CRAMMED DISCS CRAM128 - 2006
PSYCHOSCOUT
Musicians
Stefaan Blancke trombone,
Benjamin Boutreur alto sax,
Berlinde Deman tuba,
Bart Maris trumpet,
Michel Mast tenor sax,
Marc Meeuwissen trombone,
Kristof Roseeuw double bass,
Peter Vandenberghe piano & keyboards,
Luc van Lieshout trumpet,
Bruno Vansina baritone sax,
Teun Verbruggen drums & dustbingrooves,
Peter Vermeersch clarinet,
Wim Willaert accordion & keyboards,
Tom Wouters clarinet & vibraphone
Guest musician
Roland Vancampenhout guitar on 4 and vocals on 5
Credits
Recorded by David Minjauw at Dada Studio, November 2005, Brussels.
Produced, mixed & mastered by Pierre Vervloesem, Brussels
Artwork by Marc Meeuwissen
More info: FES ft. Uri Caine ︎︎︎
Reviews
DOWNBEAT HOTBOX - John Corbett:
The '90s downtown New York esthetic and mutated. Flat Earth Society, hailing from belgium, has every bit of the circusy, genre-jumping, soundtrack-esque, Raymond Scott-like, smirky moodiness that characterizes the Knitting Factory diaspora. Where that sound can sometimes turn snarky and sarcastic, the group wisely remains earnest and open, though they are sometimes too clever for unqualified endorsement.
The 14-strong band, weighted toward lower horns and brass, is punchy and dynamic, playfully romping through clarinetist/leader Peter Vermeersch's charts. With a big sound and juicy arrangements, they're stacked with able improvisers, perfectly exemplified on “In Between Rivers”, which breaks down from the huge orchestral sound to an intimate trumpet/drum duet. On “Withhout,” the intimacy happens –this time jittery free play from drums and trombone– in the company of a sedate composed part for piano and band. Drummer Teun Verbruggen deserves special mention for his wide ranging abilities, even if he does cop mercilessly from New York drummer Jim Black on Uri Caine's “Snaggletooth.”
The band breaks from raucous shenanigans a couple of times, including the short vibes feature “Lie To Me” and a less successful vocal forary for Roland Vancampenhout, whose delivery on “Hilton's Heaven” shows an aspiration to capture something of Tom Waits that's too close and, at the same time, way off mark. Vancampenhout's hyped up guitar cameo on “Edward, Why Don't You Play Some Blues” also fails to impress. The band is better when it sticks to its comfort zone, like the intricate cartoonish parts on the title track, which is in 9/8 time.
www.allaboutjazz.com - Nic Jones: Sit up and listen. Flat Earth Society is a big band with the integrity of a magpie, in the sense that it goes for the shiniest elements of a cultural outlook that takes in a kind of homage to Kurt Weill, incidental music for old TV detective series, and perhaps a touch of Henry Cow at its most formal. All that makes for listening that could have you laughing out loud or wondering happily over the sheer bravura of it all. Catch an earful of “Clusterthing,” featuring a riff ponderous enough to make a stampede of elephants seem fleet of foot by comparison, and traces of such formidable complexity that they should only be listened to whilst grinning maniacally. You might just find your outlook on life is transformed in an entirely positive way. By comparison, “Hilton's Heaven” is an exercise in dark restraint in which deft keyboard touches serve notice of how this band has mastered colour, shedding some light upon the twilit ambience; Roland Vancampennout's vocal sounds like a Belgian J.J. Cale.
When it comes down to it, this is a big band whose music effectively sidesteps the common discussion of the respective merits of sections and soloists. That said, Marc Meeuwissen's trombone on the title track is an embodiment of the bawdy, whilst Bruno Vansina's baritone sax on the oddly named “Lax” blows up the kind of vertiginous storm that's likely to have those of nervous disposition running for cover.
Even greater credit must go to clarinettist Peter Vermeersch and keyboardist Peter Vandenberghe, however, as their compositions make up the programme on Psychoscout—and only rarely in recent times has such coherence between compositional framework and musicianship been acheived. To call it “Ellingtonian” might be both apt and unhelpful, but it doesn't alter the fact that this disc ought to be figuring in those end of year lists, if there's any justice in the world.
