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Eclectic Prog • Belgium

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Eclectic Maybe Band biography
From Brussels, Belgium, ECLECTIC MAYBE BAND is an Eclectic Prog band founded by Guy SEGER, bassist of the band UNIVERS ZERO. This band is made up of some top rate musicians, namely Roland BINET (flute, tenor saxophone), Joe HIGHAM (electronics, soprano saxophone, doudouk), Michel DELVILLE (electric guitar), Catherine SMET (keyboards) and Guy SEGERS (bass, samplers). Vocalist Carla DIRATZ also joins the band on their second album along with a huge list of additional musicians.

The band uses in-studio and live session jams, and enhance them with extensive post production contributions. The music utilizes a mix of progressive genres to arrive to their potpourri of styles, all of which are created from improvisational sessions, making the music unique and exploratory, and offering music that is sure to please everyone, especially the hardcore progressive fan.

Fans of RIO and Eclectic Prog bands will find something to love in this music, including fans of UNIVERS ZERO, ART ZOYD, Frank ZAPPA, HENRY COW, and John ZORN.

============ Bio by TCat =============

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4.00 | 1 ratings
The Blind Night Watchers' Mysterious Landscapes
3.79 | 5 ratings
Reflection In A Moebius Ring Mirror

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Showing last 10 reviews only
 Reflection In A Moebius Ring Mirror by ECLECTIC MAYBE BAND album cover Studio Album, 2019
3.79 | 5 ratings

Reflection In A Moebius Ring Mirror
Eclectic Maybe Band Eclectic Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

4 stars When Univers Zero founder and bassist Guy Segers formed his new project THE ECLECTIC MAYBE BAND in 2016, the project was sorta considered to be a one-off but due to the chemistry involved with the musicians and the natural flow of how it all came together, a second album was considered and only a year later the sophomore release REFLECTION IN A MOEBIUS RING MIRROR is released which is quite surprising since this sort of avant-prog project rarely gets it together in modern days to follow up a debut album so quickly. Called it old fashioned work ethics or just plain passion for the music, this second album follows in the footsteps of the debut but tames things down a bit and creates a more accessible style that revolves around jazz as much as the angular avant-prog of "The Blind Night Watchers' Mysterious Landscapes."

While the debut album was already an ambitious affair with six musicians cranking out counterpoints as if they existed in their own dimensions and convening at sonic ley lines in unseen morphogenetic fields, REFLECTION IN A MOEBIUS RING MIRROR finds a much larger addition of musicians rotating throughout the album. In addition to Segers, Roland Binet (flute, piccolo), Michele Delville (guitar), Catherine Smet (piano, keyboards) and Dirk Wachtelaer (drums) from the debut, this second offering includes two vocalists (Cathryn Robson, Carla Diratz), three saxophonists (Martin Archer, Joe Higham, Dave Newhouse), a trumpetist (Jean-Pierre Suarez), a violinist (Arlane Plumerai), a cellist (Sigrid Vandenbogaerden), more guitarists (Eric Lemaître, Angel Ontalva) and a second drummer (Frank Balestracci). Many of theses musicians also play second instruments which include clarinet, keyboards and electronic effects. Whoah! Despite such a full house, this album never seems too busy.

The first noticeable difference between the ethereal otherworldliness of the debut and this sophomore album is that this one is immediately more accessible with a funk laden bass groove and jazzy counterpoints in the keys and drums. The atmospheric spaciness is allowed off its leash fairly soon but rather than drifting off into space and into freeform, the music keeps somewhat of a structure but not like the debut that implemented zeuhl styled bass lines. This one adopts various jazz and related styles such as bebop, modal jazz and funk. "Oncoming Season Wake" introduces a vocal jazz style which is layered over the avant-prog and jazz-fusion workouts. It does sound a bit busy but despite being easier on the ear than the debut, this is still far from easy listening. While the vocals do their thing, the remaining instruments take on weird counterpoints with a freaky horror movie styled keyboard run, angular Fred Frith styled guitar workouts all the while jazzy drum rolls pummel away and various instruments peek in and out.

Given the vocals and the more structured bass lines relying on jazz, most other instruments are kept on a leash but always a lengthy one. While the grooves keep some sort of stability to the 11 tracks which takes the album to the 75 minute run of playing time, there are moments that resemble the debut. "Day Of The Tsunami" must have been one of the leftovers from those sessions as it evokes an extremely agitating swarm of angularity that relies on extreme contrast. Dissonant piano tinklings are surrounded by a chilled folky flute run while heavily distorted guitar sounds angrily duke it out in the back with no actual structure. Only the flute has a recognizable melody while the bass becomes a rhythmic time keeper as the drums as missing in action. The piano takes over where the guitars leave off and go completely bonkers as if a bar brawl had broken out on the piano itself. The drums join in and all hell breaks loose. Everything turns into a brutal noise-fest except that totally chilled out flute which emerges from the din after the raucous is over and ends the track as it began.

Overall, REFLECTION IN A MOEBIUS RING MIRROR is a really great followup. While not as out there and more structured, it introduces completely new styles of taking the avant-prog more into jazz territories. While the vocal pieces with lyrics are rather tame and don't jive with the rest of the album as perfectly as i'd like, the haunting vocals used as instruments on "Spreading An Invisible Stream" are right on target. The album is much more diverse with tame tracks and the most avant-garde possible such as the industrial sounding "Belgian Rain Drop" which features a metallic sound simulating rain drops while scary chamber rock sounds evoke the darkness of early Univers Zero, especially the frightening cacophony of "Heresie." The album finishes with the lengthy vocal jazz track "The Perfume Of The Flying Room" which sounds like a strange fusion of Miles Davis jazz, an older version of Billie Holliday with avant-prog backing. This is another bizarre album by THE ECLECTIC MAYBE BAND. Just enough of what came before and a lot of new ingredients. Personally i prefer the debut but can't deny this is a cleverly crafted jump into the pool of ECLECTIC. Love it.

