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Carlos Torrecilla Abenoza 20/09/2024
Me niego en rotundo a clasificar a los de Frank Nuyts, dijera lo que dijera sería injusto e inadecuado.
Modern Creative, Hard Bop, Fussion… atajos que, en este caso, te hacen perder tiempo y camino…
Avant Garde, Contemporánea, Free Jazz… abrigos viejos que ya no abrochan.
¡La música de BLO respira y transpira!
No puedes pretender meterla en un cajón sin merecer mil años de desdichas.
Y tú, pobre mortal, te habías imaginado que la aportación del piano distinguido y refinado de la tailandesa Liang-Yu Wang y su forma de entender y engalanar la Chamber Music, al lenguaje sonoro y concepto descarado y libre de los belgas, aportaría convencionalidad a su propuesta… jajaja, iluso…
Nunca antes una vuelta a la esencia primigenia resultó tan avanzada.
Dejadme que escuche por cuarta vez Bar Foot antes de pasar al segundo corte… y permitidme que avance que en algún corte detecto un deje mediterráneo que me pone una sonrisa de idiota de las que duran horas.
Qué maravilla, señoras.
Pónganse en contacto con Rafa y dejen de malgastar su tiempo, tomen ese “riesgo radical” y acérquense a la felicidad de una buena vez.
Review by
new_dawn_of_prog
Frank Nuyts leads an exceptional ensemble featuring Liang-yu Wang on acoustic piano, Frank Debruyne on saxophones, Stijn Deldaele on electric bass, and Ronald Dhaene on drums and multipad. Together, they create a mesmerizing exploration of sound that is both innovative and deeply engaging. Nuyts’ marimba serves as the backbone of the composition, providing vibrant textures that beautifully complement Wang’s lush piano harmonies. Debruyne’s saxophone work adds expressiveness, weaving in and out of this rich sonic landscape. Deldaele’s electric bass offers a grounded yet dynamic foundation, while Dhaene’s deft drumming propels the music forward with infectious energy.
This bold and ambitious work emerges as a fascinating tapestry woven from threads of progressive rock, jazz, avant-garde experimentation, and eclectic fusion. Defying conventional categorization, the album offers listeners a challenging yet rewarding experience that demands attention and contemplation.
The intricate arrangements and dynamic shifts invite deep engagement with each layer of sound. Each track pushes boundaries and explores uncharted territories, seamlessly blending genres to create a unique sonic landscape. This fearless approach to composition captivates from the first note of “Bar Foot,” drawing you into a world where traditional structures are upended and new possibilities emerge. In “Hammer Abandon,” the rhythm section excels, guiding the moody piano as it seamlessly overlaps with the marimba. The piece takes a more subdued turn, featuring the saxophone and thoughtful rhythms in an engaging jam that exemplifies a remarkable blend of Rock in Opposition (RIO) and jazz.
Their music is meticulously composed and arranged, yet it retains an improvised feel at times. The jazz elements shine through the saxophone’s expressive play, while the ever-present marimba adds a touch of RIO. This foundational chamber style informs the compositions throughout, with the piano providing significant strength and depth.
The multi-layered musical experience of “Radical Risk” unfolds across three parts, showcasing a fantastic blend of traditional and contemporary elements executed with cohesive precision. Transitions between various emotional landscapes are managed with remarkable clarity, even as the music shifts abruptly. The band’s magic lies in their ability to captivate listeners with profound depth and sophistication, even amidst complex and austere compositions. Within intricate technical passages and avant-garde structures, the music is infused with an undeniable spark.
This album showcases compositions that seamlessly fuse a multitude of sensations, transitioning effortlessly between jazz and chamber rock to create a uniquely compelling narrative. A perfect balance of virtuosity and instinct allows for the creation of vivid sonic landscapes that culminate in impactful musical ensembles. Characterized by its acidulous and high-impact nature, the music invites listeners on an exhilarating journey, engaging both the mind and the senses. (Goran Cabrajic, New Dawn of Prog)
Review by
Sepp Wejwar: Skug MUSIKKULTUR tijdschrift
Wie stellen wir uns einen Song vor, der »Abbruchhammer« heißt? Gewiss nicht: lyrisch, melodiös, harmonisch. Doch genau so beginnt »Hammer Abandon«, der zweite Track auf dem Album »Radical Risk« von Beat Live Oracle feat. Liang-Yu Wang. Zuerst fließen – über einem tragfähigen Gerüst aus klaren, einfachen Bassstrukturen und mit »Beserln« gespieltem Schlagzeug – die Klavier- und Vibraphon-Phrasen gemächlich dahin, gelegentlich ist ein elektronisch generiertes »Pad« zu hören. Flächen, die sich nicht aufdrängen, sondern Breite erzeugen. Im Song »Radical Risk« tauchen selbst Farfisa-artige Orgelklänge auf und bekommen ordentlich Bedeutung, bevor sie von einem Klaviersolo abgelöst werden. Später – wir sind wieder beim Abbruchhammer – wandelt sich das Tempo vom zuerst einschmeichelnd-balladesken zu einem recht eiligen Metrum. Das Sax spielt Akkordzerlegungen, bis schließlich die gesamte Band nahezu unisono in einen rockigen Groove verfällt. Das am 4.
