#Warhaus No Surprise
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thejoyofviolentmovement · 3 months ago
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New Audio: JOVM Mainstay Warhaus Shares Sultry "No Surprise"
New Audio: JOVM Mainstay Warhaus Shares Sultry "No Surprise" @balthazarband @warhausmusic @piasrecordings
Maarten Devoldere is a Belgian singer/songwriter and multi-instrumentalist, who is known for being co-lead vocalist and one-half of the core songwriting duo behind the critically applauded Belgian indie rock outfit Balthazar. Devoldere is also known for being the creative mastermind behind the equally applauded solo recording project Warhaus.  The Belgian singer/songwriter and…
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nevergoodenough-4u · 3 months ago
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brojdin · 5 days ago
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Warhaus - No Surprise
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reconprate · 25 days ago
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Warhaus
Warhaus “No Surprise” Karaoke Moon (11-22-2024) This is the second single from the fourth album by the solo project of the Belgian-based artist, Maarten Devoldere (Balthazar).  It features backing-vocals by Sylvie Kreusch. Artist contact:  Website – Facebook – Instagram 
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cool-despoina-alkionidamera · 2 months ago
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Warhaus - No Surprise (Official Video)
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sonicziggy · 2 months ago
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"No Surprise" by Warhaus https://ift.tt/bZCNKG0
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luciochaves · 3 months ago
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Warhaus - No Surprise (Official Video)
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thoughtswordsaction · 3 months ago
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Warhaus Share New Single And Video "No Surprise"
Photo by Titus Simoens Having just announced a new album, Karaoke Moon – out November 22 via Play It Again Sam – Warhaus, the project of Balthazar’s Maarten Devoldere today shares a second preview with new single, “No Surprise”. This arrives off the back of lead track, “Where The Names Are Real” which found support at The Needle Drop, Brooklyn Vegan and more. Initially a pumping disco number in…
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piasgermany · 3 months ago
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Warhaus kündigt neues Album "Karaoke Moon" an!
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Genau zwei Jahre nach "Ha Ha Heartbreak" meldet sich Warhaus, das Soloprojekt von Balthazars Maarten Devoldere, mit einem neuen Album zurück: "Karaoke Moon" erscheint am 22. November auf Play It Again Sam. 
Mit der Albumankündigung stellt Devoldere heute den ersten Track des Albums "Where The Names Are Real" vor. Zum Rhythmus einer ahnungsvollen Akustikgitarre, untermalt von eindringlichem Gesang, klingt es, als ob Maarten Devoldere nicht weiß, ob er es sagen soll oder nicht. Aber weniger als eine Minute später kann er sich nicht mehr zurückhalten: 'Babe, I'm in love with you!' Dann beginnt das Schlagzeug zu swingen, der typisch perkussive Warhaus-Bass setzt ein, und der Hörer wird von Devolderes schwülem Parlando mitgerissen. 
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Nach zwei Jahren disziplinierter, mönchischer Arbeit hatte Devoldere mehr als 50 Songs im Regal stehen. Und was hat der Produzent gesagt, nachdem er die Demos gehört hat? "Du kannst es besser, Maarten! Tiefer, überraschender, neugieriger."
Vor zehn Jahren hätte Devoldere das wohl nicht akzeptiert, aber mit der Zeit hat er gelernt, dass es sich auszahlt, den richtigen Leuten zu vertrauen. Und mit den richtigen Leuten ist hier Jasper Maekelberg gemeint. Die beiden musikalischen Seelenverwandten haben neun Monate lang in einem Dachbodenstudio in Brügge eng zusammengearbeitet. Das Ergebnis ist das bisher vielleicht spannendste Warhaus-Album.
"Karaoke Moon" verbindet Leidenschaft und Verspieltheit mit einer geheimnisvollen Intensität. 
Oft scheint es so, als würde Devoldere mit seinen eigenen Gedanken Schattenboxen machen, und mit dem Gebräu seines Unterbewusstseins jonglieren. Aber es ist nicht nur düstere Seelensuche - der Mitsingfaktor ist durchaus hoch. Vielleicht nicht in Devolderes Parlando, das manchmal an Rap grenzt, aber in den eingängigen Melodien, mit denen diese Tiraden durchsetzt sind - eine Dynamik, die man oft im Hip-Hop hört, aber selten so schwungvoll wie hier, unterstützt von Falsett-Chören; die ebenso ausladend wie stakkato, ebenso sexy oder provokant sein können. Es sind diese cleveren - und oft humorvollen - Kontraste, die Karaoke Moon zu einem Album machen, das mit jedem Hören wächst und den Hörer dazu verführt, tiefer in Warhaus' einzigartiges Universum einzutauchen, Schicht für Schicht, Zeile für Zeile. Und ja, es ist ein außerordentlich interessanter Ort, an dem man sich aufhält.
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Karaoke Moon Tracklist:
01. Where The Names Are Real 02. No Surprise 03. What Goes Up 04. Jim Morrison 05. Jacky N 06. Zero One Code 07. Hands Of A Clock 08. The Winning Numbers 09. I Want More 10. Emely
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lordeasriel · 6 years ago
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AS RUTHLESS AND CHARMING AS THEY COME | a mrs. coulter playlist (here)
girlie, alexandra savior / seven, rainbow kitten surprise / you know i’m no good, amy winehouse / fever, balthazar / free animal, foreign air / bang bang, warhaus / lady lie, rainbow kitten surprise / easy, son lux / goud, bazart / decency, balthazar.
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hetmusic · 7 years ago
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Q&A with Glabs | HumanHuman
Two years ago, the Parisian musician, composer, songwriter and producer Glabs took a leap of faith to start releasing his own music, which was first picked up by fellow French music lover Sodwee. A year later and we had the evocative, cinematic and expansive EP, Here I Go, which imagines various points of human experiences inspired by life, death, relationships and Glabs’ background in making music for films.
