Lieselot De Wilde: voice, lyrics, music, orgue de barbarie
Peter Verhelst: guitar, arrangements & compositions, orgue de barbarie
Jean-Phillipe Poncin: clarinets
Lode Vercampt: cello
During the pre-industrial era and before the invention of the light bulb many people had sleeping habits that differed remarkably from the ones we have today. They went to bed when it got dark and cold, only to wake up in the middle of the night. They revived, fulfilled some tasks in the dark and went back to bed. The period between those two stages of sleep came to be called the dorveille, which was used for several things. Sex was of course one of the most common, but others just grabbed a bite or used the time to warm up at the hearth or stove. It was the ideal time to commit all sorts of criminal acts as well. Another popular occupation was the interpretation of dreams, as they were freshly lingering in the memory, hence many a writer was inspired during this mysterious dorme-veille. Those of a more devoted nature used the time to pray.
Entre-temps is a voyage through an imaginary town during the night. Here and there, human activity is noticed and the story zooms in on the occupations of the people. But sleep is always lurking, blurs the perception, and therefore the difference between dreams and reality as well. In the Dutch medieval poetry as well as the French, references to this dorveille can be found and Bel Ayre was inspired by that. An orgue de barbarie (a small, portable barrel organ) guides the nocturnal travelers past secret lovers, praying monks, the lonely writer, the mother that feeds her child, the broken hearted, dream readers, the sneaky charlatan and the trance of the jabbering drunk for whom the dorveille lasts all night.