Tag: Sting Nothing Like the Sun

New Video: JOVM Mainstays Balthazar Return with a Deceptively Straightforward Rocker

Over the past handful of years, I’ve written quite a bit about Belgian singer/songwriter and multi-instrumentalist Maarten Devoldere, best known as the frontman of two critically applauded, internationally recognized acts and JOVM mainstays Balthazar and Warhaus, which was a side project conceived during a lengthy hiatus. Interestingly, Devoldere’s work with Balthazar was a sonic departure, as the project’s sound could be described as atmospheric, jazz-inspired art rock that may remind some listeners of The Church, Sting’s The Dream of the Blue Turtles and Nothing Like the Sun, Edith Piaf, and Leonard Cohen — paired with Devoldere’s urbane, decadent, novelistic lyrics.

While Devoldere was busy with Warhaus, at one point writing much of the project’s sophomore album in a remote retreat in Kyrgyzstan, his longtime friend, songwriting partner and Balthazar bandmate Jinte Deprez remained in Ghent, holing himself in the studio, where he indulged his love of old-school R&B, eventually releasing a solo album as J. Bernardt. And during their primary gig’s hiatus, Devoldere and Deprez enjoyed the ability to indulge their whims and follow their individual creative muses — while individually receiving commercial and critical success to be liberating. The duo also found that the time apart created an undeniable urge to work together again, propelled by a broader artistic horizon and their mutual respect for each other’s work. 

So when the members of Balthazar reconvened, they did so without any particular plan, just a desire to improve upon their previously released work and to further the band’s story.  As they were beginning to write material, Devoldere and Deprez agreed that their new material should have an overall less serious, less melancholy feel while leaning towards a looser, refreshed sound that retained the hook driven quality that won the band national and international attention. “Fever,” the first single and album title track off the band’s recently released Fever was inky and sultry track, centered around a strutting bass riff, stomping percussion, a swooping string motif, a sinuous hook, a twinkling bridge and Devoldere’s plaintive baritone to create a song that was playful and infectious.  “Entertainment,” the album’s second single continued in a similar vein as its predecessor but was centered around a swaggering and strutting vibe and an anthemic hook. Sonically, the Jinte Deprez-led song nodded at The Rolling Stones‘ “Sympathy for the Devil, but with some Afro pop-like polyrhythmic percussion. “I’m Never Gonna Let You Down Again,” the album’s third single was a slow-burning, Jinte Deprez led Quiet Storm-like jam that reminded me of Milagres’ “IDNYL” and classic Hall and Oates. As Deprez explained in press notes, “I’m Never Gonna Let You Down Again’ is a breakup song with a twist, a groovy soul ode with a synthesizer, a chorus with a Bee Gee touch. It’s shaking it off, wherever it stuck.”

“Wrong Vibration,” Fever’s fourth and latest single is a Maarten Devoldere song is a  superficially a sultry come-on that slowly reveals frustration and confusion over mixed signals. Much like its predecessors, the song is centered by an infectious and breezy hook, a sinuous yet propulsive bass line while being arguably one of the more straightforward rockers on the album. 

Directed by Benny Vandendriessche, the recently released video for “Wrong Vibration” features the band’s creative duo in a dramatic, slow-motion theatrical stage performance, seemingly rooted  in a series of mixed signals and miscommunications. 

New Video: Balthazar Returns with a Breezy and Anthemic New Single

Over the past couple of years of this site’s eight-plus year history, I’ve written a bit about Maarten Devoldere, a Belgian singer/songwriter and multi-instrumentalist, known for being the frontman of the internationally acclaimed acts Balthazar and JOVM mainstays Warhaus. Warhaus was a bit of a sonic departure from Devoldere’s work with Balthazar, as the project’s sound was atmospheric, jazz-inspired art rock the brought to mind The Church, Sting’s The Dream of the Blue Turtles and Nothing Like the Sun, Edith Piaf, and Leonard Cohen — all while paired with Devoldere’s urbane, decadent, novelistic lyrics.

