Rarely did a band name hit the spot as well as with HEISA, three young men from Limburg with their feet firmly on the ground and musical gold in their hands. Possessed and carefully measured. Unsettling and subtle. Disorienting and yet catchy. HEISA is all of it, and preferably at the same time.
In the tradition of several bands ranging from Bon Iver to Tool, Jacques Nomdefamille, Koen Castermans and Jonathan Frederix forge songs that sometimes surprise and enchant, then chastise again. Indie, yes, but nothing like the kind that you know. HEISA loves rhythms, atmospheres and keyboards, and breaking the patiently built up tension with painful guitars and waves of distortion at random moments. The vocals do not attract all the attention, but are an additional instrument.
Verse, chorus, weird stuff.
Proof of proficiency: their self-titled EP, which was unleashed onto the world at the beginning of 2018 and is a testimony to guts, sense of timing and downright cinematic qualities. On the road, HEISA leave a trail of destruction. Their live shows are exciting, slightly theatrical and flirt with the limits of what the audience can tolerate. Just ask in Ostend, where they are still digesting their gig at Theater Aan Zee. Or in Ghent, where the band sent all those present in the Democrazy "back home in ecstasy". They themselves put the jury and public prize of De Beloften in their pocket.
No doubt: HEISA stimulates, wriggles and devastates.