 The Blind Night Watchers' Mysterious Landscapes by ECLECTIC MAYBE BAND album cover Studio Album, 2018
4.00 | 1 ratings

The Blind Night Watchers' Mysterious Landscapes
Eclectic Maybe Band Eclectic Prog

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

— First review of this album —
4 stars Emerging from the fertile avant-prog nation of Belgium comes one of the more adventurous bands of recent years to come out of the capital city Brussels. THE ECLECTIC MAYBE BAND may have only formed as recently as the year 2016 and released two albums to date but the band has mastered the sounds of avant-prog paradise and more than lives up to its moniker that hints at a flirtatious nod to the affirmative power of Yes only in a rather platitudinous kinda, sorta and in a way manner. This band was put together by none other than Guy Segers, one of the founding members of Univers Zero of the original Rock In Opposition scene that put the avant-prog scene on the music map and after several decades of floating in and out of UZ along with Present and other groups like Gurumaniax and Uneven Eleven, Segers has returned to the scene in order to create some of the most outrageous music of his career not since the heyday of UZ's 70s avenue of angularity.

Putting the ECLECTIC back into the world of avant-prog, Segers is joined by a cast of like-minded sonic experimentalists who master the art of polyrhythmic overdrive in seemingly opposite universes but somehow meet at the crossroads where the ley lines of sound conspire to take the pointillistic approach of Karlheinz Stockhausen woven from a tapestry of Univers Zero styled avant-prog, free jazz, squiggly progressive electronica and then transmogrified into a surreal atmospheric soundscape that's part semi-structured and extremely improvised. The results of this maelstrom of maddening motifs and oscillating fluctuation of rhythmic flows is the debut album titled THE BLIND NIGHT WATCHERS' MYSTERIOUS LANDSCAPES. And yep. It's weird. Very, very, VERY weird. On this debut Guy Segers (bass, samplers) is joined by Roland Binet (flute, tenor sax), Joe Higham (electronics, soprano sax, doudouk), Michel Delville (electric guitar), Catherine Smet (keyboards) and Dirk Wachtelaer (drums.)

Drifting somewhat like a massive murmuration of starlings blackening the sky as they make unpredictable hairpin turns in both creepy chaos and breathtaking unison, THE ECLECTIC MAYBE BAND crafts its sound by recording some of the simpler tracks, such as the bubbling zeuhl bass lines accompanied by jazzy drum rolls and then allowing the multitude of sounds to shapeshift around them faster than a chameleon can change its colors. Add to that an impeccable production job that offers freaky echoing effects, timbre fluctuations and subliminal Doppler effects and it's like a circus act of sound where Magma, UZ, Miles Davis and Amon Duul II went to an LSD party and pushed the record button. The list of tricks and trinkets seems endless and such mastery only results from a talented cast of avant-garde musicians who can simultaneously reach that mysterious quantum sphere of musical madness that remains out of the reach of mere vocabulary but channeled through the mysterious gods of sonic vibration whatever they may be or where they reside. Given the intensity of this music, it's a match made in heaven for the experimental label Discus Music which excels at sniffing out the strangest of the strange.

THE BLIND NIGHT WATCHERS' MYSTERIOUS LANDSCAPES is avant-progger's paradise which runs the gamut of somewhat accessible (but let's face it, this is TRUE difficult listening all the way through) tracks like "Gradual Assistance" which at least finds the instruments behaving as if they were in the same band, to the most outrageous noise rock fueled freak-a-zoid sectors of the album such as "Godsmacked Distraction" which finds each band member existing in its own universe and somehow connecting through an invisible thread to adhere the proper quantum elements to a greater whole of which we can only perceive but never quite grasp. If this sort of maddening "OMG can this even be called music?" sorta shtick is your ticket to ethereal ecstasy then THE ECLECTIC MAYBE BAND will scratch that itch many times over. While often erupting in a chaotic tumult like colony of lepers climaxing in intervals, the compositions generally speaking, start off with some sort of bass groove that ratchets up the tension along with the percussion and some atmospheric embellishments. New elements slowly ooze in until wham bam thank you, m'am, something hits your G spot and didn't even tell you.

Not for the faint of heart THE ECLECTIC MAYBE band seamlessly imbues its unique sonic thrust with a freeform Krautish looseness fortified with jazzy motifs, supple folky flute passages and jittery bass lines that stick to the avant-prog playbook only corralled into the a zeuhl fueled backbone that sustains the rather airy feel of the album. Despite the unorthodoxies exhibited in full regalia, THE BLIND NIGHT WATCHERS' MYSTERIOUS LANDSCAPES does not come off as the least bit scary as did early Univers Zero experiments such as "Heresie" (with the sole exception of the frenetic and gloom and doom fueled "Godsmacked Distraction." Rather this music is lighter and more akin to the soundtrack of an astral body experience where different timelines and even dimensions sort of bleed into one another thus creating a multi-reality experience but at times merging to the point where it feels like a full-band experience in one universal coordination. This debut album really hit hard and went for the avant-garde jugular much like a 20th century classical composer like Xenakis, Stockhausen or Cage would have done only with more layers on the accessibility spectrum. If this is too weird for you try the following album "Reflection In A Moebius Ring Mirror" which builds off of this debut and offers much more structure especially in the jazz arenas. For my avant-garde tastes though, this first offering REALLY hits the spot for unhinged freakiness.

Thanks to tapfret for the artist addition.

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