Nordmann's 'In Velvet' album has landed

Posted on 18 Sep 2020

The long awaited third Nordmann record is finally here. 'In Velvet', their first album on Unday Records is really something else. Even though the musicians all have a background in jazz, this is not a jazz record. When the four of them came together in the studio, all of their old and new influences blended together into this imaginative masterpiece. With less rock and more synths than their previous work. Label mate Jasper Maekelberg's (Faces on TV) crisp production puts everything in its right place. We are drawn deeper into it with every listen, and as of today you're all invited to join in. Discover 'In Velvet' HERE

On the band’s third album ‘In Velvet’, Nordmann reinvent themselves, causing a profound shift in their distinctive sound. They trade in the rock influences in favour of synths, electronic textures and beats. The new music is more reflective, though without ever losing focus on the instincts.

Since the release of their sophomore album, the four members of Nordmann have been exploring their respective solo and side projects. This resulted in fresh insights and inspirations coming to the table when they reunited at the mothership to work on new Nordmann music. The foursome decided to let their minds wander freely and fully explore the possibilities of the recording studio, not worrying about the limitations of their live setup until later in the process. This is quite a turn for an outfit that has always taken their live performances as a starting point for new music. The new approach enabled a new focus on song and melody, allowing the band to experiment without boundaries. Impossible influences such as Radiohead and Connan Mockasin were embraced, and every musical note had to earn its place in the new songs. Bass player Dries Geusens and guitarist Edmund Lauret keep their sound pure, making way for saxophone player Mattias De Craene to experiment freely with textures and effects. Fascinated by the versatility of vintage drum computers, drummer Elias Devoldere abandons conventional drum patterns. Moreover, the band adds synths and sequencers to their live setup in order to bring the exciting new ideas to life.
The result is this layered studio album, luscious and intuitive. ‘In Velvet’ is not a conceptual record - melancholy being the only omnipresent motive - yet a consistent collection of songs aiming for singularity and completeness. The band came across quite some oppositions throughout this journey, but they decided to embrace this dynamic rather than strive for unanimity. They contrasted dark passages with dots of light and balanced quiet passages with compelling powerful movements. In that respect, ‘In Velvet’ is the synthesis of the individual musicians’ evolution and character.

Producer Jasper Maekelberg (Faces On TV, Bazart, Hypochristmutreefuzz, Warhola, Balthazar...) – who also recorded Nordmann’s debut as an inexperienced producer – undoubtedly plays a big role in this giant musical jigsaw falling into place. To overcome the physical limitations of playing the new music live, Nordmann hired Thijs Troch as new synth player and additional guitarist. In this new constellation, Nordmann is ready to conquer new hearts and territory. ‘In Velvet’ is their first release on renowned indie imprint Unday Records, home to Trixie Whitley, Millionaire, The Bony King of Nowhere and Mauro Pawlowski. 

Some ten years ago, Nordmann came into being after a successful improv session that was destined to last. The four musicians succeeded in fusing the liberties of improv jazz with the intensity of rock music, and their shows immediately caused a stir in their native Belgium. They managed to capture the energy of their live gigs on their debut album ‘Alarm’ (2015) while follow up ‘The Boiling Ground’ from 2017 gained them the status of household name and must-see live band. They toured the record on a 50 date stretch across Europe. That summer, Nordmann headlined some of the most important jazz and rock festivals and earned raving reviews proving their music was fit for small clubs and  main stages alike.