The Guardian - John L. Walters:
Belgian composer Peter Vermeersch, formerly of X-legged Sally, knows how to make a big noise whatever the size of the band. Now, with the 14-plus members of Flat Earth Society, he can make an even bigger racket. “Big Band” can mean anything from the National Youth Jazz Orchestra to Lambchop, but this one makes a sound that's somewhere between the electric jazz of Acoustic Ladyland and an abrasive Dutch new-music ensemble such as Orkest de Volharding. Saxes honk, bass guitars rattle, brass broods: only Steve Martland or Mike Westbrook do anything like this in the U.K. Vermeersch's tunes are angular and engaging, with a strong dose of the blues on dramatic epics like Hilton's Heaven and Edward, Why Don't You Play Some Blues, a touch of flamenco on Lax and some spirited improvisation on the sole non-original, Uri Caine's Snaggletooth.
The '90s downtown New York esthetic and mutated. Flat Earth Society, hailing from belgium, has every bit of the circusy, genre-jumping, soundtrack-esque, Raymond Scott-like, smirky moodiness that characterizes the Knitting Factory diaspora. Where that sound can sometimes turn snarky and sarcastic, the group wisely remains earnest and open, though they are sometimes too clever for unqualified endorsement.
The 14-strong band, weighted toward lower horns and brass, is punchy and dynamic, playfully romping through clarinetist/leader Peter Vermeersch's charts. With a big sound and juicy arrangements, they're stacked with able improvisers, perfectly exemplified on “In Between Rivers”, which breaks down from the huge orchestral sound to an intimate trumpet/drum duet. On “Withhout,” the intimacy happens –this time jittery free play from drums and trombone– in the company of a sedate composed part for piano and band. Drummer Teun Verbruggen deserves special mention for his wide ranging abilities, even if he does cop mercilessly from New York drummer Jim Black on Uri Caine's “Snaggletooth.”
The band breaks from raucous shenanigans a couple of times, including the short vibes feature “Lie To Me” and a less successful vocal forary for Roland Vancampenhout, whose delivery on “Hilton's Heaven” shows an aspiration to capture something of Tom Waits that's too close and, at the same time, way off mark. Vancampenhout's hyped up guitar cameo on “Edward, Why Don't You Play Some Blues” also fails to impress. The band is better when it sticks to its comfort zone, like the intricate cartoonish parts on the title track, which is in 9/8 time.
www.allaboutjazz.com - Nic Jones: Sit up and listen. Flat Earth Society is a big band with the integrity of a magpie, in the sense that it goes for the shiniest elements of a cultural outlook that takes in a kind of homage to Kurt Weill, incidental music for old TV detective series, and perhaps a touch of Henry Cow at its most formal. All that makes for listening that could have you laughing out loud or wondering happily over the sheer bravura of it all. Catch an earful of “Clusterthing,” featuring a riff ponderous enough to make a stampede of elephants seem fleet of foot by comparison, and traces of such formidable complexity that they should only be listened to whilst grinning maniacally. You might just find your outlook on life is transformed in an entirely positive way. By comparison, “Hilton's Heaven” is an exercise in dark restraint in which deft keyboard touches serve notice of how this band has mastered colour, shedding some light upon the twilit ambience; Roland Vancampennout's vocal sounds like a Belgian J.J. Cale.
When it comes down to it, this is a big band whose music effectively sidesteps the common discussion of the respective merits of sections and soloists. That said, Marc Meeuwissen's trombone on the title track is an embodiment of the bawdy, whilst Bruno Vansina's baritone sax on the oddly named “Lax” blows up the kind of vertiginous storm that's likely to have those of nervous disposition running for cover.
Even greater credit must go to clarinettist Peter Vermeersch and keyboardist Peter Vandenberghe, however, as their compositions make up the programme on Psychoscout—and only rarely in recent times has such coherence between compositional framework and musicianship been acheived. To call it “Ellingtonian” might be both apt and unhelpful, but it doesn't alter the fact that this disc ought to be figuring in those end of year lists, if there's any justice in the world.
