83CD - Eclectic Maybe Band - Reflection In A Moebius Ring Mirror

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To hear tracks from this CD/DL please follow this link to the Bandcamp player.

 

If you decide to buy PLEASE return to this page to place your order because:

 

1 - It will cost you less - Bandcamp adds 20% VAT to the basic price you pay

2 - Discus pays 15% commission on the basic price to Bandcamp, so we receive less

3 - If you spend more than £25 on this site you get a 30% discount above that limit

 

We love Bandcamp for its player and download delivery - but prefer you to buy direct from here!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 






Description

A second volume of the Guy Segers project where the basic live band session is enhanced by an extensive post production involving contributions from a wide range of musicians. This time round several tracks in the collection are focussed around the intense and distinctive voice of Carla Diratz.

 

Follow Discus Music on Facebook

 

 

 

Performers
Carla Diratz (Vocals)
Cathryn Robson (Vocals)
Roland Binet (Flute, Piccolo)
Martin Archer (Sax Sopranino & Alto)
Joe Higham (Sax Soprano & Tenor, Electronics)
Dave Newhouse (Sax Alto & Tenor, Bass Clarinet)
Jean-Pierre Soarez (Trumpet)
Ariane Plumerel (Violin)
Sigrid Vandenbogaerden (Cello)
Michel Delville (Guitar)
Eric Lemaître (Guitar)
Ángel Ontalva (Guitar)
Andy Kirk (Guitar, Keyboards)
Catherine Smet (Piano, Keyboards)
Guy Segers (Bass, Programming Virtual Instruments)
Franck Balestracci (Keyboards, Drums)
Dirk Wachtelaer (Drums)


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A second volume of the Guy Segers project where the basic live band session is enhanced by an extensive post production involving contributions from a wide range of musicians. This time round several tracks in the collection are focussed around the intense and distinctive voice of Carla Diratz.

 

Follow Discus Music on Facebook

 

 

 

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Carla Diratz (Vocals)
Cathryn Robson (Vocals)
Roland Binet (Flute, Piccolo)
Martin Archer (Sax Sopranino & Alto)
Joe Higham (Sax Soprano & Tenor, Electronics)
Dave Newhouse (Sax Alto & Tenor, Bass Clarinet)
Jean-Pierre Soarez (Trumpet)
Ariane Plumerel (Violin)
Sigrid Vandenbogaerden (Cello)
Michel Delville (Guitar)
Eric Lemaître (Guitar)
Ángel Ontalva (Guitar)
Andy Kirk (Guitar, Keyboards)
Catherine Smet (Piano, Keyboards)
Guy Segers (Bass, Programming Virtual Instruments)
Franck Balestracci (Keyboards, Drums)
Dirk Wachtelaer (Drums)
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Carla Diratz (Vocals)
Cathryn Robson (Vocals)
Roland Binet (Flute, Piccolo)
Martin Archer (Sax Sopranino & Alto)
Joe Higham (Sax Soprano & Tenor, Electronics)
Dave Newhouse (Sax Alto & Tenor, Bass Clarinet)
Jean-Pierre Soarez (Trumpet)
Ariane Plumerel (Violin)
Sigrid Vandenbogaerden (Cello)
Michel Delville (Guitar)
Eric Lemaître (Guitar)
Ángel Ontalva (Guitar)
Andy Kirk (Guitar, Keyboards)
Catherine Smet (Piano, Keyboards)
Guy Segers (Bass, Programming Virtual Instruments)
Franck Balestracci (Keyboards, Drums)
Dirk Wachtelaer (Drums)
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Martin Archer‘s Discus label continues its sonic adventures with the latest release from Belgian bassist Guy Segers’s improv project the Eclectic Maybe Band. An improbable bevy of some of the finest improv musicians, the project finds group-constructed freeform pieces sitting side by side with Guy’s speciality, which is taking improv recordings from different sessions and then stitching them together in the studio over a bass-line written especially to accompany the segments. 

