Category: tantalise your neighbour

Sällskapet’s Disparition

last evening we were rummaging about in one of our record shops, when the recommendation section appealed to us through an alluring cover. a black and white beauty showing punctilious geometrical sketches of buildings, strongly inspired by the darkest hours of humanity. a sticker displayed on the plastic packaging revealing the participation of german artist Andrea Schroeder convinced us that the discovery of Sällskapet would be the most remarkable finding of the day. and, as a matter of fact, it was.

founded in 2003 but kept secret until 2007, the brainchild of Joakim Thåström, Pelle Ossler and Niklas Hellberg, seem to have received almost an immediate critical acclaim, at least in their homeland, in sweden. Sällskapet (which may be translated by “a small group of people” or a “small society”) released the very same year a debut single Nordlicht, named after a bar in hamburg, and two ambient-industrial albums respectively entitled Sällskapet (2007) and Nowy Port (2013). it must be said that both of them evinced already a strong appetite for highly-enjoyable dystopian flavours and murky shadows. with 2018’s Disparition published a few days ago via BMG, the band that no longer consists of Thåström who appears however as guest singer, further widens the furrow of desperation and propounds a disquieting suburban wander in an oppressive, uninviting wasteland – served also by Andrea Schroeder’s eerie voice. Hellberg resides currently in berlin and this explains logically the relevant presence of Schroeder on this third album, and the singular hopelessness instilled through the nine meaningful pieces offered by Disparition.

the heart-rending (german) lyrics of this breathtaking songwriter and musician, whose discovery a few years ago had hooked us on for months, pair superbly with Sällskapet’s haunted airspace. together, they collide with the disruptive disappearance of both people and time, the fugacity of our lives that fly away like impatient birds, and the needfulness to enjoy each moment, as they arise.
all this might sound quite distressing and tragic, but the warmth of Andrea Schroeder’s undaunted voice suggests to withstand, even if time remains elusive eventually. in Die Zeit vergeht (time is flying by), the piano and violin notes, and Schroeder’s mellow lalalas magnified by Thåström’s upper voice,  make every effort to soothe the palpable tension but are quickly rejoin by sultry and threatening humming. the end of the song sets clearly the tone anyway, since “es ist zu spät” (it’s too late). an obvious magnificence emanates from this inescapable despair through Ossler’s roaring guitar, which howl acts as a cry wolf in a puzzling winsomeness.

Westerplatte and Tiefenrausch, the both unspoken songs, confirms the inevitability of the verdict in a very beguiling spectral way. this might be the very end, but this is a very beautiful one. with Walzer, Schroeder breathes nerve, shows that all this is bearable, provided that you/she hold tight to someone – “an Dich” (to you), this very you that may be a lover, a friend, a compass, a lifeline, indeed something, someone of upper importance. in Wandler, Andrea Schroeder tells about her stroll in ghostly streets. she dreams about life, about death, she states that this is only a dream, yet it conveys a bitter aftertaste that this is an inescapable loophole.

in the end, it makes no difference whether you understand Goethe’s language or not, because Sällskapet’s music and surroundings, together with Shroeder’s cogent interpretation, speak for themselves and deliver the message intended quite plainly. unquestionably, Disparition is the ideal spacey companion till doomsday and has already entered the competition for the best album of the year. because never before had the quietus been so inviting.
Disparition can be purchased here.


No Natural Order for Pharmakon

conscious that our section dedicated to tantalize your neighbours had been neglected over the past months, we expected a genuine nugget to calm down your desire to scare your neighbours (and friends, and family) to death.

so, the return of Pharmakon may be the best way to enjoy this tremendous pleasure, since the lady announced the forthcoming release of Contact, a new album expected on Sacred Bones on march 31st. the release date of the album will mark the tenth anniversary of Margaret Chardiet’s musical project, who is well-known in the NYC underground experimental scene.

No Natural Order has just popped up and we delighted to share this industrial noise wonder. of course, it is recommended to play it very loud and to orientate your sound system towards your neighbour’s flat accordingly, in order to get the most of her threatening voice and sound.

in case you missed Transmission, the first excerpt of Contact, here is an opportunity to catch up.

