The band was born in July 1990 in Namur (Belgium) and was originally composed by four musicians (actually the bassman, the violinist, the keyboard player and the guitarist). But that structure was not suitable to perform gigs and they intended to, so two additional musicians were incorporated (for drums and voices). The band’s geometry remained unchanged since then.
After several months spent on compositions (at that time, the band was not interested in covers), they decided to try their first public performance. Even though their music was somewhat linear and clumsy, the audience was listening carefully. This encouraged them to keep on working building more complex and emotional music. The experience on stage brought them best understanding of what they were doing and what they wanted to do.
In February 1992, they recorded their first demo tape in an old fashioned cottage in the countryside around Namur.
The peaceful landscape, the promiscuity and the live recording influenced the whole work. It also played a substantial role in the atmosphere which emanates from the songs. In order to keep the unexpected taste of the recording, they decided not to name the tape, simply giving the name of the band. Their first contact with the press happened at that time as the demo was claimed to be one of the most original contributions coming from amateurs that year.
Slowly but surely, the number of importance of concerts was increasing. They began to shoft stage locations from clubs to festivals. The linearity of the music became less predominant and musical experimentation reached better accuracy and equilibrium between oddity and harmony. The wide range of musical influences provided by the musicians
was used in a more sensitive way. The second 8-tracks demo tape “Babel” was recorded in February 1993 in the same ancient house. This new form of recording led them to their very first “real studio” experience.
In June 1993, the band won the Verdur’Rock contest. This event allowed them to play abroad (in Northern Ireland and in Canada) and encouraged them to produce their first CD.
A new period began with several support-acts (And Also The Trees, Miranda Sex Garden, Collection d’Arnell-Andrea, The Legendary Pink Dots) and bigger festivals. As the duration of performances increased, they took this opportunity to improve the visual aspect with movie projections and slide shows. The band has always thought that not only the ears but also the eyes are concerned in their musical imaginary.
In February 1994, they entered the studio to record both a Maxi-single and their first album. The Maxi “Sir the Morning” came out in June 1994 whereas the album was still to be mixed. This was achieved in November 1994 by Gilles Martin at the Caraibes Studio in Brussels. Gilles Martin (who also worked with dEUS, Tuxedomoon, Dominique A, Bel Canto, as well as Minimal Compact, among others) added noticeably to their work. The CD “Eva King” came out in February 1995.
At the fall of 1995, after the CD promo tour, they decided to slow down their concert activity to focus more particularly on two new projects. Indeed, they had already realized that their music might be well adapted to theatre performances when they participated in the conception of some music pieces for the adaptation of the Didier
Comes’ “Silence” in Namur (1994). Several new and more complete collaborations with theatre companies began that year. Among the most accomplished realizations, we can cite the composition and live interpretation of the music accompanying Bertholt Brecht’s “Combien coûte le fer ?”. This play has been performed for almost two years all over Belgium since the premiere in Namur.
The second project concerned humanitarian involvement in the “reconstruction” of Bosnia-Herzegovina after the war.
They were invited by the Belgian NGO “Ecoliers du Monde” (Scholars of the world) to accompany one of their humanitarian missions in Sarajevo and Gorazde in April 1997. The purpose was to entertain small children and achieve small musical projects with teenagers victims of the war in different centers helded by French NGO’s (Equilibre, Solidarités, France-Libertés) around both towns. This trip gave them the opportunity to play in several clubs during the stay. The first contact with Sarajevo and its population had such an emotional impact on both musicians and children that they decided to go back to Bosnia in July 1997 and carry on the same task.
The band stopped their activities after the departure of the violinist to Palestine.