April 2021

To celebrate Woodfaces 30 th anniversary  I will  release the next 14 days  one song from the unforgettable  live show in Ghent.  It appeared to be one of the  last shows with Tim  on stage. This was one of the encores:  Into temptation. After two weeks you will have received  the full show including  the inbetween stuff and nonsens: Enjoy

14: Into Temptation Crowded House live in Ghent  18/10/1991 Woodface European Tour

Sodade  Motel  Bliss  live (Cesario Evora)

Mensen van diverse afkomst, allemaal met ervaring in armoede, vormen het koor ‘Onze Rijkdom’. Ze brengen liedjes met zelfgeschreven teksten geïnspireerd door hun bestaan. Eenvoudig, ontroerend, herkenbaar maar ook met een flinke dosis humor. 
Er wordt gezongen, gerapt en verteld over eenzaamheid en geluk, vriendschap, afscheid nemen, moeders die topkes van de worsten snijden, over jaren je kinderen of je moeder niet zien, over hoe we allemaal verschillend en toch gelijk zijn …

In de laatste week voor de 'World Choir Games' strijkt Studio Koorvlam neer bij zanggroepen waar de verbindende kracht van zingen heel duidelijk is. Zo strijkt de 'caravan Studio' ook neer bij Onze Rijkdom op 26 oktober om 20 uur. Het optreden is gratis.

Thuisgevoel (Hans & Heidi)

Your Ghost (completed)

Won't give In  Luckas & Yves Moens(Finn brothers cover)

Recorded  in the hall at my old house since the echo in that hall is very specific.  No digital make up

That's Not How Dreams Are Made

Your Ghost (Kristin Hersh)

Tom's Diner  by Motel Bliss(Suzanne Vega)

The Model by Motel Bliss (Kraftwerk)

Rosie (Claw boys Claw) Motel  Bliss live

In a manner of speaking Motel Bliss Live

dancing queen on the wild side ....mp3

Dance me to the end of love

Imagine live (piano, voice Ypsilon) (guitar, voice Luckas Moens)

"All the Women" is a heartfelt tribute to every woman, to every mother, to those who bring life into the world. A celebration of life itselTo the mothers who cradle the future, to the daughters who carry hope, to the sisters who share laughter, and to the friends who stand by them.

All the Women of the world

Among Leoanrd Cohens's many masterpieces, "Dance Me to the End of Love" emerges as a quintessential articulation of love's transcendence, a lyrical odyssey that ventures into the heart of human experience. 
This song, a delicate waltz of words and melody, evokes a timeless journey where love and music entwine. Its genesis, rooted in the haunting shadows of history, transforms into a beacon of hope and connection. The origins of the song lie in the Holocaust, where musicians played amidst the unspeakable horrors of concentration camps. Yet, Cohen transmutes this profound sorrow into an enduring testament to the resilience and sanctity of love.

Dance Me To The End Of Love (Motel Bliss)

About this song 
"Italian Coffee" is a delightful musical ode to the beloved Bialetti coffee percolator, a kitchen hero that’s as essential to Italian mornings as a Vespa is to Roman streets. Rik Verstrepen, clearly enchanted by the daily alchemy of water, steam, and caffeine, has composed a tune that celebrates this stainless steel marvel with a playful yet reverent spirit.

As the music begins, you can almost hear the gentle hiss of water boiling in the lowest chamber, that impatient bubbling sound that signals the start of something magical. The melody pushes upward, just like the steam through the filter, rising with a sense of urgency—much like your need for that first cup in the morning. It’s as if the notes themselves are caffeinated, buzzing around with the energy of a thousand espresso shots.

Verstrepen’s composition doesn't just play; it percolates. The rhythm mimics the hypnotic gurgle of coffee brewing, building anticipation with every passing bar. You can imagine Alfonso Bialetti himself nodding in approval, perhaps tapping his foot in time with the beat, as this musical homage captures the essence of his iconic creation.

By the time the tune reaches its peak, you’re not just hearing a song—you’re experiencing a symphony of flavors, a rich blend of aromas, and the warm comfort of a freshly brewed cup of espresso. In the end, "Italian Coffee" leaves you with a craving for more—more music, more coffee, and definitely more Bialetti in your life. It’s a brew-tiful piece that’s sure to perk you up, no matter how early your alarm goes off.
About Rik Verstrepen 
Rik Verstrepen, a Belgian musician and composer, studied classical violin and jazz at the Conservatorium in Ghent. He played in avant-garde rock bands like Fukkeduk and Cro Magnon, receiving international acclaim. As a composer, he has created diverse works, including Choral for Strings (2023), and collaborated on multimedia projects like Sirene (2010). Since 2011, he's been a member of Djurdjevak, a band known for its gypsy-inspired music. His work spans various genres and mediums, from avant-garde rock to classical compositions, earning him a respected place in the Flemish music scene.

Italian Coffee (Rik Verstrepen)

"Bright lies"  could be  song of loss, fracture or pain. It unravels a narrative of destruction, revealing the harm lies inflict, and the lasting wounds and scars they leave in their wake.

Bright lies

“Home” embodies a profound sense of solace and belonging, standing as a beacon against the backdrop of darkness and doubt. It highlights the fragility of the human condition, where vulnerability and uncertainty often prevail. Yet, within this fragility arises the deep yearning for a place of safety—a refuge, not merely physical, but emotional, where one can find comfort and reassurance.

Home (Motel Bliss)

The song Surrender by Motel Bliss weaves a dark, sultry rhythm that pulls you into a fog-drenched, mysterious world. Each note feels cloaked in Spanish moss, as if carried on the damp air of a bayou at dusk. There’s a shadowy, almost predatory undercurrent to the sound, like it’s lying in wait, anticipating its next captive

Surrender

Bliss cast is a joyfull and warm introduction to the fine music from Motel Bliss hosted by Allison & Igor. Enjoy it...

