Albums Reviews: Charlotte Gainsbourg - 5.55 (4 / 5); Darkel - Darkel (3 / 5)
French techno group Air released one of my favorite albums of 2004, Talkie Walkie, a divine collection of ambient and pop electronica. The band are due to release their fifth album in March 2007, but have hardly taken a break during the last three years, instead dabbling in side projects.
September saw the release of two such projects: An Air-produced album from French actress/singer Charlotte Gainsbourg, followed two weeks later by Air-member Jean-Benoît Dunckel's first solo project, Darkel. Both albums embody a similar spirit to that of Air's last album, which makes them both an enjoyable listen, although Gainsbourg's album manages to soar above Darkel's, which manages to sound too much like Air outtakes.
Air has named Charlotte Gainsbourg's musician-father Serge Gainsbourg as one of their influences, and now they have chance to be the principal influence on his daughter's second album, the accomplished 5.55. Title track "5.55" opens with a soothing piano and synth combo under Charlotte's quiet vocals. The piano is particularly at the forefront in this track, which also features quite a few strings; it's an immediate standout on the album. "Af607105" in particular sounds like a Talkie Walkie outtake with Gainsbourg's vocals replacing Air's.
"The Songs that We Sing," another of the more upbeat moments, is loaded with urgent strings and punctured by quiet moments among the piano and percussive instrumentation. In contrast, restrained and plaintive "Beauty Mark" is sexy and mellow. "Everything I Cannot See" overlays dramatic piano with acoustic guitar, breaking into a Tori-Amos like staccato with Gainsbourg's chanting vocals during the chorus. It's another arresting number.
Other highlights include more upbeat and slightly sinister "The Operation" and "Little Monsters," the moody piano-heavy "Tel Que Tu Es," and etherial "Jamais." My complaints are really few. Repetitive "Night-time Intermission" goes on a little too long to be just an intermission. The only other drawback is that while quiet beautiful, the album feels a little too safe, focusing on the crowd-pleasing side of Air's music, without much experimentation.
In contrast, on Darkel, free of Nicolas Godin, Dunckel takes the opportunity to stretch himself, although many tracks also manage to sound like something Air could have thrown onto their last album. Dramatic, synth-heavy "Be My Friend" is a good opener in the traditional Air vein, but second track "At the End of the Sky" takes a new direction closer to pop and the '70s with piano and warm piano and guitar.
While I welcome the new direction with "At the End of the Sky," I find "TV Destroy" grating, like something from Fatboy Slim. "My Own Sun" is good though, another upbeat, fun, retro-styled pop song. "Earth," while kind of fun, is just too long. "Beautiful Woman" is boring.
The more familiar Air-sounding tracks by and large work very well. Romantic "Some Men" is lovely, although a little too plodding coming right after the raucous "TV Destroy." "Pearl" has a nice piano sound and I like the church bells (reminds me of the bells that start Jai's 1997 album Heaven), but it gets too repetitive quickly. "How Brave You Are," on the other hand, sounds like another great example of Air soundtrack music, and "Bathroom Spirit" captures their cool outerspace lounge vibe. Mellow piano-driven closer "Bunny Girl" has a great piano sound.
French techno group Air released one of my favorite albums of 2004, Talkie Walkie, a divine collection of ambient and pop electronica. The band are due to release their fifth album in March 2007, but have hardly taken a break during the last three years, instead dabbling in side projects.
September saw the release of two such projects: An Air-produced album from French actress/singer Charlotte Gainsbourg, followed two weeks later by Air-member Jean-Benoît Dunckel's first solo project, Darkel. Both albums embody a similar spirit to that of Air's last album, which makes them both an enjoyable listen, although Gainsbourg's album manages to soar above Darkel's, which manages to sound too much like Air outtakes.
Air has named Charlotte Gainsbourg's musician-father Serge Gainsbourg as one of their influences, and now they have chance to be the principal influence on his daughter's second album, the accomplished 5.55. Title track "5.55" opens with a soothing piano and synth combo under Charlotte's quiet vocals. The piano is particularly at the forefront in this track, which also features quite a few strings; it's an immediate standout on the album. "Af607105" in particular sounds like a Talkie Walkie outtake with Gainsbourg's vocals replacing Air's.
"The Songs that We Sing," another of the more upbeat moments, is loaded with urgent strings and punctured by quiet moments among the piano and percussive instrumentation. In contrast, restrained and plaintive "Beauty Mark" is sexy and mellow. "Everything I Cannot See" overlays dramatic piano with acoustic guitar, breaking into a Tori-Amos like staccato with Gainsbourg's chanting vocals during the chorus. It's another arresting number.
Other highlights include more upbeat and slightly sinister "The Operation" and "Little Monsters," the moody piano-heavy "Tel Que Tu Es," and etherial "Jamais." My complaints are really few. Repetitive "Night-time Intermission" goes on a little too long to be just an intermission. The only other drawback is that while quiet beautiful, the album feels a little too safe, focusing on the crowd-pleasing side of Air's music, without much experimentation.
In contrast, on Darkel, free of Nicolas Godin, Dunckel takes the opportunity to stretch himself, although many tracks also manage to sound like something Air could have thrown onto their last album. Dramatic, synth-heavy "Be My Friend" is a good opener in the traditional Air vein, but second track "At the End of the Sky" takes a new direction closer to pop and the '70s with piano and warm piano and guitar.
While I welcome the new direction with "At the End of the Sky," I find "TV Destroy" grating, like something from Fatboy Slim. "My Own Sun" is good though, another upbeat, fun, retro-styled pop song. "Earth," while kind of fun, is just too long. "Beautiful Woman" is boring.
The more familiar Air-sounding tracks by and large work very well. Romantic "Some Men" is lovely, although a little too plodding coming right after the raucous "TV Destroy." "Pearl" has a nice piano sound and I like the church bells (reminds me of the bells that start Jai's 1997 album Heaven), but it gets too repetitive quickly. "How Brave You Are," on the other hand, sounds like another great example of Air soundtrack music, and "Bathroom Spirit" captures their cool outerspace lounge vibe. Mellow piano-driven closer "Bunny Girl" has a great piano sound.
While either one would be great to just turn on in the background to chill to, only Charlotte Gainsbourg's album excels at actually being a really interesting listen. Darkel, while enjoyable, sounds more like just Air b-sides, which isn't as much of a slam as it sounds, since Air is fantastic. Still, hearing both albums has me thirsty for next year's proper Air project.
Best tracks: (5.55) 5.55, Tel Que Tu Es, The Songs that We Sing, Beauty Mark, Little Monsters, Everything I Cannot See; (Darkel) Be My Friend, At the End of the Sky, My Own Sun, Bathroom Spirit, Bunny Girl.
Best tracks: (5.55) 5.55, Tel Que Tu Es, The Songs that We Sing, Beauty Mark, Little Monsters, Everything I Cannot See; (Darkel) Be My Friend, At the End of the Sky, My Own Sun, Bathroom Spirit, Bunny Girl.
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