Perhaps no band has such a wide cross-section of fans as Air. They are liked by 60s Pop revivalists, and sorority girls, and synth fetishists. The explanation of their broad appeal may rest in the way they seamlessly incorporate different elements into their sound, as well as the slight alterations of their sound. “Moon Safari” was the perfect down tempo retro groove album, fitting into the “electronica” phase. “10,000 Hertz Legend” is a dark Prog opus masterpiece, one that is every bit as challenging and dystopian as any Radiohead album. “Virgin Suicides” is one of the few movie scores that is not ‘incidental’ in multiple senses, and remains infinitely listenable. Finally, “Talkie Walkie,” the title a Gainsbourg reference, married their perfectionist sound with more succinct perfectionist songwriting. Air is stylish yet not abrasive. They are wizards with sound; they achieve amazing tones, yet write songs breezy enough that you hardly need notice the craftsmanship of the recording if you were not wont.
“Pocket Symphony” picks up the recent trend of Nicolas Godin and J.B. Dunckel towards more compact songwriting, though a little more reflectively than on “Talkie Walkie.” There is nothing here as instantly catchy as “Surfing on a Rocket” or “Alpha Bet Gagga” – and that is not a bad thing in any way. “Pocket Symphony” establishes a restrained (yet rhythmically alive) mood right from opening instrumental “Space Maker.” The rhythm is open and persistent yet the melody is a bit somber. In many ways, “Pocket Symphony” feels like a combination of all their previous efforts. In one way, it is a return to the grooves of “Moon Safari,” as well as a return to the consistent mood of “Virgin Suicides,” and the spacey, slightly dark melodies of “10,000 Hertz Legend.”
The songwriting from start to finish (the intoxicatingly beautiful “Night Sight”) is top notch, and there are no bad songs here. The one complaint that could be leveled is that a few of the songs feel a bit too restrained (most notably on the lounge chaired “Lost Message”), not expansive or groundbreaking as Air has been at their best. “Pocket Symphony” doesn’t attempt to break new ground but rather refine the different grounds Air has already broken. The success is the subtlety. On first listen, this might sound just like any other Air album (which is true), but its strengths lie in smaller details, like the understated use of Japanese instruments on “One Hell of a Party” (featuring Jarvis Cocker). Another guest vocalist, Neil Hannon, formerly of The Divine Comedy, shines on “Somewhere Between Waking and Sleeping.” However, Air has always been able to make collaborations work – even the odd team-up with Beck on “10,000 Hertz Legend.” It is difficult to point out better songs when the field is so rich, but “Mer Du Japon” is probably the long-due successor to the irresistible and cool groove of “Sexy Boy.” “Pocket Symphony” is both a further step in their sound that longtime fans will enjoy, as well as a great stepping-on point for their only familiar with Air on a cursory level. They will have a lot of catching up to down, but it will be quite an enjoyable ride. |