Oktober 2024 erschienene Album ist geprägt von spannenden Tempowechseln, das macht die Musik überaus lebendig und kurzweilig. Nie haben wir das Gefühl, die unterschiedlichen Metren wären »L’art pour l’art« in die Partituren gelangt, eher erscheint es uns, als würde es einfach zugehen, wie im »echten« Leben – einmal ganz ruhig, dann wieder beschwingt, auf Erregung folgt Beruhigung, viele Stimmungen in einem Song nahtlos ineinander übergehend. Und es wundert uns überhaupt nicht, dass der Komponist und Bandleader Frank Nuyts mit Frank Zappa mehr als den Vornamen gemein hat. Wir hören ziemlich erwachsenen Jazz, wirbelnden Rock, Filmmusik. Ja, viel Kopf ist dabei, dennoch berührt uns das Gehörte tief, umhüllt uns mit wohliger Wärme. Das Album kann ohne Weiteres auch Hörer*innen empfohlen werden, die dem Rohen und Wilden eher weniger zusprechen, aber dennoch Neues und zugleich Vielschichtiges hören wollen. Die Stücke sind allesamt farbenreich verflochten; doch die Komplexität leistet dem Hörfluss keinen Widerstand.
So könnte man auch ein elaboriertes Starkbier beschreiben: »Überaus komplex und dennoch ein ausgezeichneter Trinkfluss.« Das liegt an den ausgezeichneten Kompositionen von Frank Nuyts. Da folgen – scheinbar spielerisch – ungezählte Tonarten, Metren, Intensitäten aufeinander, nein: fließen ineinander, doch dem Publikum vergeht nicht das Hören. Es kann nicht genug kriegen. Nur Virtuosen können eine solche Musik darbieten, die 2017 gegründete »exzentrische Cross-Over Band« Beat Love Oracle bestehend aus Frank Nuyts (marimba, synthesizers, composition, mixing), Frank Debruyne (saxophones), Stijn Deldaele (electric bass), Ronald Dhaene (drums, multipad) und in dieser Konstellation Special Feature Liang-Yu Wang (acoustic piano) ist hervorragend zusammengespielt. Aber das Können der Instrumentalisten drängt sich nicht nach vorne, weil sie unsere Aufmerksamkeit mit ihrer abwechslungsreichen Musik binden, weil wir von den ständig neu auf uns einströmenden Eindrücken gefesselt sind. Was für ein Hörvergnügen!
http://www.waysidemusic.com/Music-Products/Beat-Love-Oracle-Radical-Risk-CD__aMarxe-spc-1024.aspx
Beat Love Oracle – Radical Risk CD
SKU aMarxe 1024
Frank Nuyts: marimba & synthesizers
Liang-yu Wang: acoustic piano
Frank Debruyne: saxophones
Stijn Deldaele: electric bass
Ronald Dhaene: drums and multipad
“’Radical Risk’ is coming close to the idea of what cross-over could be or could do since I started with my former band Hardscore. The basic line-up Beat Love Oracle is a leaner formation, but by adding a piano to it, it brought me back to the roots of my compositional thinking. It always has started from there, but at the same time, as being myself a percussionist, the rhythmic drive of so called non-classical music never ceased to co-exist in my mind.
Combining these two layers of thought and feeling resulted this time in a product of which the band, the pianist and myself are proud. I know, artists being proud themselves might not be a sure token of quality, but we can only hope that it’s indeed the quality of musicianship and wide-ranging musical ideas which radiate from these heartfelt tracks.”-Frank Nuyts
“The band’s magic lies in their ability to captivate listeners with profound depth and sophistication, even amidst complex and austere compositions. Within intricate technical passages and avant-garde structures, the music is infused with an undeniable spark. This album showcases compositions that seamlessly fuse a multitude of sensations, transitioning effortlessly between jazz and chamber rock to create a uniquely compelling narrative.”
