Stereolab chanteuse continues on from 2010's "The Trip" with socially-aware cinematic bright-eyed pop
7/10
It appears from the opening strains of "The Rule of the Game" that the art of kicking an album off with a bang or slow, but epic, build-up has all but disappeared. But, after a little perseverance, in comes that familiar trippy keyboard sound often associated with Sadier's tenure as Stereolab's catalyst and the song is saved. It still doesn't sit right as an entree to the singer's second album, but, seeing as the remaining songs all appear to be in the wrong place as well, we'll just dive into the album as it stands.
"Silencio" carries a simple promotional tagline and question which reads, "It's 2012 — do you know where your government is tonight? Occupy yourselves — and let's get busy with the music in our minds." Quite. Throughout the dozen songs, many probing political points are raised by Sadier, the main one being "just who voted in these people?", but rather than holler at us with agit-folk, she dresses up her barbs of wisdom in a soft velvet pop jacket that, when flashed open, proffers a nakedness and some cutting titles such as "There is a Price to Pay For Freedom (And it isn't Security)". So, your brain thinks its summer, but really it's winter and we're all screwed, get used to it. Thankfully, Sadier doesn't fancy this idea and, like some contemporary Joan Baez, wields a distinctive voice and a fine melody to boot.
There's nothing on "Silencio" to subvert or distress whatever audience Sadier attracts these days (hipsters? Francophiles? Saint Etienne and Beth Orton fans?), which means that if you like a bit of French thrown around with your lightly strummed indie-pop, a la Francois and the Atlas Mountain, you'll appreciate songs like "Merci de m'avoir Donne La Vie" or "Moi Sans Zach", the latter of which is no more than a budget beatbox, Air-like murmurings and a nod to John Barry that is pleasantly reassuring, but little else.
By the halfway point I'm checking my watch - I want something to stand out from the pack, something exciting, an anthem perhaps or a straight-edged pop nugget like her recent collaboration with Benjamin Schoos (the gorgeous "Je Ne Vois Que Vous"). But, it just doesn't happen. A song christened "Lightning Thunderbolt" bodes well, that is until the double-bass, accordion and strum-drum guitars act as a soporific aid. I flag and I close my eyes.
I'm only awoken by the almost-funky "Fragment Pour Le Future De L'Homme", replete with dapples of jangly guitars, harmonies and a top-notch hook throughout. In the dim and distant past of singles, this might have been a sound choice. For now, it gives this album a much-needed shot in the arm and I realize just what I meant by the songs being in the wrong order - this feels like an opener. Hell, it even trips out with farty synths, bad-ass bongos and a natty bassline that evokes thoughts of car-chases and fist-fights in a Parisien alley. "Next Time You See" also sees Sadier turn her nose to the wind and insert 'ba-ba-bah's for pop-effect. This is more like it.
Overall, "Silencio" attempts to bathe the listener with widescreen intent and an atmospheric backdrop, yet succeeds in merely feeling like a trailer for something far bigger. Still, it's rather good in places and certainly worth shelling out for.
For information about live appearances by Laetitia Sadier, head to Allgigs here
7/10
"Silencio" carries a simple promotional tagline and question which reads, "It's 2012 — do you know where your government is tonight? Occupy yourselves — and let's get busy with the music in our minds." Quite. Throughout the dozen songs, many probing political points are raised by Sadier, the main one being "just who voted in these people?", but rather than holler at us with agit-folk, she dresses up her barbs of wisdom in a soft velvet pop jacket that, when flashed open, proffers a nakedness and some cutting titles such as "There is a Price to Pay For Freedom (And it isn't Security)". So, your brain thinks its summer, but really it's winter and we're all screwed, get used to it. Thankfully, Sadier doesn't fancy this idea and, like some contemporary Joan Baez, wields a distinctive voice and a fine melody to boot.
There's nothing on "Silencio" to subvert or distress whatever audience Sadier attracts these days (hipsters? Francophiles? Saint Etienne and Beth Orton fans?), which means that if you like a bit of French thrown around with your lightly strummed indie-pop, a la Francois and the Atlas Mountain, you'll appreciate songs like "Merci de m'avoir Donne La Vie" or "Moi Sans Zach", the latter of which is no more than a budget beatbox, Air-like murmurings and a nod to John Barry that is pleasantly reassuring, but little else.
By the halfway point I'm checking my watch - I want something to stand out from the pack, something exciting, an anthem perhaps or a straight-edged pop nugget like her recent collaboration with Benjamin Schoos (the gorgeous "Je Ne Vois Que Vous"). But, it just doesn't happen. A song christened "Lightning Thunderbolt" bodes well, that is until the double-bass, accordion and strum-drum guitars act as a soporific aid. I flag and I close my eyes.
I'm only awoken by the almost-funky "Fragment Pour Le Future De L'Homme", replete with dapples of jangly guitars, harmonies and a top-notch hook throughout. In the dim and distant past of singles, this might have been a sound choice. For now, it gives this album a much-needed shot in the arm and I realize just what I meant by the songs being in the wrong order - this feels like an opener. Hell, it even trips out with farty synths, bad-ass bongos and a natty bassline that evokes thoughts of car-chases and fist-fights in a Parisien alley. "Next Time You See" also sees Sadier turn her nose to the wind and insert 'ba-ba-bah's for pop-effect. This is more like it.
Overall, "Silencio" attempts to bathe the listener with widescreen intent and an atmospheric backdrop, yet succeeds in merely feeling like a trailer for something far bigger. Still, it's rather good in places and certainly worth shelling out for.
For information about live appearances by Laetitia Sadier, head to Allgigs here