Poncharello releases a mind-blowing fourth album

Poncharello releases a mind-blowing fourth album

The Lille rock band releases (or rather, balances!) its fourth record: “Four Wheel Overdrive”. And to say the least, it’s moving! Recorded, mixed and mastered by Olivier T’Servrancx on the label Antitune Records, the six tracks of “rock’n’roll supersonic” are very fluid, in a coherent set of rock’n’roll mixed with punk sprinkled with stoner, all quite energetic, although not enough to my liking. The titles continue without allowing time for my ears to rest.

The opus opens with the eponymous title. 1 minute 15 of amuse-bouche, since the title, without vocal part, sets the tone of what will follow: a determined and precise music. I can’t wait to find out what’s next!

Follow Question Mark, a very catchy title that immediately makes you want to move. The vocal parts, very soft, move away from the codes of punk to marry a rock no more traditional roll. At this point in my listening, I think, “why not?”. The structure of the song is surprising, even unexpected, but no part stands out from the others, which gives the end a nice title, without any more.

Pop arrives a little further. Am I listening to Rage Against The Machine? The intro starts super well. Then comes the voice. And here is the disaster. The whole atmosphere of the song falls. And it will never come back. What I originally thought was an original feature that would upset a punk style too “seen and reviewed” turns out to have the counter-productive effect of breaking the energy of the songs. This can be seen positively, as a bold approach to style, but this is not my opinion. Perhaps this is the weak point of Poncharello.

Give It Back smells like the Sum 41 at their debut. No luck, I don’t like Sum 41 at all. A merit however: it is a softer title to bring towards the end of the opus, which I hope will be as good and energetic as its beginning …

Disappointment with Master, title that lets us imagine a punk title claimant. We started on a strange mix of stoner and Ghost (especially on the chorus).

Poncharello releases a mind-blowing fourth album

A half-tinged listening

Poncharello’s compositions are not very complex, but overall everything works, between energy and aggressiveness. To make it simple, Poncharello uses the recipes of punk by adapting them to their sauce to make it something original, with its own identity. The very clean production (for punk!) goes perfectly with the style of the band. My disappointment comes more from the song and the “inabouti” aspect of this record.

In summary, “Four Wheel Overdrive” is a record that starts much better than it ends. I would have liked more nervousness for a band that calls its music “rock n’roll supersonic”. The record is finally quite confusing (in the positive sense of the term), since we oscillate between the Sum 41 and the Tagada Jones (if we really had to make a comparison).

In 15 years of existence, the band has shared the boards with Jon Spencer Blues Explosion, Fatso Jetson, Peter Pan Speedrock, The Bronx, Burning Heads, Parabellum, Les Wampas, or Mademoiselle K. A nice CV, so!

Poncharello is clean and dirty rock at the same time. It is still a good discovery, but I came out of listening to this fourth album with a taste of too little.

“Four wheel overdrive” can be heard here!

Valentine Cordier


Photo de couverture : (c) Alain Vandeville ; www.alainvandeville.com

ORANSSI PAZUZU – "Mestarin Kynsi": mechanical dystopia

Once again, for this 5th album, Oranssi Pazuzu takes us on a dark and psychedelic trip. Each part is fueled with a tense atmosphere and a black energy. Believe it or not a tempestuous spell has been cast and you might be stuck with it for a while . The Finns have pushed the genre (ed: metal) to its limits, mixing elements of prog rock, and especialy its subgenre : krautrock, with futuristic soundscapes to create their own style. But this time, they have also incorporated a big deal of electro influences. Thus, the quintet has gone deeper into the sound experimentations that defined them by building complex musical structures each listener has no choice but to bow to. 

ORANSSI PAZUZU – "Mestarin Kynsi":  mechanical dystopia


  1. Ilmestys 07:14
  2. Tyhjyyden Sakrame 09:19
  3. Uusi Teknokratia 10:20
  4. Oikeamielisten sali 08:12
  5. Kuulen Ääniä Maan 07:14
  6. Taivaan Portti 08:06

One can imagine reviewing such an intense listening is not an easy thing unless you just let your mind go.
Starting off with the mesmerizing and haunting « Illmestys » that makes us floating in the air, balanced by repetitive rhythms just before the guttural-sharp-voice brings us back down to some cruel reality. Then, « Tyhjyyden Sakramenti » builds an evermore dystopian sound. The third song « Uusi Teknokratia » seems to take place in an oniric place (in my eyes, this track would perfectly fit the science-fi movie “La Planète Sauvage” by René Laloux) but the dream won’t last long and shortly after we’re plunged into a chaotic mechanical hysteria. Speaking of « mechanical », the videoclip is a beautiful homage to German Expressionism and in particular the dystopian “Metropolis” by Fritz Lang.  « Oikeamielisten Sali » continues in this way, a dissonant violin gives rise to a profound anxiety. Followed by « Kuulen Ääniä Maan Alta » that starts with a continual hubbub evoking the endless horns honking in a busy city. The song is constructed by layers upon layers and the buzzing saxo makes it hypnotical. At the end, a melancholic synth broadens the cinematographic vibe. Ending with, as a grand finale, « Taivaan Portti » and its brutal and heavy beginning that slowly calm down as an organized chaos.

