Review over de Vinylplaat
"Privately released as a numbered 300 copy edition and bound to be gone in a flash! I know we have been there before but forget all I have said or claimed in the past. I guess I was bordering on the cliffs of insanity and said stupid stuff like this xxx-called CDR group is bound to become the best release of the year. Forget it, sanity is back in the house and I take all back and throw all that CDR rubbish straight out of the window, together with the big egos and little talent attached to it. Now that we have all that cleared up, it is time to get serious and root our feet back into the muddy ground. Get in touch with reality again. And while I was rummaging my feet in that solid but moist earth again, I got blindsided by this awesome new Belgian band called Aranis. To describe their uniquely Belgian sound in a few strokes, the best comparison I can possibly come up with is that they sound like a cross pollination between Wim Merten's “Belly of an Architect” era mood swings and Univers Zero's “Ceux Du Dehors” intermingled with “Heresie” and “Crawling Wind”. The style of Aranis is at the same time bold and avantgarde, situated on a strange border between psychedelic Rock and the darkest areas of Classical Music. Their self entitled first LP is a magnificent testament of their surprising but highly unique style. While you won't find a lot of traditional rock instruments, these guys create their music out of a dynamic blend of jazz, classical and rock music that takes a while to fully permeate the listener's mind, but when it does, it's a real winner. The group's chamber music instrumentation (violin, accordion, piano, guitar, flute & double bass), together with Joris Vanvinckenroye's intricate writing and the very tight ensemble work, is enough to deliver the signature their sound. They are a group which has transferred music from medieval times to our modern age, and also one of few bands who can still amaze with their initial effort out of nowhere. The more you know about modern “classical” music, the more you will appreciate Aranis' references to Stravinsky, the French Impressionists, and the twelve-tonal or atonal music which dominated much of the twentieth century. Their rhythms, drumming, use of electric guitar and short pieces are definitely rock oriented, but they add in instruments characteristic of classical music. This is what Aranis as a truly Belgian group can do: they can wrap the millennia of their grim history in the millennia of their musical heritage. It is not something that easily crosses the Atlantic to the land of refuge. Yet there is nothing like it here, and listening to Aranis is a glimpse of something very special, out beyond your familiar shores. This may be the best band you never heard. Totally fucking brilliant and up there running as one of the best if not THE best release of this unholy year 2007!!! Limited and numbered release, only 300 copies made and bound to become an instant classic."

'De geschiedenis lijkt zich te herhalen voor Aranis. Toen het septet zich twee jaar geleden introduceerde als het Belgische antwoord op Rachel’s werden ze meteen laureaat op de eerste editie van de Gouden Vleugels wedstrijd. Het debuut ‘Aranis’ sloeg op met-onderscheiding-geslaagde wijze bruggen tussen klassiek en postrock, tussen de pluchen zetels van kasteelconcerten en de biergladde vloer van de popclub. En ja hoor. Tijdens de zwangerschap van hun tweede decibelboreling sleepten 'arrangist' Joris Vanvinckenroye & Co alweer twee Gouden Vleugels-prijzen in de wacht:de Jeugd- en Muziekprijs Vlaanderen en de Klara-Tandem Trofee. Reden dus om hoge 'verwachtingen' te koesteren voor hun ‘Music For An Imaginary Film’. Elf composities die in ieder geval niet als het product van een muzikaal vluggertje kunnen worden beschouwd noch als goedkope klankklonen die voortborduren op het succes van het debuutalbum. Aranis’ virtuoze gitaar-piano-bas-viool-fluit-accordeon-trompetconfrontaties blijken immers ondertussen enorm gegroeid te zijn in complexiteit en worden met veel grotere mathematische precisie uitgevochten...' (november 2007)

'Met een instrumentarium dat gevormd wordt door twee violen, accordeon, piano, fluit, gitaar en bas creëert dit septet een zeer eigenwijs universum op het kruispunt van minimalisme, folk en (hedendaags) klassiek...In het nummer 'Waris' zorgt Bart Maris voor een beklijvende trompetsolo, meteen een van de meest opvallende passages van de CD... RifRaf MusicZine (11/2007)

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