Tag: Warhaus

Live Footage: HolyShit Sessions: Balthazar Performs a Stripped Down Version of “On a Roll”

A couple of years ago, the acclaimed Belgian indie rock act and JOVM mainstays Balthazar –songwriting duo Maarten Devoldere and Jinte Deprez, along with Simon Casier, Michiel Balcaen and Tijs Delbeke — went on a hiatus that allowed the band’s songwriting duo to pursue their own critically applauded, solo projects: Devoldere’s brooding and hyper literature Warhaus and Deprez’s old school R&B-inspired J. Bernardt. While Devoldere and Deprez found the ability to pursue their own individual whims and muses liberating, they found the time apart from each other and the band sparking an undeniable urge to work together, propelled by a greater mutual respect for each other’s individual work — and a desire for a much broader artistic vision for the band. 

When Balthazar reconvened to work on 2019’s Fever, they did so without any particular plan. But they had hoped that would improve upon their previously released work, show deeper artistic growth and further the band’s story. As they started to work, Devoldere and Deprez also mutually agreed that the album’s material should have a less serious, less melancholy tone. The end result is what may arguably be some of the loosest and most playful material of their career.

Balthazar supported Fever with a relentless touring schedule that included a stop at Baby’s All Right. Feeling invigorated from playing Fever on tour, Devoldere and Deprez started working on new material, which eventually became their fifth and latest album, Sand. Released earlier this year, the album finds the acclaimed JOVM mainstays fully embracing a soulful alt pop and R&B leaning sound while being what they believe may be the most cohesive effort of their growing catalog to date. “There’s a theme running through these tracks, waiting, restlessness, not being able to live in the moment or putting your trust into the future,” Balthazar’s Deprez and Devoldere explain in press notes. “We’re at a point in our lives when we have to consider these aspects of life, that’s why the album is called Sand – after the sand in an hourglass.”

The idea was always to drop another album as soon as possible after Fever. It was fun and we wanted to build on that,” Jinte Deprez says in press notes. “We did a lot of things that we haven’t done previously – we’ve never used as many drum samples or used bass synths before. So that was an exciting step for us. It was a very modern way of making an album, due to the constraints of the pandemic and we had to work remotely and converse electronically rather than in a studio.” “I can’t wait to play this album live because on the Fever tour we pushed the groove element further,” Maarten Devoldere adds.

In the lead up to the album’s release, I’ve written about four of Sand’s singles:

“Halfway,” a shimmering, blue-eyed soul-like take on the Quiet Storm sound.
Losers,” a slinky, disco-like song centered around Devoldere’s sultry baritone, shimmering synth arpeggios and an infectious hook. But at its core, the song captures and evokes the anxious uncertainty of our lives over the past 15-19 months or so.
“You Won’t Come Around,” a slow-burning and cinematic, bit of 70s inspired R&B featuring shimmering strings, strummed acoustic guitar, skittering beats. And over that gorgeous arraignment, Devoldore expresses a confusing yet familiar series of emotions: regret and heartache that a romantic relationship has ended, relief that the relationship has ended and guilt that maybe they’ve moved on a bit too quickly; or in other words, the gnawing sense that you might be a selfish, uncaring asshole.
“On A Roll,” a strutting yet seamless synthesis of their pre-Fever sound with their recent R&B-influenced material centered around Deprez’s crooning falsetto. 

After pandemic-related lockdowns, the members of the JOVM mainstay act got together for the first time in close to a year for the Heleen Declerq-directed and filmed documentary and concert film Sand Castle Tapes. Co-produced with HolyShit Sessions, the film captures the band staying at a beautiful old castle near Brussels as they got together to interpret and play Sand‘s material for the first time together. Declerq manages to capture the atmosphere of the castle and the music while giving an intimate look at the band. “You get to fully understand an album when you start playing it together, the relaxed circumstances lead to a whole other way of interpreting the songs,” the band says of Sand Castle Tapes. 

Earlier this year, the Belgian JOVM mainstays released a a loose and jammy rendition of “Moment,” that found the band joyously expanding upon the song’s groove. Throughout the intimate and gorgeously shot footage, it’s made obvious that the band and their collaborators are just thrilled to be together and playing music together.

