DIE ANARCHISTISCHE ABENDUNTERHALTUNG

Die Anarchistische Abendunterhaltung's (henceforth referred to as DAAU, the acronym the band often goes by) 2010 release is a nice slice of pastoral music. The closest connection I can make to music I have heard beforehand would be Univers Zero. This puts the band in the realm of Chamber Rock, and while this may be the best way to describe that I can think, do not purchase this album expecting music that is in any way thematically similar to Univers Zero.

The music contained herein can be described as pastoral and dreamy - much as the title of the album suggests. It relies much more on texture and mood than on melody, and as such is a rather slow paced album. I would not describe this as a bad thing and find myself immensely enjoying the music contained on this disk. The band does also have a few moments of tension, particular the end of Out of the Woods and Into the Wild. In a away, they make me think of the dream turning, ever so briefly, into a nightmare. These parts are on their own quite nice, and I feel they also help to break up an otherwise slow paced album; without them, the album might fade into the background, so their inclusion is very welcome.

While listening to this music, I can't help but envision rolling green fields and blue skies. It is a peaceful, chilled out album. And I love it for that.

The band makes use of an unusual lineup of instruments; Cello, Clarinet, Accordion, and Double Bass. This gives the band a very unique texture that I have not heard in any other place, and it suits the music contained herein quite aptly. The accordion in particularly, being such an unusual music in prog, contributes a lot to this texture.

I cannot mention this album without taking some time to describe the beauty that the band put into the packaging. The packaging of the album seems to have been crafted with the same patient care as the music, and I must admit that the purchase of the album is almost worth it for the packaging alone. (Luckily, the music is great too).

The album comes in a wooden box, with the bands name, track listing, and cover art carved into it. Inside the wooden box are 9 cards, two of which are also CD envelopes (one contains the actual disc, the other is to hold a live recording of the album that can be purchased at their shows or from their website). On each of these cards, on the front is information about the band, or a black and white picture to go along with a song. On the back of each of the nine pieces are part of a larger picture, and if you put all nine together in a 3 by 3 grid, you get a very fascinating piece of art.

Overall, the unique packaging and excellent music make this worthy of any prog collection - as long as one has patience.

I got this album from the band as a gift some weeks ago and I have been trying to decode it since then. The CD comes in a wooden type of cd case and that kinds of gives the game (music) away. This is indeed pretty original stuff.

This is a type of music that is a bit alien to me. Actually, make that very alien to me. The music here is more classical music than rhythmic rock/jazz/whatever. Hence my problems relating to it.

This album, which in my ears is one fifty minutes long piece of music, starts very silently with some cello and woodwinds. Some flutes, violins and even some accordion joins and leaves the music throughout. But mostly, this album is dominated by woodwinds and cello. Most of the music is pretty understated and demands a heck of a lot of the listener. The end of the album, a piece of music they have christened Visions of Arcadia rises to a kind of a crescendo. Then the music dies and you reach for the replay button again......... and again..... and again.

This album demands a heck of the listener. I thought Flairck and Aranis was on the edge of my ability to understand music. This band and this album has challenged me like no album has challenged me before. It has taken me some time to decode it and find an album of good quality. I would not call it a great album though. The music is too subtle and too understated for my liking. But it is still a good album which will bring joy to the fans of this band in ProgArchives. I do recommend it although I have my reservations. A big plus for the packaging.

3 stars

Anarchistic evening entertainment

Released in 2006, "Domestic Wildlife" is Die Anarchistische Abendunterhaltung's (DAAU) fifth studio album, or sixth if you include the long-for-an-EP "Richard of York.". The usual quartet of Lenski, Lenski, Stubbe and Van Camp are joined by guests Geert 'Boots' Budts on drums and Fre Madou on double bass, both of whom were directly involved throughout the creation of the album.

Although listed here under the wing of RIO/Avant-Prog, DAA have more to do with modern classical music, their basic line up of violin, cello, clarinet and accordion rightly suggesting a mini-orchestra.

