Wednesday, May 20, 2015

PRAIRIE - Like a Pack of Hounds (2015) ALBUM STREAMING

Brussels-based one man project PRAIRIE debuted in 2013 with a compelling and dark self-released EP called “I’m So In Love I Almost Forgot I Survived A Disaster”. A very promising record, if a little raw on the edges, oddly labelled here and there as post-post rock, whatever that means. Or is it because the influences are clearly rooted into the most experimental and abstract side of post-rock, while expending its sound pallet to incorporate ambient, noise, drones, electronic, spoken words, film music and even post-punk aesthetics? Oh, but that's quite what post-rock is, isn't it? And does it matter? Nope.

What matters is that the man behind PRAIRIE, Marc (Notthefckngdesigner) Jacobs, has signed a deal with Berlin-based Shitkatapult label, which has released a couple of months ago PRAIRIE's second effort to date, "Like a Pack of Hounds", and that's good news. It is good news because the man's music deserves to reach a wider audience. All the elements which made the first EP a fine listen are there, but like developed and extended towards larger than life yet terrifying proportion. I knew the man has an extremely vast musical knowledge as a music lover and professional, but it's fascinating to hear how those numerous influences ended up into this impressive musical sum that's greater than its parts, and best of all deeply personal, while almost worryingly relentless. Some parts could almost be too obvious to pinpoint, experimental composers Tim Hecker and Ben Frost come to mind, and when exceptionally - the album being mostly instrumental - one track got closer to a song, with vocals indeed, like on "Closed For Thirty Midnights", it's hard not to think of Phil Elverum's Mount Eerie/ The Microphones. The thing is, PRAIRIE does it better, surely concerning them surprisingly hip and overrated above mentioned couple of composers, because contrary to Tim Hecker's sterile harsh metallic multi-layers-that-go-nowhere and surely Ben Frost's special fx boom blasts-that-well-blast-for-nothing-and-is-that-all-there-is, PRAIRIE's "Like a Pack of Hounds" contains full formed fertile compositions, with an effective sense of direction, while somewhat keeping it close to Earth. There is sweat and dirt and sorrow and despair and even menace around here. An ambitious, uncompromising and ultimately rewarding listen.
Stream it down here, share it and buy it on the Shitkatapult website.

Sunday, February 1, 2015


YODOK, the Scandinavian duo of Tomas Järmyr, on drums, and Kristoffer Lo, on amplified tuba and flugabone (sic) was founded in 2008 in Trondheim, Norway (same place the mighty Supersilent appeared) and proposes improvised music within the drone/doom/noise genre. One of their many influences comprises Belgian guitarist and sound sculptor Dirk Serries' project  Fear Falls Burning and it's nearly no surprise, if a good one, to see Vidna Obmana's founder join those productive Scandinavians in order to expand their already expansive sound. On this occasion the project was renamed YODOK III.

Both Järmyr and Lo are versatile musicians, active in the local Norwegian experimental and improvised scene. Järmyr and Lo collaborated in the drone trio Sunswitch, with bassist Trond Frønes, and the jazz-pop band Doffs Poi. Lo plays in the art-rock bands PELbO and Highasakite, is a member of the Trondheim Jazz Orchestra and the experimental tuba trio Microtub. Besides, he issued a solo tuba record. Järmyr is at least as versatile (check out his website) and he has already recorded a duo album with Dirk Serries, under the moniker The Void of Expansion, called "Ashes and Blues".

"THE SKY FLASHES, THE GREAT SEA YEARNS" is already the second studio recording issued by YODOK III (they also issued two live ones) and it is once again released on the small Dutch label Tonefloat Records, under their ironically called "a new wave of jazz" imprint. Their first studio effort, simply called "YODOK III", contained two long improvisations, both running around the 23-minute mark, this second opus doubled it with four tracks for a total of around 90 minutes of music. Despite the jazz appellation, YODOK III's music is closer to the long post-rock instrumentals proposed by bands like Godspeed You! Black Emperor or Stars of The Lid, with slow-building and thick-layered/thick-timbered aesthetics, except the music is here entirely improvised, which make them sonically somewhat closer to their near compatriots Supersilent.

This long album can be played in the background but I would recommend to push the volume button up as much you possibly can.

Stream, buy and share this thing below, spooking hell!

Wednesday, December 24, 2014

Chocolat - Tss Tss (2014) ALBUM STREAMING

The second album for French Canadian band Chocolat, cryptically or jokingly called "Tss Tss", was released end of October this year via Montreal-based record label Grosse Boîte, and it's an utterly enjoyable affair throughout. Chocolat has slowly disengaged itself from their unique garage punk sound (they toured with Ty Segall after all) to get closer to psych rock, and even flirting with prog here and there, while keeping their knack for direct melodies and powerful musicianship, this without pretentiousness or sterile virtuosity. Don't stop at their funny name and rather cheesy album cover, that record is a rock'n roll gem, and I might say this album counts as one of my most ecstatic discovery since "Elephants At The Door" by Italian duo Dumbo Gets Mad.

