Stack has one end, whereas the Queue has two ends ( front and rear). Their music is an echo that no one can escape.A Stack is a linear data structure that follows the LIFO (Last-In-First-Out) principle. »Towards the world and the listeners inside it«. Their music is pop music because it’s directed outward, Matthé says. To immediately quote the British rock band Wire with their »Rules of Negative Self-Definition« from 1977: » No solos, no decoration, when the words run out, it stops, no chorusing out, no rocking out, keep to the point, no Americanisms«. »I prefer pop music that stays out of the hands of schooled musicians, therefore: pop-not-pop«, says Jan Matthé. The label describes it as a »pop-not-pop« album. Perhaps the poppiest number: »People Around«, which started out as a fast, light New Wave piece, but ended up turned down to a different beat.Īnd sure, this is pop music. In the end, eight songs made it onto »Love And Language«. They collected various demo recordings and discarded ideas from the previous album, combining the results into ten favorites. The fact that their sound is so distinctive, so unique, is due to this long time together: »It feels like an ongoing thing, but we probably distilled 25 years of playing together (in bands) for the first time succesfully on »Our Body Memory,« the previous album.« That was the point when Stacks decided to work together and equally on an album, as a real duo with full attention. »Good times, and we never looked back since.« Pop-not-Pop-Songs Soon they started a hardcore band, practicing in a dusty room behind the local music store, The Golden Touch. More profound.Įver since their teenage days in the nineties, the two brothers knew they wanted to make music. Because Stacks have their very own sound, in which they conjure all these sounds, but the music of the duo touches again differently. The list of influences reads longer on Stacks, however: Talk Talk, Durutti Column, Tears for Fears, Moebius, Roedelius, Cocteau Twins and Prefab Sprout are all named by Jan Matthé. Kate Bush and the Pet Shop Boys were names that came up. »The album was finished when the files were taken out of our hands when we went mastering in Amsterdam at the end of last year, a day after we changed the final order of the songs.« Out of the speakers during mastering, the songs sounded good. »In some way, finishing a larger project like this is in its margins always a race against changes in yourself. Situated between a velodrome and the city’s poorest street. Lauri, a neighborhood in the south of Antwerp. The recordings took place in their own studio in St. Mostly, he says, they are just very patient people. »In some way, finishing a larger project like this is in its margins always a race against changes in yourself, but besides this everything went smooth,« says Jan Matthé. They spent six more months editing the individual songs into an album. Work on »Love And Language« had been dragging on for a year when Knekelhuis boss Mark Van De Maat asked if Stacks wanted to release something on the label. Das Wort »Ätherisch« wurde genau für solche Momente erfunden. Wenn in »The Freedom To Pretend« eine Melodie aus dem Synthesizer sich mit einem Klavier abwechselt, lassen sich alle Gedanken verlieren und nur noch darin versinken. Aber immerhin spricht noch jemand aus diesem beunruhigend hypnotischen Klang. The word »ethereal« was invented exactly for such moments. When in »The Freedom To Pretend« a melody from the synthesizer alternates with a piano, all thoughts can be lost and only sink into that. But at least someone is still speaking from this disturbingly hypnotic sound. »The sacred quality comes from the traces of digital dust that happens through the layering, it’s out of our hands,« says Jan Matthé. »Sis started constructing it on his first solo Stacks album in 2012, which was fittingly called Voices.« A trail of echoes, reverb and vocoded space thus emerges as Stacks pitches and stretches the vocals. Synthesizers create wide surfaces in the sound of the duo.
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