Hooverphonic enter new stage of career, sans lead singer
Belgium’s most popular name on the electro-pop scene return with a new album and a host of guest singers
In Wonderland
“At a certain point in your life, you start seeing things differently,” says the band’s leader, Alex Callier (pictured right). With just himself and guitarist Raymond Geerts (left) remaining, it is the first time in the band’s 21-year history that they will perform as a duo. In their ongoing successful career, Hooverphonic have seen seven members come and go, including five singers.
The story with the band’s female vocalists reads like a fast-paced record. The first three came and went in the first three years. In 1998, Geike Arnaert became the voice of the band, but she departed in 2008 to pursue a solo career.
Two years later, Noémie Wolfs filled the spot. The band released two albums that included major hits like “The Night Before” and “Amalfi”. But last year, the collaboration came to an end.
Although Wolfs didn’t quite match with the rest of the group in terms of style, Callier argues that that wasn’t the main reason behind her departure. “We just weren't seeing eye to eye anymore. There are no hard feelings, and we still talk when we see each other. But the chemistry you need to feel between the band members was gone.”
No hard feelings
Callier says the decision to part ways was mutual, but he regrets that Wolfs has since “stated that she was the one who chose to leave”. Crisis breeds opportunity, however, and the break up, he adds, has worked out for the best. “Noémie is bringing out some solo stuff, and we’ve recorded an album that we couldn’t have put together before.”
Meet In Wonderland. Musically, it is arguably the most varied album Hooverphonic has ever released. “Thanks to streaming services, we’ve gone back to the era of individual songs,” Callier says. “Albums have become less important, especially for the younger generations.”
It feels like an eclectic soundtrack for an art house film
The change compelled the band to opt for a less uniform album, something that “feels like an eclectic soundtrack for an art house film”. When they were making it, Callier says, “we felt like kids in a candy store”.
Two songs on the album, “Moving” and “God’s Gift”, were written more than 10 years ago. “They were meant for the album No More Sweet Music, but they didn’t fit Geike’s voice,” explains Callier, referring to the band’s vocalist at the time.
Instead of looking for another female singer, Callier says, “we wanted to seize the opportunity to finally release these records” and opted for a male singer.
Songs unsung
Then they dug up even more songs they hadn’t used in the past and went looking for more singers. In the end, six voices, male and female, can be heard on the new album.
Does this mean the quest for a lead vocalist is over? “You never know,” Callier says. “But it will have to be a damn good singer. That’s the nice thing about being a musician ‒ you know where you start, but you never know where you’re gonna end up.”
He’s quick to dismiss any notion that In Wonderland is a collection of remnants of a bygone era. “We have selected these songs purposefully,” he says. “They’re not leftovers. Don’t forget that you can cook up a delicious new meal with whatever uneaten food you find in the fridge.”
We couldn’t release these songs because our formula was limited, but those limitations are gone now
As for what the critics might think, he couldn’t care less. “We’ve been nurturing these songs for years. We couldn’t release them because our formula was limited, but those limitations are gone now.”
In Wonderland is a vivid and poignant album that runs just past the half-hour mark. It is a collection of five singles with an A and B side, and comes in both digital and physical forms, CD and vinyl. There is even a box set version of five seven-inch records, but it’s limited to 300 copies.
“It’s an album that reflects perfectly who we are,” Callier says. “We have very diverse taste in music. I can easily switch from ‘Wichita Lineman’ by Glen Campbell or Françoise Hardy to the new semi-psychedelic album by Ray LaMontagne.”
The free spirit of the album runs the risk of disappointing some dedicated followers. When the band released the song “Cocaine Kids” as a teaser last year, they heard from plenty of their fans, Callier says. “A lot of them wrote that if the whole album was like that, they wouldn’t buy it.”
High winds
Sitting next to Callier is Geerts, the only other founding member still active in Hooverphonic. But the solemn guitarist keeps to himself and doesn’t say much during the entire interview. As usual, Callier does most of the talking.
It is this relationship between Callier’s loud and persuasive character and Geerts’ more reserved one that has led to the misconception that Hooverphonic is mainly about the former. While Callier does most of the songwriting, he is quick to dismiss such speculations.
“High winds blow on high hills, right? I really believe that the whole is greater than the sum of its parts. We make all decisions together and really complement each other.”
This wasn’t always the case for Hooverphonic. Following the release of their second album in 1999, the other founding member, Frank Duchêne, left the band. “The problem with Frank was that he wanted to hold the same spot in the band as me. But an orchestra can’t have two conductors.”
Callier, on the other hand, knows his role: “Writing, producing and mixing songs. That’s a very privileged position. If I did it as a solo artist, it would never be the same.”
Photo courtesy Greenhouse Talent
More new albums this month
Few Bits
Big Sparks • [PIAS]
Three years after releasing an eponymously titled debut, the Antwerp band Few Bits is back with a new album filled with sparkling pop songs. The effervescent music on Big Sparks is contrasted by the melancholic voice of frontwoman Karolien Van Ransbeeck, whose voice brings to mind the great Hope Sandoval of the American band Mazzy Star. Even though Few Bits’ songs are generally more up-tempo, sometimes even summery, they do have some more intimate songs in store, and they are at least as convincing as the more vibrant tunes. The album will be released on 25 March. ★★☆☆
Wim Mertens
What Are We, Locks, to Do? • WMM
Last summer, Wim Mertens released Charaktersketch, the first part of a trilogy. What Are We, Locks, to Do? is the second and comes off quite differently. After the first’s chamber music, Mertens opts here for solo piano and vocals (and a few whistles). He sings in his characteristically high-pitched counter-tenor, using a self-created language that at times resembles real words, though mostly it doesn’t. The titles of the songs do provide some clues as to what they’re about (“Mixed with hellebore”, “But the archer himself feeling the arrow's point from another bow”). The songs are inspired by the work of Callimachus, the Greek poet from the third century BC. ★★★☆
