Ghinzu
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Ghinzu – The Dream Maker
Biography
Belgium (1999 – present)
Ghinzu is an Alternative rock band from Belgium. They were formed in 1999 by a group of musicians who had been on the Belgian rock scene for a number of years, named after a Japanese knife-brand. The current line-up consists of John Israel (also known as “John Stargasm”) (vocals, keyboard), Mika Nagazaki (bass), Greg Remy (guitar), Antoine Michel (drums), Jean Waterlot (keyboard, guitar). Former members include Kris Dane (keyboard, guitar), Fabrice Georges (drums) and Sanderson Poe (contrabass).
Their first album, Electronic Jacuzzi, was released in December 2000 labelled by their own Label Company Dragoon and sales quickly topped several thousand. Recorded over several sessions in the spring and autumn of 1999 and 2000, it marks a turning point in contemporary pop and features 12 tracks that travel between groove and noise in an inimitable style.
The rhythm section is relaxed, radical and original, producing a soaring, elastic groove in perfect contrast to the sound of the guitar and doublebass. This adds a tragic quality to the elegance that the group exudes. This vicious aesthetic evokes the essential elements in pop: piano, trash synths, no-wave melodies and addictive rhythms that create a dramatic tension, bringing to the forefront the tragic necessity that drives rock. But this maturity allows for experimentation: bass duos, piano ballads accompanied by cutting breakbeats, distortions and self-deprecating humour, speed-pop and of course the noise holding it all together.
Their first album, Electronic Jacuzzi, was released in December 2000 labelled by their own Label Company Dragoon and sales quickly topped several thousand. Recorded over several sessions in the spring and autumn of 1999 and 2000, it marks a turning point in contemporary pop and features 12 tracks that travel between groove and noise in an inimitable style.
The rhythm section is relaxed, radical and original, producing a soaring, elastic groove in perfect contrast to the sound of the guitar and doublebass. This adds a tragic quality to the elegance that the group exudes. This vicious aesthetic evokes the essential elements in pop: piano, trash synths, no-wave melodies and addictive rhythms that create a dramatic tension, bringing to the forefront the tragic necessity that drives rock. But this maturity allows for experimentation: bass duos, piano ballads accompanied by cutting breakbeats, distortions and self-deprecating humour, speed-pop and of course the noise holding it all together.
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