The second video from Sand Castle Tapes is a stripped down and intimate version of “On a Roll” centered around piano and mournful horns by Rob Banken, Peter Delannoye and Thomas Mayade. And over that slow-burning and gorgeous arrangement, Deprez takes up lead vocal duties while backed by Devoldere and some backing vocals by Judith Okon, Stefy Rika and Sarah Devos. The live rendition pulls out the confusion, heartache and longing of the original in a new direction.

Sand is out now. But the band will be releasing The Sand Castle Tapes EP digitally through Play It Again Sam on September 24, 2021. The EP will feature 10 songs from the Sand Castle Tapes film — 8 reworked songs off Sand and two jams. You can pre-order the EP here.

Live Footage: HolyShit Sessions: Balthazar Performs “Moment”

A few years back, acclaimed Belgian indie rock act and JOVM mainstays Balthazar –songwriting duo Maarten Devoldere and Jinte Deprez, along with Simon Casier, Michiel Balcaen and Tijs Delbeke — went on a hiatus that allowed the band’s songwriting duo to pursue their own critically applauded, attention grabbing solo projects: Devoldere’s brooding and hyper literature Warhaus and Deprez’s old school R&B-inspired J. Bernardt. And while Devoldere and Deprez found the ability to pursue their own individual whims and muses liberating, they found the time apart from each other and the band sparking an undeniable urge to work together, propelled by a greater mutual respect for each other’s individual work — and a desire for a much broader artistic vision for the band.

When the members of the JOVM mainstay act reconvened to work on 2019’s Fever, they did so without any particular plan. But their hope was that they improve upon their previously released work, show deeper artistic growth and further the band’s story. And when Devoldere and Deprez began working on Fever, they mutually agreed that the album’s material would have a less serious, less melancholy tone. And as a result, Fever may arguably be among the loosest and most playful of their careers while maintaining the deliberate craftsmanship and razor sharp hooks that have won them attention both nationally and internationally.

Balthazar supported Fever with a relentless touring schedule that included a stop at Baby’s All Right. Feeling invigorated from playing Fever on tour, Devoldere and Deprez started working on a new batch material that included the sultry, Quiet Storm-like “Halfway,” a track that found the band continuing where their last album left off — but while pushing the overall sound and aesthetic in an even more accessible, pop-leaning direction. 

The JOVM mainstays fifth — and latest — album Sand finds the band fully embracing the soulful alt pop/R&B sound while being what the band believes may be the most cohesive album of their growing catalog to date. “There’s a theme running through these tracks, waiting, restlessness, not being able to live in the moment or putting your trust into the future,” Balthazar’s Deprez and Devoldere explain in press notes. “We’re at a point in our lives when we have to consider these aspects of life, that’s why the album is called Sand – after the sand in an hourglass.”

“The idea was always to drop another album as soon as possible after Fever. It was fun and we wanted to build on that,” Jinte Deprez says in press notes. “We did a lot of things that we haven’t done previously – we’ve never used as many drum samples or used bass synths before. So that was an exciting step for us. It was a very modern way of making an album, due to the constraints of the pandemic and we had to work remotely and converse electronically rather than in a studio.” “I can’t wait to play this album live because on the Fever tour we pushed the groove element further,” Maarten Devoldere adds.

So far I’ve written about four of Sand‘s officially released singles:

The aforementioned “Halfway,” a shimmering, blue-eyed soul take on the Quiet Storm sound.
“Losers,” a slinky, disco-tinged yet sophisticated track centered around Devoldere’s sultry baritone, shimmering synth arpeggios and an infectious hook, but at its core, the song captures the anxious uncertainty of our moment, a moment in which most of us feel as though our personal and professional lives have been in an indefinite stasis.
“You Won’t Come Around,” a slow-burning and cinematic, R&B-inspired track featuring shimmering strings, strummed acoustic guitar, skittering beats and Devoldore expressing a confusing yet familiar series of emotions: regret and heartache that a romantic relationship has ended, relief that the relationship has ended and guilt that maybe they’ve moved on a bit too quickly; or in other words, the gnawing sense that you might be a selfish, uncaring asshole.
“On A Roll,” a strutting yet seamless synthesis of their pre-Fever sound with their recent R&B-influenced leaning centered around Deprez’s crooning falsetto.