In its whole composition, « Mestarin Kynsi » is an haunted dream. It is in the same way thrilling and asphyxiating. I can’t help but think about “Magic Realism” to describe the feeling, because what we see is uncanny, yet familiar but also strange. Clearly, the band has a visceral and conceptual approach, but still, it comes from the heart, and what we’re listening to is purely authentic. I won’t developp any further on the mastering because I had the chance to see the band perform live a few years ago and the organic vibe can’t be felt the same way on CD. The further the band is growing, the more it gets famous, « Mestarin Kynsi » will be released the 17th of April by the geant Nuclear Blast.

The band will be playing live on the 3rd of October at the Magasin 4, Bruxelles (Facebook event).

ORANSSI PAZUZU – "Mestarin Kynsi":  mechanical dystopia

The Lucky Trolls : their first EP

The Lucky Trolls : their first EP

We found the treasure of a Belgian leprechaun and he was in Liège!

Let’s start at the beginning: the cover, sober and efficient with its catchy slogan: “Irish Punk From Liège”. The logo perfectly reflects the style of the band both in terms of colors and design with its Celtic shapes and the clover in the center. No risk of bad surprises during the listening!

The music is catchy and will not leave you unmoved. You will be taken by the desire to get up, to create a pogo by dancing the jig! Several members put their voices on those songs which brings a presence and an effect of cohesion: everybody touches everything and is not limited to a single role. It is therefore impossible in my opinion except for some instruments to say “He’s the guitarist, he’s the singer, she …” and so we have the impression to see / hear a group more than some people precisely. Finally, the song perfectly matches the punk side and the use of instruments such as flute, bagpipe and violin bring the Irish side of this style of music.

Do you like what you hear? So go see them live because on stage it’s even better than on CD! Their overflowing energy can contaminate you without even paying attention to it. Impossible to see them stay on the spot and we even come sometimes to worry about their health.
For the little anecdote, at the last concert where I saw them, the bassist jumped so much that the scene was shaking, moving all their equipment and one of the guitarists, jumping too, has almost fallen … Fortunately that it was only 30 cm high! In conclusion: pity that the album has only 4 tracks because we would have enjoyed more than twenty without tiring!

Review Oldd WVRMS

Review of Codex Tenebris by Oldd Wvrms

Review Oldd WVRMS

Track list:

  1. Ténèbres
  2. A l’or, aux ombres et aux abîmes
  3. Misère & Corde
  4. La vallée des tombes
  5. Fléau est son âme

Want to buy Codex Tenebris ?

Codex Tenebris is the name of the new EP of the Belgian band Oldd Wvrms.

First, the name of the album fits very well because the song are indeed imbued with darkness, heaviness. Throughout the listening you feel the “darkness” that weights on you and lurks in the shadow.

Musically speaking, it’s very good. During an interview, the members of the band explained to me that they had chosen to stop singing, which in their opinion served the music. I have also listened to their previous two opus “Ignobilis” and “Ritae” and I can agree that stopping to sing was not a bad idea.

To continue the “comparison” between their three albums, I would say that I love them all as much as the others but for different reasons. No matter which one you choose, Oldd Wvrms’ leitmotiv remains the same, do things thoroughly, cleanly and correctly and you feel it.

To sum things up, if you love local quality products, Codex Tenebris is for you. If like me, you like to travel, to be transported to the depths of your soul when you listen to music, you must absolutely listen to Codew Tenebris but also to the rest of Oldd Wvrms’ discography.

Cortez - "No More Conqueror"

Cortez - "No More Conqueror"

Cortez - "No More Conqueror"

Release : November 9th 2018

Style : Hardcore

Country : Switzerland

Cortez is a powerful Swiss trio composed of Antoine LÄNG (Singer), Samuel VANEY (Guitarist), Grégoire QUARTIER (Drummer) and for the first time and only for this opus : Loic GROBETTY (Bassist). They present us their new album : “No More Conqueror”. 