 

It is a fascinating and I imagine a rather painstaking approach, but one that reveals some extraordinary results. Allied to the fact that he has enlisted the mysterious Carla Diratz to vocalise over the top of some of these pieces, it all makes for an almost overwhelming stew of ideas and textures. There is much to take in on Reflection In A Moebius Ring Mirror, particularly as some of the pieces weigh in at over ten minutes and find various soloists being given the opportunity to stretch their legs over their unfurling. 

 

Opener “Horizontal Bounce” is one of the live septet recordings which commences with rolling drums of Dirk Wachtelaer and the probing deep bass of Guy himself. As a rhythm section, they are tight and provide a constant sense of momentum, but it has a shadowy feel, surreptitious and shadow-hugging. Joe Higham‘s horn is smooth and the whole thing feels kind of slinky, alert yet cool. There is an expansive guitar solo that ends up duelling with a flute and cavorting deliciously down the empty street. 

 

The album owes as much to post-rock as it does to jazz, but trying to categorize it is pointless. “Socie De Gouache”, a collective improv, is a lazy piano riff surrounded by curious sound samples that act as little triggers like a patchwork sample, obfuscated and camouflaged with judicious snare. “Oncoming Season Wake” , one of Guy’s studio constructions, gives us our first introduction to Carla’s vocals; the phrasing is unusual, as if she is trying out a new mouth and is unsure as to whether it works, so is pushing it to its limits, twisting vowels and stretching consonants. Her voice is husky and a little weary, and it is hard to believe that it was delivered over a pre-prepared track as its slight sense of unease somehow prevents the rest from settling. 

 

The album continues in this vein, the two methods juxtaposed, but leading to a connected whole. The collective woodland improv of “Liquid Tempo In A Lost Period” finds the flute as the main protagonist, even though everybody has an opportunity to add to the search; whereas the cut-up of “Quoi?” is quite overwhelming, with the music attempting to fly on all manner of directions. It has label supremo Martin blowing some lovely clear sax, while Carla’s vocals again eschew tradition and find their own meter. It is a fascinating voice that adds such mystery to the pieces, and it is interesting that those pieces constructed by Guy around one of his basslines are often the jazziest. 

 

Elsewhere, we have spy-theme wah-guitar, beautiful pastoral piano from Catherine Smet and even a sub-aquatic piece that evokes roiling seas, with mysterious movements and sounds emanating from points unseen. In fact on “‘Spreading An Invisible Stream”, Carla’s lyrics emerge from the murk, “half way down, half naked, half lobotomized”. It couldn’t be more curious. 

 

Overall, Reflection In A Moebius Ring Mirror is a release of unparalleled scope, almost astounding in its reach, but with its beauty and sense of questing allowing the listener opportunities to immerse themselves. The players are all superb, and Guy’s way around the studio means that his constructed tracks are seamless yet exploratory. It is well worth taking a dip into these welcoming waters — but watch out for the currents. - Mr Olivetti, FREQ

 

Und da ist auch schon Album Nummer 2. Ein gutes Jahr nach dem Erscheinen von "The Blind Night Watchers' Mysterious Landscapes" legt das belgische RIO-Bassurgestein Guy Segers ein zweites Album seiner Eclectic Maybe Band nach. Veröffentlicht wurde "Reflections In A Moebius Ring Mirror" im (schon recht warmen) Frühsommer 2019 wieder auf Martin Archers Label Discus Music.

 

 

Bot das erste Album relativ spontane, wohl meistenteils live im Studio entstandene Nummern, ist auf "Reflections In A Moebius Ring Mirror" auskomponierteres, bzw. ausgefeilter produziertes und mit diversen Beiträgen von Gastmusikern angereichertes Material zu finden. Die Hälfte der Nummern (die Tracks 1,2,4,6,7,8) wurde diesmal von einem Septett eingespielt (die sechs Musiker die schon auf "The Blind Night Watchers' Mysterious Lands" zu hören waren, plus Andy Kirk - Segers ehemaliger Univers-Zero-Kollege). Die restlichen Tracks basieren auf Bass-Elektronik-Gemengen, die Guy Segers kreiert, und in die er dann die Gastklänge eingebaut hat. Auch wenn sich in diesen Stücken nie eine richtige Band in einem Studio getroffen hat, ist dabei durchaus ein dichter Gruppensound entstanden (man höre z.B. das abschließende "The perfume of the flying room"). 

