Who was it again that said: “Never let a good crisis go to waste?”
Not that it matters who did, the fact is that Belgian outfit The Waltz have taken those wise words to heart and, in the midst of a worldwide pandemic, have turned into a pack of young, hungry musical wolves ready to kick the world’s post-punknoise conscience into overdrive.
If The Waltz were a drink, it’d be a slamming cocktail of Panoramix’s magic potion, mixed with Red Bull, some coffee and a strong Belgian Tripel beer.
Young, eager and firmly rooted in the present, The Waltz present an eclectic sound best described as post-punk larded with a heavy dose of noise and a hint of pop.
During the pandemic, The Waltz dove into the DUNK! studios in Zottegem (Belgium) and recorded their debut album£ The advance single ‘Flowers’ is the perfect introduction to the entire album, which carries the title ‘Looking-Glass Self’. When asking the band if there’s a common thread running through the album, the answer is ‘not what it seems’. The lyrics, sprung from the turbulent brain of singer/vocalist – and parttime anthropologist – Kevin are seemingly inspired by a macabre mirrored world only he knows exists.
The result is a crushing debut-album with barbed-wired songs and catchy hooks: sometimes wildly kicking around (Egocide) and sometimes anointingly soft (Prying Eyes) … The Waltz are a band that perfectly capture the zeitgeist of 2021. A firm headbutt with a kiss on the cheek afterwards.
You won’t know what to remember first: the bang or the catharsis.
The Waltz’ debut is the first release on the revived label ‘Labelman’, a Belgian stronghold that, after years of silence, is once again manifesting itself as an adventurous label that wants to be the home for all things alternative.
FOR FANS OF : Idles, The Jesus Lizard, Heavy Lungs, Black Midi, …
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