Was ist in eine Nahme? Is that correct German? I notice I don't know for sure anymore. When this cd was dropped in my mailbox and I read the band name, I have to say that I expected anything but what I've heard several times since that moment. Ansatz Der Maschine? Industrial rock? Krautrock? New Neue Deutsche Welle, from Belgium? Anything but the dreampop touching on triphop I'm listening to.
Ansatz Der Maschine is the vehicle of Belgian, more precise, West-Flanders, musician Matthijs Bertel. This is the first album that he releases under this name since 2012 and the fourth in total. Tattooed Body Blues is totally in sign of the times. Dreamy, escapism, far from the madding crowd. This album deals in atmospherics. As such it comes close to a Dutch band like Maggie Brown, most so in 'Insomnia' and Belgian band The LVE. The song that comes closest to indiepop. There's also a Lily & Madeleine or First Aid Kit connection because of the many female vocalists on the album. Just listen to 'Song X' to know what I mean. It is the electronica and soft beats that make it all different though.
Bertel is responsible for large chunks of this album. Most of the music is played by him, the lyrics with one exception are his, background voices are his. On top of this he brings in different lead singers, a drummer and specific instruments like a cello, horn, guitarists, a harp, etc. Keyboards and electronics are the basis of Tattooed Body Blues. Over that basis the guests do their thing, that give a song its definite feel. That basis becomes the song in the instrumentals, e.g. 'Cold' and final song 'Highlands'. Here Bertel shows himself in his full, dreamy glory. Like a modern day Jean Michel Jarre.
Tattooed Body Blues is an ideal album for the Sunday morning, after breakfast with the Saturday newspaper on the coach. An ultimate relaxing moment. But that is not the whole of the story. The second one is that it is a great album to listen to with a headset on and just listen to all the sounds and the way they are interwoven. Another great way to relax. This works as well when I turn the volume up while playing this record. The whole production comes alive instantly.
In the songs with vocals my mind brings me straight to Massive Attack, although I could mention Portishead as well. The vocal music of Ansatz Der Maschine seems to lack the, hints at, beats, while the atmospherics certainly are similar. The slow, accented beats are there, but somehow I seem to forget about them even while listening to the singing, which is all so dreamy. When the beats do appear up front, like in 'Highlands', Bertel provides them with much more of an own signature. Scratching sounds are mixed with all sorts of electronic bleeps and hiccups. In the traditional songs Matthijs Bertel is much more conservative than in his instrumentals, which is where he comes from or so I understand. The exception here is the first single 'Burning Fuel', where the two worlds really get together. Despite that he used different singers for all songs, when the album is finished I have the impression to have listened to one singer, with the notable male exception in 'Insomnia'. This has to do with the dreamy quality of those songs.
Before summing up, I have to compliment the choice of photo on the cover. Sheer beauty Leen Verstraeten captured there.
Tattooed Body Blues is an album with two faces. Instrumentals that tend towards soft dance tracks with a lot of melody over the beats and dreampop of a high quality in which different singers excel. Ansatz Der Maschine, and it does on this album, leaves a lot to discover in the songs. Different layers slowly present themselves with each spin. An album to truly like.
Wo.
You can listen to 'Burning Fuel' here:
https://www.youtube.com/watch?v=fgEVrIfR98M
or buy on Bol.Com
Wednesday, 13 April 2016
Tuesday, 12 April 2016
Person A. Edward Sharpe and the Magnetic Zeros
Edward Sharpe and friends have featured several times on this blog. His first album, 'Up From Below', had passed me by, but the inescapable 'Home', that featured in some commercial or other, did not. Person A is after, 'Here' and 'Edward Sharpe and the Magnetic Zeros', the third album that receives a review on these pages. The first one without co-singer Jade Castrinos.