Unsurprisingly, Warhaus’ debut We Fucked a Flame Into Being derived its title from a line in DH Lawerence’s seminal, erotic novel Lady Chatterley’s Lover — and the album’s material thematically focused on lust, desire and the inscrutably of random encounters with a deeply personal almost confessional nature. However, Warhaus’ self-titled, sophomore album found the material thematically moving away from sin, lust and decadence and towards sincere, honest, hard-fought and harder-won love, as much of the material was inspired by Devoldere’s romantic relationship with backing vocalist Sylvie Kreusch. Reportedly, the recording sessions for the self-titled album were also a much more spontaneous affair, heavily influenced by  Dr. John‘s The Night Tripper period — with the material leaning even more towards jazz while hinting at voodoo rhythms.

While Devoldere was busy with Warhaus, at one point writing much of the project’s sophomore album in a remote retreat in  Kyrgyzstan, his Balthazar songwriting partner, co-frontman and longtime friend Jinte Deprez remained in Ghent, holing himself in the studio, where he indulged his love of old-school R&B, eventually releasing a solo album as J. Bernardt. During Balthazar’s hiatus, the band’s songwriting duo found the ability to indulge their whims and follow their creative muses in different directions — while receiving boy commercial and critical success to be liberating. But it also created an undeniable urge between the two to write together again, propelled by a broader artistic horizon and their mutual respect for real other’s work. 

When the members of Balthazar reconvened, they did so without any particular plan, just a desire to better their previously released work and to further the band’s story. Interestingly, the duo of Devoldere and Deprez agreed that the material should have an overall less serious, less melancholy feel, leaning towards a looser, refreshed sound — while retaining the hook driven quality that they’ve long been known for. And the end result is the band’s forthcoming full-length Fever, which is slated for a January 25, 2019 release through Play It Again Sam Records. Now, as you may recall, the album’s first single, album title track “Fever” was a slinky and sultry track, centered around a strutting bass riff, stomping percussion, a swooping string motif, a sinuous hook, a twinkling bridge and Devoldere’s plaintive baritone. Interestingly, the single finds the band crafting swaggering and infectious pop that’s accessible, carefree, and flirty. 

Fever’s second and latest single “Entertainment” continues in a similar vein as its predecessor as its remarkably upbeat and downright playful but centered around a swaggering and strutting vibe and an anthemic hook — and while sonically the song at points nods at The Rolling Stones’ “Sympathy for the Devil,” as the Jinte Deprez-led song features Afro pop-like polyrhythmic percussion, a buoyant bass line and a strutting guitar line while Devoldere contributes equally playful harmonies. As the band explains “‘Entertainment’ was written at the end of the album recordings as one of the last songs, functioning as the loose, uplifting tune, celebrating a carefree take in the entertainment business. We wrote an ambitious album but tried not to take ourselves too seriously, sure it’s an outspoken singalong chorus, but there’s a rambling playfulness to it which we love.” And much like its predecessor, the new single is a razor sharp take on how much the entertainment business manages to influence every aspect of our lives — and how so many people get into the entertainment business to get laid. And much like its predecessor, the song reveals an incredibly smart band crafting a truly unique sound and aesthetic. 

Directed by Wouter Bouvijn, the recently released video captures the band jamming in their performance — and having a helluva time doing so further emphasizing the song’s breezy and playful nature. Interestingly, the video features the band’s newest member Tijs Delbeke, who joins as a replacement for Patricia Vanneste, who left the band. 

