A LOOK AT COS

From the depths of Zeuhl, Jazz, Progressive and Canterbury rock, Cos emerges and enchants with a hypnotic and cryptic language that asks to be deciphered, leaving the listener momentarily stranded, somewhere between Boma and Bomma, much like an opium smoker or the hippos on the river Boma, or both… Unique and truly Belgian, with a touch of defiant humour, yet with uncanny finesse, Cos rightfully delivers the word, often with no words at all, through a rich texture of pulsating and elastic bass lines, magical farsifa organ, intricate drums and percussion and the ever-present blistering duality of Shell and Son. Son who almost entirely discards language, using her voice much as a new instrument. Schell who reinvents language in his subtle punctuated guitar phrasing. With this album, we are given hints of something that parallels the creation of a new world. We are passengers of a ship that is heading to uncharted terrain, a place that belongs to Cos and to Cos alone, a place that feels like outer space, yet familiar and even comforting. A place from which one never returns as the same person. Viva Boma is this journey and we are delighted to be part of it.

Saturday

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 "Nog verder" is the Flemish translation for ''much further" and the words are sung in "Lincos", Lingua Cosmica, a language which allows to communicate with the E.T'.s! Daniel discovered it in a book by the Dutch logician Hans FREUDENTHAL, who also inspired the group's name. This composition contains an energetic melodic treatment based on 7/8 time signatures.
 "Boehme" is a tribute to a hermetist philosopher appreciated by Daniel. It is supported by a complex harmonic progression dedicated to his harmonics teacher, Ronald ZOLLMAN.
 "Flamboya" was inspired by a melody ordered by a well known Belgian film producer, Jan van RAEMDONCK, for whom Daniel worked extensively. This composition contains an unusual harmonization in broken triads, as well as a composite (4+4+3/8) time signature."In Lulu" alludes to a character of the unfinished dramatic play by Frank WEDEKIND and adapted as an opera by the famous Viennese composer Alban BERG. Daniel wrote the melody and Marc created the harmonic development.

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