Edward Sharpe and the Magnetic Zeroes was a member of the 'hey ho' kind of groups or neo-folkies as the world calls them. With Person A the band moves away from this idiom into a far wider environment. There is still a hint or two in the chord changes of a trumpet, but for the rest? Person A is far more experimental, jazzy even and spacious. There's so much going on that I nearly failed to hear it at the first listenening sessions. No review in sight back then. This changed for the simple reason that I started to discover these layers in an at first empty, seeming album.
On Person A the range of influences let into the music go far beyond folk. I even dare to call on negro spirituals in combination with 'Jesus Christ Superstar'. Under the electronic layers of 'Uncomfortable' or 'Wake Up To The Sun', there's no denying here.
At the same time this album is so much smaller than what went before. The music is so much smaller, as if instruments are on probation. Edward Sharpe is not afraid to strip a song down and lets Alex Elbert sing with his highish, electronically treated voice and do a lot of the work in a song.
It is when the fourth song starts, 'No Love Like Yours', I notice the sharp contrast with the three songs before that. This is the first song that has some of the exuberance I associate with this band. And still it is modest here.
Surprises are on offer in 'Wake Up To The Sun'. The bare beginning is countered with a full ending, with lots of copper ringing out, blowing up the songs in a great and impressive way. The contrast with 'Free Stuff' is large again. The beginning again bare. The magic creeps in though in the form of a counter vocal melody and horns. It all ends too soon. There might have been more I keep thinking. 'Free Stuff' is a beautiful song.
There are more songs like this on Person A. I found that Edward Sharpe c.s. made me work harder to discover them. Does this make Person A a special record? That I'm still deciding on. I'm not certain yet at this point in time. I have gone from disappointed, to interested to intrigued. One step left to go: convinced. That phase may just be around the corner. Time will tell.
What I do know that Edward Sharpe and the Magnetic Zeros have stepped out of its comfort zone and experimented with its sound. This resulted in an album that goes beyond what I expected from the band. Influences all the way back to 50s crooning can be heard. It opened up to a wider musical universe. Time to stop reading and start listening.
Wo.
You can listen to 'No Love Like Yours' here:
https://www.youtube.com/watch?v=pdG8y760YwU
or buy on Bol.Com
Edward Sharpe and the Magnetic Zeroes was a member of the 'hey ho' kind of groups or neo-folkies as the world calls them. With Person A the band moves away from this idiom into a far wider environment. There is still a hint or two in the chord changes of a trumpet, but for the rest? Person A is far more experimental, jazzy even and spacious. There's so much going on that I nearly failed to hear it at the first listenening sessions. No review in sight back then. This changed for the simple reason that I started to discover these layers in an at first empty, seeming album.
On Person A the range of influences let into the music go far beyond folk. I even dare to call on negro spirituals in combination with 'Jesus Christ Superstar'. Under the electronic layers of 'Uncomfortable' or 'Wake Up To The Sun', there's no denying here.
At the same time this album is so much smaller than what went before. The music is so much smaller, as if instruments are on probation. Edward Sharpe is not afraid to strip a song down and lets Alex Elbert sing with his highish, electronically treated voice and do a lot of the work in a song.
![]() |
| Promo photo |
It is when the fourth song starts, 'No Love Like Yours', I notice the sharp contrast with the three songs before that. This is the first song that has some of the exuberance I associate with this band. And still it is modest here.
Surprises are on offer in 'Wake Up To The Sun'. The bare beginning is countered with a full ending, with lots of copper ringing out, blowing up the songs in a great and impressive way. The contrast with 'Free Stuff' is large again. The beginning again bare. The magic creeps in though in the form of a counter vocal melody and horns. It all ends too soon. There might have been more I keep thinking. 'Free Stuff' is a beautiful song.
There are more songs like this on Person A. I found that Edward Sharpe c.s. made me work harder to discover them. Does this make Person A a special record? That I'm still deciding on. I'm not certain yet at this point in time. I have gone from disappointed, to interested to intrigued. One step left to go: convinced. That phase may just be around the corner. Time will tell.