Blisscast A deepdive into the Motel Bliss story hosted by Alison and  Igor

There’s a certain magic in revisiting a moment from the past, especially one as formative as the night of October 19, 1991, when Ypsilon, only 12 years old, accompanied his older brother Luckas to a Crowded House concert in the iconic Vooruit in Ghent. It was during their Woodface tour, a golden era for the band, and one of the last concerts to feature both Finn brothers—Neil and Tim—together on stage.

The Finn brothers’ music has long been a source of inspiration, not just for countless fans but also for Luckas and Ypsilon, whose connection to their melodies runs deep. This shared admiration comes alive in their raw and heartfelt rendition of "Distant Sun." The recording is humble—a single-take field recording captured on a mobile phone—far from polished, yet brimming with authenticity. Its imperfections are its charm, offering an unfiltered, “pure nature” interpretation of the song that feels as if it’s reaching across time, tying 1991 to the present day.

Hearing this version by Ypsilon and Luckas is a reminder of music’s universal power to connect, inspire, and carry forward cherished memories. It’s not just a cover; it’s a living tribute, shaped by the brothers’ shared history and their love for the craft of songwriting that Crowded House and the Finn brothers embodied so well. A beautiful piece of nostalgia—imperfect but utterly sincere.

Distant sun (Crowded House cover by Ypsilon en Luckas field recording)

Suzanne Vega's "Luka" is one of those timeless classics that hooks you from the very first guitar strum. It’s a song that doesn’t just play; it resonates, carrying with it a hauntingly raw narrative and understated brilliance. For those of us, like Sam and myself, who grew up with Vega's music, it feels less like a song and more like a lifeline—a red thread woven through our lives, inseparable from our memories and emotions.

This new take on Luka is an adventure in lo-fi. Recorded in a single track, stripped of overdubs and digital polish, it’s raw and unfiltered, allowing every small imperfection to shine through. Yet, therein lies its charm. The rough edges and little "mistakes" aren’t flaws—they’re features, lending a human vulnerability that’s often lost in the pursuit of sonic perfection.

Luka (Suzanne Vega)  (Sam & Luckas) live

Catch and release Motel Bliss live

Pol Espeel_ A Life in Full Color

Oh mercy (demo version)

Pale blue eyes

here are songs that echo; and then there are songs that pray.

Van Camp & Moens' rendition of Leonard Cohen’s Who by Fire does not simply cover a song — it enters it. As though stepping barefoot into sacred ground, they move with reverence through the weight of Cohen’s words, themselves drawn from the ancient Jewish prayer Unetanneh Tokef, recited during the High Holy Days. That prayer asks, with trembling breath: who shall live, and who shall die? By fire, by water, by time, by fate?

Van Camp & Moens understand this. They do not rush. They do not ornament. Instead, they build a stillness, a hush — as if inviting us to sit in the quiet with them and face what the prayer dares to name: the exquisite and terrible uncertainty of life, the inevitability of endings, and the mysteries that carry us there.

Their version is solemn, beautiful, haunting — a meditation draped in twilight. It holds a candle up to the unknowable forces that shape our days, flickering softly, casting shadows across the soul. In their hands, Who by Fire becomes less a performance and more a ritual — not a question to be answered, but one to be lived. 

Many thanks  to Davey Jo- Espeel for the recording and mixing. He did a great job

Who by fire

 Their version doesn’t try to mimic Amy Winehouse; instead, it channels her spirit through a filter of smoky jazz and restrained passion. The guitar work is especially notable: soft, rounded, and fluid, it doesn’t rush the rhythm but lets it simmer — each chord cradling the melancholy of the lyrics.

The jazzy guitar tone is pure velvet. It teases out new textures in the song, trading the grit of the original for something a little more late-night, more intimate, like the kind of version you might hear in a candle-lit bar right before closing time.

The vocalist — soulful and self-assured — doesn’t imitate Amy, but she meets her. There's an emotional parallel, a vocal kinship. She carries the confessional tone with a smoky elegance, letting vulnerability and attitude coexist. Her phrasing is careful but not cautious, playing in the same emotional sandbox without losing herself in Amy’s shadow.

This version succeeds because it understands the core of the song: it’s not just about being “no good,” it’s about owning it with grace, groove, and a little bite. Van Camp & Moens deliver all that, and more — making it their own without erasing the soul of the original.

You know i'm no good (Amy Winehouse)   performed by Van Camp & Moens

The Van Camp & Moens rendition of “Like the Way I Do” takes that same emotional foundation and filters it through a different lens — one more atmospheric, more restrained, but no less impactful. Their version feels like standing in the aftermath of Etheridge’s storm: quieter, but heavy with unspoken emotion. They approach the song with a reverence for the original but aren’t afraid to leave their own fingerprints on it. The instrumentation is pared down, giving space for the voices to explore more nuance — where Etheridge shouted from the mountaintop, Van Camp & Moens whisper from the edge of the cliff. It is one of these rare moments where you only need one take. There are no overdubs or whatever. This is a live in the studio version. Many thanks to Davey Jo- Espeel for the recording and mixing. He did a great job

Like the way I do live (Melissa Etheridge cover)

One day like this (Elbow cover)

That's not how dreams are  made

Setlist  tijdens  het huiskamerconcert  tvv Flying for Lily op 21 12 2019

Flying for Lily

Who by fire (Leonard Cohen)

Luckas' adventures in LO FI homepage aims to embrace Lo-Fi production, as it offers the most authentic and honest representation of music and our artistic ethos. Lo-Fi, also known as low fidelity, is a style in which elements typically considered imperfections in recordings or performances are present, often intentionally. Enjoy.

Luckas Moens

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