I can’t say that I’m well versed in indie-rock from Belgium, but judging from this album’s very intriguing artwork, I had a feeling I’d be a fan of Delwood. A band who are populated by a pair of bass players, a drummer and keyboardist who also picks up a trumpet, Delwood has crafted a 10-song debut that revolves around post-rock, prog-rock and psychedelic sounds, and offers them in a very calming, sometimes slightly more aggressive fashion.
The scrappy and stylish “Hearts As Clocks” starts with Alex Brull’s lively drumming alongside mysterious talking and radiant bass lines, which flows into thicker moments with atmospheric keys and biting vocals. “At Large” follows with playful samples and a cozy appeal that touches on jazz thanks to Vince Oury’s hypnotic keys.
Approaching the middle, “Ultimate” mashes the intricate bass work with thumping drums and a swirling post-punk flavor, while “A House Is A Corridor” comes with both grit and melody that unfolds with expressive singing and complicated but accessible dual bass playing. “The Sequence Of Facts” might be the best track, and pairs distant shouted vocals with hushed singing alongside the very pretty instrumentation.
The last two tracks are “The Sound Of Victory” and “Lighthouses.” The former is a bit more forceful, where soundbites from political figures surround light-versus-dark song craft, and the latter emits careful ambience, poetic singing and a mesmerizing delivery of eloquence that welcomes Damien Chierici’s well-timed violin.
Greg and Ju Dubois handle bass and vocals on all tracks, and this unique approach, along with the very strategic electronics via Boris Gronemberger sprinkled throughout, makes every selection here distinct, memorable and engaging. Comparisons don’t really do Delwood justice, but reference points would be Mogwai, Explosions In The Sky or even Modest Mouse.