Explosive dimension of sounds between Hardcore, Mathcore and Noise Rock. Cortez offers a vicious and aggressive sound that shows technical ability and skill. All along the opus, a great dynamic and an explosive energy devastating everything in its path are released. A massive production of robust riffs and percussions hitting heavily for fiery repercussions. The voice screamed at distance brings more this dimension of rage. This album is the first with Antoine LÄNG as singer and he is brilliant and tenacious in his role. The tracks follow one another with a strong intensity, taking everything with them in a violent storm, all this devoured by a breathtaking and stimulating energy that remains as aggressive as ever.  A set concentrated allowing you to feel even more the ardor that grips them. Thanks to titles from 3 to 4 minutes we get to the point and hit heavily. 

Cortez operates in a magic of intense rage mixing technical agility and devastating sound with great skill. “No More Conqueror” doesn’t leave us indifferent and takes us into a dimension of ardor and bubbling energy. 

For further information :


CHVE “10910”

Released : 2016

Style : Dark Ambiant / Neo meditative -contemplative music

Label : Counsouling Sounds

Country : Belgium

CHVE are the initials of Colin H. Van EECKHOUT. Here id about the personal and intimate artwork/craft of  the voice and one of the 5 hearts of AMENRA. Originally from Courtrai, Colin is initially issued from the hardcore scene. he played in different bands one of them was Spineless. Present in lots of artistic and musical collaborations in different environments .

Particularly known for his identity of the charismatic singer within the founder band of the Church Of Ra. I would qualify him of “provided with a charismatic humility”. It’s a kind of personality running away from the highlights while he’s inescapably propelled on the  foreground by  his artistic power contained in all he  undertakes. He imparts this paradoxal feeling of a mystic experience lived in pain. Proper to those who create with

CHVE are the initials of Colin H. Van EECKHOUT. Here id about the personal and intimate artwork/craft of  the voice and one of the 5 hearts of AMENRA. Originally from Courtrai, Colin is initially issued from the hardcore scene. he played in different bands one of them was Spineless. Present in lots of artistic and musical collaborations in different environments .

Particularly known for his identity of the charismatic singer within the founder band of the Church Of Ra. I would qualify him of “provided with a charismatic humility”. It’s a kind of personality running away from the highlights while he’s inescapably propelled on the  foreground by  his artistic power contained in all he  undertakes. He imparts this paradoxal feeling of a mystic experience lived in pain. Proper to those who create with their guts. You can name it a psychomachia.

I think you admire it or not but you can’t stay indifferent.

their guts. You can name it a psychomachia.

I think you admire it or not but you can’t stay indifferent.

This opus was published in 2016 by consouling sounds, following the previous issue of the artist RASA (2015) and extending it. It’s a long track of 26 minutes comporting 3 titles « RASA », « Le Petit Chevalier » and « Charon ».
It’s a live recording.

The common thread of those sound  is the gurdy that CHVE uses as a genuine crucible imposing its long and solemn meditative spreads. That instrument is originally medieval, its body is closer to a lute’s one. Here you’ll be able to discover the impact of this kind of tool coupled to the angelic voice of Van Eeckhout who alternates psalmodies, singings and whispers.

The whole punctuated by discreet drums and some bass lines. It can be crude at first, but in no way. The work of the sound and
and consistency are  indeed present, No feeling of emptiness to be regretted.

“Le Petit Chevalier » is a title of the 70’s of ” Nico” with some evocative lyrics.

The redundancy of the phrasing combined with the gurdy are quite hypnotic just like the positionnement of the singings ornemented with typical medieval melismas.

Subjectively, the masterpiece of this opus is this third title, Charon. It contains an ethereal delightfully bitter volubility and is especially peculiar to Colin Van Eeckhout. The video of this title is sumptuous and shows the sons of the musician.
In Greek mythology, Charon is the psychopomp, the old man who sails the waters of the Styx to bring the dead souls to the other side. All this is very symbolic  a father and his sons, the transmission, the passage of the previous generation.

Anyhow, the 3 titles are indivisible.

This way of transporting the listener in this monolithic and opaque atmosphere is reminiscent of the deep and close links that unite Colin and the Oakland band, NEUROSIS, specifically Scott Kelly in his work with “The Road Home”.

C’est sous la forme d’un digisleeve que j’ai acquis cet « album ». Le support physique est d’une importance sans pareil. Le concept visuel développé autour de la musique par le biais du packaging est capital. C’est le renforcement du sentiment autour d’une œuvre sonore et mélodique.  On pourrait en utilisant un oxymore, dire ici que nous somme face à un tableau « richement dépouillé ». Ce qui à mon sens sied parfaitement au type de mise en scène iconographique qu’utilise CHVE.

