 'Ben ook maar een mens' is.

Wo.

You can listen to January's Kairos here:

http://bit.ly/1IfUXPk

Art nouveau. The Stream

In November I watched a solo show by Jan Stroomer. He was introduced as singer and composer of the Leiden based band The Stream. (http://wonomagazine.blogspot.nl/2014/11/jan-stroomer-en-mieke-van-veen-in.html) Although his solo show was very entertaining there was not much in the solo show that prepared me for Art nouveau. An image had popped up in my mind that had not much to do with the music on the album. I had expected piano singer-songwriter songs like Billy Joel, Elton John or even Randy Newman. Hearing Art nouveau I'm doubly sorry that I could not make the show in Leiden on 10 January. Another party got in the way (also a lot of fun).

Art nouveau opens with a real 'Ouverture'. Some symphonic rock ideas got into my mind. Definitely the British variety, like ELO and Marillion, but without the super pumped-up sound. The Stream downplays its music, in a very pleasant way. Still with the 'Ouverture' on display The Stream caught my attention. That was just as well, as The Beatlesque 'Confusion' made Art nouveau speak volumes. In the vocal melodies there are clear The Beatles influences, where the music is much more 70s. Somehow larger and more complex in another way than The Beatles managed to be complex, the chord changes and fluent vocal melodies. Add a tough guitar sound and solo, by Nils van Grevenbroek, to the mix and there is a distinctive sound that calls up pleasant memories and adds something new straight away.

'Another time and place' is based on the piano, but keeps up a stark pace. It is only in, yes 'Slow down', that the album relaxes somewhat in a very convincing rock ballad. At this point in the album I also notice that I have to make some effort to keep attached to Jan Stroomer's voice. There is something bothering me, slightly, but it does. After listening some more I notice that it's the same accent in the English as my son has. The same teacher? Or have I discovered Leiden's take on English? It has nothing to do with the music and melodies so I could easily leave this point behind me.

"Why don't we talk it over. No, that's over now". This line from 'This dream is over' has a clear reference in melody to 'Sorry seems to be the hardest word'. Like one of Elton John's finer songs, 'This dream is over' touches upon the right mood for a song like this. The string section underscores the emotions. Deep drama is poured out over the listener. There certainly is an Elton John flavor to Art nouveau, but unlike John's albums, Art nouveau doesn't make me itch and scratch.

Lyrically 'Time for some changes' appears to be in the wrong place on the album as 'This dream is over' precedes it, but who knows how relationships develop? Musically it is an upbeat song with some Queen references. A subdued 'Lazing on a Sunday afternoon'.

The Stream is not afraid of making its favorites shine through. The band has found the right balance here, as the influences do not get into the way of its own songs and sound. They do not disturb in the least and add to the pleasure of listening to Art nouveau. The album keeps its own quality. Not in the least because of Jan Stroomer's fine piano playing, that leads when possible and takes a step back to weave itself into the sound as a whole. Only 'True love' goes over the edge as far as I'm concerned. Too sweat to my taste. The two final songs, 'Losing control' and 'I won't forget', make more than up for this sugar sweet song. Again The Moody Blues come to mind, to mention a final influence (o.k., let me add Midlake as well). Like this band The Stream is not afraid of throwing the listener off kilt with a few changes within a song, while maintaining complex vocal counter melodies in 'Losing control'.

The Stream released an album that has merit. And it is a fair question to ask what Art nouveau had sounded like with a higher budget. Just imagine a little bigger sound, a few instruments that come out just this little better. And perhaps this is just my imagination, as so much care was laid in the details of Art nouveau. A lot of work obviously went into the arrangements, which makes Art nouveau a rich album. Can a DIY album come closer to perfection? Patrick Joseph's 'Moon king' recently showed so, but Art nouveau deserves a lot of credit. A fine album!

Wo.

You can listen to and order Art nouveau here:

http://thestream.bandcamp.com/album/art-nouveau