What I do know that Edward Sharpe and the Magnetic Zeros have stepped out of its comfort zone and experimented with its sound. This resulted in an album that goes beyond what I expected from the band. Influences all the way back to 50s crooning can be heard. It opened up to a wider musical universe. Time to stop reading and start listening.
Wo.
You can listen to 'No Love Like Yours' here:
https://www.youtube.com/watch?v=pdG8y760YwU
or buy on Bol.Com
Monday, 11 April 2016
Hum. Eerie Wanda
A few weeks on since listening to Hum for the first time, I have a hard time remembering what publication tipped me on Eerie Wanda. I haven't a clue any more. It's not relevant, just me wondering.
Hum is the first release by Dutch, Croatian singer Marina Tadic, accompanied by friends, under the name Eerie Wanda. Some of the friends also play with Jacco Gardner.
This last comment is not so strange, as Eerie Wanda also looks back some decades in her music. More specific to the 1960s, starting with the softer side of The Velvet Underground. One soft singing voice, some guitars, high sounding and a rhythm section. With a faint hint at psychedelia added in the mix and the reader has a clear view of what Hum stands for.
The music is as light as a seed on the breeze, carried around defying gravity for as long as it can in anticipation of a place to land. The seeds on Hum land well. From the ramshackle pop of 'Happy Hard Times', to the Lana Del Rey singing in the title song, that seems so light but ends with such a harsh edge, Hum is fleeting. Almost to fleeting at times. Just listen to how 'Working In The Field' breezes by. The light-toned songs tend to become a bit of a blur in uniformity.
That is where a song like 'To Dream Again' comes to the rescue. The guitars have a more prominent role. I can't call it a riff, but they have some interesting lines played on them, one high and one low. The same goes for the very busy 'Vinnie'. The drums come alive and the tempo goes up.
I won't write that Eerie Wanda is an artist who is there. With Hum Ms. Tadic has presented an interesting first album that certainly has its moments. There are several very attractive songs on Hum, but overall it lacks in variety and a bite. There are too many songs in the exact same idiom. Individually they are attractive enough, all together they are just too much of the same. Like the already mentioned 'The Velvet Underground' Hum holds a 'Candy Says' and 'Jesus', but it lacks a 'What Goes On' or 'Beginning To See The light'. Maybe next time? It could work a miracle. For now enjoy what is on offer albeit sparingly.
Wo.
You can listen to 'To Dream Again' here:
https://www.youtube.com/watch?v=0jVL3VCRT00
Of kopen op Bol. Com
Hum is the first release by Dutch, Croatian singer Marina Tadic, accompanied by friends, under the name Eerie Wanda. Some of the friends also play with Jacco Gardner.
This last comment is not so strange, as Eerie Wanda also looks back some decades in her music. More specific to the 1960s, starting with the softer side of The Velvet Underground. One soft singing voice, some guitars, high sounding and a rhythm section. With a faint hint at psychedelia added in the mix and the reader has a clear view of what Hum stands for.
The music is as light as a seed on the breeze, carried around defying gravity for as long as it can in anticipation of a place to land. The seeds on Hum land well. From the ramshackle pop of 'Happy Hard Times', to the Lana Del Rey singing in the title song, that seems so light but ends with such a harsh edge, Hum is fleeting. Almost to fleeting at times. Just listen to how 'Working In The Field' breezes by. The light-toned songs tend to become a bit of a blur in uniformity.
That is where a song like 'To Dream Again' comes to the rescue. The guitars have a more prominent role. I can't call it a riff, but they have some interesting lines played on them, one high and one low. The same goes for the very busy 'Vinnie'. The drums come alive and the tempo goes up.
I won't write that Eerie Wanda is an artist who is there. With Hum Ms. Tadic has presented an interesting first album that certainly has its moments. There are several very attractive songs on Hum, but overall it lacks in variety and a bite. There are too many songs in the exact same idiom. Individually they are attractive enough, all together they are just too much of the same. Like the already mentioned 'The Velvet Underground' Hum holds a 'Candy Says' and 'Jesus', but it lacks a 'What Goes On' or 'Beginning To See The light'. Maybe next time? It could work a miracle. For now enjoy what is on offer albeit sparingly.
