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Dutch singer-songwriter Broeder Dieleman specialized in simple
acoustic folk
songs in the dialect of the Zeeland region.
Alles is Ijdelheid/ All is Vanity (2012) is almost entirely a voice-and-guitar album,
so much as that the charming accompaniment of Duuzend Veugels stands out.
Gloria (2014) contains the catchy
Kauwtje and the stately
Adriana.
Uut de Bron/ From the Source (2015) marked a quantum jump in ambition. Instead of
simple linear storytelling for voice and guitar, this album indulges in
lengthy compositions that either twist the traditional song structure,
like in the surreal Hoofdplaat, or adopt the ominous drones of dark ambient music, like in the ten-minute Lovenpolder Boerengat (that ends in an
explosion of distortions).
The funereal chant of the ten-minute Omer Gielliet is buried under a sinister static choral humming.
Nehallenia is chamber folk for traditional instruments, inspired by
the ancient Scandinavian goddess of the oceans.
The double album Komma/ Comma (2018) contains songs with banjo,
piano, trumpet, saxophone and drums, notably a
Jane Pape for marching band, the eight-minute fantasia Onaf Pad,
which morphs from acoustic folk to lopsided jazz,
The second album is a 33-minute composition titled 't Gat van Pinten
of manipulated field recordings.
Dit Is De Bedoeling (2019) was a collaboration with Wannes Cappelle
and Frans Grapperhaus.
Most of
De Liefde is de Eerste Wet/ Love is the First Law (2020) returns to
a simple song-oriented format, but occasionally the songs slide into
cute eccentricities.
Poonhaven has a spaced-out background reminiscent of
Tim Buckley's most "acid" folk.
The fateful melody of Eerst de Koffie has the "vibe" of Bob Dylan's The Answer is in the Wind.
Oh Mijn Ziel/ Oh My Soul (2023) contains minor songs but also
the somber nine-minute chamber folk concerto
Oh Mijn Ziel, perhaps his artistic zenith.
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