Since 2013, Baelus has been besieging the music scene with his re-engineered sewing machines and film projectors. With its obscure, veiled songs, the self-titled debut album in 2013 made an impression for its Lynchian atmosphere. It didn't go unnoticed by bands such as Tindersticks and King Dude, with whom he would later share the stage.

After numerous solo shows, in 2018 he decided to expand his band to a trio. The two drummers Erik Heestermans (Steve Gunn) and Frederik Meulyzer (Stray Dogs) supply an organic, visceral counterweight to all that mechanical noise. In this configuration, the band has made a name for itself as an intense live experience, entrancing audiences in a collective, repetitive, timeless ritual. Or, in the words of HUMO magazine, »beautiful to watch, heavenly to hear.«

For their latest album, Sea, sea, sea, drifter / See, see, see, drifter (Consouling Sounds, 2019), Slumberland went to Montreal to work with engineer/producer Radwan Ghazi Moumneh. As the unofficial sound guru for the Canadian label Constellation, Moumneh was right at home with the cinematic portraits and tribal realms of Slumberland, helping to create a murkier, rawer and more explosive sound. The songs unfold in a constant friction between tactile textures and spare melodies, with the inky voice of Baelus increasingly at the forefront in the role of master of ceremonies.

In 2020 Jochem Baelus set out to investigate how he could use his expertise to dialogue with other cultures through his sound sculptures. His fascination with the human voice as a means of communication soon led him to 63-year-old Tuvan avant-garde voice artist Sainkho Namtchylak, known as one of the first recognised female overtone artists, a privilege usually reserved for men. When Jochem visited Namtchylak in Vienna it quickly became clear that their collaboration was full of potential. An encounter between two worlds, where the interaction between the material and the immaterial gives impulses into new audiovisual forms.