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Yolk biography
Bio provided my Yolk, with slight revisions.

Yolk hatched in the beginning of 1995 at secondary school. We didn't know what to play but Delphine Delegorgue (actual singer), Florence (ex bass player), Fabrice Broskiewicz(actual drummer) and Jennifer Lenoir (first show singer) were normal teenagers with weird but almost different taste (and still do). Shortly after, we became secondary school stars (first show in front of 600 spectators) because we were playing grunge, trip hop (Portishead), noise experimental (Sonic Youth) covers and weird embryonic composition, as we were also Zappa, Primus, Residents, Tom Waits fans etc ...
After Jennifer Lenoir left, Delphine became the singer and then Adrien Michel (actual sax) join the band in 1996. 1996 was an important year for Yolk because we saw Gong playing live in Béthunes; it changed our way of thinking and playing the music. It was a wonderful performance.
At this time we had a perfect line up to play our space and jazz-rock material.
Our first studio recording is characteristic of this jazz-rock-psychedelic material (one 12 minutes tunes on a local band sampler CD), abnormal time signatures, no words but really crazy shouts with a lot of delay, oriental and atonal guitar riffs, tribal and break beat drums, deep bass and aerial sax.
In 1999, Florence decided to quit, with Antonin Carette (bass) and Emilien Leroy (violin) joining the band. It was like creating a new band, so at this point we were reconsidering what to play. We were knowledgeable about electronica music (jungle, dub, etc), and very experimental improvisations, so we tried those ways. It was a quite floating period and all of us were studying or working in different towns, so it was hard to upgrade our music (we figure in 2001 in another compilation (Paolo Cesar project) and we self produced our first album).
In 2001, Delphine and Valentin (inside Rock and roll Charity Hospital collective) decide to organize "Mon Inouie Symphonie" festival in Dunkerque. They invite Fred Frith (between other like four walls, etc) for a solo performance but particularly for a workshop where all Yolks participated. It was another evolution/revolution for yolk, because Fred taught us very different and interesting ways to improvise and still ranks as one of the highest inspirations for the band: particularly Skeleton Crew, Art Bears, Keep the God and Aksak Maboul.
Yolk became a mutant entity with very strange and dark noisy improv, Balk...
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Buy YOLK Music

Free Range SoundsFree Range Sounds
Blah Blah Blah 1999
Audio CD$4.98 (used)
Sea Food Platter EPSea Food Platter EP
Vinyl$113.00 (used)
Imports 2005
Audio CD$26.54
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YOLK discography

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YOLK top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.92 | 5 ratings

YOLK Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

YOLK Videos (DVD, Blu-ray, VHS etc)

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YOLK Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

5.00 | 1 ratings

YOLK Reviews

Showing last 10 reviews only
 Yolk  by YOLK album cover Studio Album, 2001
3.92 | 5 ratings

Yolk RIO/Avant-Prog

Review by avestin
Special Collaborator Honorary Collaborator

4 stars Yolk will swirl you around

Between the fringes of avant-rock and zeuhl, lurks Yolk with its intense and dynamic rhythms that propel back and forth, repetitive but not exhausting. One band that came to mind when listening to them was Bondage Fruit with their special brand of tribal, mantra zeuhl.

The opener track, Snaky Eye Ball, is angular and angry; the music at its core, reminds me of punk. Amidst all the madness, between the avant-jazz sax, metal-ish riffs and overall insanity there lurks a punk structure and spirit. In Hapiness Roof, a zeulhish flavour comes in; a groovy rhythm takes over with female vocals chanting, reminding of Bondage Fruit (particularly the first album). This style is prevalent throughout the album, sometimes in various forms, but the pattern and basics are always there. In Deprime A Bord, there's some cool use of the sax in a Miriodor-ian way in the entourage of zany melody with wacky vocals. Apart from the zeuhlish elements there are some folk/gypsy references such as heard on A Little Shot In Your Moon, Keep The God and Scathodick Surfers that bring to mind that kind of avant-rock. That is reinforced by the use of violin and the guitar backing it up as heard in that track. Keep The God is also quite varied in itself, with many different styles appearing throughout it, all done very well and very naturally as to not even notice. On Metaliban the music, while still tribal-like and pattern-repeating, gets a psychedelic twist. More Icon starts out less intense than the rest of the tracks, but has an hypnotizing swirling melody that gets on layers as it goes and accumulates energy in the process. This is a fabulous track that shows how to create an efficient repetition with enough ideas to keep it going without being too much or boring. Like in Deprime A Bord , the ninth track Flying Undershot mixes repetitiveness, tribal-zeuhl with the RIO-esque bumpy-frisky sax. This is a very well done track that shows their power at fusing influences from the various colours of the RIO/avant-rock rainbow. It is the last track, MMMC, that is the real treat of this release; psychedelic and mesmerizing, it is a long piece (almost 12 minutes) that will get you into a trip and is a perfect ending for this album.

To sum this up, this album is one great ride, an entertaining album with a high dose of energy, relentless and will leave you exhausted at the end. If you like Bondage Fruit, you will fancy this as well most probably. Fans of zeuhl-influenced music and avant-rock, if you like crazy musical tribal-like experiences, go for this. Not an essential album, but in my opinion, worth getting. It is a very good addition to my collection. For PA rating matters - 3.75-4 stars.


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