Vanderbuyst

The band name and title say it all, they just have to be Dutch, right? Guitarist Willam Verbuyst, drummer Barry Van Esbroek and singer/bassist Jochem Jonkman are collectively known as Vanderbuyst. This Dutch trio deal in classic sounding hard rock. Citing their influences as the likes of Van Halen, Thin Lizzy and UFO it is no surprise then that they have recently toured with the likes of Judas Priest, Saxon and Thin Lizzy. Drawing their collective inspirations of classic '70s and '80s rock they promise to inject some fun back into rock 'n' roll. They say most bands are more concerned with 'likes' than the quality of licks, and I quite like their train of thought.

Claiming to be on a "quest to save the world from flaccid rock" it's actually quite ironic that opening song 'Frivolous Fanny' is as ludicrous as its title and easily the weakest song on this album. Opening with pinched harmonies and '80s metal tendencies it smells of denim and leather in its most generic form, it lacks originality for me, but don't despair it gets better from then on.

'Waiting In The Wings' may start with a quite metal sounding riff but it veers straight into Thin Lizzy territory and suddenly I am getting more interested. Nice riffs and cool vocals give it that certain something that makes me want to hear what else they have to offer on this album rather than reaching for the skip button.

'The Butcher's Knife' could not be any more '80s rock, that thumping drum intro and I know that riff from somewhere in the deepest corners of my record collection; it took me a while to figure it but yeah I'm sure it's a Warlock song or maybe something off the excellent 'Trick Or Treat' soundtrack.....no, it's definitely 'Fight For Rock' by Warlock. I like it actually, it would've fitted perfectly on one of my '80s Raw Power video compilations. Jonkman's vocals are powerful and with not that much of an accent he comes on mostly like a cross between Ronnie James Dio and Klaus Meine and it works.

Apart from the odd over the top guitar soloing as in 'In Dutch' they play it straight and traditional, 'Johnny Got Lucky' is a more bluesy stomp in an early Whitesnake style, even the solo here is well bluesy in fitting with the songs feel, and it's one of the best songs they offer up. 'Flying Dutchman' again is catchy, bluesy as well as quite commercial with solid riffage going on.

'Never Be Clever' is a cover of a song by the Netherlands' greatest rock 'n' roll junkie Herman Brood, a legendary musician and artist on the Dutch music scene famed for his outspoken views on sex and drugs. He committed suicide in 2001 by jumping from the roof of the Netherlands Hilton Hotel. It's an instant song with a familiar riff stolen from The Who, with a glorious anthemic chorus it's a top tune, listening to the original they have given it a good working over here, updating the sound for a new generation, good choice of cover fellas.

'Flying Dutchmen' is a lesson in nostalgia with a modern production, it will take you back to a time when white Hi-Tec trainers, stone washed stretched jeans and a cut off denim jacket were the rock warriors uniform. Hell it may even convince you to grow your hair back and get a perm such is the conviction of Vanderbuyst and their music. Even their album cover and logo screams mid '80s rock. They don't claim to be doing anything new, they will not change the world, but if you are looking for the alternative to being alternative then Vanderbuyst and their retro sound could well make you raise your fist and rock for all the right reasons. Fun in all the right places. - http://www.uberrock.co.uk (Ben Hughes)

Hard to believe it may be, but energetic Dutch trio Vanderbuyst are already on album number three; with their self-titled debut issued in 2010 and ‘In Dutch’ sneaking out at the tail end of last year they’re back in the racks again with ‘Flying Dutchmen’, an album that sees guitarist Willem Verbuyst, drummer Barry Van Esbroek and singer/bassist Jochem Jonkman taking a slightly different approach this time around.
So, what’s changed? Well, with the luxury of time on this album the band have made full use of being in the studio. ‘Flying Dutchmen’ has less of the spontaneity that emanates from ‘In Dutch’ and ‘Vanderbuyst’ and sounds more controlled, more thoughtful, more – dare I say it – polished that its predecessors. As Verbuyst explains: “You don’t want to release the same album twice so we decided to approach ‘Flying Dutchmen’ differently. This time we aimed for a more produced album. On ‘In Dutch’ there’s only one guitar; no overdubs, not even a rhythm guitar backing the solos. Apart from the vocals, we recorded it live. On ‘Flying Dutchmen’ you will find overdubs and rhythm guitars, even twin leads. During the recording sessions we even came up with extra guitar parts and vocal lines. So a part of the creative process was done in the studio. However, the basis was recorded live again on analogue tape in order to guarantee the energy and dynamics we like.”
So if the NWOBHM-style rawness of those first two albums wasn’t to your liking, the fuller sound should appeal to a wider audience. “‘In Dutch’ is very raw and straight in your face,” agrees Verbuyst. “A lot of people appreciated the songs more than the ones on the debut but some of them thought the sound was too ‘garage’. They can’t complain now. I think ‘Flying Dutchmen’ is a combination of good songwriting and a great sound, and I think on this record you can also hear how we’ve grown as a band.”
However, this is still very definitely and very recognisably the work of Vanderbuyst, a band who’ve developed an organic and distinctive sound that sets them aside from the rest of the pack. From the opening burst of ‘Frivolous Franny’ (with its swerve-ball time changes) to the almost swing-time rhythm of ‘Welcome To The Night’ (which like ‘Johnny Got Lucky’ features some guest soloing from Verbuyst’s former bandmate and mainstay of The Devil’s Blood Selim Lemouchi) the eleven songs on offer are short, tight and punchy, written and performed to hook you in and then leave without overstaying their welcome. If you want to draw the distinction – which personally I don’t – Vanderbuyst’s material is more rock than metal, with songs like ‘Lecherous’ being heavy more in a Blue Cheer than a Black Sabbath kind of way; it’s almost as if the band have zipped straight from the early Seventies to the twenty-first century with barely a glance at the intervening years. As ever, the playing is flawless throughout, and Jonkman has grown immensely in his role as vocalist since that first album just two years ago. I’d love to see this band live – I bet it’s one hell of a show.
For the band themselves, “since we released our first album it’s been a roller-coaster ride,” notes Verbuyst. “And we’d like to continue this. In the last two years we played over 200 shows in 16 countries. It would be great if this album can take us a step forward. It would be cool if it opens the door to the UK. But no matter what, we’re happy as a dog with seven dicks already.”
And the band’s prolific output? “That’s hard to tell,” replies Verbuyst. “Most of the songs I write, I write on holiday. I like to travel to exotic places like those in South East Asia. Probably it’s hard to imagine that swinging in a hammock with a beer is inspiring but somehow it is. Recently I’ve been to Bolivia for a month and came back with ten tracks. Apart from the hammock those countries have pristine jungles and every day is an adventure. You never know if you will arrive at the next village in one piece. I love it!”
© John Tucker November 2012  - © John Tucker November 2012