New Video: Acclaimed Belgian Act Balthazar Releases Cinematic Visuals for Their Breeziest and Most Accessible Single to Date

Over the past couple of years, I’ve written a bit about Maarten Devoldere, a Belgian singer/songwriter and multi-instrumentalist, known for being the frontman of the internationally acclaimed acts Balthazar and JOVM mainstays Warhaus. And as you may recall, Warhaus isa bit of a sonic departure from Devoldere’s work with Balthazar, as it was atmospheric jazz-leaning art rock that managed to recall  The Church, Sting’s The Dream of the Blue Turtles and Nothing Like the Sun, Edith Piaf, Leonard Cohen and the poetry of William Blake — all while paired with Devoldere’s urbane, decadent, novelistic lyrics.

Unsurprisingly, Warhaus’ debut We Fucked a Flame Into Being derived its title from a line in DH Lawerence’s seminal, erotic novel Lady Chatterley’s Lover — and the album’s material thematically focused on lust, desire and the inscrutably of random encounters with a deeply personal almost confessional nature. Warhaus’ self-titled, sophomore album found the material moving away from sin, lust an decadence and towards sincere, honest, hard-fought and harder-won love, as much of the material was inspired by Devoldere’s romantic relationship with backing vocalist Sylvie Kreusch. Reportedly, the recording sessions for the self-titled album was a much more spontaneous affair, heavily influenced by  Dr. John‘s The Night Tripper period — with the material leaning even more towards jazz while hinting at voodoo rhythms. 

While Devoldere was busy with Warhaus, at one point writing much of the project’s sophomore album in a retreat in  Kyrgyzstan his Balthazar songwriting partner, co-frontman and longtime friend Jinte Deprez remained in Ghent, holing himself in the studio, where he indulged his love of old-school R&B, eventually releasing a solo album as J. Bernardt. During their primary project’s hiatus, Devoldere and Deprez found the ability to indulge their whims and follow their creative muses while receiving commercial and critical success to be liberating; but it also led to the urge for the duo to write together again, propelled by a broader artistic horizon and their mutual respect for each other’s work.

Interestingly, when the members of the band reconvened, they had no particular plans, just a desire to better their previously released material and further the band’s story. As the band’s primary songwriters Both Devoldere and Deprez agreed on an overall less serious, less melancholy feel, leaning towards a looser, refreshed sound — while retaining their ability to sharp hook. The end result is Balthazar’s forthcoming album Fever, which is slated for a January 25, 2019 release through Play It Again Sam Records.  Album title track “Fever” is a slinky and sultry sunset jam, centered around a strutting bass riff, stomping percussion, a swooping string motif, a sinuous hook, a bridge featuring twinkling keys and Devoldere’s plaintive baritone. The new single finds the band crafting swaggering and infectious pop that’s accessible, carefree, and flirty while being smart and unlike anything else written or recorded by a contemporary artist. 

Directed by Athos Burez, the recently released and incredibly cinematic video stars the songwriting duo of Devoldere and Deprez driving around and goofing off in a decidedly foreign and mountainous land. Shot between declining sunset and nighttime, the video is a woozy and feverish dream — the sort that as a photographer, makes me feel envy — centered around two old pals, and their easygoing chemistry. 

Live Footage: Warhaus at Music Apartment

Maarten Devoldere is  Belgian singer/songwriter and multi-instrumentalist, who has received national and international attention for both his primary gig fronting Balthazar and his side project Warhaus. And if you had been frequenting this site over the course of 2017, you may recall that Devoldere’s side project has managed to further cement his growing reputation for deftly crafting urbane and hyper-literate and decadent art rock with an accessible, pop-leaning sensibility in a way that’s reminiscent The Church, Sting’s The Dream of the Blue Turtles and Nothing Like the Sun, Edith Piaf, Leonard Cohen and the poetry of William Blake. In fact, unsurprisingly, Warhaus’ debut We Fucked a Flame Into Being derives its title from a line in DH Lawrence’s seminal, erotic novel Lady Chatterley’s Lover — and naturally, the material on Warhaus’ debut thematically focused on lust, desire, the inscrutability of random encounters,  bittersweet and aching regret with a deeply personal, confessional nature of someone baring the sinew and fiber of their soul as you would have heard on an album track like the slow-burning and soulfully sensual “Machinery.”