One month back Glabs hit that 100% promising mark - sure fire proof that his step into the unknown has continued to bring in new supporters of the project. Here we ask this Promising Artist about his inspirations, taking the production reigns, all-time favourite artists, ones to watch from the French music scene, and whether we might be hearing more from Glabs in the near future.
Our user have known about Glabs since Sodwee’s discovery two years ago, but when did you first hear about HumanHuman?
To be honest, I released my EP by necessity, without following any usual way. I just sent an email to few music journalists and I was surprised to have a very good feedback. Sodwee was one of them, and I heard about HumanHuman during a discussion.
How has the online music world, with its bloggers, tastemakers and listeners, reacted to your music so far?
As I said earlier, I was pleasantly surprised to receive so many articles and comments on my EP, sent confidentially. I was glad to read that most of the time tastemakers had understood what I wanted to say; the emotions I would like to transmit.
You made quite an unconventional introduction with a finished EP, titled Here I Go, around a year ago. It appeared seemingly out of nowhere from our perspective, which we know isn’t true, so what was the catalyst for this EP?
The catalyst of this EP was to be the closest to my mental pictures. Each song have its story, it's scenario, its storyboard. My hope is to be able to convey it to the listeners. This requirement has led me to take some particular production choices, such as leaving some imperfections on purpose, to be more organic, closest to the truth, and authentic. My guide wasn’t to have the sound that would meet standards, but to have the best illustration of my brain, and touch the listener’s sensitivity.
As discoverer Sodwee commented on your artist profile page, the EP is “self-produced from A to Z.” Is that the case?
Yes it is. I have completely self-produced this EP, I have played all instruments, all the records and mix. Except the final mix of two songs , produced at Hinterland Lab by Francois Baurin and the mastering produced at Globe Audio Mastering by Alexis Bardinet. Lyrics are co-written with Jennifer Jordan.
There’s a startling amount of variety across the EP - piano ballads; rough acoustic guitar recordings; cinematic electronica. Why so diverse?
Only the stories and emotions were the restrictions of this EP. For an example, the song “Stealing Tomorrow” is a sci-fi story talking about the solitude of a man who has been isolated underground from the rest of the world because he doesn’t match to an ideal genetic code. But, he will realize that there is a whole crowd who wants to scream his existence. I would like to transmit this into the arrangement and the instrument usage.
I didn’t want to restrict myself, and was hoping that my personality and my music’s color will be sufficient to have a conductible line.
Do you also have eclectic listening habits? Who are some of your all-time favourite artists?
Yes, as a child i did have very eclectic listening habits. Accented by my job which is to write music for a variety of movies, and to find the most suitable music for pictures, I have to be able to write a large variety of musical styles. It’s very difficult to mention one and not another. But it’s going from Schubert to Kate Tempest, passing by Dhafer Youssef, Warhaus, The National, Alt-J, Patrick Watson, Archy Marshall/King Krule, Son Lux...
Possibly one of your current picks may be Bastien Picot who features on the post-EP single “MOVE ON”. What brought about this collaboration?
The collaboration with B Picot on this single was a beautiful opportunity in my life. A friend told me about him, I had to ask him to sing on my song composed originally for a movie, and we've shared a very good feeling about music. Some mutual music inspiration and good vibrations.
This newer track has some noticeable differences in the sonic elements and production, which a richer, crisper sound than we’ve heard previously from you. How did you approach recording and producing “Move On”?
Yes, as previously said, my EP, Here I Go, was my first official released under GLABS and I wanted it to be singular, the closest to me, with asperity and authenticity. “Move On” is probably closest to sound standards.
Overall, your music has a strong sense of solitude, do you prefer to write music alone?
Yes, I used to write music alone. Maybe I‘m wrong but I think it’s difficult to find an alter-ego composer, especially for this particular EP where I have tried to transmit inner feelings. I’m confident with life to make me change my mind, but I love to work with singers, authors.. and to share with other musicians. I would love to hear a remix of “Here I Go” too...
Songs such as “Star Rocker” and “Here I Go” have this pervading sense of loneliness bolstered by a cinematic production and carefully chosen instrumentation. What did you hope to convey through these songs?
Your question is funny because those two songs are talking somehow about the birth and the death. The two moments of our life where we can say that we are alone for sure. This loneliness could be oppressively difficult, but in my stories, there is a lot of comfort, warm feelings and hopefulness. The light is always somewhere and the cinematic production help me to translate this ambivalence.
What might inspire a song for the Glabs project?
I don’t know, to be transparent, it can be a lot of things. Usually more a human emotion than society criticism.
Are you currently working on any new material? Perhaps something we may hear in 2018?
Yes, I have already composed new songs, and I would love to release some this year.
When did you first get into music? And did you always imagine pursuing music in a serious way?
I was initiated to music when I was six-years-old. I started violin at eight-years-old and learned to play other instruments on my own as a self-taught artist. I rapidly felt the need of expressing myself instead of playing covers. I was searching a way to pursuing music seriously, as a professional and I started as a FOH and Studio sound engineer but I wasn’t completely happy. So, few years ago, I said to myself “Here I Go!”
You’re currently based in Paris, how would you describe the music scene over there? Does the scene differ from the rest of France?
I’m not a big French music listener. I'm used to listening to music from UK, USA, Nordic countries, Africa or South America. We noticed a return from the 80/90's, with an excess of naivety which is disturbing me. Most of the French artists I like are singing in English. I'm not sure the Paris Scene really differs from the rest. Maybe Paris is a showcase city, where you can discover a wider variety of artist, where artist are coming with prospect to be famous and meet the biggest one. Paris is very cosmopolitan, most of Parisians are not born here...
For any visiting music fans, do you have any recommendations of artists or bands to watch out for in Paris?