Pharmakon’s upper-class doomsday music has also to be experienced live, because Chardiet’s performance is absolutely unique and very, very impressive. her powerful fury is highly spellbinding and beyond comparison. we had the chance to discover her as she opened for Swans in 2014, and this was an outstanding and unforgettable moment.

Pharmakon will precisely hit the road again to europe in april and may, and you may pre-order Contact here and here.

Apr 1, 2017        The Hague, NL Rewire Festival
Apr 14, 2017      Brooklyn, NY Brooklyn Bazaar
Apr 20, 2017     Paris, FR Instantes Chavires
Apr 22, 2017      Berlin, DE Ausland
Apr 23, 2017      Brussels, BE Ancienne Belgique
Apr 25, 2017      London, UK Electrowerkz
Apr 26, 2017      Brighton, UK The Haunt (w/ Blanck Mass)
Apr 27, 2017      Nottingham, UK Chameleon
Apr 28, 2017      Manchester, UK Soup Kitchen
Apr 29, 2017      Bristol, UK The Exchange
May 3, 2017       Lisbon, PT ZDB
May 4, 2017       Madrid, ES La Boite
May 5, 2017       Barcelona, ES Upload
May 6, 2017       Krems, AT Donau Festival
May 21, 2017     Durham, NC Moogfest

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?

Spit You Out!

bored of your neighbour’s amateur music?
sick of people’ dumbness and stupidity?
hate for bigotry?
disgust for political environmental hypocrisy?
apodictic necessity to expel some rage against revolting election results?

follow Metz‘s example, and Spit You Out (loud).

METZ (cassiopeia, 24/06/15)

loud. this was truly loud, i mean a real jump-up-and-down experience, probably the most head-splitting gig since APTBS‘, where the frog’s ears came closer to the soundwall limit. in fact, this very night was the first time the frog experienced a true punk delirium, not to say that it greatly enjoyed it.

as i arrived at cassiopeia that night, i was kind of late, for my attention had been distracted by some unexpected skate-board show in the neighbourhood. the pond is an amazing place: you pop up to expose your ears to high frequencies and enjoy instead a spectacle offered by rolling experts, which trousers reach their bottoms with difficulty.
so i was late, so i missed the opening band (Heads), but managed to worm my way easily to the crowd and to embrace the stage, comfortably positioned in the exact middle of the space.

three guys hail to the stage, and i am happy as larry as a friendly-face bespectacled guitarist start to strum a few terribly noisy notes. this is Alex Edkins, guitarist and singer of METZ, an amazing noise band from toronto. on his right, the bassist Chris Slorach shows a lightening smile and behind them appears Hayden Menzies on drums.

Photograph by Robby Reis

i let some refreshing beverage sooth my skate-boarding and (forthcoming punk) excitation, and notice that two long-haired-bearded toads in (very) tiny t-shirts take position on my flanks. my mind starts to vagabond, wondering whether these metal-like amphibians are not at the wrong address. but before i realise that it would appropriate to quit swiftly the comforting headland i’m setting on, Negative Space pierces the silence with hooting guitars and the toads –many long-haired ones, my goodness, where do they flock from?– begin a sudden and cheerful pogo, during which the frog’s bag and beer fly in the air.

with no surprise, the frog decides hastily to follow the movement and jumps in air to recover the beverage and pay tribute to the thunderous gig introduction. at the time of the bag repossession, the devil-possessed amphibians are already soaked and the frog goes wild with joy, rejoining the quietly-dancing animal bed. this marks the end of the flowery perfumed atmosphere but the very beginning of a crazy and thrilling evening –Negative Space being only a soft, jolting opening.

because if you may dispute the band’s lack of inspiration as far as album titles are concerned, i can tell you that the energy and the decibels spread by each one of their tunes will crush your brain to a pulp.

formed in 2008, METZ released their eponymous début album on Sub Pop in 2012, followed in 2015 by the soberly-named II, both produced by Holy Fuck‘s Mr. Graham Walsh. quickly pigeonholed as a punk rock band, METZ deliver a music which also springs from both the drone and post-hardcore scenes –it is straightforward and doesn’t lose time waffling on. some may argue that it is easy to play punk rock, but in truth, it isn’t elementary to play genuine art-punk noise rock. and this is precisely where Metz excel, at radiating ferocity and time-bomb melodies. both guitars seem to respond to some emergency state, the louder, the better. Slorach’s bass spits filthy drones that perforate your brain and entire body like a devilish electric hand drill, echoed by Edkins’ pernicious guitar.

