Arid
Live

THE REVIEW

This live performance, the last chapter in the brief history of Arid, is simply one of the best unplugged concerts in recent music.

First and foremost for their songs: sentimental and melodic romantic rock, which suits this acoustic arrangement well, or tracks that "cross over," even in the studio versions, into the new acoustic movement territory... And furthermore, authentic cool jazz-rock (is "You Are" enough?), or even, in several songs presented live but in a far greater number within their two albums of originals, a unique marriage of tormented and languid, caustic and peaceful. Sometimes the verses are "restless" and the choruses melodic and relaxed ("Marooned" and "Silent Reproach"); in "Me And My Melody," on the other hand, the sad and drowsy verses are paired with a chorus that is a storm: I would gladly dub this compositional taste "Bronte sisters rock," or "Wuthering Heights rock," but I haven't decided yet which of the two terms to adopt.

Secondly, for Jasper Steverlinck's singing. Where the song is guitar and voice, there's almost no need for the guitar; when the choruses are super melodic, you almost don't notice the presence of the instruments; when they are epic, in the absence of electric guitars and orchestral keyboards, the epicness is provided by him and him alone. In the most delicate moments, he's accompanied by the sparse notes of a piano; in the gentler ones, he is supported by an acoustic arpeggio.

Also a showman, at the end of "Dearly Departed," he inserts challenging falsettos and not at all raucous screams, "Get Up, Stand Up" by Marley and Kylie Minogue's lalalala in "Can't Get You Out Of My Head"; in "The Body Of You," he closes with a verse of "Say What You Want" by Texas. In "The Everlasting Change," he travels so genuinely that for rock like this, you don't even need a guitar; in the poignant "Little Things Of Venom," you can't concentrate on the interesting plots under the singing.

Needless to say, they are greatly missed by the one writing to you. Don't miss out on them. To reach them, as far as Belgium, I don't know by car, but already with a mule it takes very little time. Enjoy reading the review, complete with samples, of "At The Close Of Every Day," written back in 2005 by Samterra/Samuel.