The French artists or bands that I would recommend: Her, Papooz, Agar Agar, Rone, French 79, Radio Elvis, Albin de la Simone, and Mathieu Boogaerts.
https://humanhuman.com/articles/interview-with-glabs
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dustedmagazine · 8 years ago
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Dust Vol. 3, No. 1
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Robert Millis
We begin our third year of Dust with, as usual, more good music than we can hope to write about, making the difficult transition from albums we were unable to get to in 2016 to albums that we really ought to say something about in early 2017.  There’s a little of everything here -- artists as well known as Justin Broadrick and as little celebrated as Philadelphia lo-fi outsider Brandon Ayers, albums that are coming out for the first time next week and albums that have moldered undeservedly in obscurity for decades, music of many genres from free jazz to Iranian-flavored electronics to vintage Ohio fuzz.  Contributors this time include Bill Meyer, Patrick Masterson, Jennifer Kelly and Ian Mathers.  Happy new year, and onward to whatever music 2017 brings. 
Robert Millis—The Lonesome High (Abduction) 
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Some people can sum up their lives on a business card; Robert Millis needs a whole deck, full sized, both faces of each playing card, and you’re still liable to miss something while he shuffles. Filmmaker, photographer, guerilla ethnographer, collector and sharer of 78 RPM records, weaver of multi-layered ambiences, improviser, annotator, jokester, traveler — and now comes The Lonesome High.
It turns out that Millis is also a sardonic troubadour, quite capable of bending verse/chorus song forms to his will. While he’s definitely played plenty of tunes with Climax Golden Twins and AFCGT (that’s the A-Frames + Climax Golden Twins), his commitment to working within that form sets this record apart from anything else he’s done. Millis sings them with a gruff and knowing delivery that effectively imparts the faithlessness, guilt, and befuddlement of his protagonists. He sounds like Howe Gelb might if he weren’t so comfortable with desert spaces. There’s something rather claustrophobic about these tunes, a sense that the characters are closed in, and even the guitar solos that punch through the songs’ walls can’t knock them down.
The record’s production plays up the entrapment described in the lyrics. Millis uses Foley artistry, musique concrete backdrops, and some good old-fashioned echo to imply that beyond his character’s myopic enactments, there’s a lot of less-bounded action going down. But the people in the songs don’t know that; they’re as trapped as some mope in a Twilight Zone episode.
Bill Meyer
Waldemar — Visions (Self-Release)
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Another missive from the northern woods that produced Bon Iver, Gabe Larson’s Waldemar builds big anthemic songs around personal reveries. This four-song EP is mainly about his grandpa, and yet, its layered vocals hint at shared euphoria, its giant rock crescendos lift off towards universality. “Brotherly” stirs to life in misty threads of drone, cymbal rolls, silence and Larson’s voice cresting upward with a Jonsi-ish mix of religious chant and pop. Folksy jangle intersects with mysticism, a la fellow Wisconsites in Megafaun, and, as you may have come to expect from Eau Claire outfits, there are infusions of brass and band instruments from the jazz talent nearby. “Visions” is, maybe, the most striking of these four cuts and the one that will remind you most of Justin Vernon. It takes shape slowly and sparely, mostly mournful vocals at first, then bursts into locomotive life with drumming, guitars, counterpoints and brass. This is the biggest, most fully realized, most ready for prime time self-release I’ve heard in a while.
Jennifer Kelly   
John Lindberg Raptor Trio—Western Edges (Clean Feed) 
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Despite the album’s name, this trio has deep roots in New York City. Bassist John Lindberg first encountered baritone saxophonist Pablo Calogero in the 1970s when they were both teenagers eager to break into New York’s loft jazz scene. Lindberg has gone on to accompany Billy Bang, Anthony Braxton and Wadada Leo Smith, as well as lead his own ensembles, but he hasn’t forgotten his old mate. Calogero moved to Southern California, so when he moved to San Diego to teach at CalArts he called up his old buddy and the drummer who played next office over from his. The combination of 40+ years of friendship between two members and utter newness between Calogero and drummer Joe LaBarbera likely contributed to this session’s combination of empathy and freshness. Both old buddies contribute compositions, and they cover a fair bit of ground. On “Ashoka” the trio adopts an early 60s Coltrane stance, stately and heavy; “Twixt D and E” is an intricately tied post-bop knot; and “Raptors” flies free, but with oft-glimpsed melodic intent.
Bill Meyer 
Pari San – Frozen Time (Pari San) 
“Pari San symbolize [sic] a collision of two worlds.” This is how Iranian-born, Düsseldorf-raised vocalist Pari Eskandari and Berlin synth hound Paul Brenning collectively describe the Pari San project; the worlds presumably colliding here are Eskandari’s rural singing styles and Brenning’s thoroughly urban European electro influences, though it’s also worth mentioning the contrast between Berlin and Parisan, a town that consisted of 37 people for the 2006 Iranian census. Working in the capital for their self-released Frozen Time EP – the duo’s first official release as best I can tell – Eskandari and Brenning revive a strain of mid-2000s electronic music almost singularly cornered by The Knife’s Silent Shout. This shouldn’t feel noteworthy in 2016-17 given the wide-open landscape FKA Twigs, Aïsha Devi and even The Knife’s own Shaking the Habitual have pillaged since, but Pari San succeeds in part because its two members aim for a more pop-oriented sound – each of Frozen Time’s five songs is in the three-minute neighborhood and the hooks are plainly evident, even addicting, despite the substantial electronic gimmickry. “In the Smoke” is the most brazen Silent Shout descendent and “Polyhorns” features co-production from Bpitch Control and Monkeytown Recs vet Robert Koch (aka Jahcoozi’s Robot Koch) for a spot of relative star power, but “Two Perfect Lovers” is the duet to die for here, a slow-moving serenade gracefully threading the needle between 1960s teenage love ballad and contemporary electronic abstraction. Extremely promising EP from a group mining territory you might’ve previously thought exhausted.
