In the beginning, there were two young boys with wooden guitars that sang like birds. Antoine Wielemans and Lionel Vancauwenberghe were severely bored on the school benches in their small provincial town. There must be more to life than this! So, they sketched on coasters and wrote in chords. And they discovered an innate talent for melody. Upon the release of their first album (From Here to There), a journalist wrote: “If these boys were English, they would be stars in three months.” But they are Belgian. And in small countries, steps are climbed one at a time. And it’s all the better for it.
For Girls in Hawaii take the most precious of all artist’s rights: the right to take their time. It is therefore step by step their whole lives that they will document in their music. The candor of their beginnings (From Here to there, 2003). Then, entering adulthood, discouragement from the task at hand, the urge to stop or simply flee (Plan Your Escape, 2008). And finally, injustice. The death of Denis, the drummer, one evening in May. And strength as it slowly returns. That says, “You are alive! And you alone can make sense of all this “(Everest, 2013). Four long years after Everest, here finally is Nocturne. The most “agile” album, the most “easy to write and get down” according to the group. An artistic flick of the wrist . Made in the style of a Jackson Pollock canvas. A record that Antoine and Lionel each wrote separately “without too many instructions”. Apart from some keywords exchanged to circumscribe the subject: hypnosis, the jungle, Rousseau’s naive paintings too. “Targeting the work in a pictorial way avoids infinite discussions,” they explain. Unlike Everest, the fruit of a long and painful reflection necessary to any resurrection record, Nocturne almost ‘created itself’.