The band released a great teaser for the film, a loose live version of album single “Moment” that finds the members of the band joyously expanding its groove and relishing playing music together — all while being a smooth yet cinematic take on R&B.

Sand is out now through Play It Again Sam. Additionally, Sand Castle Tapes will have its livestream premiere on June 3, 2021. You can buy tickets here:https://www.momenthouse.com/co/balthazar-sand-castle-tapes.

New Video: Follow Balthazar on A Stylish Trip to a “Groundhog’s Day”-like Hell

Acclaimed Belgian indie rock act and JOVM mainstays Balthazar led by songwriting partners Maarten Devoldere and Jinte Deprez went on a hiatus several years ago that allowed for the duo to pursue their own, critically applauded solo effects — Devoldere’s brooding, hyper literature Warhaus.and Deprez’s old school R&B-inspired J. Bernardt. And while Devoldere and Deprez found the ability to pursue their own individual whims and muses liberating, they also found the time apart sparking an undeniable urge to work together again, propelled a greater mutual respect for each other’s individual work and a much broader artistic vision.

When the members of Balthazar reconvened to work on 2019’s Fever, they did so without any particular plan. Their hope was to improve upon their previously released work, show deeper artistic growth, and to further the band’s story. Interestingly, when the band’s primary writing team began to write Fever’s material, they mutually agreed that the album would have a less serious, less melancholy tone. And as a result, the album’s material may arguably be among the loosest and most playful of their careers while maintaining the deliberate craftsmanship and razor sharp hooks that have won them national and international attention.

Balthazar supported Fever with a relentless touring schedule that included a stop at Baby’s All Right. Feeling invigorated from playing Fever on tour, Devoldere and Deprez started working on a new batch material that included the sultry, Quiet Storm-like “Halfway,” a track that found the band continuing where their last album left off — but while pushing the overall sound and aesthetic in an even more accessible, pop-leaning direction.

Interestingly, the JOVM mainstays’ fifth album Sand reportedly finds the band fully embracing the soulful alt pop/R&B sound of “Halfway” while crafting what the band believes is the most cohesive album of their careers to date. “There’s a theme running through these tracks, waiting, restlessness, not being able to live in the moment or putting your trust into the future,” Balthazar’s Deprez and Devoldere explain in press notes. “We’re at a point in our lives when we have to consider these aspects of life, that’s why the album is called Sand – after the sand in an hourglass.”

“The idea was always to drop another album as soon as possible after Fever. It was fun and we wanted to build on that,” Jinte Deprez says in press notes. “We did a lot of things that we haven’t done previously – we’ve never used as many drum samples or used bass synths before. So that was an exciting step for us. It was a very modern way of making an album, due to the constraints of the pandemic and we had to work remotely and converse electronically rather than in a studio.” “I can’t wait to play this album live because on the Fever tour we pushed the groove element further,” Maarten Devoldere adds.

So far I’ve written about two of Sand’s official singles:

“Losers,” a slinky, disco-tinged yet sophisticated track centered around Devoldere’s sultry baritone, shimmering synth arpeggios and an infectious hook, but at its core, the song captures the anxious uncertainty of our moment, a moment in which most of us feel as though our personal and professional lives have been in an indefinite stasis.
“You Won’t Come Around,” a slow-burning and cinematic, R&B-inspired track featuring shimmering strings, strummed acoustic guitar, skittering beats and Devoldore expressing a confusing yet familiar series of emotions: regret and heartache that a romantic relationship has ended, relief that the relationship has ended and guilt that maybe they’ve moved on a bit too quickly; or in other words, the gnawing sense that you might be a selfish, uncaring asshole.

Clocking in at a little under four minutes, “On A Roll,” Sand’s latest single finds the JOVM mainstays crafting a strutting and seamless synthesis of their pre-Fever sound with their recent R&B-influenced leanings with the track featuring buzzing bass synths, slinky guitar lines, glistening synth arpeggios, a sinuous bass line, a mournful horn arrangement and skittering beats, Deprez’s soulful crooning and falsetto.