Interestingly, the material on Warhaus’ self-titled, sophomore effort reportedly found Devoldere’s work at points giving way from decadence, lust and sin towards sincere, honest, hard-fought and harder-won love, with songs partially inspired by Delvodere’s relationship with backing vocalist Sylvie Kreusch. “We’ve very different people,” says Devoldere. “She’s this natural force which I don’t understand at all and I’m the guy who thinks everything through. It’s an interesting combination.”  Reportedly, the recording sessions for the self-titled album was a much more spontaneous affair, heavily influenced by Dr. John‘s legendary The Night Tripper period, as you’ll hear hints at voodoo rhythms and hints at jazz — and although his touring band, aren’t technically known for being jazz musicians, as Devoldere says of his band, “they’re good at faking jazz.” And as you may recall, album singles “Love’s A Stranger,” and “Mad World” are slow-burning, ruminative songs with a late night, boozy vibe — after all, “Love’s a Stranger” focuses on love’s fleeting and impermanent nature while “Mad World”  focuses on unfulfilled lust and desire but within an angst-filled world that’s gone mad. And while focusing on different things, the songs seem to focus on our own desperate escape from loneliness in a bitterly cruel, uncaring universe. 

I recently came across some live footage of Warhaus performing a set featuring material off both of their albums live in an intimate and gorgeously shot showcase for Music Apartment back in 2016. Simply put, more people should know about this act. 

New Video: Warhaus Returns to Cement Their Reputation for Crafting A Boozy and Decadent Late Night Soundtrack

Over the better part of this year, you may have come across a couple of posts featuring Belgian singer/songwriter and guitarist Maarten Devoldere. Perhaps best known as the frontman and primary songwriter of the Belgian indie rock act Balthazar, an act that features members, who hail from Kortrijk and Ghent, Belgium; however, Devoldere has started to receive both national and international attention with his solo, side project,  Warhaus, which has further cemented his growing reputation for deftly crafting urbane and hyper-literate material with an accessible, pop-leaning sensibility with his work managing to simultaneously nod at the surrealistic and moody art rock of The Church, Sting’s The Dream of the Blue Turtles and Nothing Like the Sun, Edith Piaf, Leonard Cohen and the poetry of William Blake, complete with a decadent and boozy slide into sinful ruin. Unsurprisingly, one of his earliest Warhaus efforts We Fucked a Flame Into Being was derived from a line in DH Lawrence’s classic, erotic novel Lady Chatterly’s Lover, and the material thematically focused on lust, desire, the profound inscrutability of random encounters — with a decidedly European decadence and a deeply personal, confessional nature, as you would have heard on the slow-burning and sensual “Machinery.” 

“Love’s A Stranger,” an equally slow-burning rumination on love’s fleeting and impermanent nature and on adultery was interestingly enough, the first single off Devoldere’s sophomore Warhaus album, a self-titled effort slated for release on October 13, 2017 through [PIAS]  Recordings.  The material on Delvodere’s sophomore Warhaus effort was written largely on the road, as well as on a remote Kyrgyzstan retreat with only a local shepherd for company, and was recorded back home in Belgium. But whereas his previously recorded efforts focused on sin, lust and love — with a bittersweet aftertaste, reportedly, there’s at points where the worldly cynicism gives way to sincere, honest love; while pairing his boozy baritone with the gossamer vocals of his backing vocalist and girlfriend Sylvie Kreusch throughout. “We’ve very different people,” says Devoldere. “She’s this natural force which I don’t understand at all and I’m the guy who thinks everything through. It’s an interesting combination.”

