Insights and Frequently Asked Questions
I’m often asked the same questions about Hooverphonic, music, and life. This section, inspired by a recent interview I did, is a collection of FAQs offering a glimpse into my world, and my experiences.*
What got you into music?
Were you musical in school?
Is your family musical?
I didn't grow up in one of those families where the dad has a huge music collection. Even though my parents love music and, growing up, there was always music in the house, what we listened to was often my instigation.
When I was 6, my dad gave me a portable record player. It had a handle on one side and an orange lid that doubled as the speaker. I'd sit on the living room carpet for hours listening to albums like Michael Jackson’s "Thriller," Culture's Club's "Colour by Numbers," and Wham's "Make it Big," singing along and memorizing all the lyrics. Ooh, the joy! After my parent's divorce, music was an escape for me, and it inspired me creatively. I was always making up silly songs and harassing my mom with my latest musical creations. MTV, the first 24-hour-a-day music channel had just become available on cable television. So I grew up with music videos. I was mesmerized by videos like Kim Wilde’s "Cambodia" or Yes’s “Owner of a Lonely Heart.” My mom had one of those retro boomboxes in the kitchen with a double cassette player. Any song I liked, I'd practice singing incessantly and then record myself. I'd play the tape on one side and record myself on the other. I still have tapes of me singing Duran Duran songs (with a pretty thick Flemish accent, I might add).
How did you find yourself being the singer for Hoover’s first album? Was this the first band you ever joined? You were quite young to take on such a task, was it overwhelming?
Yes, when Hooverphonic called me, I was already singing in a band. I use that term loosely because it was just a local bar owner, who dragged a couple of his buddies together to have some fun. Somehow, I got roped into the adventure.
A few weeks into rehearsals, I got a call from Alex, who got my number from a studio owner in my hometown. His wife was a colleague of my mother. She told my mom about Hooverphonic’s search for a singer, and my mom said, “Hey, my daughter’s a pretty good singer.” Alex sent me a demo tape of 2Wicky. So one night, my then-boyfriend and I were hanging out in the car, and I played him the tape. He was like, “You should do this!”. So I drove over to Sint-Niklaas, to Alex’s tiny apartment. We said our hello’s. He grabbed his guitar and played 2Wicky. I sang along, and that was pretty much it.
It’s true, I was very young when I joined the band. I was naïve and had no idea how my life was about to be turned upside down.
The song “2Wicky” was used in several movies, such as “I Know What You Did Last Summer” and “Stealing Beauty”, as well as episodes of “CSI” and “Entourage”. How do you feel about that?
It feels special to me. As a lifelong film buff, it’s wonderful to be able to contribute my voice to the world of film. As a child, I had a huge movie collection—I still do. I was always checking out the latest releases, and my dad would let me stay up late to watch the Oscar ceremonies live in Los Angeles. But it wasn’t the glamour of that world I was into; I just love storytelling. Before the internet, Hollywood seemed like a mysterious, magical place where people told stories that inspired the world. Now, that illusion has been somewhat dispelled.
I lived in Los Angeles for a while with my husband, who grew up there. It made me realize that glamor is like a layer of varnish. It makes everything shiny, but it’s paper-thin. Nevertheless, the glamor is only one aspect of the entertainment industry. When push comes to shove, it’s a tough business. The ones that make the big bucks know what it takes. It’s not for the faint at heart. I will always love people who make it their job to tell great stories, and I’m grateful to be able to be a part of that.
Was there ever a moment after leaving the band that you might have questioned your choice?
I won’t say I never questioned whether it would’ve been wiser to keep going. But I never looked back at the band and thought, “Oh, I wish that was me.” So, from a purely rational perspective, sure, it would’ve been smarter to stay. But in my heart, I never regretted my choice. I love music; I can't live without it. But the music ‘business’ is such a crazy scene, and I was thrown in at the deep end. I got a good taste of what my life would look like, and I realized that paying the price of my personal freedom was too high for me.
What was your favorite song on “A New Stereophonic Sound Spectacular”?
My favorite would probably be “Inner Voice." It resonates with me because I’ve always had a strong connection with my own inner voice, and it’s such a dreamy song.
