Customer Reviews

Private Suit

5 star:		(4)
4 star:		(6)
3 star:		(0)
2 star:		(0)
1 star:		(0)

 

 

It would be both simplistic and short-sighted to say that something happened between Dust Bunnies and Private Suit, but the following is still the case: whereas the former - to a certain degree - returned the Betties to the uptempo bubblegum and power pop of their debut days, the latter sees the Dutch band in a far more thoughtful and melancholy state. By its very title Dust Bunnies seems to trumpet itself as a wonderfully frivolous album, the cover art all sunny and pooch friendly, with the gay abandon of a naked female thrown in just for the sheer laughs. The cute dog on Palomine had a similar effect. In contrast, the woman that graces the cover of this latest release is caught in a private moment, she doesn't know she is being watched, and the onlooker's very morals are being challenged. Whereas Palomine and Dust Bunnies were, to varying degrees, somewhat lighter albums, Private Suit reveals a real depth to an altogether excellent band.
Bettie Serveert have always been a gloriously ramshackle troupe, tinny and box heavy, hailing back to the workman-like ethic of band members carrying their own gear, setting themselves up on a dingy stage - the Ahoy! Or the Paradiso - with naked bulbs for lighting, and then hammering out a frenzied twenty-minute set. It cannot be any other way with an ensemble containing the double whammy of Peter Visser and Carol Van Dyk. However tight and rhythmic the pounding drum and bass engine may be, eventually the jagged wail of Visser's guitar will cut it's way through. However dark and brooding the production may get, there is still the point where Carol's perfectly flawed voice comes shimmering into the mix like crushed diamonds. John Parish has done fine things with this album. It is rich and passionate and haunting. The band have broken away from the confinement of the bass/drums/guitar standard and positively soar, surrounded as they are by such diverse instrumentation as tambourine, marimba, rhodes, vibraphone and strings. With the further complement of cool backing vocals provided by various band members and special guests this is a tremendous album, full of outstanding melodies and gradually penetrating hooks. It is both immediately accessible and yet demands repeated listening.
From the surface to the core these songs are brilliantly constructed. Every weird whistle or siren, crazy arabesque woodwind and punctuated guitar lick is carefully placed. After being captivated by Carol's controlled and full-bodied vocal, each subsequent listen reveals a further level, another instrument, an undiscovered harmony - and eventually you become aware of Herman's mesmerising bassline weaving its way throughout.
The title track is a drunken discordant number. It rattles forth with a disarming snare before the strings swing in like they're soaked in whisky. This is completely exhilarating; with Carol slurring her amorous romanticisms it sets the theme for the entire album, a theme perpetuated by the off-kilter hammond on Satisfied, the rolling organ melody-line in ReCall, or the startling reverse-drum effect on Healer. The whole thing is a positively intoxicating mix. Although the album could hardly be called up-tempo, there are several pounding numbers nevertheless: A jarring piano chord strikes again and again at the start of ReCall until it is joined by a listing guitar line. When the main riff starts up it leaves the piano off the beat before it is swallowed up altogether by the driving a repetitive melody. In Sower & Seeds the band are unstoppable, Carol's passionate singing made all the more personal as her voice falters at the end of each held note; and Peter Visser, given some rein towards the song's conclusion reciprocates with a rip-roaring guitar frenzy.
Backing vocals - not something immediately associated with Bettie Serveert - are used to wondrous effect here. From Peter and Herman's garage band chant on Unsound to the beautiful understated humming on the gorgeous Auf Wiedersehen they bring a satisfyingly warm feeling to the whole proceedings. White Tales gradually builds to a towering Strangleresque crescendo; and the countermelody that graces the latter half of Satisfied is just fab. In fact, let's talk about endings. Great care has been made to end powerfully whether it be the individual songs or the album as a whole. There is the counterpoint finale and shrill guitar echo that concludes Unsound. When everything falls back and gives way to the marimbas in Satisfied it just takes your breath away. And Healer closes the album with spoken word - you heard me, I said spoken word. In amongst all of this is the unhinged amalgamation of childish piano waltz and heaving classical cacophony that is My Fallen Words. And the constant delight of Carol's lyrics. At times seeming as if the have been translated directly from the original language, these words will have you pondering forever.
This is the stuff of musical genius. Four superb albums in and Bettie Serveert have shifted gear and thrown open the throttle. The road ahead is ablaze with anticipation. The great travesty is that this band have not been given the recognition they really deserve.

This has become one of my favorite CDs. Its never far from my player. The music is varied, mature, deeply personal and moving. The sophistication is remarkable (near the end of the song "Private Suit," for example, the constrast between Carol's reassuring words and the guitar in the background sounding like a heart being torn to pieces is, for want of a better word, art.) I find most of the songs pull me right into new worlds. Fascinating and heady stuff - go get it!