Patrick Masterson
Hexa — Factory Photographs (Room40)  
FACTORY PHOTOGRAPHS by HEXA
Hexa is Xiu Xiu’s Jamie Stewart and Lawrence English, who after meeting in 2009 decided to collaborate in ways which would take them beyond their usual musical practices (which, yes, means this sounds little like Xiu Xiu or English’s drone work); Factory Photographs sees them issue a “sonic response” to David Lynch’s photographs of, well, factories. All three artists have distinct enough oeuvres that you can pretty much tell whether you’re interested just from the resumes, but Stewart and English have definitely offered a distinctive and worthwhile slate of roiling industrial noise, whether it’s the more overtly aggressive likes of “Ring Bark” or the slower building waves of “Sledge.”Factory Photographs is consistently bracing but climaxes with the best and most interesting tracks here; first the restless, anxious washes of “Over Horizontal Plains” and then “Body”, which just barely lets some sort of brighter melody peek out from behind the relentless grinding of the rest of the song. 
Ian Mathers  
Warhaus — We Fucked a Flame into Being (Self-release) 
We Fucked A Flame Into Being by Warhaus
Arch, urbane, a bit decadent, here’s an album that slithers in on the scent of foreign cigarettes, insinuates sex, betrayal, bare shoulders and drunken tangos to late-night jazz combos. It’s an album that makes you feel like a blockheaded rube who’s been let in on a joke, still hopelessly literal and stupid but for once seeing irony and ambiguity and the primacy of style over sincerity. Warhaus, you should know, is the solo project of one Maarten Devoldere whose main gig, the band Balthazar, has sold a surprising number of records in Belgium (without raising much of a ripple outside Northern Europe). Here he sings in a voice that makes everything sound like an indecent proposal (and honestly, some of it is). A younger, less whispery Leonard Cohen with a slightly wider range might be the best point of reference, and like Cohen, he’s found of spare yet varied accompaniments, a Sinatra band pared down to essentials, a choir of bored girls singing something like gospel. The single “The Good Lie” with its twitchy guitars, tense hand drums and murmured imprecations is good, sexy stuff, but my favorite remains “Against the Rich,” which both is and isn’t a rallying cry contra income inequality. Instead it finds ambiguity in a life that has acquired the trappings of success, an accountant, a nutritionist, a girlfriend with a law degree, and asks, “When my friend did I make this switch, how I tried to be against the rich.”
Jennifer Kelly
Council Estate Electronics – Arktika (Glacial Movements)  
Arktika by COUNCIL ESTATE ELECTRONICS
Riddled with implication, Godflesh and Jesu lifer Justin Broadrick teamed up with frequent collaborator and Jesu bassist Diarmuid Dalton under the Council Estate Electronics banner for the first time in four years this past October to pay tribute to the Russian nuclear-powered Arktika class of icebreaker (helpfully, the liner notes clarify that this is for the new LK-60YA Arktika class rather than the outgoing Arktika ships first launched in the 1970s). The eight songs herein are a rusting hulk of open arms for crudely constructed boats in two halves – “Urals” opens with nearly 11 minutes of minimal dub-techno throbbing and the kind of immersive (submersive?) white noise with which Jesu fans will no doubt be accustomed. It continues through songs like “567 foot 33,500 ton” and “Rosatom,” which could easily double as field recordings of the vessels’ construction from inside the hull. Reminiscent of material you’d find on Blackest Ever Black or Janushoved rather than Milan’s Glacial Movements, a label that’s served up Loscil and (most recently) the celestial sonic icescapes of Aria Rostami and Daniel Blomquist, this seems headed for a dark, industrial turn into the far reaches of the frigid north... But with “50 Let Pobody,” the vibe of the record suddenly shifts to a still-unsettling yet considerably more subdued tone. By the end of “60 megawatts,” you’re left thinking this release is most in line with the eerie, engrossing electronics of Pye Corner Audio. Chilly and chilling, Glacial Movements has hit another one out of the dry docks.
Patrick Masterson 
Tommy Jay—Tommy Jay’s Tall Tales of Trauma (Assophon) 
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You can’t live down the past, so you might as well blow it up, and in the case of Tommy Jay’s Tall Tales Of Trauma, more turns out to be more. Harrisburgh OH resident Jay is a longtime mate of Mike Rep and Nudge Squidfish, and he shares with them a contradictory aesthetic. On the one hand, his homemade recording and unexpurgated song writing are serious barriers to any sort of mainstream success. But his reference points, as indicated by covers of Joni Mitchell’s “Dreamland” and Lou Reed’s “The Ocean,” are ambitious ones, and he does his best not to dishonor them. Sometimes, anyway — Jay’s muse might inspire him to make a low-rent, early Who-style epic about the Battle of Fredericksburg one moment (“I Was There”) and a cheap rhyme-stocked portrait of a “Village Idiot” the next. If early 1990s Guided By Voices tended more towards finished songs and uncomfortable truths, they might have made a record like this one, but James made it instead. In 1986 he could only get it out on tape, and it took two decades for it to make it to LP. That first pressing is long gone, so Assophon has stepped in with a 30th anniversary edition that includes thirteen more songs close enough to the first 12 that collectors sitting on an early copy will probably want  this one too.