The opening "Lounja la Gazelle" offers a peaceful introduction with a leisurely pace and relaxed feel. The music seems simple, but is highly listenable with an alluring melody. As we move into the title track, things seem a little less structured at first, with Fre Madou's double bass tending to dominate. The clarinet of Han Stubbe soon picks out the melody though, backed by Roel Van Camp on accordion. The combination of that accordion with the strings creates a mellotron like atmosphere. Just when it seems this is to be another dirge, the pace is lifted and the band romp through a section with folk like tones.

The mood for the album is set by these opening tracks, at times we have ultra laid back, smooth variations bordering on the lounge jazz, while elsewhere things pick up considerably. The 8 minute "Dispositioning System" features the greatest diversity of styles, ranging from traditional dance, through experimental avant-garde to fuzzed electronics. At times the listen can certainly be difficult, especially when the melody all but breaks down, but the band's willingness to follow their own path is to be commended.

One of the highlights for me is "Wish You Were Hit", where melody comes to the fore in a delightful concerto like piece reminiscent of some of Caravan's early (Deram era) works. The track builds (Caravan style), increasing the pace, into a delightful, controlled melee. On the other hand, plodding, unfocused tracks such as the (admittedly brief) "Aufhören" leave me quite cold. Things take an even more disappointing turn with "Nowhere Beach" where the music stops altogether, to be replaced by a succession of electronic and industrial sounds.

In all, an album of great diversity which for others may be its strength. For me, it simply accentuates the contrast between the good and the poor, the melodic and the musicless, and most importantly, the enjoyable and the avoidable. I could listen to about 50% of this album over and over again, the rest I would gladly pass over.

DAAU got new animals for this album

Their first album got them many praises and a recording deal with Sony and this album came out through the Sony Classical label. However this one differs from the all acoustic and classical lineup that was their first album, in that the band electrifies their sound on some of the tracks, by adding guest musicians to play with them.

The album starts with No Rule, in a similar style to the first album and indeed the general sound and style does not differ too much from their previous release, only the tracks are generally shorter. This is in fact a natural progression and advance from the first album, and the adding of electrified instruments sits very well with their sound. This will also serve as the grounds for the following album, Life Transmission where the experimentation goes further and the sound and style varies more. The second track, Hot Shades, is of the same nature as the first, starting with an accordion roaming about sort of unsurely; then the clarinet comes in to aid him; they then proceed to speed up and catch a rhythm and play a wonderful tune; then comes the first sign of change for the band, drums with guitars come in and add the real rock here with some programming coming in later. Where in the first album I found myself shaking my head at some parts due to great rhythm, here it's just unavoidable. DAAU knows how to create groovy patterns and catchy tunes. The gypsy-like melody is infectious. The classical and rock lineup go extremely well together, naturally and in fact, this made me want to hear more of this type of collaborations, as well made. With Nix, no hesitation; it starts right away with high energy and with the full expanded lineup. Again the eastern European feel to the music, excellent musicianship and upbeat mood. With Broken comes the first full sung track in their repertoire with vocals done by An Pierlé. Here they show how well they can create a song that bears all their trademarks of a melancholic tune, with a sharp edge in the chorus, playing along to a vocal line. Moreover, the song has a great twist to it where the vocals and instruments sing and play together splendidly. Indeed, DAAU seems to know how to adapt to any platform they need to be part of. This is even more evident in Life Transmission but also here. With Gin & Tonic, comes an interesting mix of programming and the classic instruments lineup. If Gin & Tonic which go quite naturally together, these two would perhaps seem to be opposing elements; but again, DAAU knows how to mingle seemingly opposing "substances" together. The mix comes so natural, I wasn't even aware of it the first couple of times I've heard it. Not only that, but the music is simply beautiful and inspiring. Oliphant has traces of a French charm with the accordion played that particular way and with the sort of tune they play which is somewhat playful. It then goes on to much more aggressive and powerful peaks than DAAU are known for; another achievement in this album. The guitar riffs are definitely heavy in this short segment. Speaking of a French scent, it is Waltz Delire that reminds me even more so of the French charm with the accordion, and also of a movie soundtrack; of an emotional scene between two lovers in the street with a short chase between the two as they go on arguing. but that's just my imagination. This is one marvelous tune, wonderful in its ability to induce emotions in me, the listener. I particularly love the acoustic guitar playing towards the end with the violin providing the rhythm pace. This track is a good lesson in how to write a short and effective tune without overdoing it. Dip 'n Dodge, another song, reminds me of the song In The Death Car by Iggy Pop and Goran Bregovic. Again they create a lovely and naturally sounding amalgam between elements. Lady Delay is a fun short track where they employ the programming to create a spacey atmosphere and then in the middle switch to a bumpy ride and back again. This is probably the farthest away from the sound of the album, and still remains "faithful" to it.