Don't hesitate to dig up their earlier album "Piano élégant" (2008), dirtier, more like some disjointed blues rock, with it's share of excellent hooks and melodies, as well as their first seven tracks ep, simply called "EP" (2007), even dirtier, in the face, closer to garage punk it is.

And you can even go further by looking for Chocolat's frontman solo albums. The guy's name is Jimmy Hunt, and despite his name, and just like in Chocolat's case, near all his songs are sung in French. I barely remember hearing French sounding as rock'n roll as this, somewhere between Jacques Dutronc at its wildest and a less mannered The Walkmen's Hamilton Leithauser. Jimmy Hunt's albums are released by Grosse Boîte as well. Check out his bandcamp page.

Oh, and you can already stream Chocolat's album down here, you won't be disappointed.

Thursday, July 17, 2014

Jenny Hval & Susanna - I Have Walked This Body AUDIO

Two of Norway's, and anywhere else's, most unique voices, Jenny Hval and Susanna Wallumrød (aka Susanna, with or without The Magical Orchestra), composed the music and wrote the lyrics for a collaborative album, "Meshes of Voices", which will be issued mid-August 2014 on SusannaSonata.

The first extract from the upcoming album proposed here, "I Have Walked This Body", is surprisingly ethereal and even noisy at times. It starts with layers of harmonium drones, which take some tremendously roaring foreground as Jenny's and Susanna's voices literally mesh for a deep near spiritual and spooky experience. A fine introduction to a very promising album.

You can stream "I Have Walked This Body" below.

Saturday, June 28, 2014

Liars <> FOCUS

Liars could pretty much be considered one of the most interesting, adventurous and consistent bands from the early 2000s until now, they also own one of the most recognizable sound around. Liars could somehow be described as Animal Collective's nemesis because just like those guys Liars changes musical direction for each new release, to the point that this band has always been very difficult to categorize and box into whatever musical genre. This could also be one of the main reasons why Liars don't get much beyond a cult status, only the most open-minded fans are able to follow up to the band ever-changing artistic choices and orientation. Besides, and just like Avey Tare and co, their untamed and playful studio performance during the recording of each of their album is palatable. But contrary to the joyous jamborees that characterize most of Animal Collective's outputs, Liars' unique aesthetic approach veers towards way darker corners and more violent territories.

Liars was founded in 2000. Its genesis can be traced in Los Angeles where Australian Cal Arts student Angus Andrew met microbiology student Aaron Hemphill in a record store. Both were collaborating on four-track recordings until Angus completed school and they relocated to New York. After responding to an ad, bassist Pat Noecker and drummer Ron Albertson joined and this was the first band's line-up, which later recorded the impressive debut "They Threw Us All in a Trench and Stuck a Monument on Top" in 2001. Some different ideas on creative methods led to the departure of the rhythm section, Angus' old friend Julian Gross arrived, and Liars' new line-up never changed since then. They further signed to London record label Mute, and released their radically different second album "They Were Wrong, So We Drowned" in 2004.
The rest is history.

Let's explore Liars' discography.

Thursday, June 5, 2014

30,000 Pageviews

Thank you to all visitors, even the lost ones who were wondering "what the fuck is this shit all about?"
Now some more feedbacks and comments would be fine,
don't be shy.

Click on the pic and you can go like Spookrijder's facebook page.

Here's the Top Ten pageviews by Countries with a little map.

1. United States 8883
2. Denmark 2585
3. United Kingdom 2010
4. France 1857
5. Belgium 1775
6. Germany 1572
7. Canada 812
8. Australia 357
9. Russia 318
10. Netherlands 276

Tuesday, June 3, 2014

St. Vincent <> FOCUS

St. Vincent aka Annie Clark is pretty hip these days.
As a multi-instrumentalist, she began her career as a member of the psych/prog choral rock band The Polyphonic Spree and was also part of cult singer/songwriter Sufjan Stevens' touring band before spreading out her wings as a solo artist with the one-woman band St. Vincent in 2006. Annie Clark took her mysteriously odd moniker from a Nick Cave song, which references the hospital where Dylan Thomas died.

One of the most original singer/songwriters, and one of the most inventive guitarists, of the last decade, Annie Clark is also blessed with a beautiful, bright, clear and articulate voice, without being flashy or utterly virtuosic. It remains tender and charming in its humility, even when the music reaches its rowdiest peaks. St. Vincent has been compared to many of her pairs, past or present, while her music and vocal performances are less mannered and dramatic than My Brightest Diamond, several light-years more original and idiosyncratic than Florence and The Machine and more talented than the already pretty gifted Bat For Lashes, to name a few of her contemporaries. Besides, there are more brilliant ideas in one of the best St. Vincent's song than in the near entire discography of Kate Bush and Tori Amos together, both names, mostly the former, being far too often namedropped when another female artist appears with an individualistic voice, singular song structures and colorfully textured arrangement. Artists as different as Julia Holter or Courtney Love, and even, hum, Lady Gaga, have been unimaginatively compared to la Bush. But let's not digress further, let's better discover St. Vincent's discography.