Warhaus' 5th studio album starts off with handclaps and rustling percussion, ominous falsetto vocals, and ethereal synths: From the very first note, The Donkey is taut with tension. Maarten Devoldere for once found himself at a calm, very Zen place in his life, nothing but peace and quiet. But as it turns out, too much of quiet can be dangerous too; as soon as he started making new music, all the pent-up energy started pouring out at once. Almost like waking up from a long sleep, something new ignited in him, and he suddenly wanted Warhaus to become something else. Something more raw, something more real, perhaps? For years, he had effortlessly churned out one dandyish pop song after another, each more superior than the last. Despite all the craftsmanship, it now felt as if he had outgrown an old set of clothes. Looking for something more primal and urgent, the new material manifested in a stream of energy bursting out straight from his heart, channeled into a mix of broken beats & sounds, a voice that no longer wanted to please but to cry out. The songs on The Donkey tap into something deeper, and bring out a different side to Devoldere, as if only now he is truly showing himself. A thrilling first step towards a version of Warhaus that neither himself nor the listener yet dare to imagine.