In this album, DAAU managed to progress from their brilliant first album and add another musical palate to their array of styles. They introduce a rock lineup to add to their sound, electrify it to add layers to their music and end up with a wonderful and compelling result.

Highly recommended.

DAAU's sixth album is a bit more of what the group has dealt us so far, but this time, it's served more carefully than Life Transmission, without the awful and ill-advised musical extrapolations. Still the original quartet at the centre of the group, although augmented with drummer Poriau and electric bassist Banovic whenever suitable, but also getting help from Angelique (singing on two tracks) and cellist Wiggel on one more.

The music is a usual mix of eastern European folk/gypsy jazz and more classical music, thus fitting perfectly in the mould of avant-prog and finding a spot on the Belgian chamber prog scene. TGG is probably closest to DAAU's self-titled debut, developing the same ambiances, but Simon Lemski's accordion is much more dominant. For this writer, this means bad news, as I'm no fan of that instrument, especially used in a lead role. A relatively even album where only the centrepiece stands out; easily the best track on the album is Midnight Train where the group performs as a septet.

Just another average album from our Antwerp musical anarchists, whom had by then managed to influence a newer generation of musicians from their hometown into forming Aranis, strongly inspired by their mentors. .

ROYGBIV is an album (they called it an EP at the time with its 32 minutes duration) apart in DAAU's discography, clearly the group's attempt to go rock, and actually being quite successful at it. This EP was written for a modern dance by choreographer Thierry Smits and Compagnie Thor, and starts a return to their early music (after some catastrophic experiments in Life Transmission), but we're not quite there yet.

Six tracks named after colours. After the opening intro (10secs in total), Red starts out like a Saucerful- era Floyd, but melancholic cello drones sound change that, the track almost veering techno under a drum machine, with guest Yamina Cheurfa vocalizing and youyou-ing in the background, the organ returning for a while and the track slowly disappearing into an electronic growl. Green is much more along the usual DAAU mode, with Simon's cello and Adrian's minimalist piano leading the track onwards until an abrupt stop, before starting as if nothing had happened, but Green strongly evolved with its electronic background, stopping for a violin/piano interlude, before the infernal march goes on, than a slow accordion drone passage ends the track quietly. Blue picks up where green had left it, developing from slow accordion cosmic drones, into slower cello growls, mosquito-like violin but the track never takes height, just hovering in the gloomy bass tremors. It actually makes me think of an ambient Univers Zero.

Orange is a stark contrast, returning to the Eastern European folk/gypsy jazz music of their first albums, complete with a French-spoken count-up of things to do over cello staccatos. Indigo takes on an Arabian beat, but the strings are counterpointing it, until they win and the track veers binary with the strings dictating the electric piano, while unison vocals are making this track yet another winner in an album cumulating them. The closing Violet starts eerily dissonant, keeping the gloomy UZ mood that pervaded in Blue, but adding modern-symphonic (Russian composers) moments.

Quite a departure from the first album, and soooo much better than their middle albums (Difficult Times), ROYGBIV is IMHO, DAAU's most interesting release, but I wouldn't call it representative of the usual DAAU sound. Too bad it's so short, although I'm reluctant to call this an EP, but if the artistes chooses the term, who am I ...