The tune "Tom Boy" from Bettie Serveert's breakthrough album Palomine in 1992 was one of my favorite songs of that year. A triumphant rock anthem that deserved to be more widely heard, "Tom Boy" got me doing the air guitar thing every time I heard it. Eight years later and the band has changed drummers, but their sound is still unique and worth hearing. Over the intervening 3 or 4 records, they've evolved -- the songs on Private Suit offer more complexity and sophistication than Palomine's relatively straightforward attack. They're using a broader palette this time around, supplementing the basic rock quartet with strings, organ, an "octopad," and even some Near Eastern sounds. However, the group's strengths are still Carol Van Dyk's vocals - slightly deeper than in '92, but no less bewitching - and Peter Visser's soaring guitars. A mere two minutes into the first cut, "Unsound" and I was captivated by Peter's exceptional guitar playing. The CD's eleven songs range from melodic, folky pop ("White Tales," "My Fallen Words") to exuberant rock ("ReCall"). Not every song is a complete success, but the album holds together well taken as a whole. I'd give it 3-1/2 stars if I could.

Dropping the grunge-y accessories for a more streamlined approach on Private Suit, Bettie Serveert releases their best CD since 1995's stellar Lamprey. Carol Van Dyk's warm vocals are like advice from a close old friend - familiar and comforting, but tough when necessary. Song after song asserts itself with level-headed clarity. Here is a woman who, in her own words, knows how she feels even when she goes to extremes, and has the spine to back it up. "What are we looking for," she asks in a love lyric for our time, "when all we really want is each other?" She takes her time answering, from every side, her own question.

I thought this band had quit. Nice to see they haven't. The album is probably their weakest, seems to have more gaps than the others. Still, plenty of good songs here: the title song is the best. "Unsound", "White Tales", "John Darmy" are good too. The rest of the songs are pretty so-so (still good when compared to most other bands). Carol van Dijk's voice seems a little strained at times. I'm just happy they're still making music; they're one of the best bands around.

If you like Bettie Serveert this will become your favorite of all there albums. If you have yet to hear them start with this one. You will be immediately drawn in and will proceed to purchase the rest of there albums. (palomine, lamprey, dust bunnies) You won't be disappointed.

It is great alternative pop. If you ever liked Belly or The Darling Buds or even the Throwing Muses you will embrace Bettie Serveert. Not to say they are anything like any of the aformentioned, but they definitely are in the same vein.

It is the one album I have to listen to on a daily basis.

First song of this great album reminds of the Velvet Underground. After that the real bettie sound appears. The voice of Carol is beautifull, espesially together with the 'singing' guitar of Peter. This is realy bettie's best album, and on its way to become a classic.

Another fine album by the Betties. As always, Carol's voice and lyrics are the centerpiece of their sound, but this album experiments with new instrumentation. To my ears it doesn't really do much for the songs, but it's a nice change from the straightforward guitar rock they usually play. If you're a fan of the band (and you probably are or you wouldn't be reading this!) then naturally you need to get the cd! My only complaint is the awful mixing job. Carol's Voice is almost always this huge presence over a little teeny drum kit in the back, and there are super loud wailing guitar licks all over the place. There's also a weird kind of transparency to the sound that isn't very appealing. This band needs a warm recording for its naturally warm sound, but they didn't get it on this one. Compare it to Dust Bunnies and you'll hear the difference. Sorry to rant... it's still a great album.

Bettie Serveert is one seriously disturbed band. Back in the early- to mid-'90s this band followed a catchy, generally lighthearted direction, riding on Carol van Dijk's sweet voice and jangly, garage-sounding arrangements.

Private Suit sounds like a whole new band all together, possibly coinciding with the band's departure from a major label and three years of semi-inactivity. Though van Dijk (now spelled van Dyk) has always been the leader of the band, on this album it's as if she's completely taken over. Lyrically the album explores her sense of alienation, and musically it's her personality that comes through, her band relegated to a supplementary role. But the music is gorgeous, tonally similar to PJ Harvey's To Bring You My Love (not surprising, considering frequent Harvey collaborator John Parish produces), Bettie Serveert carving out low-slung, moody pieces of beauty and confession. van Dyk's voice is lower, more sensual, less whimsical, a perfect agent for the music -- sounding like if Nico ever learned to sing. Her lyrics have never been better, the pleading, self-examining moments of "Unsound" and "Mariachi Souls" cutting to the heart and exposing the woman behind the music, while "ReCall" is harrowing in its menace and weight.

If you like Velvet Underground with a more melodic twist, you'll enjoy Private Suit.

I saw this band open up for Counting Crows/Live in Tenn. last weekend. They are truly a good band with some great music. Carol has a wonderful voice and they are what I would call "peppy".