Taking the plunge in French

V.O., the group inspired by the visionary ideas of Boris Gronemberger, ventured into Al Capone territory to concoct its recent album, On Rapids. Recording in Chicago under the guidance of John McEntire (of Tortoise), the new album raises the level of pop with panache and audacity, with brassy flights of fancy, melodies constructed with passion, and choruses sung gently and contemplatively. The Brussels musicians of V.O. care for craftwork and finely wrought tracks. And others in the music business, clearly, appreciate what they do: On Rapids, unusually, was released simultaneously on two extraordinary Brussels independent labels (Matamore and Humpty Dumpty Records). Now on a tour of various venues and festivals, the sextet is not abandoning its ideas. V.O. has always liked to get close to its public – as in its concert at the Bar du Matin.

The new album was produced by John McEntire, the leader of the US group Tortoise. Why did you turn to him? Were you satisfied with the collaboration?
Boris Gronemberger: Originally, I wasn’t thinking of working with someone from outside. Because, no doubt, I have always been afraid of losing control. After recording the demos, however, I was willing to open up and John McEntire seemed an obvious choice. I’ve always admired his work, both as a musician and a producer (Tortoise, The Sea and Cake, Stereolab, Gastr del Sol). I sent him a mail with our demos and six hours later he gave his answer... In human terms, it was a little difficult at first. We were under the impression and he was on the reserved side, even distant. But the atmosphere became more relaxed as the days went by. John became more and more open-minded. At the professional level, he is super-efficient. His studio is a paradise for experimentation. After 20 days, everything was in the can.
What are the main distinguishing features of On Rapids, as compared to the previous albums?
Gronemberger: It is denser, maybe a little darker too. There is a strong group dynamic, unlike on the other discs. I wanted to record something more direct and rhythmic, while still trying to keep a pop and melodic touch. On Rapids is also the first album on which I sing in French. For me, it’s a bit like stripping bare. In the past, I didn’t have the confidence for that. Moreover, I wasn’t convinced by the marriage between French and my music. But having worked with Françoiz Breut and Soy un Caballo opened my eyes. So I took the plunge. The first number composed for this album was actually “L’Exode”, which is sung in French. So you never can tell…

(© Tanja Frinta)

Your path has often crossed those of other musicians. These days, are you concentrating entirely on V.O.?
Gronemberger: Right now, V.O. is absolutely my first priority. I shelved quite a lot of things to be able to devote myself fully to it. To get a project off the ground, you have to put the effort in. It’s almost 24 hours a day. Apart from V.O., I am still a member of Castus, with whom I’m working on an album; but within that project, my role is limited to that of an accompanist. Recently, we also composed and played the music for Coline Struyf’s Balistique terminale at the Théâtre National. That was a really rewarding experience.

V.O. 24/5, 20.00, gratuit/gratis/free,
Bar du Matin, chaussée d’Alsembergsesteenweg 172, Forest/Vorst,
02-537.71.59., www.bardumatin.blogspot.com