 

Einiges an Gesang ist diesmal zu vermelden (der Vorgänger war ganz instrumental gehalten), insbesondere von Carla Diratz (siehe Diratz), die mit ihrem dunklen Alt einige der Stücke prägt. Dazu kommen diverse namhafte Instrumentalisten, Dave Newhouse von den Muffins z.B., oder Franck Balestracci, Jean-Pierre Soarez (einst bei Art Zoyd), Angel Ontalva (von October Equus) und Martin Archer, die für klangliche Abwechslung und virtuose Soli sorgen. 

 

In musikalischer Hinsicht wird eine interessante Mischung aus franko-belgischem Jazzrock à la The Wrong Object, freierem elektroakustischem, atmosphaerisch hallendem Tonbasteln (im langen und voluminösen "Spreading an invisible stream" z.B.), düsteren Progrockgemengen mit Kammerrocktendenzen, die bisweilen nach einer modernisierten, elektronischeren Variante von Univers Zero klingen, und frei-schrägem Freispieldurcheinander geboten. Oder, das Album bietet ein buntes Gemenge dieser Stile, druckvoll produziert, beeindruckend intensiv und virtuos musiziert, und bisweilen erweitert um bluesig-jazzige Songmomente oder textlose Stummeinlagen. Druckvoll gemastert hat das Ganze wieder Pierre Vervloesem.

  

"Reflections In A Moebius Ring Mirror" ist eine sehr willkommene Wortmeldung aus dem erweiterten belgischen Avantproguntergrund, die jedem Liebhaber, jeder Liebhaberin solcher Klänge, insbesondere der Musik der verschiedenen Projekte an denen Segers und Delville sonst beteiligt sind oder waren, sehr empfohlen sei. - Achim Breiling, BABYBLAUE SEITEN

 

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Martin Archer‘s Discus label continues its sonic adventures with the latest release from Belgian bassist Guy Segers’s improv project the Eclectic Maybe Band. An improbable bevy of some of the finest improv musicians, the project finds group-constructed freeform pieces sitting side by side with Guy’s speciality, which is taking improv recordings from different sessions and then stitching them together in the studio over a bass-line written especially to accompany the segments. 

 

It is a fascinating and I imagine a rather painstaking approach, but one that reveals some extraordinary results. Allied to the fact that he has enlisted the mysterious Carla Diratz to vocalise over the top of some of these pieces, it all makes for an almost overwhelming stew of ideas and textures. There is much to take in on Reflection In A Moebius Ring Mirror, particularly as some of the pieces weigh in at over ten minutes and find various soloists being given the opportunity to stretch their legs over their unfurling. 

 

Opener “Horizontal Bounce” is one of the live septet recordings which commences with rolling drums of Dirk Wachtelaer and the probing deep bass of Guy himself. As a rhythm section, they are tight and provide a constant sense of momentum, but it has a shadowy feel, surreptitious and shadow-hugging. Joe Higham‘s horn is smooth and the whole thing feels kind of slinky, alert yet cool. There is an expansive guitar solo that ends up duelling with a flute and cavorting deliciously down the empty street. 

 

The album owes as much to post-rock as it does to jazz, but trying to categorize it is pointless. “Socie De Gouache”, a collective improv, is a lazy piano riff surrounded by curious sound samples that act as little triggers like a patchwork sample, obfuscated and camouflaged with judicious snare. “Oncoming Season Wake” , one of Guy’s studio constructions, gives us our first introduction to Carla’s vocals; the phrasing is unusual, as if she is trying out a new mouth and is unsure as to whether it works, so is pushing it to its limits, twisting vowels and stretching consonants. Her voice is husky and a little weary, and it is hard to believe that it was delivered over a pre-prepared track as its slight sense of unease somehow prevents the rest from settling. 