It is under the form of a digisleeve that I acquired this “album”. The physical medium is of unparalleled importance. The visual concept developed around music through packaging is crucial. It is the reinforcement of the feeling around an audible and melodic work. We could use an oxymoron, saying  that we are facing here a “richly stripped” painting. Which in my opinion perfectly suits the type of iconographic staging used by CHVE

The digi is matte black with a central circular medallion containing the gray-scale photo of a newly born black lamb that seems to be taking its first steps.

At the opening of the digipack, we find this circular but white medallion sealing Colin’s face while he’s playing gurdy.

That highlights several things to enter into his own artistic dimension.

First, it does not show the “figure”, of the “singer of AMENRA”. What may seem vain because it is his trademark stage, evolving live largely turning his back to the crowd in a form of self retreat. This paradox thus offers the two perspectives of the approach.

The gurdy stands  photographically in front of the picture, as well as the hands of the artist, showing the way to the listener on what is primordial in this work.

Last but not least, the image of the lamb that goes from one panel to the other perfectly fitting in this solar form and taking the place of the gurdy player. A form of allegory of himself in filigree of this iconographic Christic figure of the Mystic Lamb coming to wash away humanity of its sins with his innocence.

But this lamb is black, which brings us back to the image of the black sheep, the dark loner, the marginal, the one who walks alone.

What seems to me all the more obvious when one dwells more deeply on the libretto is the relation to Art and Death.

Along the different photos, we discover that this black lamb is in fact naturalized, so he’s dead. If you watched the documentary “Le Petit Chevalier”, Colin talks about his vision of life, music, family and art. He tells about the loss of his father and a kind of fatality / family curse that men of previous generations didn’t live old aged. He lives and creates as if his days were counted, as if he had a “deadline”.

In this booklet, except for a very pure photograph of himself, you will also find a mutilated part of his body (the nipples) arranged on a table … “This is my body” … And a reliquary containing them, like two hosts in suspension. Testifying of this death in suspense. Indeed, the reliquaries contain only very rarely the relics of living people (exceptions have existed in the past in Europe).
Unless these relics are contained in a ciborium and are hosts called “the body of Christ” (Christ being resurrected, therefore living in the eyes of Christians).

There is here a true cathartic (literally) and ascetic will that is not unrelated to a Christic vision of the straight edge.

I can only advise you to buy this CD, to listen to it alone. Check the videos related to this opus, contemplate the booklet and make sense of this artistic concept in its entirety.

You could dive deeply into yourself…

Fabulae Dramatis - "Solar Time's Fables"

Fabulae Dramatis - "Solar Time's Fables"

Fabulae Dramatis - "Solar Time's Fables"

Released: September 29th  2017

Style: Progressive Metal

Country: Belgium

The band Fabulae Dramatis from Belgium, presents their second album, out last year “Solar Time’s Fables”. One word to describe it is diversity : In the mix of styles ,the mix of cultures ,the instruments and the languages . A true travel in the heart of the universe of Fabulae Dramatis and their concept album is about fables and stories of the world cultures and never stops to surprise during the listening.

Their music described as Metal Progressive and Forefront represents the diversity of their experimental music. It’s a mix of different styles between Symphonic metal, Death, Power and Folk allied with music of the world style. All the titles are different and have their own personality that makes the strength of this album. This diversity is also strengthened with the alliance of the voices : Isabel Restrepo brings a huge voices range of mezzo-soprano and growl ; Wesley Beernaert’s voice is a beautiful mix between clean and harsh. The other thing that marked me on this album is the quality of the guitar solos on titles such as “Sati (Fire II)” or the final song “Barren (Gravel)”. More we get into the album, more the songs are experimental and more the travel is intense. We find a lots of varied instruments: Djembe, Sitar, harmonium, saxophone, violin, accordion… We can quote some songs that give a beautiful originality such as: The remarkable « Roble Para El Corazon » : a rhythmic tango mixed subtly with some guitars and melodic lines;  « Sirius Wind » that brings a jazz and groovy touch thanks to the saxophone and « Nok Terracottas » accentuated of violins bringing a good rhythm. The song « Forest » allows you to meet a lovely instrument: the Sitar. All the instruments mark and enrich the songs and bring a folk rhythm with delicacy and a melodic side.

It is difficult to extract and evoke all the subtleties of “Solar Time’s Fables” due the diversity. An intense travel full of different sensations , emotions and atmospheres. Fabulae Dramatis gives an eclectic music between Metal and World music , that surprise and mark you ; not leaving you insensitive. The strength of « Solar Time’s Fables “, is found on his originality and his diversity and captivates you from the beginning to the end.