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If you don’t know where to go, just take the car, leave and don’t look backwards. That was our mindset when we started to record our first videoclip. Something that has always inspired me are people who have something in their mind and just go for it without thinking too much about it. I draw a nice parallel here to Kerouac and Bukowski (On the Road & Factotum); those books and writers inspired me to sometimes make stupid decisions without immediately assuming that the consequences are stupid and would hurt your beloved ones. As a result, we drove 2500 km in two days, saw dreamy landscapes, drove behind the sunsets and were stuck in a big forest in the fog. We came to the essence of the song by just living the song. Thanks to the expertise of the videographer (Gilles Claes aka ZetaPictures) and the good mood of the bandmates, all this has come to a good end. Our videographer knew perfectly when and how to film, without the need to force anything. We too, never felt the need to force anything.

The Clip is currently being edited and we can’t wait to share our first single with you.

Gilles Claes aka Zetapictures //










To record an album, that’s like a long-term relationship. You have to work on it and you have to be able to make compromises. It was a long start-up process, but we are very blessed and delighted that we can work with Klaas Tomme as our producer. Klaas is a born and true musician/producer and loves to record analogue. He uses classical recording techniques to produce a song as honest and pure as possible. 

Klaas’ studio is located on the edge of Ghent. It is a studio built in his house which always has a warm atmosphere. It has the typical artistic vibe that certainly has an added value in the recording process. His huge collection of physical music, analogue pedals, synthesizers, old beautiful guitars and amplifiers gives us so much inspiration. Furthermore, the studio has a certain peace where you can work with a lot of focus.

Thanks to Klaas, we also had the chance to have our first single mastered by Barry Grint. Barry has worked in the famous Abbey Road Studios alongside artists such as Madonna, Prince, Oasis, Bon Jovi, David Bowie, The Rolling Stones, The Beatles and Paul McCartney.









Because we already play together in a band from a very young age, we have continued several phases. At each stage there was a different place to rehearse and it always had its influence on our sound and style. At one point we rehearsed in a small/trashy rehearsal room without heating. Its influence on our music was so immense that we didn’t play anymore for a while. That was when we came to the conclusion that if we wanted to improve, we had to find a solid place to rehearse.

It was therefore an enrichment when we were allowed to become ‘artist in residence’ in Destelheide. This place offers us not only huge rehearsal spaces and facilities, but also a mighty environment with forests and greenery around us. This tranquility and beauty will only stigmatise us even more to fine-tune our original sound




You feel as light as a feather that can be blown away by the slightest gust of wind. When you close your eyes, you see yourself lying in your bed with the velux open, Bon Iver his second CD on play and soft kisses in your neck. You can see the city sparkle in the distance vaguely through the night as you look secretly at her tender body. You see yourself looking through her eyes and you know that those shimmering eyes are burned in your retina forever. You see yourself watching Pulp Fiction together while it storms outdoors. And when you finally end up dancing in the chaos, you fall down on the ground and whisper into her ear: “Anywhere the wind blows, I’ll follow”.








In general, there are 2 kinds of musicians: the ones who like to come out with it and the ones who make music purely for themselves. I‘m floating somewhere between the two. On the one hand I can play for hours on my guitar/piano and forget about the world completely. On the other hand I can also worry very hard about what people would think of it.

You can consider it as something positive or rather negative. I perceive it as something positive because seeking for a certain balance between the two makes the strange fantasies in my head more accessible to a broader audience. I myself, don’t like it either when I have to listen to music that is too experimental, even after a few listening sessions. To really understand it, I need to know the motives behind the band and almost start doing research on them. Furthermore, we live in an over-saturated music world. That is an extra reason why music has to be a little more accessible for me.

Maybe today’s musicians want to separate themselves from the rest to such an extent that they forget that people really have to listen their music?

But in the end, we eventually forget what the essence of music really is: performing it live!

During a live performance you add an extra dimension to your own music. You send your songs out into the world and they are no longer just yours. This is because people have had their own experience with it and then give it their own meaning. Therefore, I would like to claim that performing is not only about entertaining, but above all about creating an experience. As an emerging band, that’s not an easy task. Often the circumstances or the public do not allow to create a pure experience. And here yet, another paradox: to be able to perform in the purest possible way, you first have to expand your fan base. You do this by especially entertaining and playing your most catchy songs. Aren’t you pretending then?

I personally think thay many artists are struggling regarding this issue. For example, Justin Vernon (Bon Iver) and Ben Howard. Justin Vernon has gone intro depression and Ben Howard even got angry with his audience a couple of times because they were screaming all the time and didn’t stop asking him to play keep your head up.

So, I came to the conclusion that while creating songs, I might not forget that people actually will listen to them. I try to make it accessible to a broader audience without forgetting to put my stamp on it. In this way, a connection with the live audience will be made more quickly and an experience will be created in a more pure way.






// BOSUM // 2018 // TINNITUS //

Tinnitus, one of everyone’s biggest nightmares. A monster in the lure that strikes mercilessly. At the most unexpected moment, he stands there and robs you of your ordinary life. Either you let tinnitus bury you or you climb out like a half defeated war veteran.

Let me take you back to 2014. As real heroes we graduated from secondary school and celebrated as if the night was eternal. Something was in front of us, but we still didn’t know what. We envisioned a bright future where most of us would live up to our dreams: becoming an architect, musician, baker, construction worker, doctor and so on. Naïvety slept for a while and did not awake until the summer was over. The soft beats of the boiler room at the ‘pukkelpop’ festival gave us the courage to give in to love and especially not to go to sleep.

As the morning dew dripped off her skin, I walked across the evergreen fields to my festival tent. Just before my carefree thoughts made me fell asleep, a monster killed the melody I loved, forever.

What was left of the world inside of me? Nothing. A dark cage where memories flew around in a never ending whirlwind.

(4 years later)

I’m still here. The world can give you a thousand reasons to die, but also a thousand reasons to live. It was a choice, not an easy one, but there was a choice at least. Did music save me? Yes, along the way music was my savior, the red line. It took me places where I’ve never been before. It taught me lessons I’ve never learned before. The people I’ve met through music along the troubled way were the people who gave me the chance to put things in perspective. The world outside of me, became to live inside of me, again.


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