Directed by Pieter De Cnudde, the recently released and incredibly cinematic video for “On A Roll” was shot at the NH Hotel in Bruges, Belgium, and follows Balthazar’s songwriting duo in a Groundhog’s Day-like hell.”The song and video is about the repetitive lack of control you have on situations, your life, your own ways,” Deprez explains in press notes. “Even for a moment when you think you can escape your own loop, you find yourself right back at the start again, finding out the changes didn’t change the outcome, or you.”

Sand is slated for a February 26, 2020 release though Play It Again Sam.

New Video: JOVM Mainstays Balthazar Go on a “French Connection” Styled Adventure

Throughout the last couple of years, I’ve managed to spill quite a bit of virtual ink covering Belgian-born and-based singer/songwriter and multi-instrumentalist Maarten Devoldere, Delvodere is best known for being the frontman of two internationally recognized, critically applauded, JOVM mainstay acts Balthazar and Warhaus.

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, focusing on his old school R&B inspired solo project J. Bernardt. During Balthazar’s hiatus, the band’s songwriting duo enjoyed the ability to indulge their individual whims and creative muses, crafting commercially successful and critically applauded work — and Deprez and Devoldere found it liberating. The duo found that the time apart with their own creative endeavors created an undeniable urge to work together again, propelled by a much broader artistic horizon and an even greater mutual respect for each other’s individual work.

When the members of Balthazar reconvened to work on last year’s Fever, they did so without any particular plan beyond just desiring to improve upon their previously released work and to further the band’s story. Interestingly, as Deprez and Devoldere started to write Fever’s material, they mutually agreed that the album would have a less serious, less melancholy — and while arguably finding the band at their loosest and most playful, the album retained the deliberate craftsmanship and razor sharp hooks that have won them national and international attention.

Last year also saw the band on a relentless touring schedule to support Fever that included a stop at Baby’s All Right in May. Feeling invigorated from the material and touring, the act wrote a batch of new material that began with the sultry-old school R&B-like “Halfway,” which found the band continuing the sound and aesthetic of Fever but while pushing it in an accessible, pop-leaning direction.

Interestingly, Sand, the JOVM mainstays’ forthcoming album reportedly finds the band fully embracing soulful alt pop — and crafting what may arguably be their most cohesive album of the careers. “There’s a theme running through these tracks, waiting, restlessness, not being able to live in the moment or putting your trust into the future,” Deprez and Devoldere explain. “We’re at a point in our lives when we have to consider these aspects of life, that’s why the album is called Sand – after the sand in an hourglass.”

“The idea was always to drop another album as soon as possible after Fever. It was fun and we wanted to build on that,” Jinte Deprez says in press notes. “We did a lot of things that we haven’t done previously – we’ve never used as many drum samples or used bass synths before. So that was an exciting step for us. It was a very modern way of making an album, due to the constraints of the pandemic and we had to work remotely and converse electronically rather than in a studio.” “I can’t wait to play this album live because on the Fever tour we pushed the groove element further,” Maarten Devoldere adds.

Sand’s latest single is the slinky, late night jam “Losers.” Centered around Devoldere’s sultry baritone, falsetto backing vocals, funk polyrhythm, shimmering synth arpeggios and an infectious hook, “Losers” may arguably be the slinkiest and most disco-influenced songs of their growing catalog, but while retaining a cool, seemingly European sophistication. But at its core the song captures the anxious uncertain of this particular moment: most of us feel like our professional and personal lives are in indefinite stasis without any idea of what’s next — hell, if there’s anything beyond this.

Directed by Pieter De Cnudde, the recently released video for “Losers” was filmed in the band’s native Belgium and follows the band in various guises on a French Connection-like crime story that depicts most of the song’s narrative in a literal fashion.

Sand is slated for a January 29, 2021 release through Play It Again Sam.

New Video: Emerging French Act Adrienne Releases a Brooding and Cinematic Visual for “Sentinelle”

Founded by producer Franck Lobielti, Adrienne is an emerging French collective that boldly eschews genre conventions, crafting a sound that meshes elements of chanson, psych pop and psych rock, sixties pop and hip-hop. Shortly after their formation, the collective went to Coxinhell Recording Studio in Southern France to write and record their debut EP,  Killer De Routine which was released last fall.