“Frank Nuyts is a force of nature. A Belgian composer with classical roots who flirts with jazz, progressive rock and Zappa bite. “Radical Risk” is perhaps his most exemplary mestizo work in the unification of all these musical worlds. Supported by his oustanding musicians (the three D’s: Dhaene, Deldaene and Debruyne) and reinforced by the excellent pianist Liang-yu Wang, the result is an absolute storming piece of work that feels relevant and groundbreaking.
Truly astounding and an absolute revelation on numerous levels, “Radical Risk” is an absolutely engrossing effort and one of those records that tells you everything you need to know about Frank Nuyts and why he’s remained a vital force in the landscape of “radical music”. Issued by áMARXE, the predilect son of Margen Records. Just about as essential as they come and nothing short of a ten out of ten. This one is not to be missed.”-Mark T. / Third Millennium
Review by
Lazland - Peter Thelen
Radical Risk is the third album I have reviewed on this website from Beat Love Oracle. They are certainly extremely prolific, and if you take yourselves along to https://amarxe.bandcamp.com/album/radical-risk then you can continue to enjoy, or discover, Frank Nuyts and his talented combo, this featuring Liang-yu Wang on acoustic piano.
Okay then, to a discussion of the second of the áMARXE products we are reviewing this week. Six tracks for us to enjoy.
We start with Bar Foot, the piano of Wang instantly making an impact. This is a playful piece of music, and it is interesting that the piano becomes a natural extension at times of the fine rhythm section of Stijn Deldaele and Ronald Dhaene, and Frank Debruyne provides for some lovely sax textures.
Hammer Abandonment is up next. It is a long nine-minute piece, and the hammer in question is the keys hitting the piano hammer of Wang, who even at this early stage of the album can be seen as a very positive addition to the BLO canon. This is a virtuoso pianist, for sure, and the way that she interacts, particularly with the percussion, is a joy to listen to, a fine fusion of classical and more free-flowing jazz music. It is embedded below and is a strong candidate for my “instrumental of the year” award at year-end. Music to dream to which creates a strong sense of drama throughout.
The title track is split into three distinct parts, adding up to over 22 minutes of music, so, in truth, a super-epic for us to enjoy.
Part One opens with a playful sax and improvisation, with much of the opening passage surely a loving homage to the glorious Mael brothers before moving into an extended piece of mysterious interplay between piano and band, some of the work on the marimba vibrant and very complex. I have embedded this wonderful jazz number below, a treat in every sense of the word.
Part Two is eight minutes long. It opens with some intricate piano work, an extended solo piece, but underpinned by BLO pulsing away, and the sax begins to duet with Wang. This is more spartan than the first part, laid back, but not in a particularly dreamy way, distant somehow, this personified by some more wonderful marimba work which is distinctly understated as compared to that in part one.
Part Three is the shortest at just over five minutes, and bursts into life with urgent improv between band and piano, some of this incredibly complex. We witness with this band some serious musicianship, up there with the finest jazz/progressive rock in the modern era. As the piece moves on, the energy levels pull back for a short while, but this is merely the prelude to some seriously upbeat and urgent fun between them all, the percussion work shining through, and as we move into the closing passage, they produce a lovely noise which strongly reminds me of music to cartoon animations I loved as a child.
We close with 19th Sonata Part Four, a classical joy for piano, and a fine way to close this inventive album. There is a reason why Beat Love Oracle are among this website’s favourite acts. It is simply because of the quality of their music, their honesty, their sense of fun, and the unalloyed pleasure of hearing them time after time.
Very highly recommended.
Review by
Nieuwe Noten (Nederland)
Afgelopen weekend kreeg ik van componist Frank Nuyts, waarvan drie van zijn pianosonates werden uitgevoerd, zijn nieuwe album. Typisch Nuyts om ook met dit nieuwe wapenfeit weer eens de grenzen op te zoeken. Bij die drie sonates merkte ik al op dat hij in zijn werk niet alleen maar aansluiting zoekt bij roemruchte voorgangers binnen de klassieke wereld, maar ook graag winkelt bij andere stijlen als jazz en blues. Bij dit nieuwe album van zijn band Beat Love Oracle, hij noemt het ook een band en geen ensemble,isdatnogsterkerhetgeval.‘RadicalRisk’ verscheenbij zijn eigen Hardscore.