Bill Meyer             
Brandon Can’t Dance — Graveyard of Good Times (Lucky Number) 
Graveyard of Good Times by BRANDON CAN'T DANCE
Brandon Ayers is the classic lone wolf bedroom troubadour, a Philadelphian who works nights as a security guard, cares for an elderly relative during the day and lives a rich creative life within his own head and home recording space. Brandon Can’t Dance dabbles in fuzz-rock, lo-fi disco, anti-folk, regular folk, synth pop and noise, refusing to settle anywhere, yet all reflecting a highly individual talent that has not been sanded down too much by contact with other people. Sequencing feels a little haphazard, so that the superlative shoegaze romantic blare of “Headspace” sits right alongside an excruciating dance-pop falsetto cut called “Smoke-Drive Around” (which, weirdly, is one of two downloadable singles, so it’s probably not a parody). Much of the album gives off a 1990s lo-fi aura – GBV is the obvious reference, though “Fuck Off and We’ll Get Along,” has the undercooked poetry of certain Sic Alps songs, the synthier bits recall Blank Dogs and “Freak of the Freaks,” sounds fragile and surreal like a Tobin Sprout off-track. “Angelina,” the other single, has a country swagger to it, a brash, abrasive acoustic vamp with a fuzz guitar solo bursting through it. It feels like the most finished, structured song on the disc, and so stands as a highlight. That’s not to disparage the beautiful fragments, half-pursued ventures and jotted messy impressions that surround it; these are integral to experiencing Ayers’ alienated, discontinuous but intermittently lovely world. If you flipped over Car Seat Headrest or just harbor a fondness for melodic hiss and fuzz, you’ll like this.
Jennifer Kelly 
Andrew Pekler — Tristes Tropiques (Faitiche) 
Tristes Tropiques by Andrew Pekler
Pekler’s work here feels like some deliberately uneasy mix of remix, field recording, the kind of ethnographic forgery that Can used to do, and abstract electronic music. Certainly the cultural history of white people playing/homaging/being fascinated by the music of other cultures, whether it’s called exotica or ethnography or anything else, is a tricky one. Pekler titling this album of original compositions (which just sounds like it’s maybe the products of aliens messing with and bouncing back various jungle-based music and natural sounds, although it’s really just him working with what he calls “the electronic means that I have at hand”) after Claude Levi-Strauss’s ambivalent and searching book that’s as much about the author’s own methods and engagement with the natives he’s studying as it is about the study indicates that he’s aware of that, even if the work doesn’t directly engage with that history. Pekler’s more interested in getting something interesting and evocative and he’s constructed a rich, broadly constituted stew to do so with (as a song title like “Humidity Index/Khao Sok (Chopped and Screwed)” indicates).
 Ian Mathers 
 Greg Kelley/Bill Nace —Live At Disjecta (Open Mouth)
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Now here’s a name we don’t see enough these days. When trumpeter Greg Kelley (nmperign, Heathen Shame, and Cold Bleak Heat) moved from Massachusetts to Washington State a couple years ago his touring profile east of the Mississippi took a hit. But this proved to be the West coast’s gain, since this record is an artifact of an eight-date tour, which is a substantial number for any noise combo these days. His partner here is guitarist Bill Nace (Vampire Belt, Body/Head), and the zones of broad amp protest and brittle brass fatigue that they explore together will likely awaken pleasant memories of Heathen Shame’s hellish squalls. But while the sound is similar, the dynamic is very different; where even the Shame’s most free-falling moments embraced rock gesture, this set’s energy is more elemental. At some points the two men’s waves of sound attract and repel like magnetic fields, at others they arc like two bolts of lightning headed for the same weathervane. The jolts are welcome indeed.
Bill Meyer
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critiquequantique · 7 years ago
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Les tops quantiques de 2017
On n’aime pas parler de tradition par ici, mais l’année a été si faste que La Critique Quantique cède à l’engouement hivernal pour proposer quatre tops 10 concernant autant d’univers. Le cinéma, bien sûr, mais aussi les jeux de plateau, les jeux vidéo et les albums de musique. 
TOP 10 CINEMA 2017
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1. Ouvert la nuit d’Edouard Baer Une apnée vespérale absurde délicieuse, forcément teintée d’auto-bio discrète et mâtinée d’ode à Paris.
2. Get out de Jordan Peele Ce thriller jusqu’au-boutiste ose aborder le racisme avec culot et panache. Frais et brutal.
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3. Split de M. Night Shyamalan L’immense Shyamalan signe une oeuvre bicéphale haletante : ça démarre comme un récit de captivité et finit avec du fantastique. On n’imaginait pas McAvoy capable de telles prouesses de jeu.
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4. Grave de Julia Ducournau Lire la Critique quantique
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5. Blade Runner 2049 de Denis Villeneuve
Jamais écrasé par le poids des aînés, Villeneuve insuffle ses thématiques phares, mises en exergue par un Roger Deakins au sommet de son art.
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6. Okja de Bong Joon-Ho Une fable limpide à la mise en scène exemplaire, dans la lignée de The host du même maestro. Merci Netflix d’avoir eu les cojones de la produire.
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7. It comes at night de Trey Edward Shults Ce huis-clos suintant assène un propos glaçant sur la méfiance et le repli qui s’installe lorsque la peur et l’instinct prennent le dessus. Sa fin ouverte file le tournis.
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8. Baby Driver d’Edgard Wright Un shot démentiel de synesthésie, calibré à la croche près pour cheviller sa musique à l’action qu’il déroule. Le scénario anecdotique sert de prétexte à l’érection d’une mise en scène diabolique.
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9. Paterson de Jim Jarmush Au rayon galvaudé de la poésie du quotidien, le conte de Paterson dépoussière le mobilier. Un film serein et revigorant. 
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10. La la land de Damien Chazelle Lire la Critique quantique
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TOP 10 JEUX DE SOCIETE 2017
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1. Otys de Claude Lucchini (Pearl Games) Riche et innovant en restant digeste, la dernière production Pearl Games imbrique subtilement thème et mécanique pour proposer une course à la victoire intense.  2. Dragon Castle de Hjalmar Hach, Lucca Richi et Lorenzo Silva Le basique Mah-Jong revisité par un auteur talentueux devient soudainement formidable. On jurerait un tour de magie. Addictif, surprenant et plein de variété.