 

The album continues in this vein, the two methods juxtaposed, but leading to a connected whole. The collective woodland improv of “Liquid Tempo In A Lost Period” finds the flute as the main protagonist, even though everybody has an opportunity to add to the search; whereas the cut-up of “Quoi?” is quite overwhelming, with the music attempting to fly on all manner of directions. It has label supremo Martin blowing some lovely clear sax, while Carla’s vocals again eschew tradition and find their own meter. It is a fascinating voice that adds such mystery to the pieces, and it is interesting that those pieces constructed by Guy around one of his basslines are often the jazziest. 

 

Elsewhere, we have spy-theme wah-guitar, beautiful pastoral piano from Catherine Smet and even a sub-aquatic piece that evokes roiling seas, with mysterious movements and sounds emanating from points unseen. In fact on “‘Spreading An Invisible Stream”, Carla’s lyrics emerge from the murk, “half way down, half naked, half lobotomized”. It couldn’t be more curious. 

 

Overall, Reflection In A Moebius Ring Mirror is a release of unparalleled scope, almost astounding in its reach, but with its beauty and sense of questing allowing the listener opportunities to immerse themselves. The players are all superb, and Guy’s way around the studio means that his constructed tracks are seamless yet exploratory. It is well worth taking a dip into these welcoming waters — but watch out for the currents. - Mr Olivetti, FREQ

 

Und da ist auch schon Album Nummer 2. Ein gutes Jahr nach dem Erscheinen von "The Blind Night Watchers' Mysterious Landscapes" legt das belgische RIO-Bassurgestein Guy Segers ein zweites Album seiner Eclectic Maybe Band nach. Veröffentlicht wurde "Reflections In A Moebius Ring Mirror" im (schon recht warmen) Frühsommer 2019 wieder auf Martin Archers Label Discus Music.

 

 

Bot das erste Album relativ spontane, wohl meistenteils live im Studio entstandene Nummern, ist auf "Reflections In A Moebius Ring Mirror" auskomponierteres, bzw. ausgefeilter produziertes und mit diversen Beiträgen von Gastmusikern angereichertes Material zu finden. Die Hälfte der Nummern (die Tracks 1,2,4,6,7,8) wurde diesmal von einem Septett eingespielt (die sechs Musiker die schon auf "The Blind Night Watchers' Mysterious Lands" zu hören waren, plus Andy Kirk - Segers ehemaliger Univers-Zero-Kollege). Die restlichen Tracks basieren auf Bass-Elektronik-Gemengen, die Guy Segers kreiert, und in die er dann die Gastklänge eingebaut hat. Auch wenn sich in diesen Stücken nie eine richtige Band in einem Studio getroffen hat, ist dabei durchaus ein dichter Gruppensound entstanden (man höre z.B. das abschließende "The perfume of the flying room"). 

 

Einiges an Gesang ist diesmal zu vermelden (der Vorgänger war ganz instrumental gehalten), insbesondere von Carla Diratz (siehe Diratz), die mit ihrem dunklen Alt einige der Stücke prägt. Dazu kommen diverse namhafte Instrumentalisten, Dave Newhouse von den Muffins z.B., oder Franck Balestracci, Jean-Pierre Soarez (einst bei Art Zoyd), Angel Ontalva (von October Equus) und Martin Archer, die für klangliche Abwechslung und virtuose Soli sorgen. 

 

In musikalischer Hinsicht wird eine interessante Mischung aus franko-belgischem Jazzrock à la The Wrong Object, freierem elektroakustischem, atmosphaerisch hallendem Tonbasteln (im langen und voluminösen "Spreading an invisible stream" z.B.), düsteren Progrockgemengen mit Kammerrocktendenzen, die bisweilen nach einer modernisierten, elektronischeren Variante von Univers Zero klingen, und frei-schrägem Freispieldurcheinander geboten. Oder, das Album bietet ein buntes Gemenge dieser Stile, druckvoll produziert, beeindruckend intensiv und virtuos musiziert, und bisweilen erweitert um bluesig-jazzige Songmomente oder textlose Stummeinlagen. Druckvoll gemastert hat das Ganze wieder Pierre Vervloesem.

