NEW RELEASE – BRUUT!
Just when you think how in the hell are the guys from Bruut! going to keep it fresh after all these years, they turn in V. Their fifth album, and their grittiest.
Maarten Hogenhuis (alto & tenor saxophone), Folkert Oosterbeek (Hammond, Farfisa, Korg, Vox, Mellotron, piano, harmonium), Thomas Rolff (bass), Felix Schlarmann (drums)
on June 1-3, 2018 at Moon Music Studio, Maasbracht, The Netherlands
as Dox 372 in 2018
These guys may not look like a couple of greasy workers diggin’ potatoes. Instead, they are some of the sharpest dressers on the scene. But if not dirty on first sight, saxophonist Maarten Hogenhuis, organist Folkert Oosterbeek, bassist Thomas Rolff and drummer Felix Schlarmann got soul of a strangely twisted kind. In their universe, marriages are celebrated between boogaloo and power pop, post-punk and mood music, perhaps even Link Wray and P.J. Harvey. If a pop band would try its hand on this kind of crossover music, it would most likely be unconvincing. But Bruut! consists of accomplished jazz musicians and each member adds his particular talent and vibe to the palette of entertaining NU-soul jazz.
The wedding party likely takes place in one of those seedy East Hollywood strip clubs frequented by a dozen or so Tom Waits impersonators and the lady that makes a rather charming impression despite the blue bags under her eyes, Botox breasts and stale perfume dating back to the era during which E.T. was in the pre-production phase. Or it might be held at one of the trashy jetset places one always reads about in the tabloids and is never able to attend.
Whatever spot it might be, the fat, resonant bottom of drums and double bass is perfect foil for Hogenhuis and Oosterbeek. The alto and tenor sax of Hogenhuis sounds raw, like a distorted Varitone sax, and Hogenhuis regularly hams it up like a disgruntled hooligan on ketamine. His timing is immaculate and he allows himself a number of solo spots and ad-libs that demonstrate an apparent admiration for Eddie Harris. Oosterbeek provides crunch and edge with all kinds of keyboards like the Hammond, Korg, Vox, even Harmonium. Angular hooks that are groovy and jazzy but also part Queens Of The Stone Age part Pogues part B52’s are enlivened with frivolous bridges and underscored by varying, hefty beats from Schlarmann. As a breather, Hogenhuis contributes his customary mood pieces that showcase his liquid silver tone and melodious lines.
As usual, Bruut!’s song titles consist of only one word. Lopez. Bud. Maestro. Klets. Peewee. Part of the group’s identity that is crystal clear and hasn’t worn.