Album Review: Industry Of Love by Hans Teeuwen – A Comedy Masterpiece That’s Hard to Forget
Hans Teeuwen’s Industry Of Love isn’t your typical music album. Released in 2004, this Dutch gem sits firmly in the "Non-Music" genre but with a style so sharp it could slice through any dull day. It’s comedy gold wrapped up in an audio experience that feels like sitting front row at a chaotic yet brilliant stand-up show. Produced under Universal and Hummelinck Stuurman Producties, the project is polished enough to sound professional but raw enough to keep its quirky charm intact.
The album boasts a wild tracklist filled with absurd titles like “Vork In Je Oogbal” (Fork In Your Eyeball) and “Dreckige Daisy” (Dirty Daisy), which already hint at Teeuwen’s knack for blending dark humor with playful irreverence. But let me zoom in on two tracks that stuck with me long after hitting pause: “I Wanna Be Black” and “Teeuwen Spreekt.”
“I Wanna Be Black” hits hard—not because of some profound social commentary, but because of how hilariously unfiltered it is. The song dives into Teeuwen’s signature mix of satire and silliness, leaving you unsure whether to laugh or cringe. And honestly? That’s what makes it memorable. He doesn’t just throw jokes around; he crafts entire worlds where you can almost picture him performing live, pacing back and forth as his words land like little verbal grenades. You don’t forget something like this easily—it sticks to your brain like gum under a table.
Then there’s “Teeuwen Spreekt,” which translates roughly to “Teeuwen Speaks.” This one feels more like a spoken-word piece than a traditional track, but wow, does it deliver. Teeuwen’s delivery here is so deadpan, so perfectly timed, that even without visuals, you can imagine his facial expressions shifting between mischief and mock-seriousness. It’s less about punchlines and more about the rhythm of his voice pulling you deeper into his bizarre universe. If anything, it reminds you why Teeuwen has become such a cult figure in Dutch comedy.
What’s fascinating about Industry Of Love is how collaborative it feels. With credits ranging from Cameraman Alex De Waal to Producer Arjen Stuurman, every detail seems carefully thought out—even if the final product appears delightfully unhinged. The sleeve design by Van Gog adds another layer of eccentricity, tying the whole package together like a beautifully chaotic present you’re both excited and slightly scared to unwrap.
Reflecting on the album, I’m struck by how timeless it feels despite being nearly two decades old. Sure, some jokes might not age perfectly, but Teeuwen’s fearless approach to pushing boundaries ensures that Industry Of Love remains relevant. Plus, who else would end their album with a track literally titled “Hans Teeuwen”? It’s self-referential humor at its finest—or maybe just straight-up narcissism. Either way, it works.
So yeah, if you’re looking for an album that defies expectations, challenges norms, and leaves you laughing till your cheeks hurt, give Industry Of Love a spin. Just don’t blame me if you start quoting random bits to confused friends later.