Naast Nuyts op marimba en synthesizers bestaat dit Beat Love Oracle uit saxofonist Frank Debruyne, Stijn Deldaele op elektrische bas, drummer Ronald Dhaene en als gast de pianiste Liang-yu Wang. We beginnen met ‘Bar Foot’, waarin direct de melodieuze zeggingskracht opvalt, in die zin vertoont het werk op dit album veel overeenkomst met popmuziek. Tegelijkertijd kent de muziek een vrij grote mate van complexiteit, waardoor het dan weer meer verwantschap met melodieuze jazz vertoont. Dat terwijl we in het veel rustigere ‘Hammer Abandon’ toch ook weer die klassieke achtergrond terug horen, tenslotte blijft Nuyts primair een componist. De uit drie delen bestaande cyclus ‘Radical Risk’ valt dan weer op door de vrij strakke, ritmische structuur, enige verwantschap met het minimalisme is hier zeker aanwezig. Overigens ook een stuk met een vrij grote rol voor Wang, bijvoorbeeld in dat langzame middendeel, klinkend als een dans. Kortom een bijzonder veelzijdig album dat een breed scala aan muziekliefhebbers zou moeten aantrekken.
De band, inclusief Liang-yu Wang. Foto: websie Beat Love Oracle.
Leuk is dat we die diversiteit bij al deze musici tegenkomen, Zo studeerde Debruyne zowel barokmuziek op fluit als jazz op saxofoon en is hij actief in uiteenlopende projecten als Mucho Gusto (salsa), Indian Cigars (New Orleans Funk) en The Tivoli Band (dansmuziek uit de jaren ’20-’30); is Deldaele naast basgitarist in diverse stijlen, ook nog eens docent en bouwer van basgitaren en is ook Dhaene als freelance muzikant zowel actief bij klassieke ensembles als het Spectra Ensemble, het Goeyvaerts Consort en het Vlaams Symfonisch Orkest, als bij heel wat Big- Bands en binnen het netwerk van Jazz at Home. Wat dat betreft is Wang, voor wie Nuyts ook zijn negentiende pianosonate schreef, die hier eerder voorbij kwam, nog het meest trouw aan de wereld van de klassieke muziek, al redt zij zich uitstekend bij deze grensoverschrijdende heren. Als toegift horen we haar ook nog even solo, in het laatste deel van die negentiende sonate.
Review by
Exposé Online - Peter Thelen
Now for something radically different, at least when compared to previous Beat Love Oracle releases. For the last four albums the core of the band was Frank Nuyts (marimba, synthesizer, vocals), Frank Debruyne (sax, synthesizers, vocals), drummer Ronald Dhaene, and electric bassist Stijn Deldaele.
This time they decided to do things different by adding Taiwanese pianist Liang-Yu Wang, who adds a whole new dimension to the Beat Love Oracle sound. Her style is derived from chamber music, and she is currently based in Chicago, half a world away from the other four members, but comports herself with pristine elegance on her acoustic instrument in the shadow of the mostly-electric jazz oriented musicians. From the beginning, Nuyts has composed all of the group’s material and that doesn’t change here, but the addition of piano to the formula has brought the music back closer to the sound of his previous band, Hardscore, which was an octet that included Nuyts, Dhaene, and Debruyne, plus a pianist (and much more), a far more robust sound but stylistically similar to Beat Love Oracle. While a lot of the textures and jazz elements to date have seemed reminiscent of instrumental Frank Zappa, due in part to the everpresent marimba, the piano serves to offset that to a large degree.
The centerpiece of the album is the 26-minute four-part title track (and each “part” has multiple parts as well), a piece that takes the listener through a number of portals along its brisk trajectory, in and out of unusual corners where classical meets jazz with beautifully melodic and elegant sax solos and shifting meter as a staple of the sound. The opener, “Bar Foot,” has a nice swing to it, and here the piano really does its magic on the contour of the sound, while “Hammer Abandon” opens with a gentler touch on piano, later joined by marimba and the rhythm section before it all comes driving home around the three-minute mark, keeping the pace up — with numerous dreamy detours — for the remainder of its nine minutes. A powerful album indeed — Nuyts has don a superb job composing and all of the players are firing on all cylinders.
Filed under: New releases, 2024 releases
Related artist(s): Beat Love Oracle
More info: http://amarxe.bandcamp.com/album/radical-risk