  

"Reflections In A Moebius Ring Mirror" ist eine sehr willkommene Wortmeldung aus dem erweiterten belgischen Avantproguntergrund, die jedem Liebhaber, jeder Liebhaberin solcher Klänge, insbesondere der Musik der verschiedenen Projekte an denen Segers und Delville sonst beteiligt sind oder waren, sehr empfohlen sei. - Achim Breiling, BABYBLAUE SEITEN

 

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To hear tracks from this CD/DL please follow this link to the Bandcamp player.

 

If you decide to buy PLEASE return to this page to place your order because:

 

1 - It will cost you less - Bandcamp adds 20% VAT to the basic price you pay

2 - Discus pays 15% commission on the basic price to Bandcamp, so we receive less

3 - If you spend more than £25 on this site you get a 30% discount above that limit

 

We love Bandcamp for its player and download delivery - but prefer you to buy direct from here!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

[custom_param] => [custom_price] => [ordering] => 2 [display] =>

To hear tracks from this CD/DL please follow this link to the Bandcamp player.

 

If you decide to buy PLEASE return to this page to place your order because:

 

1 - It will cost you less - Bandcamp adds 20% VAT to the basic price you pay

2 - Discus pays 15% commission on the basic price to Bandcamp, so we receive less

3 - If you spend more than £25 on this site you get a 30% discount above that limit

 

We love Bandcamp for its player and download delivery - but prefer you to buy direct from here!

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Reviews

 

Martin Archer‘s Discus label continues its sonic adventures with the latest release from Belgian bassist Guy Segers’s improv project the Eclectic Maybe Band. An improbable bevy of some of the finest improv musicians, the project finds group-constructed freeform pieces sitting side by side with Guy’s speciality, which is taking improv recordings from different sessions and then stitching them together in the studio over a bass-line written especially to accompany the segments. 

 

It is a fascinating and I imagine a rather painstaking approach, but one that reveals some extraordinary results. Allied to the fact that he has enlisted the mysterious Carla Diratz to vocalise over the top of some of these pieces, it all makes for an almost overwhelming stew of ideas and textures. There is much to take in on Reflection In A Moebius Ring Mirror, particularly as some of the pieces weigh in at over ten minutes and find various soloists being given the opportunity to stretch their legs over their unfurling. 

 

Opener “Horizontal Bounce” is one of the live septet recordings which commences with rolling drums of Dirk Wachtelaer and the probing deep bass of Guy himself. As a rhythm section, they are tight and provide a constant sense of momentum, but it has a shadowy feel, surreptitious and shadow-hugging. Joe Higham‘s horn is smooth and the whole thing feels kind of slinky, alert yet cool. There is an expansive guitar solo that ends up duelling with a flute and cavorting deliciously down the empty street. 

 

The album owes as much to post-rock as it does to jazz, but trying to categorize it is pointless. “Socie De Gouache”, a collective improv, is a lazy piano riff surrounded by curious sound samples that act as little triggers like a patchwork sample, obfuscated and camouflaged with judicious snare. “Oncoming Season Wake” , one of Guy’s studio constructions, gives us our first introduction to Carla’s vocals; the phrasing is unusual, as if she is trying out a new mouth and is unsure as to whether it works, so is pushing it to its limits, twisting vowels and stretching consonants. Her voice is husky and a little weary, and it is hard to believe that it was delivered over a pre-prepared track as its slight sense of unease somehow prevents the rest from settling. 

 

The album continues in this vein, the two methods juxtaposed, but leading to a connected whole. The collective woodland improv of “Liquid Tempo In A Lost Period” finds the flute as the main protagonist, even though everybody has an opportunity to add to the search; whereas the cut-up of “Quoi?” is quite overwhelming, with the music attempting to fly on all manner of directions. It has label supremo Martin blowing some lovely clear sax, while Carla’s vocals again eschew tradition and find their own meter. It is a fascinating voice that adds such mystery to the pieces, and it is interesting that those pieces constructed by Guy around one of his basslines are often the jazziest. 

