AIR - Pocket Symphony

After three years of fasting, Nicolas Godin and Jean-Benoît Dunckel today present the world with the first course of their second decade of passion. A sonic concept album, a “pocket symphony” born from an encounter between different worlds: Japan and composers à la Glass. That means piano scales stealing little pockets of space, grafted onto an electro-pop cut, the typical and succulent dish of these French alchemists. A life choice presumably born out of the “mess” of the past. Remember? The year 2001: with the much-debated “10,000 Hz Legend”, they served up a rich and varied plate of blended styles and sonic crudités. An attempt as ambitious as it was complex. Definitely: excessive.

Risks of that kind, since then, Air have had no desire to run again; instead they've opted for a few sidesteps, staying true to their main specialty: the art of melody. “Pocket Symphony” fits conceptually perfectly into their story. Formally, by developing a cue taken from “Alone in Kyoto” (the closing track of “Talkie Walkie“), in the way most congenial to them. And substantially, by reconfirming to all their dinner guests what Air are made of: meticulous craftsmen of delicatessen seasoned with pop, broad-minded electronic artisans. Unfortunately, what's missing from too many of their records, and what keeps them from earning full marks and wider acclaim, is the Sun of inspiration, which set back in the days of “Moon Safari” (save for a few guest appearances on a handful of standout tracks: “Playground Love”, “Venus”, and a couple of others).

“Pocket Symphony”, from this point of view too, is no exception to the rule. It will win you over if you disagree with me about its worth. Otherwise, you'll look at it with respect and even admiration, you'll taste it and even enjoy it, but you'll hardly be swept off your feet. Needless to say, the most delicious morsel was chosen precisely as the single. Tracks of piano and electronic drums form the backdrop to “Once Upon a Time”, a smooth pop-soul blend whispered by treated vocals and gently arranged (with sophisticated dustings of horns and crystalline textures). A track of class and great intimacy, in the vein of latter-day Röyksopp, which joins the band's finest repertoire. In truth, Air don't limit themselves to offering us classic songs like this one.

Equally well-trodden is another path: instrumentals (or semi-instrumentals) built on harmonic progression or the repetition of soundscapes. Main course aside, though, nothing here tempts one into gluttony: just a few things offer a mild tickle of the palate. That's the case with "One Hell of a Party," an intense emotion entrusted to the voice of Jarvis Cocker: a skeletal sonic base (percussion and a touch of synth) wrapped in a delicate layer of Eastern instrumentation. The same goes for "Redhead Girl," with its warm, soft piano figure alternating with ethereal vocals. Further flashes of quality can be savoured in "Napalm Love" (though sadly undercooked, ending up in the arms of a shrill synth) and in the melodic caresses of "Somewhere Between Waking and Sleeping" (with an assist from Neil Hannon). What's left is craftsmanship. Served at times with great skill, as in "Space Maker": drumsticks, acoustic guitars and synths sketching out an evolving landscape (strong proof of their undeniable gifts as sonic architects). At other times less so, as when they linger over the bland melodic solution of "Photograph," suspended somewhat unevenly between unease and sweetness. Just once in an atypical way, when, in "Mer du Japon," the scent of Stereolab becomes overwhelming.

To sum up: this "Pocket Symphony" is a pleasant, engaging record, then, but ultimately not especially rich in substance. Recommended to fans and to anyone with a sweet tooth for electronic confections poised between exquisite soul creaminess and soft pop refinement.

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01/03/2007