The EP’s latest single, the sultry and brooding “Sentinelle” is centered around twinkling keys, a sinuous bass line and dramatic drumming, atmospheric synths, an infectious and melodic hook, and a psych rock-like bridge. And while subtly recalling JOVM mainstays Warhaus and Balthazar to mind, the song evokes a sense of overwhelming regret and heartache. 

Directed by Quentin Perrault, the recently released video for “Sentinelle” the video follows a middle-aged couple at a crossroads throughout the run of the visual: we see the couple’s relationship through a series of flashbacks and flash-forwards in which we see the couple in better days and at their worst. It’s an eerie look through a couple’s history and the lingering ghosts that often result. 

New Audio: Balthazar Releases a Shimmering R&B Inspired Single

Over the past couple of years, I’ve written a lot about Belgian singer/songwriter and multi-instrumentalist Maarten Devoldere, best known for being the frontman of two critically applauded, internationally recognized JOVM mainstays Balthazar and Warhaus. Interestingly, Devoldere’s work with Warhaus managed to recall The Church, The Dream of the Blue Turtles and Nothing Like the Sun era Sting, Edith Piaf, and Leonard Cohen.  

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, focusing on his old school R&B inspired solo project J. Bernardt. During Balthazar’s hiatus, the band’s songwriting duo enjoyed the ability to indulge their individual whims and creative muses, crafting commercially successful and critically applauded work — and Deprez and Devoldere found it liberating. Interestingly enough, the duo found that the time apart created an undeniable urge to work together again, propelled by a much broader artistic horizon and an even greater mutual respect for each other’s individual work. 

When the members of Balthazar reconvened to work on last year’s Fever, they did so without any particular plan beyond just desiring to improve upon their previously released work and to further the band’s story. And as they were beginning to write material, Deprez and Devoldere mutually agreed that the album’s material should have a less serious, less melancholy feel — and while being looser and more playful at points, it retains the hook-driven quality and craftsmanship that has helped the band win national and international attention. 

Last year saw the band on a relentless touring schedule to support Fever that included — as you may recall — a stop at Baby’s All Right in May. During that tour, the band wrote their latest single “Halfway.” Possibly deriving its title because it falls between the release of Fever and its highly anticipated follow-up, the song finds the band continuing the flexible songwriting of its immediate predecessor: co-written by Devoldere and Deprez, the song features Deprez taking on vocal duties, which give the song a sultry, old-school R&B feel centered around shimmering and reverb-drenched guitars, propulsive percussion, some gorgeous harmonizing and an infectious hook. Interestingly, the track finds the band continuing in the vein of Fever while expanding upon it, revealing an adventurous and ambitious band pushing their sound and approach in a new direction with a pop-leaning accessibility. 

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. 

Over the past couple of years of this site’s almost nine-year history, i’ve written quite a bit about the Belgian singer/songwriter and multi-instrumentalist Maarten Devoldere, best known as the frontman of two critically applauded, internationally recognized acts Balthazar and JOVM mainstays Warhaus. Now, as you may recall, Warhaus is a sonic departure from Devoldere’s work with Balthazar, as the project’s sound was an atmospheric, jazz-inspired art rock the brought to mind The ChurchSting’s The Dream of the Blue Turtles and Nothing Like the SunEdith Piaf, and Leonard Cohen — all while 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 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. Interestingly, album title track and first single “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. “Entertainment,” Fever‘s second single continued in a similar vein as its predecessor, as it was upbeat, playful and careful but centered around a swaggering and strutting vibe and an anthemic hook — and while while nodding at The Rolling Stones‘ “Sympathy for the Devil, the Jinte Deprez-led song features some Afro pop-like polyrhythmic percussion. “I’m Never Gonna Let You Down Again,” Fever‘s third and latest single is a slow-burning, synth-led Quiet Storm R&B-inspired song led by Jinte Deprez that sonically and thematically reminds me of Milagres’IDNYL” and classic Hall and Oates. As Deprez explains 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.” Admittedly, Balthazar’s forthcoming album is something I’m looking very forward to; but perhaps more important, from the album’s first three singles, the band reminds listeners familiar with their sound that they’ve always had an uncompromisingly intellectual band with an accessible approach — all while possessing one of the most unique aesthetics I’ve come across in some time.