 

Elsewhere, we have spy-theme wah-guitar, beautiful pastoral piano from Catherine Smet and even a sub-aquatic piece that evokes roiling seas, with mysterious movements and sounds emanating from points unseen. In fact on “‘Spreading An Invisible Stream”, Carla’s lyrics emerge from the murk, “half way down, half naked, half lobotomized”. It couldn’t be more curious. 

 

Overall, Reflection In A Moebius Ring Mirror is a release of unparalleled scope, almost astounding in its reach, but with its beauty and sense of questing allowing the listener opportunities to immerse themselves. The players are all superb, and Guy’s way around the studio means that his constructed tracks are seamless yet exploratory. It is well worth taking a dip into these welcoming waters — but watch out for the currents. - Mr Olivetti, FREQ

 

Und da ist auch schon Album Nummer 2. Ein gutes Jahr nach dem Erscheinen von "The Blind Night Watchers' Mysterious Landscapes" legt das belgische RIO-Bassurgestein Guy Segers ein zweites Album seiner Eclectic Maybe Band nach. Veröffentlicht wurde "Reflections In A Moebius Ring Mirror" im (schon recht warmen) Frühsommer 2019 wieder auf Martin Archers Label Discus Music.

 

 

Bot das erste Album relativ spontane, wohl meistenteils live im Studio entstandene Nummern, ist auf "Reflections In A Moebius Ring Mirror" auskomponierteres, bzw. ausgefeilter produziertes und mit diversen Beiträgen von Gastmusikern angereichertes Material zu finden. Die Hälfte der Nummern (die Tracks 1,2,4,6,7,8) wurde diesmal von einem Septett eingespielt (die sechs Musiker die schon auf "The Blind Night Watchers' Mysterious Lands" zu hören waren, plus Andy Kirk - Segers ehemaliger Univers-Zero-Kollege). Die restlichen Tracks basieren auf Bass-Elektronik-Gemengen, die Guy Segers kreiert, und in die er dann die Gastklänge eingebaut hat. Auch wenn sich in diesen Stücken nie eine richtige Band in einem Studio getroffen hat, ist dabei durchaus ein dichter Gruppensound entstanden (man höre z.B. das abschließende "The perfume of the flying room"). 

 

Einiges an Gesang ist diesmal zu vermelden (der Vorgänger war ganz instrumental gehalten), insbesondere von Carla Diratz (siehe Diratz), die mit ihrem dunklen Alt einige der Stücke prägt. Dazu kommen diverse namhafte Instrumentalisten, Dave Newhouse von den Muffins z.B., oder Franck Balestracci, Jean-Pierre Soarez (einst bei Art Zoyd), Angel Ontalva (von October Equus) und Martin Archer, die für klangliche Abwechslung und virtuose Soli sorgen. 

 

In musikalischer Hinsicht wird eine interessante Mischung aus franko-belgischem Jazzrock à la The Wrong Object, freierem elektroakustischem, atmosphaerisch hallendem Tonbasteln (im langen und voluminösen "Spreading an invisible stream" z.B.), düsteren Progrockgemengen mit Kammerrocktendenzen, die bisweilen nach einer modernisierten, elektronischeren Variante von Univers Zero klingen, und frei-schrägem Freispieldurcheinander geboten. Oder, das Album bietet ein buntes Gemenge dieser Stile, druckvoll produziert, beeindruckend intensiv und virtuos musiziert, und bisweilen erweitert um bluesig-jazzige Songmomente oder textlose Stummeinlagen. Druckvoll gemastert hat das Ganze wieder Pierre Vervloesem.

  

"Reflections In A Moebius Ring Mirror" ist eine sehr willkommene Wortmeldung aus dem erweiterten belgischen Avantproguntergrund, die jedem Liebhaber, jeder Liebhaberin solcher Klänge, insbesondere der Musik der verschiedenen Projekte an denen Segers und Delville sonst beteiligt sind oder waren, sehr empfohlen sei. - Achim Breiling, BABYBLAUE SEITEN