Wo.
You can listen to 'To Dream Again' here:
https://www.youtube.com/watch?v=0jVL3VCRT00
Of kopen op Bol. Com
Sunday, 10 April 2016
HitNRun Phase Two. Prince
Around The
World In A Day van Prince & The Revolution vierde dit jaar al weer
zijn dertigste (overigens vrij geruisloze) verjaardag. Het
is mijn favoriete plaat van de muzikant uit Minneapolis, al maakte het
toenmalige genie destijds aan de lopende band platen die inmiddels te
boek staan als klassiekers.
Hoewel Prince het niveau van deze platen al heel lang niet meer weet te benaderen, blijf ik hem in de gaten houden. Met Prince weet je het immers maar nooit.
Eerder in 2015 was er opeens HitNRun Phase One. De plaat trok door de lastige verkrijgbaarheid (wie heeft er immers een abonnement op de muziekdienst Tidal?) niet heel veel aandacht, maar ik vond het zeker geen slechte plaat.
Op HitNRun Phase One deed Prince weliswaar erg (of net wat teveel) zijn best om aan te sluiten bij de moderne dansmuziek van het moment en leunde hij ook wel erg zwaar op een aantal gastzangeressen, maar de plaat liet zeker goede ideeën horen en bevatte ook minstens een aantal songs die naar meer smaakten en dat is voor Prince tegenwoordig helaas al heel wat.
Vorige maand was er nog even sprake van een toer van Prince en zijn vleugel, maar door de aanslagen in Parijs verdween die helaas van de radar. Niet veel later was er bijna uit het niets HitNRun Phase Two. Ook deze plaat werd in eerste instantie uitsluitend aangeboden via Tidal, maar inmiddels staat hij ook op Apple Music.
HitNRun Phase Two blijkt een totaal andere plaat dan zijn voorganger en wat is het een verrassend sterke plaat. Op het tweede deel van HitNRun doet Prince geen krampachtige poging meer om aan te sluiten bij de dansmuziek van het moment, maar grijpt hij terug op de disco en funk uit de jaren 70 en natuurlijk op zijn eigen werk uit de jaren 80.
Het mist misschien de urgentie van een plaat als Sign 'O' The Times, maar ach wat klinkt dit waanzinnig lekker. Prince verrast op HitNRun Phase Two met een moddervet geluid vol blazers en strooit driftig met heerlijke songs. Zoals in zijn beste dagen durf ik wel te zeggen.
Het is heel lang geleden dat ik zo heb genoten van een nieuwe plaat van de muzikant uit Minneapolis en het tweede deel van HitNRun is ook nog eens een plaat die alleen maar beter wordt.
Prince doet op HitNRun Phase Two misschien geen hele nieuwe of bijzondere dingen, maar een plaat die je zo’n gevoel geeft als deze plaat is een topplaat. 55 minuten is het feest. 55 minuten zit je op het puntje van je stoel. 55 minuten lang stijgt de temperatuur met een paar graden. HitNRun Phase Two krijgt helaas maar heel weinig aandacht, maar het is de beste Prince plaat in zo’n 25 jaar en misschien wel langer. Dat zegt wat. Heel wat.
Erwin Zijleman
HitNRun Phase Two kan (ook voor niet Tidal abonnees) worden verkregen via http://tidal.com/us/store/album/50767183 (inclusief Phase One). Alternatief is iTunes.
Hoewel Prince het niveau van deze platen al heel lang niet meer weet te benaderen, blijf ik hem in de gaten houden. Met Prince weet je het immers maar nooit.
Eerder in 2015 was er opeens HitNRun Phase One. De plaat trok door de lastige verkrijgbaarheid (wie heeft er immers een abonnement op de muziekdienst Tidal?) niet heel veel aandacht, maar ik vond het zeker geen slechte plaat.