Reportedly, the recording sessions for the self-titled album was a much more spontaneous affair, heavily influenced by Dr. John’s legendary The Night Tripper period, as you’ll hear hints at voodoo rhythms and hints at jazz — and although his touring band, aren’t technically known for being jazz musicians, as Devoldere says of his band, “they’re good at faking jazz.” And with “Mad World,” the album’s woozy and boozy, late night shuffle of a second single, the backing band pair lush and atmospheric strings, voodoo and jazz-inflected rhythms with Devoldere’s boozy baritone. And while evoking something of a late night, drunken stumble, the song focuses on desperate, unfulfilled lust and desire but within an angst-filled world that’s gone mad — and Delvodere does so in a way that feels and sounds like a charmingly roguish and nasty come on. 

The recently released video for “Mad World” was directed by frequent collaborator and friend Wouter Bouvjin and Benny Vandendrissche and shot in one continuous take by Jeronimo Fantini Foradellas during some nighttime escapes in Magaluf, Mallorca, a city known for wild parting, boozing and casual sex  — and the video features Maarteen Devoldere initially dancing in neon-drenched street by himself before random pedestrians join him or jump in front of the camera. Personally, while watching the video, I was reminded of walking out of the Sugar Factory nightclub in beautiful Amsterdam at 4:00 in the morning, and as I was heading back to my hotel room near the Museumplein, I came across a group of rowdy and fun-loving kids who were dancing and chanting in the street. And although I was alone and far away from home, there was something strangely comforting and warmly ridiculous at that moment, perhaps because we were all trying to escape our own loneliness? 

New Video: Belgian Art Pop/Art Rock Act Warhaus Return with a Moody Rumination on Love

Best known as the frontman and primary songwriter of Belgian rock band Balthazar, Maarten Devoldere has received attention both nationally and internationally for his solo side project, Warhaus which further cements his growing reputation for deftly crafting urbane an hyper-literate material with an accessible, pop-leaning sensibility; in fact, his latest effort We Fucked a Flame Into Being derived its name from a line in DH Lawrence’s classic, erotic novel Lady Chatterly’s Lover — and unsurprisingly, the material on the album thematically focused on lust, desire, love and the profound inscrutability of random encounters, while being intense, decadent, sophisticated. And if you had been following this site earlier this year, you may recall that I wrote about album single “Machinery,” a moody, slow-burning and sensual song that evoked smoke-filled, late night cafes and intimate jazz clubs just off the beaten path, of nights that take a decadent, debaucherous turn and not being completely in control; but with an underlying yearning and aching loneliness, as the song’s narrator desperately wants more than what he has but can’t put it to words.

“Love’s A Stranger” Devoldere’s latest single continues on a similar vein as “Machinery” as it’s a brooding, slow-burning yet wistful rumination on love’s fleeting and impermanent nature, with the perspective of someone who’s loved and lost, loved and fucked up and has recognized more times than what he’d like to admit that love simply doesn’t make a whole lot of sense. Love is indeed a stranger, that comes and goes as it pleases — and you may not know when it’ll return, but it returns as it always does. Sonically, Devoldere’s smoky baritone is paired with a jazz pop sort of arrangement that reminds me a bit of Sting’s The Dream of the Blue Turtles and Nothing Like the Sun as twinkling keys, strummed guitar, gently padded drums and a supple bass line are paired with Devoldere’s husky and expressive baritone.

Directed by filmmaker and screenwriter Wouter Bouvijn, the recently released video for “Love’s A Stranger” is comprised of footage Bouvijn shot while accompanying the band on a week-long tour of France. Initially meant to be B-roll and for background, the Devoldere and his backing band were surprised that Bouvijn’s treatment was cut from intimate on the road, backstage and live footage, but as the Belgian filmmaker explained to Devoldere, “Did you expect me to put you guys with unplugged guitars on a desert hill?” Ultimately, the result is capturing a band at its most unguarded, rarely seen moments and while revealing the personalities, passions and friendships of its members, it also points at the strange, debaucherous loneliness of the artist’s life.