Anarchistic evening entertainment - this is more than mere entertainment.

Their only acoustic, non-rock album so far but for me this is still their best output - pure bliss. This is an album I keep listening to without getting tired of it, and always wanting more when it ends. DAAU's first album has an addictive drug-like effect on me: taking me high, granting me pleasure and then there is reality coming back as it ends, with a harsh crash.

With their following albums, more experimentation is to take place as well as electrifying their sound and bringing in drums. However here you will have a great acoustic and instrumental (mostly apart from a few vocalizations) experience.

Take an instrumental prog-rock, take out the guitars, drums and bass and put in a violin, cello, accordion and clarinet and you will get the sound of DAAU in this first release of theirs - A rock attitude done with non-rock instruments. They create textures and beautiful catchy melodies with each instrument taking either the lead or serving as the one in charge of the rhythm or support role. They play neo-classical music with what is at times reminiscing klezmer music, at other times a more gypsy sound and most of the time it is simply a chamber unit performing somewhat complex, constantly changing and mesmerizing music. They garner a power with their melodies, a force that sends this music blazing across my brain when in its fiercest or vibrating comfortably when at its more delicate moments. DAAU know how to push you around and how to make you feel at ease. They alternate between those two seamlessly. They know how to spell me as a listener with the beauty of their tunes and how to attack my senses with the energy of their playing.

The choice of instruments is well done as each one can perform the lead role or support the others. They are well complemented by each other as they come from three different groups and their sounds mix well and enhance their counterparts. In the various parts they play, they give a dramatic touch to the music, a melancholic feeling, a frenzy mood or even a humorous tone. They go over a plethora of sensations and sentiments throughout this album.

Aside from the fact that I think it is their best output and my favourite of theirs, I think that in order to know DAAU, one needs to start with this one and go chronologically to understand how the band started and how they progressed with each release and what new elements they introduced into their music.

Highly recommended! 4.5 stars

DAAU is a Belgian band with a german name that music of an international high standard. The musicians play instruments you are not likely to associate with a rock group, like clarinet, cello or accordion. This is one of the reasons they have a rather unique sound.

This album is their second release. The differences with the debut album are evident. The tracks are much shorter and in this case that means more focussed and to the point. With the inclusion of guitar and especially percussion, this album is far more rock based, as opposed to the more acoustic and classical debut. This album also brings us a variety in styles and is very versatile. It differs from straight on rock to avant-garde pieces, from reggae to King Crimson-like improvisations.

The album opens in what you could call "old school" DAAU. You hear the core four piece who play something that starts quiet and then builds to a finale (this was probably recorded live in the studio, because at 1:34 you can hear someone cough). It's an excellent way to experience their "classical" skills. Halfway the next track we can first experience the "new and improved" DAAU with both percussion and electric guitar, because here they really rock. "Nix" is a fast jazzy track and very enjoyable. On "Broken" there is another addition to the music of this quartet, because it has vocals (by An Pierlé). Next is one of my favourite tracks, which is build around a theme played on the clarinet and added are some dreamy sounds and swinging percussion. "Oliphant" is a reggae tune played by a Klezmer band who wants to be a metal band at times. With great results. Next up is a waltz, as the title suggests. "Traag" (dutch for "Slow") is something for a movie soundtrack. The next is another reggae tracks and also with vocals (by Angélique Willkie). Very good track to let your mind wander of. "Lady Delay" is a short spacey track which sounds like guitar drenched in electronics, but it is a violin drenched in electronics. The album closes with a classical piece.

In overall, this is a great album. Because of their unique instrumentation they cannot be compared to a lot of bands. It's a bit like Alamaailman Vasarat who also have an unlikely choice of instruments for a rock band (if you can call them that). But it is not just how it sounds; it's also a great album because of the diversity in styles (but still evidently DAAU) and the high quality and originality of the compositions. For me, this is the best album in their catalogue.