Even with names like Zita Swoon being tossed around among music critics, the current Belgian music scene seems to be somewhat an unknown quantity to many outside the usual Benelux trio. It is a shame, because quite a few names deserve to be heard more widely, like the pop musings of Admiral Freebee or another, this time jazzy, Tom Waits inclined Zita Swoon offshot Taxi Wars.
Pieter Van Dessel and his Marble Sounds definitely fall into the category of those that deserve to be more widely heard. I first caught up with Peter a while back, in 2008, with a Marble Sounds contribution to the Kath Bloom Tribute - Loving Takes This Course and his brilliant version of “Come Here”, which was, at least, up to the original. Actually, I preferred it more. It was included on the Marble Sounds first album, Nice Is Good, which had such a “strong distribution” that I had to order it directly from Pieter.
I guess, that is one of the reasons, Marble Sounds only made one more album before this new one, Tatou, and that was Dear Me Look Up from 2013.
Over the three albums, including this new one, a few things are constant: Pieter’s penchant for excellent melody and harmony, great arrangements and a constant quality of songwriting and musicianship. Of course, Pieter has picked up a few things from here and there, and incorporated them in the band’s sound. Like, for example, Sparklehorse (brilliant “Ten Seconds To Countdown”), or Eels at their best (another great one “The First Try”). But all these influences suit the music perfectly and in no way take over, making “Tatou” one of the quiet surprises of the year.
More mr. Van Dessel, please.