The Guardian - John L. Walters:
Belgian composer Peter Vermeersch, formerly of X-legged Sally, knows how to make a big noise whatever the size of the band. Now, with the 14-plus members of Flat Earth Society, he can make an even bigger racket. “Big Band” can mean anything from the National Youth Jazz Orchestra to Lambchop, but this one makes a sound that's somewhere between the electric jazz of Acoustic Ladyland and an abrasive Dutch new-music ensemble such as Orkest de Volharding. Saxes honk, bass guitars rattle, brass broods: only Steve Martland or Mike Westbrook do anything like this in the U.K. Vermeersch's tunes are angular and engaging, with a strong dose of the blues on dramatic epics like Hilton's Heaven and Edward, Why Don't You Play Some Blues, a touch of flamenco on Lax and some spirited improvisation on the sole non-original, Uri Caine's Snaggletooth.
www.allmusic.com - Sean Westergaard:
Flat Earth Society has been making some great, adventurous big-band music for almost a decade, but they're only starting to gain attention outside their native Belgium. Mike Patton helped raise their profile by releasing Isms, a collection taken from their previous four releases, but Psychoscout is their first album of new material to be released worldwide. Leader Peter Vermeersch's compositions share some similarities with Willem Breuker: episodic writing that moves quickly from theme to theme with a healthy dose of humor, but FES doesn't have the almost slapstick element that Breuker's Kollektief can have.
Vermeersch's tunes are highly cinematic, and would be put to good use in an exciting chase scene ("In Between Rivers," "Lax") or a hard-boiled detective flick ("Lie to Me"). The players are all great, with some especially nice piano by Peter Vandenberghe, fiery solos from Benjamin Boutreur on alto, Vermeersch on clarinet, and the addition of organ or synth on some tracks which gives the big band quite a different flavor than most big bands. FES can also bring the energy down and deliver a smoky ballad, with vibraphones adding a nice nocturnal touch on "Lie to Me." "Without" starts with a slow piano figure and some outside horn playing before moving into a section with spooky keyboards and vibes, and then into a lurching groove. They really know how to use dynamics to keep the pieces moving, and Vermeersch's horn charts are fantastic. If you thought big band music in the 21st century was confined to repertory bands, think again. Flat Earth Society is a hard-swinging outfit that knows the past but has its eye on the future, and Psychoscout shows that there's a whole lot of life yet in the big band tradition.
www.allaboutjazz.com - Troy Collins:
This Belgian big band has made quite a name for itself on the international underground scene. After touring with Mike Patton's postmodern metal band Fantomas, the group accrued some well deserved notoriety for its boundless spirit and unconventional outlook. While the members of the Flat Earth Society can readily ply pre-war 1940s big band charts with conviction and emotional commitment, they can also whip up a frenzy in the matter of such postmodern iconoclasts as John Zorn and Phillip Johnston. With a cracked aesthetic residing somewhere between Carl Stalling, Raymond Scott and Frank Zappa, the FES projects an in-your-face attitude. Founding composer Peter Vermeersch, formerly the leader of experimental Knitting Factory favorite X-Legged Sally, has covered everything from Louis Armstrong to the Residents with this lineup, as well as performing film soundtrack work. Psychoscout finds them exploring a varied set of original tunes that never lack invention.
The melodramatic screams interwoven into the furious free bop of the noir apocalypse ”Clusterthing” only begin to hint at the lunacy to come. “Hilton's Heaven” includes maniacal narration worthy of the surrealism of Fred Lane, and “Gulls and Buoys” blends vintage Henry Mancini with a powerhouse rhythm. “Edward, Why Don't You Play Some Blues” is an electric meltdown featuring the acidic skronk guitar of guest soloist Roland Vancampennout.
The title track is a blistering workout that defines the group's aesthetic, featuring contrapuntal horn charts, brassy fanfares, serpentine reeds, propulsive rhythms and boisterous solos. This is an acoustic big band with the energy of an electrified punk band. But much like punk, the group's enthusiasm and vigor is sonically accessible: it's never so extreme that it drifts into cacophonous excess.
