Month: February, 2016

The Last Tales

The Last Tales is the title of the new mini-album released by Mondkopf at the beginning of the month, a record he composed during the tour of Hadès, his previous record. and to celebrate the new year, Mondkopf offers to download it for free just by clicking on the link of the bandcamp window (you may also name a price for it).


a few lovely words from Paul Régimbeau came with The Last Tales.

These songs took shape during the tour of Hadès. I wanted to share them to thank everyone who invited me or came to see us play. We loved doing this set with Greg and we’re now putting this good energy into our common project Autrenoir, which will be my focus for a little while. Have a peaceful year guys.

the six offered songs of The Last Tales show a less violent, but all the same beautiful aerial threat as Hadès. an appeasing choir opens the record with Ancient Dream, a delicate ode to outer space and alluring dangerous landscapes.

a less violent prose, indeed, but still bellicose, as the superb layers of beating sounds and ethereal voices of Crawling Sea suggest, just like the very other overpowered songs of this twenty-minute opus. various hooting voices bring some disquieting humanity to this charming drowned world, giving slowly way to distinct shivers. Fear The Giant Skull may be a genuine ending song to sublime the most terrifying horror film.


of course, if you can download the EP, or mini-album, or whatever-it-is-called, free of charge, you may also support Paul and his label in paradisum, just by subscribing to The Quiet Room, and enjoy the complete catalogue of the label and many more goodies. but more important, you support a small label and the launch of future amazing releases. €20 a year, it’s a bargain, isn’t?



if you need a new haircut or just to refresh your mind, or alternatively to expel the rage you accumulated today, we recommend you to watch this impressive and abrasive version of METZ’s Eraser, commissioned by Pitchfork and GoPro. beware, it’s not for the squeamish.




three years after the faultless and phenomenal The Echo Show, Yeti Lane will release in march L’Aurore [the Dawn], a new record expected (with much impatience) on Sonic Cathedral and Clapping Music. inspired by 80’s psychedelic synthesisers and shoegazing, dark droning guitars, Yeti Lane rose from Cyann & Ben ashes –a talented  post-rock and dream-pop quartet from france in the 2000’s.

taking their name from Yeti by Amon Düül II and Penny Lane by The Beatles, Yeti Lane consist now of Ben Pleng (vocals, acoustic & electric guitars, keyboards, analog synthesizers) and Charlie Boyer (drums & percussions, analog synthesizers and keyboards, laptop and loops). their music spreads a slight palpable spleen mostly due to Ben’s tender and moving voice. but far from praising sorrow or melancholia, Yeti Lane’s records are pure wonders of psychedelic and cosmic harrow, in which frenzy synthesisers twin with biting, feverish guitars.

L’Aurore shows already signs of a very enjoyable darkness, even darker than the previous aforementioned nugget, as the first titles suggest. the tracklisting also reveals that this new album will contain songs with french lyrics, a première for the band.

1. Délicat
2. Good Word’s Gone
3. Acide Amer
4. Liquide
5. L’Aurore
6. Crystal Sky
7. Exquis
8. Ne Dis Rien

but nevermind the language. the band has already released in january Good Word’s Gone, a first fiery appetizer that has whetted our greedy appetite.


and today, the 9th volume of La Souterraine (a series of compilations introducing under-exposed french musicians) unveiled Acide Amer, a second blazing, very promising title.