20:00 - 23:00 | In his teenage years Jan Swerts was mesmerized by Wim Mertens, Philip Glass and Keith Jarrett. More recently, neoclassical composers such as Max Richter and Jóhann Jóhannsson, but also singer-songwriters like Joni Mitchell, Nick Drake and Mark Hollis had a profound impact on his music.
Weg (Gone or A way - released in 2010) was a nostalgic journey through dark streets of his past, only escorted by a sparse piano and a thin voice. Humo, Knack, De Morgen, Radio 1 and Klara...all showered the album with praise. And they repeated this acclaim when Swerts released Anatomie van de Melancholie (Anatomy of Melancholy - 2013), a collection of gorgeous songs inspired by gloomy artists like Luc De Vos, Patricia De Martelaere, Johan Heldenbergh and Jotie T'Hooft.
In September Swerts will display the post-apocalyptic world that is Schaduwland (Shadowland): the soundtrack of a zombified existence after the great catastrophe, the musical score of his horror year 2014. On stage the voyage through Shadowland will be a long, final convulsion: from a whirling and sweltering opening, past a decaying and airy electronic mid section to an extremely desolate 'piano no man's land'...
Jan Swerts will also play
- on 10 November at 30CC, Leuven
- on 24 November at De Roma, Antwerp
- on 25 November at Cactus @ Biekorf, Brugge
- on 26 November at CC Hasselt, Hasselt
20:15 | Formed in the mid-aughts among music student friends at New York City's New School, Bing & Ruth's lineup has shifted with the scope of each recording. The group whittled down from the eleven players on their first album, City Lake, to seven for their newest, Tomorrow Was The Golden Age: two upright bassists, two clarinetists, a cellist and a tape delay tech, all supporting David Moore's sublime yet resonant piano scores.
Outside of Bing & Ruth, Moore is also a multi-faceted composer, scoring under his own name and for old-time fiddle groups, which he describes as "drone-based with a lessened concern for perfect intonation." These ventures illustrate Moore's unpretentious devotion to various musical traditions, yet Bing & Ruth remains Moore's principal project, where form ventures even further beyond recognition.
"Tomorrow Was the Golden Age, one of the finest left-field releases of the year, transcends geography, inviting you to close your eyes and build your own richly detailed world." - Pitchfork (8,1/10)
"TWTGA takes us on a never-ending journey to a place where the sonic wall drifts imperceptibly from silence to grand, glowing sound, and leaves nothing behind." - The 405 (8,5/10)