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3. Kitchen Rush de Vangelis Bagiartakis et Dávid Turczi Ni plus ni moins qu’une adaptation en jeu de plateau cachée d’Overcooked, le jeu vidéo coopératif où l’on tâche de cuisiner sans foutre le feu, arrosés de visuels sauce Ratatouille de Pixar. Le plat allie stress et convivialité grâce à ses marmitons-sabliers qu’on ne peut pas déplacer avant la fin de leur écoulement. 
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4. Le bien et le malt de Michael Kiesling Le célèbre Kiesling essaie de nous faire croire qu’on brasse de la bière en récoltant les bons ingrédients. En vrai, on pose des tuiles sur son plateau. Mais le système bâti ici rivalise d’élégance avec les pontes du genre et on aurait tort de n’y voir qu’un problème mathématique. 
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5. Paper Tales de Masato Uesugi Du draft élégant dans son esthétique comme dans son équilibrage. On n’avait pas vu ça depuis 7 Wonders.
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6. Profiler de Romaric Galonnier Utiliser ses préjugés sur des personnalités célèbres ou génériques pour argumenter des débats surréalistes : ”Est-ce que Barack Obama prend plus de douches qu’un pompier ?”. 
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7. Lyngk de Kris Burm Le génie belge à l’origine du projet GIPF (des jeux abstraits avec des pièces noires et blanches aux noms à coucher dehors) découvre la couleur et propose un opus nerveux et profond. 
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8. Century : la route des épices de Emmerson Matsuuchi Avec ses règles de deux pages, ce Splendor nouvelle génération permet à cinq joueurs de se torturer les méninges autour de cubes en bois. Les tours restent fluides mais les adversaires n’interagissent quasiment pas entre eux.
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9. Fantastic Park de Brett J. Gilbert Passée sa boîte hideuse, ce petit jeu de placement astucieux s’explique en deux minutes et réserve quelques coups de Trafalgar. Il s’égraine en manches, ce qui rend la durée de la partie modulable. 
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10. Majesty de Marc André Joli exercice de style pour cet auteur qui reste dans la cour minimaliste qui lui sied. L’édition flatteuse rend agréable cette joute rapide et sans prétention. 
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Dans mon viseur pour 2018 : Santa Maria de Eilif Svensson et Kristian Amundsen Østby
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Pour avoir pu s’y frotter au salon d’Essen, ce jeu de gestion de son plateau personnel que l’on active à l’aide d’une réserve de dés communes semble phénoménal. Attention : c’est moche et suprémaciste (on colonise la population et ils nous récompensent en “points de bonheur”...). TOP 10 JEUX VIDEO 2017
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1. Cuphead de MDHR (Xbox One) Une esthétique renversante de beauté et d’imagination couplée à un gameplay rigoureux aux petits oignons. Un miracle. 2. Dead Cells de Motion Twin (PC, early access) Viscéral, déjà boursoufflé de contenu alors qu’il n’est pas encore officiellement sorti, ce titre musclé hypnose et s’impose. 
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3. Splasher de The Sidekicks (PC) Malin comme un singe savant, ce jeu de plate-forme d’allure modeste recèle des mécaniques redoutables. Un soin tout particulier a été apporté au mode speedrun, pour le plaisir des braves jouteurs du contre-la-montre.
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4. The legend of Zelda : Breath of the wild de Nintendo (Switch) Sans qu’on s’engouffre à coup sûr dans la quête chronophage du 100%, se perdre dans le contrées de cet univers à la fois systémique et sauvage relève du vertige exquis.
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5. The end is nigh de Edmund McMillen (Switch) Ardu et prenant, le nouveau délire épineux du créateur de Super Meat Boy convainc le joueur de retenter le même saut délicat jusqu’à ce qu’il meuve son avatar à la perfection... Avant de lui balancer un nouvel obstacle à la tronche, encore plus retors. Il faut aimer persévérer. 
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6. Mario + Lapins Crétins Kingdom Battle d’Ubisoft (Switch) De la tactique impitoyable au service d’un mariage loufoque d’univers familiers de tous les joueurs. Pas révolutionnaire mais rempli de bonnes surprises. 
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7. Arms de Nintendo (Switch) Dommage que la presse, hormis Canard PC, ait réservé un accueil tiède à ce jeu de baston pas comme les autres. Le mode en ligne, certes minimaliste, fonctionne parfaitement et invite à investiguer le casting bariolé made in Nintendo. 
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8. Neir Automata de Platinium Games (PS4) Le créateur Yoko Taro, fou et visionnaire, narre les états d’âme de deux androïdes et invite le joueur à recommencer l’aventure plusieurs fois. Côté gameplay, les as de Platinium font pleuvoir les douilles. Atypique et mélancolique.  
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9. Resident Evil 7 de Capcom (Xbox One) Probablement le jeu le plus effrayant jamais sorti sur consoles. Un changement de cap radical à l’introduction inoubliable. Si le rythme s’essouffle, reste une galerie de sales gueules dignes de The Devil’s Rejects.
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10. Wolfenstein II : The new colossus de MachineGames (Xbox One) Débile à souhait et brutal dans ses phases de jeu, ce titre dont on n’attendait rien surprend par la finesse de son écriture.