Op HitNRun Phase One deed Prince weliswaar erg (of net wat teveel) zijn best om aan te sluiten bij de moderne dansmuziek van het moment en leunde hij ook wel erg zwaar op een aantal gastzangeressen, maar de plaat liet zeker goede ideeën horen en bevatte ook minstens een aantal songs die naar meer smaakten en dat is voor Prince tegenwoordig helaas al heel wat.
Vorige maand was er nog even sprake van een toer van Prince en zijn vleugel, maar door de aanslagen in Parijs verdween die helaas van de radar. Niet veel later was er bijna uit het niets HitNRun Phase Two. Ook deze plaat werd in eerste instantie uitsluitend aangeboden via Tidal, maar inmiddels staat hij ook op Apple Music.
HitNRun Phase Two blijkt een totaal andere plaat dan zijn voorganger en wat is het een verrassend sterke plaat. Op het tweede deel van HitNRun doet Prince geen krampachtige poging meer om aan te sluiten bij de dansmuziek van het moment, maar grijpt hij terug op de disco en funk uit de jaren 70 en natuurlijk op zijn eigen werk uit de jaren 80.
Het mist misschien de urgentie van een plaat als Sign 'O' The Times, maar ach wat klinkt dit waanzinnig lekker. Prince verrast op HitNRun Phase Two met een moddervet geluid vol blazers en strooit driftig met heerlijke songs. Zoals in zijn beste dagen durf ik wel te zeggen.
Het is heel lang geleden dat ik zo heb genoten van een nieuwe plaat van de muzikant uit Minneapolis en het tweede deel van HitNRun is ook nog eens een plaat die alleen maar beter wordt.
Prince doet op HitNRun Phase Two misschien geen hele nieuwe of bijzondere dingen, maar een plaat die je zo’n gevoel geeft als deze plaat is een topplaat. 55 minuten is het feest. 55 minuten zit je op het puntje van je stoel. 55 minuten lang stijgt de temperatuur met een paar graden. HitNRun Phase Two krijgt helaas maar heel weinig aandacht, maar het is de beste Prince plaat in zo’n 25 jaar en misschien wel langer. Dat zegt wat. Heel wat.
Erwin Zijleman
HitNRun Phase Two kan (ook voor niet Tidal abonnees) worden verkregen via http://tidal.com/us/store/album/50767183 (inclusief Phase One). Alternatief is iTunes.
Saturday, 9 April 2016
RE:Freshed Orchestra, Melkweg, Amsterdam, Maandag 4 april 2016
![]() |
| Foto: Jan de Bloois |
Een crowdfunding met tot doel het eerste complete album te maken. Dat is geen simpele opdracht met 17 muzikanten die allemaal ook solo optreden en andere projecten doen… En wat is het toch geweldig die dan weer samen te zien als Re:Freshed Orchestra!
Voor mij de sensatie in Nederland van de laatste 3 jaren ! Want het is alweer meer dan 3 jaar dat ze bij elkaar zijn in nagenoeg dezelfde samenstelling. Ze hebben twee keer de Uitmarkt in Amsterdam geopend.
Met bandleider Alexander van Popta (keyboards) en mede-oprichter
Furlan Felter als de as van het collectief, omringd door zeer goed geschoolde muzikanten. Van hip hop tot R&B met klassieke invloeden gemixed met funk, soul
en jazz. Ja, wat niet?, zou ik bijna zeggen.
![]() |
| Foto: Jan de Bloois |
De frontvocalisten Poliana en Esperanza (Pink Oculus) stelen samen met dr. Rum de show. Het is een waanzinnige belevenis dit collectief live te zien. En ja, het was een
album release, dus als donateur heb ik trouw de CD meegenomen. Maar eigenlijk is er maar één manier om
Re:Freshed te beleven en dat is live! Hopelijk volgt er snel weer een tour.
![]() |
| Foto: Jan de Bloois |
in deze band een toptalent is. En dus zeg ik "ga ze gewoon zien
binnenkort! En laat je re:freshen."
Jan de Bloois
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