Was Suzanina just a one-off project? Why did you not continue with it? Was it always meant to be a contained project?
Like the other projects I was involved in, Suzanina was mostly me finding my way after the whole Hooverphonic experience. I went from being a small-town girl to suddenly doing international gigs and appearances on MTV.
It was really jarring. I felt like I had been sucked into a big commercial machine, and, even though it was my own choice, after I left the band, it felt as though the machine had spat me back out.
There I was, trying to figure things out. It didn’t feel like it at the time, but in hindsight, I think I was a bit dazed and confused by the whole thing. I had always loved making music but after Hooverphonic, I was acutely aware of what came along with that lifestyle. So, I had an inner conflict. I was constantly teetering between my love for music and my reluctance to dive into an industry that wasn’t at all aligned with who I was. So, there was always something stopping me from really pushing any project forward in a big way.
Also, as I had mentioned, my inner voice was a guiding force in my life, and in my mid-twenties, my path diverged into other areas. I started having spontaneous out-of-body experiences, and because of this, my interest in spirituality became a very strong pull. Almost as strong as music, I would say.
You had recorded a few tracks with the band Airlock. However, these were never officially released. Were there creative differences? Was there a plan to work on a full project with them?
Yes, there was talk of making a full album. The guys from Airlock are sweethearts, and there were no creative differences at all. We were very much aligned, both on the musical and the personal front. It was mostly an issue of budget and planning that got in the way of that, and probably some of the issues I mentioned earlier.
Do you have plans to release new music?
Anything from “Alyce With Love”?
Yes, I’m looking forward to releasing new stuff. After a long hiatus from music, I started writing songs again. I wrote a whole album for Alyce With Love. This time feels different, though. It’s more personal than usual. On past projects, someone else would provide a track and I’d add the melody and lyrics. But for Alyce With Love, I started from scratch on the piano. I may even finalize the production myself as well. Who knows?
It’s taken much longer than I anticipated for it to see the light of day. Mostly because I have a few other projects running at the moment. But I’m ok with that. I want to create something I’m proud of. That’s what matters most to me. Hopefully, it’ll also resonate with others.
Who are some people that have inspired you in the past?
Omg! Too many to name. Our house is jam-packed with music. Records, CD’s, you name it. You can hardly get through the front door, ha! It’s a musical extravaganza. I love all genres of music: jazz, soul, pop, electronic, classical, you name it. Anything but death metal (sorry guys). But here’s a little sampling of my biggest influences. I grew up in the 80’s, which, I have to say, was awesome. I listened to Depeche Mode, Cindy Lauper (because girls like to have fun!), Wham, Ultravox, Kate Bush, Eurythmics, and many more. In the 90's, it was lots of Sinead O’Connor, Suzanne Vega, Sade, and other female vocalists. Later, I started listening to jazz legends like Billie Holiday, Sarah Vaughn, Nina Simone, and Ella Fitzgerald. And then there was the trip-hop phase. Massive Attack, Portishead, and DJ Shadow were my favorites then.
If you were given the chance to sign with a big label again, would you?
I haven’t approached any labels. But if a big label were interested, I wouldn’t say no. Still, I’d have to find the right people that resonate with me. In the end, it’s about business. Money is important. I get that. So, it would depend on what a deal like that would look like. Naturally, every artist wants to share their creations with as many people as possible, and a big label can attract a lot of eyeballs (or ears in this case)!
Do you ever listen to the songs you recorded with Hooverphonic? Do they spark any memories like “I remember this day, it was raining?”
Truthfully? Rarely. Don’t get me wrong; I love the album. I still think it’s beautiful, and I’m proud to have been a part of it. But I can’t enjoy it like I enjoy other music. Probably because of the memories attached to it. When I listen to other artists, I can just ride the vibe of the music. But listening to “A New Stereophonic Sound Spectacular” just brings me right back to that time in my life that changed everything forever. In a strange way, that album will always be a part of me, just as much as I’m a part of it.
* Special thanks to Travis Holtzclaw for contributing to and inspiring this FAQs section.