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You know FES (Flat Earth Society) as a flagship of shepherded jazz. In their third decade, they remain the ideal partner for deliciously unreliable music, full of absurd perspectives and blood-curdling twists and turns.
On The One, they tirelessly take on the single-mindedness of truth. In a maddening world of crowded perspectives, bellowing personalities and hunger for comprehension, The One has become the highest good.
One truth, one clarity, one version, one story. With unstoppable eagerness, FES tackles this ridiculous reduction.
Peter Vandenberghe and Peter Vermeersch composed another many-headed work full of feints that bet on multiplicity. After all, doesn't the one once passed and succeeded by the next become the previous one?
The One is a delusion, an ideal for bubbles, the epitome of impoverishment. It is a way of thinking that must be fought by all means. Less is not more, less is too often ... nothing more. Clever, cinematic and cunning as you only find in classic noir films, The One is an antidote to a nonsensical quest and an ode to unbridled fantasy.
Grinning from within, the virus allows itself to be corrupted by FES into an irresistible shooting gallery of possibilities.
photos © Bas Bogaerts and Willem Van Cauwenberghe
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