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TOP 10 ALBUMS 2017
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1. Damn de Kendrick Lamar Cette complainte de l’artiste hip-hop le plus doué de sa génération se vit plus qu’elle ne s’écoute tant elle s’adapte à toutes les humeurs, du cotonneux Loyalty à la rêche colère de Humble. Le morceau pour découvrir : FEEL. 2. Sugar High de BRNS Peu après l’ébouriffant EP Holidays, le meilleur groupe belge livre 10 nouvelles chansons aux structures toujours aussi incroyables, tantôt doucement bruitistes, plus loin férocement intimistes. Le morceau pour découvrir : Encounter
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3. Sous les brûlures, l’incandescence intacte de Mademoiselle K Fruit d’un crowdfunding réussi, ce cinquième album, bourré de réinventions musicales, ne laisse transparaitre sa cohérence qu’après de multiples écoutes. Katerine Giérak incarne probablement la rockeuse la plus sincère de France. Le morceau pour découvrir : Bonjour bonjour
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4. Stup Virus de Stupeflip Balourd au premier contact, avec une voix synthétique lucide mais omniprésente, ce come-back dévoile les qualités de son écriture sur la durée. Une réussite. Le morceau pour découvrir : 1993
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5. Crack up de Fleet Foxes Envoûtante ballade sur les landes. Loin des ménestrels à pieds nus, les Fleet Foxes sont aussi majestueux en live. Le morceau pour découvrir : Third of May
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6. Alien love de Fùgù Mango Le groupe belge pas comme les autres, féru de sonorités africaines et pourvu d’un groove galactique. Le morceau pour découvrir : Alien love
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7. Sacred Hearts Club de Foster The People Le troisième opus d’un néo-boys band pas ringard, à la production collorée et incisive. Le morceau pour découvrir : Sit next to me 
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8. Blossom de Milky Chance Le duo allemand de Stolen Dance revient avec sa pop enjouée, simple et efficace. Le morceau pour découvrir : Blossom
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9. Warhaus de Warhaus Maarten Devoldere continue de s’inscrire dans le sillon de son groupe Balthazar avec ce projet solo ingénieux. Cet album éponyme rayonne plus que le précédent. Le morceau pour découvrir : Kreusch
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10. Nocturne de Girls in Hawaii Après un Everest un peu étouffe-chrétien, les gars-vahinés livrent un disque plus épuré, nappé de quelques fines mélodies aux claviers. Le morceau pour découvrir : Indifference
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Passez toutes et tous d’excellentes fêtes de fin d’année !
Boris Krywicki
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cool-despoina-alkionidamera · 3 months ago
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Warhaus - No Surprise (Official Video)
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hetmusic · 6 years ago
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TMR TALKS TO... BALTHAZAR | The Most Radicalist
In this interview feature, we get to know the most radicalist up and coming stars on the planet.       This time we speak with Belgian indie pop-rock band Balthazar. In their home country of Belgium, Balthazar sell out arena stadiums. The two songwriters at the heart of the band, Maarten Devoldere and Jinte Deprez have also become well-known through their solo projects, Warhaus and J. Bernardt, respectively. It’s no wonder that after three albums, countless live shows and successful side projects that Balthazar took a breather following their third album release Thin Walls in 2015. However, the dynamic songwriting duo of Devoldere and Deprez couldn’t keep apart forever, and heading back into the studio around a year ago, the result turned into another epic album, their fourth studio record to date. Fever has been a highly-anticipated record here at TMR, with album tracks ‘Fever’, ‘Entertainment’, ‘I’m Never Gonna Let You Down Again’ and 'Wrong Vibration' all making an appearance as surefire List Picks. Since they’ve been a recurrent favourite we couldn’t miss the opportunity to talk to Balthazar’s two key members about the new album, matters of the heart, songwriting, the importance of imagery, how songs evolve through live shows and more. Here’s our interview, originally recorded backstage ahead of Balthazar’s show at Manchester’s Deaf Institute.
TMR: Fever is your fourth album, following 2015’s Thin Walls, why was this record worth taking your time over? Jinte Deprez: We were touring from twenty-nine/ten to twenty-sixteen, so by the end of the campaign we always felt like we were touring and making albums, so we wanted to take a little break, which we did. Then we released some solo albums, which were received quite well. Yeah, the break was a little bit longer than we planned, but we got back together to write for this album a year ago, so yeah, it went quickly. TMR: Oh, so really it hasn’t taken that long to get the album together. One of the biggest themes on the album is the highs and lows of love; sometimes in your songs, the character is a heartbreaker and other times they’re heartbroken. Was this theme a purposeful choice or a product of the time you were both in? Maarten Devoldere: Well, actually I think we tend to write close to our beds, so we’ve always written love songs. It’s just the most logical theme, it fits really well in a pop song. We aren’t very politically engaged to write about that for example. JD: We are songwriters so it’s always like if one of us is heartbroken, the other one is in a totally different vibe. That way we end up with these different songs on the album. Different emotions. TMR: Would you say there are any underlying themes that would surprise a listener? For example with ‘Fever’ it's quite easy to access those feelings of love or heartbreak, but is there something beyond that? MD: Yeah, that comes across as a love song, but it’s actually more of a dialogue itself. I think because pop music has been used so much to sing about a girl or towards a girl… So we have a tradition in songwriting that if you write about addiction, for example, then maybe you’re going to dress that addiction up as a girl as well. JD: On this album it seems like we don’t make much sense or make any points, because on ‘Fever’ we sound quite harsh towards a girl, but at the same time we’re saying that we’re falling for her. I think that’s something we do a lot on this record. On the other hand, there are some songs that are really just emotion. We wrote three break-up songs, but there’s a pissed off one and a cool one. MD: Yeah, different phases. JD: Whereas in the past we tried to write about the whole relationship in one song, but we stopped doing that. TMR: Since we’re talking about the title-track ‘Fever’, there are visuals for that song as well which are quite obscure, featuring deserts, roads and mountains. How does the imagery tie in with the song? JD: When we were finishing the record, we really