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the movers and shakers<br />
01 02<br />
Behind<br />
the<br />
Bands<br />
— In an industry better<br />
known for its oversized<br />
egos and ruthless<br />
corporate executives,<br />
the actual players on the<br />
fi eld – the promoters,<br />
booking agents, press<br />
offi cers, music critics,<br />
radio DJ’s and managers -<br />
are often overlooked, and<br />
underappreciated. We<br />
thought it w<strong>as</strong> about time<br />
to rectify the balance so<br />
started digging deep to<br />
bring you the country’s<br />
music industry’s puppet<br />
m<strong>as</strong>ters.<br />
Writer Nick Amies<br />
Photography Erwin Borms<br />
34 — THE THIRD WORD<br />
For many outside of Belgium, the revelation<br />
that this small European kingdom of 10.5<br />
million people h<strong>as</strong> anything resembling a<br />
music industry may come <strong>as</strong> something of a<br />
surprise. <strong>The</strong> discovery that it is actually a<br />
fountain of creativity and talent will probably<br />
add shock to that. Incomprehensible <strong>as</strong><br />
it may seem, even a large section of Belgian<br />
society is unaware of the burgeoning musical<br />
movement its little nation plays unwitting<br />
host to. All of which makes the movers, shakers,<br />
Svengalis and kingmakers behind the<br />
scenes an even more shadowy group.<br />
<strong>The</strong>se are the people who push the buttons<br />
and pull the strings; who cadge, cajole<br />
and convince the other players in the game<br />
to give their band a chance or to put a name<br />
out into the Belgian ether. <strong>The</strong>y are the hidden<br />
faces of the scene, toiling behind the<br />
stardom not only against international indifference<br />
but often opposition from within<br />
their own borders. <strong>The</strong>y share a common<br />
goal and yet competition between them is<br />
sometimes fi erce.<br />
As befi tting a covert centre of operations,<br />
the offi ces of 62TV Records is an un<strong>as</strong>suming<br />
terraced house in a quiet back street of Brussels’<br />
commune of Anderlecht. Without being<br />
privy to its existence, one would walk p<strong>as</strong>t in<br />
ignorance, blissfully unaware that the rise of<br />
Belgian legends dEUS and current pulse raisers<br />
Girls in Hawaii w<strong>as</strong> m<strong>as</strong>terminded behind<br />
its shabby façade. Inside, 62TV shares<br />
space and staff with distributing and producing<br />
powerhouse Bang!, forging a partnership<br />
which h<strong>as</strong> gone on to become one of the most<br />
infl uential in Belgian music.<br />
Wherever you go and whoever you speak<br />
to in the Belgian music industry, the name of<br />
Pierre van Braekel's<br />
Top 5<br />
dEUS. Worst C<strong>as</strong>e Scenario<br />
Arno. Charlatan<br />
Millionaire. Outside the Simian Flock<br />
Les Snuls. Bien Entendu<br />
De Portables. Girls Beware<br />
Pierre Van Braekel will eventually crop up.<br />
<strong>The</strong> boss of 62TV and founder of the Nada<br />
booking agency h<strong>as</strong> been a major industry<br />
player for the p<strong>as</strong>t eleven years. Alongside<br />
co-founder Philippe Decoster, van Braekel<br />
h<strong>as</strong> been instrumental in sculpting the Belgian<br />
rock musical landscape. “Philippe and<br />
I started off booking bands in Belgium but<br />
soon found that when these bands got big,<br />
they went off and started working with<br />
larger companies,” he says. “It didn’t take us<br />
long to realise that something w<strong>as</strong> wrong so<br />
we started up a management and recording<br />
business and joined with Bang to create a<br />
complete record company.”<br />
" <strong>The</strong> whole galaxy of Bang!<br />
h<strong>as</strong> defi nitely grown<br />
to play a huge role in the<br />
Belgian music industry "<br />
Thierry Coljon<br />
Van Braekel, a former musician and communications<br />
graduate, delved into his p<strong>as</strong>t<br />
and dug up a few names which he hoped<br />
would help get his fl edgling empire off the<br />
ground. “At university, I interviewed a few<br />
up-and-coming young guys in the business<br />
<strong>as</strong> part of my thesis,” he recalls. “When we<br />
started out here, I looked them up and people<br />
like Thierry Coljon at Le Soir were then<br />
making their mark.”<br />
Coljon, now Le Soir’s music editor and<br />
chief critic, acknowledges the impact of contacts<br />
made in those early days. “<strong>The</strong> whole