“ Lie To Me” and “Waterman” drop the energy level a notch, convincingly demonstrating the massive groups capacity for tenderness and lyricism, if only briefly. “Snaggletooth” is the inverse, a postmodern excursion into stylistic chameleonism, complete with modulated tempos, genre changes and extreme dynamic shifts in volume and density.
There are few contemporary ensembles in modern music that quite fit into the same category as this energetic and zany outfit. As unique and virtuosic as it is creative, the FES has a sure-fire winner with Psychoscout. Be sure to check your sonic inhibitions at the door.
Flat Earth Society has been making some great, adventurous big-band music for almost a decade, but they're only starting to gain attention outside their native Belgium. Mike Patton helped raise their profile by releasing Isms, a collection taken from their previous four releases, but Psychoscout is their first album of new material to be released worldwide. Leader Peter Vermeersch's compositions share some similarities with Willem Breuker: episodic writing that moves quickly from theme to theme with a healthy dose of humor, but FES doesn't have the almost slapstick element that Breuker's Kollektief can have.
Vermeersch's tunes are highly cinematic, and would be put to good use in an exciting chase scene ("In Between Rivers," "Lax") or a hard-boiled detective flick ("Lie to Me"). The players are all great, with some especially nice piano by Peter Vandenberghe, fiery solos from Benjamin Boutreur on alto, Vermeersch on clarinet, and the addition of organ or synth on some tracks which gives the big band quite a different flavor than most big bands. FES can also bring the energy down and deliver a smoky ballad, with vibraphones adding a nice nocturnal touch on "Lie to Me." "Without" starts with a slow piano figure and some outside horn playing before moving into a section with spooky keyboards and vibes, and then into a lurching groove. They really know how to use dynamics to keep the pieces moving, and Vermeersch's horn charts are fantastic. If you thought big band music in the 21st century was confined to repertory bands, think again. Flat Earth Society is a hard-swinging outfit that knows the past but has its eye on the future, and Psychoscout shows that there's a whole lot of life yet in the big band tradition.
www.allaboutjazz.com - Troy Collins:
This Belgian big band has made quite a name for itself on the international underground scene. After touring with Mike Patton's postmodern metal band Fantomas, the group accrued some well deserved notoriety for its boundless spirit and unconventional outlook. While the members of the Flat Earth Society can readily ply pre-war 1940s big band charts with conviction and emotional commitment, they can also whip up a frenzy in the matter of such postmodern iconoclasts as John Zorn and Phillip Johnston. With a cracked aesthetic residing somewhere between Carl Stalling, Raymond Scott and Frank Zappa, the FES projects an in-your-face attitude. Founding composer Peter Vermeersch, formerly the leader of experimental Knitting Factory favorite X-Legged Sally, has covered everything from Louis Armstrong to the Residents with this lineup, as well as performing film soundtrack work. Psychoscout finds them exploring a varied set of original tunes that never lack invention.
The melodramatic screams interwoven into the furious free bop of the noir apocalypse ”Clusterthing” only begin to hint at the lunacy to come. “Hilton's Heaven” includes maniacal narration worthy of the surrealism of Fred Lane, and “Gulls and Buoys” blends vintage Henry Mancini with a powerhouse rhythm. “Edward, Why Don't You Play Some Blues” is an electric meltdown featuring the acidic skronk guitar of guest soloist Roland Vancampennout.
The title track is a blistering workout that defines the group's aesthetic, featuring contrapuntal horn charts, brassy fanfares, serpentine reeds, propulsive rhythms and boisterous solos. This is an acoustic big band with the energy of an electrified punk band. But much like punk, the group's enthusiasm and vigor is sonically accessible: it's never so extreme that it drifts into cacophonous excess.
“ Lie To Me” and “Waterman” drop the energy level a notch, convincingly demonstrating the massive groups capacity for tenderness and lyricism, if only briefly. “Snaggletooth” is the inverse, a postmodern excursion into stylistic chameleonism, complete with modulated tempos, genre changes and extreme dynamic shifts in volume and density.
There are few contemporary ensembles in modern music that quite fit into the same category as this energetic and zany outfit. As unique and virtuosic as it is creative, the FES has a sure-fire winner with Psychoscout. Be sure to check your sonic inhibitions at the door.