had to rush to meet the deadline towards the end, and then we really wanted to go on holiday. Our manager said “no you can’t go on holiday yet, because first we need the video for ‘Fever’.” And so we said, “okay, what’s the budget?” So then we went to Lanzarote on holiday and filmed there. I know it sounds super random, but I guess the vibe and the weather matched this record for us. It’s a summer record. MD: We thought of it as, like, the opening trailer of a movie, and then the album is a movie. It was mainly because we wanted to go to a sunny place. You don’t need deep reasons or to be too profound sometimes. TMR: Yeah, that makes sense, it is very cinematic and the setting definitely helps. Speaking more on visuals, why did you choose painted dogs for the album cover? JD: We were renting this house, because we were touring with our solo projects at the time, and it’s actually a pretty stupid story, but there was a National Geographic magazine which we were flipping through and then we saw that picture. It’s kind of funny, because it’s very direct and they look like a band, you know there’s a singer, and there’s a drummer looking at you. We like the picture and the colourfulness of it. With our past albums, the cover was always a bit melancholic and darker. They also work like a wolf pack, and when we’re not doing our other projects and we come back, there’s this collectiveness that we wanted to embrace. It was the first picture we had for the album, and we have a lot of photographer friends with artistic pictures, but we thought it was more funny to get a picture from a magazine. TMR: We had no idea it was from a magazine, to be honest we thought it may have been something to do with the fact that painted dogs are a matriarchy, so it’s always a female dog that’s in charge of the rest. Both: Really? JD: The thing is if you chose animals, you get to know them very well through this whole process. Well that’s perfect, yeah. TMR: Maybe there was something subconscious there? MD: That’s how music works. TMR: Switching over to the video for ‘Entertainment’, which was shot in studio. Does that reflect how Balthazar is as a band? JD: It was mainly because somebody left the band, so it was like a new collective. MD: Yeah, because the new guy was on holiday for like six months, so we flew him over, and that day when we shot the video was the first day that we were all together. We asked him to come play, he didn’t play on the record, or audition, or anything like that - it was an educated guess. That day we were play-backing the song for the video shoot and we actually had so much fun and we thought, if we have this much fun while play-backing, then it’s going to really cool if we play it live. JD: It was a little bit to emphasize the fact that we want to play live as a band. TMR: ‘Entertainment’ is quite an upbeat song as well. MD: Yeah, we wrote it at the end of the recording process, and for us, we felt like it was the jammy song that we needed, so we were really surprised when the label said that it was going to be the first single. It’s good, especially now live, we feel it really connects with the audience. It’s the enthusiasm. JD: Sometimes you work on a song for month, and that was made in a day, so for us it felt quite strange, but looking at it now, it makes sense. TMR: One of our favourite tracks on the album is ‘I’m Never Gonna Let You Down Again’. Do you each have a favourite track of your own? JD: The thing is we always make so many songs, and we pick our favourites to make the album, so in the end, all the songs are kind of our favourites otherwise it wouldn’t be on the album. MD: They kind of need each other in a way. I don’t know, it changes throughout the week, so today, it’s a Friday, so I’m going to go for... ‘Rollercoaster’. JD: For me, it’s the third day of the tour, and you start to feel like the songs are having their afterlife. They start to change in how we play them live, and it’s cool. Songs you wouldn’t expect to become your favourite song live do because they change. ‘Never Gonna Let You Down Again’ is one of the examples - live it’s really cool and I thought it would have been really hard to play live. TMR: It’s also going to depend on the audience and how they interact with the song. JD: Of course. MD: Like yesterday, there was a harmonica player in the audience, so we invited him on stage, and he did a harmonica solo in ‘Wrong Faces’. That was literally how sometimes live performance is created on the spot. But he wasn’t really that good. [all laugh] TMR: And how has the tour been so far? JD: It’s the third day and Maarten’s voice is, like, cracking already [laughs]. MD: It’s good, it’s a new album, so yeah it’s finding a connection with the old songs, planning the set list. We didn’t play together for two or three years, so it’s kind of cool, but it’s also finding your way as a band again. It’s cool to do it here [in the UK] too. Yesterday, in Brighton, it was a really intimate show, which is cool and really works for us. We’ve played here [The Deaf Institute, Manchester] before as well. Last time I fought with my manager, but he won the fight… I was really drunk, so yeah. JD: [Laughing] was that also the third day of the tour? MD: Yeah, probably. TMR: When you’re on tour, do you have a tour playlist? With songs to get you in the mood for playing live? MD: No, but yesterday, we had our support Faces On TV, who is also the producer of the record. It was the first time we could see him play live, it’s really cool, he’s all alone, but he’s this sound wizard on stage, doing way too many things on stage at the same time. It was really energetic, the perfect warm-up to our show. We also have to step up our game to make it work. JD: Yeah exactly, also our tour manager is like the DJ and he always has music you’ve never heard of. Today I discovered Onra. It’s always great to have a DJ as a tour manager. TMR: After here, where are you playing next? JD: After here, we’re going to Dublin which is cool because it’s been a while since we’ve been to Dublin. It’s cool that they haven’t forgotten us, so I’m really looking forward to that. After that, we’re going to London, to Scala, which is a beautiful venue. TMR: Are you going to be playing your home towns as well? MD: Oh yeah, we’re on tour for a month now. TMR: Do you find the atmosphere is different playing back home? JD: Well, in Belgium, we play an arena show in Antwerp, so that’s completely different from what we’re used to. MD: I’m not so keen on playing arenas, but it’s really cool to have the variation between here with smaller venues and there. TMR: Definitely different challenges in each space. Finally, what’s your plan for the rest of the year? 
JD: I think we’re going to play a lot. We’re going to have the European tour, take a little break, pick up the European tour. Then go to places we haven’t been before, like Mexico, the US and Canada. Then play festivals, do another tour, it’s like… yeah, we released an album, so it’s time to show the baby to the world.
http://www.themostradicalist.com/features/tmr-talks-to-balthazar/
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