ARANIS

First album from this fairly new Flemish group (from Antwerp like their older brother DAAU) that seems to draw much inspiration from their country's tradition of Chamber prog music. Their debut album was issued with the help of the Flemish culture ministry. Indeed a cross of Univers Zero, DAAU and Julverne, Aranis is a fully acoustic septet (with five missus in the line-up) that draws much on the classical period as well as the modern classical. All their music is written by contrabassist Joris Vanvinckenroye; mainly instrumental music, but when sung, it is by the only non-Belgian Jana Arns.

From the opening piano notes of Indrigo, soon accompanied by a bass and a shrill flute, the group gets into a solid groove, lead by Kennes' piano to the closing sinister Wespengraf's death throes, you'll find yourself on familiar territory if familiar to Belgian avant-prog. Their music hesitates between folk (mainly induced by Cools' accordion, reminding of Cro Magnon's latest album) and repetitive hypnotic (sometimes even haunting) modern classical, not veering atonal, but nearing into the dissonant (Pantra & Labyrinth). Somehow their type of music is also reminding me of Quebec's Mundi Domini. Leader Vanvinckenroye gets help from his brother Edwin on violin (and deeply imbedded vocals) in the album's centrepiece, the stunning medieval-sounding 15-mins Zilezi, which dwarves many other songs on this album by its sheer sense of drama. Of the second part of the album, Labyrinth is the most interesting, partly because of its tension throughout the track's duration, but the closer is also interesting with its doomy (UZ is not far away) atmosphere contrasting with the album's more joyous start.

Typically in the fashion of the Belgian chamber prog, Aranis manages a splendid fusion of folk, modern classical with a twist or pre-classical, and they can logically be called DAAU's little sister. As interesting as Artanis can sound, you might want to check out the other groups mentioned all through this review.

Aranis' debut is a strong example of the Belgian Chamber Rock scene. It is the brainchild of bass player Joris Vanvinckenroye, also known from the band he formed with his two brothers named Troissoeur (which is either proof of their goofy sense of humour or of the decline of the French language here in Flanders).

I would describe their sound as half Univers Zero and half Philip Glass. You can hardly call them innovative but they make great compositions. Especially the first half of the album is breathtaking: energetic pieces heavy on pulsating bass guitar, sharp violins and splendid accordion playing. Also the flutes are very prominent. The acoustic guitar and piano play second fiddle and are used to add details and rhythm to the pieces.

I have seen two live concerts from Aranis and I must conclude that a live setting must be the environment they feel most comfortable in. This album is really excellent but does not fully capture their overwhelming live experience which would deserve 5 stars from me.

Flemish and frequently feminine, these fine performers fabricate first-rate...music (so the alliteration failed me). I am not altogether sure what would qualify this album as avant-garde music in any sense of the term, but I do not care. This is absolutely gorgeous music birthed from completely classical sensibilities. My only major complaint is that during the second half the compositions themselves run out of fuel, thereby becoming more and more uninteresting. No, this is not rock- not in the vaguest sense of the term- but for those with any penchant for classical or chamber music, this is a must. Aranis's debut is quite a delightful surprise from a previously unknown Flemish septet.

"Indrigo" What an opener! Stuccato flute moves in, giving way to jabs from the violin and a steady, concentrated bass line. The pairing of the violin and flute create a concentrated blend of melodies that flow over rhythms that wax and wane in intensity.

"Jona" Subdued, yet with rich bows of bass sweet violin, this is a piece that lavishes the listeners with robust passages full of strings, but some massages the eardrums. I can only close my eyes and absorb the grandeur of the music.

"Vuur" The music is far busier here, with a driving rhythm- it makes me think of a spider quickly weaving a web and scurrying over it. The accordion and flute have a field day over a steady building rhythm, but the violins and piano do not allow them to have all the fun to themselves (just most of it).

"Yosu" The hum of the accordion brings in low piano and soft vocals. It has a clear melodic theme that the rest of the music revolves around in both exceptional harmony and slight discord.

"Oyma" One violin is bowed, the other plucked. The strings are the primary force behind this driving piece, while the other instruments perform more subservient roles.

"Zilezi" The beginning of this soothing piece is a musical balm that grows into its own infectious, bittersweet charm. For five minutes the repetitive bursts of sound continue until a pair of violins remain, droning on in the ether. The first traces of actual percussion emerge, ushering in powerful thrusts from the violins. The third section of this elongated piece involves a simple backing over which a forlorn accordion meanders, and then male vocals materialize. This vocal performance is perhaps the most "out there" aspect to this record, but despite the occasional falsetto cries and bursts of vitriol, it is still restrained and artistically performed.

"Questosteron" Acoustic guitar has a more prominent role in this piece, even though it only creates a foundation for the host of other graceful instruments. Soon the double bass backs up the guitar. Since this music has been compared to cinematic music, my mind wandered and I found an association with the Michael Keaton film Beetlejuice, as bizarre as that may be.

"Pantra" More elegant strings work through the introduction of the piece before turning into snarls. It becomes more stylish and sweeter as the composition progresses.

"Labyrinth" Accordion and violin give way to a deep bass riff. As with most of the pieces, this is more violin driven, but the violins are not content to play in conventional ways. As the music breaks off, gentle accordion and flute assume control.

"Wespengraf" Without question the most avant-garde piece on the album, this has spine-tingling blasts of violin, a languid accordion, and a dreary bass underneath it all. The accordion grows in a haunting way, but the piece seems to cut off prematurely.