the gig is a perfect exploration of METZ’s plain-spoken style. it is as short and damageable powerful as the forenamed albums. in fact, the shortness of the performance is a bit frustrating. songs are whizzed off, making it demanding to appreciate the show properly. it’s almost impossible to get your breath back. all the same, it is indeed very difficult to resist the impressive Knife in the Water, Wet Blanket or Rats, or any titles of Metz, and i somehow envy the toads who exult openly, letting their exuding bodies crush against each others. METZ’s sovereignty may precisely come from the immediate urge to play.

Negative Space
Knife in the Water
Get Off
Spit You Out
The Swimmer
Wait in Line
Kicking a Can of Worms
Nervous System
Dirty Shirt
Wet Blanket

METZ’s first album perspires the same in-your-face, quintessential sweat of Sub Pop bands. it spews up hysterical tones aiming at crumbling any existing sound limits. raw and deliberately loud, their sound is supported by the bleak and vociferating-contained voice of Alex Edkins, which sometimes vanishes for a while to leave a clear field to the furious but artfully frenzy provided by both the guitars and the demented drums. guitar riffs explode on the assault-like Headache or the quite simply staggering Acetate, which genuinely illustrates Edkins’ promise as II was about to be released:

We are not going to clean up our sound, we are not going to hire a big producer, we are not going to try to write a radio song.

as a matter of fact, METZ don’t produce radio songs, but if they actually did, we could eventually listen to the radio all day. would you still doubt of Metz’ proficiency, we invite you to train your ears with this KEXP session.
please play it loud and abandon the present reading to let your body breath.

chicken stories with Igorrr


if Igorrr never hid his sympathy for gallus gallus domesticus, you only have to listen to Vegetable Soup (which features his own chicken Patrick) to confirm this established fact.

with My Chicken’s Symphony, Igorrr strikes again and proves that even chickens can be music lovers and activists.

this is a serious reason to stop eating chicken, isn’t it?!




are you ready to defy the most respectful and majestic animal of the planet?
and show your neighbours that blues guitars may be as exhilarating as garage ones?

native of the saskatchewanian woods, the beast who was born as Jordan Cook took the moniker of Reignwolf as he needed to answer an urgent call of raw blues nature. the wolf lets loose bleeding guitars, thick riffs that recall some dusty deserts where the pack moan deliciously. this very wolf will make you sweat, without question.

before Reignwolf moved to Seattle to throw out his raging ardour, he gained attention for his concerts, consisting mostly of Cook himself playing solo with any instruments he could get his hands on (have a look at the Arte’s wild concert at 19:15 to see his astounding performance on Electric Love). when touring at Eurockéennes late july, he was joined by his brother Stitch (who is no fool either when playing the guitar) and the edgy Jordan Braley on drums.

it seems that until recently, the band has only released three official singles, but we are pretty sure that a first album will see the light soon. such talent can’t remain silent.

it’s now time for you to howl savagely with Reignwolf, and please, make some noise.


talking about your neighbour, it’s time to celebrate the new year with a new series. a naughty (but tasty) one if your neighbour enjoys mariachi music, volksmusik or oom-pah.
contempt is the revenge of the weak and the time has come for action.
to tantalise your neighbour, we will offer you songs which may sound unusual, bizarre, loud, funny and/or barmy but worthy to be referred as “music” (and good music).

today, we have the pleasure to introduce you to Igorrr‘s crazy music.
Igorrr, aka Gautier Serre, is a French baroquecore composer and multi-instrumentalist. his last (fourth) album Hallelujah, released in 2012 via the excellent very noisy label Ad Noiseam, was a perfect mix of breakcore, baroque classical music and metal.

Vegetable Soup features Igorrr’s own hen, Patrick, whereas Tout Petit Moineau features the delicious voice of Laure Le Prunenec, a baroque singer.

if your neighbour is friendly:

if your neighbour listens to oomp-pah:

don’t forget to turn the volume on the highest possible level and to savour the instant.