Melody’s Echo Chamber – Melody’s Echo Chamber (2012) review
Melody’s Echo Chamber “Melody’s Echo Chamber” (Fat Possum, 2012)
Australian multi-instrumentalist Kevin
Parker lends his considerable musical talents (particularly spaced-out,
heavily-phased guitar) to Melody Prochet’s ethereal, Liz Fraser-like cooing for
an album of dreamy soundscapes that some have likened to a “female Tame
Impala”. True, there’s the same occasionally annoying overindulgent drum
spanking and unnecessary production flourishes and sound effects tossed onto
the end of most of the tracks (“Snowcapped Andes Crash” and the silly voices on
“Be Proud Of Your Kids” are particularly glaring examples) that only detract
from Prochet’s crystalline vocals. But there’s no denying Parker’s uncanny
ability to craft an endearingly catchy pop tune, and with the Parisian
Prochet’s delicate vocals swirling around Parker’s wall-of-sound production,
we’re left with the indelible sound of French pop channelled through 4AD
atmospherics – imagine Françoise Hardy teaming up with Lush or the Cocteau
Twins!
Parker lends his considerable musical talents (particularly spaced-out,
heavily-phased guitar) to Melody Prochet’s ethereal, Liz Fraser-like cooing for
an album of dreamy soundscapes that some have likened to a “female Tame
Impala”. True, there’s the same occasionally annoying overindulgent drum
spanking and unnecessary production flourishes and sound effects tossed onto
the end of most of the tracks (“Snowcapped Andes Crash” and the silly voices on
“Be Proud Of Your Kids” are particularly glaring examples) that only detract
from Prochet’s crystalline vocals. But there’s no denying Parker’s uncanny
ability to craft an endearingly catchy pop tune, and with the Parisian
Prochet’s delicate vocals swirling around Parker’s wall-of-sound production,
we’re left with the indelible sound of French pop channelled through 4AD
atmospherics – imagine Françoise Hardy teaming up with Lush or the Cocteau
Twins!
Which
might have been what Parker was worried about when he chose to embellish
Prochet’s cotton-candy utterances with seemingly out-of-place, phased guitars
and those damned headpounding, intrusive drums. But the comparisons are apt and
are complimentary, not derogatory. If you’ve got a reincarnated Cocteau Twins
on your hands, set it free – don’t bottle it up. I think there’s enough
material in Prochet’s tunes and arrangements to simply let her emote and drape
the odd synth here or an occasional guitar swash there. I’d love to here
stripped down versions of her French tracks like “Bisou Magiue” and “Quand Vas
Tu Rentrer?” – simple melodies coyly dancing around angelic vocals. If
anything, the album is a tad over-produced. But if you’re prepared for a full frontal
attack of the senses, then simply sit back and revel in the glow of the
Stereolaby “Mount Hopeless”, the headswirling, backward-masked calliope sounds
of “Is That What You Said”, and the heaven-on-earth dreampop masterpiece “Some
Time Alone, Alone” which grafts an unforgettable little tune onto an expressive
film track along the lines of what Francis Lai might’ve concocted back in his
glorious 70’s heyday. Merveilleux, avec certaines réserves.
might have been what Parker was worried about when he chose to embellish
Prochet’s cotton-candy utterances with seemingly out-of-place, phased guitars
and those damned headpounding, intrusive drums. But the comparisons are apt and
are complimentary, not derogatory. If you’ve got a reincarnated Cocteau Twins
on your hands, set it free – don’t bottle it up. I think there’s enough
material in Prochet’s tunes and arrangements to simply let her emote and drape
the odd synth here or an occasional guitar swash there. I’d love to here
stripped down versions of her French tracks like “Bisou Magiue” and “Quand Vas
Tu Rentrer?” – simple melodies coyly dancing around angelic vocals. If
anything, the album is a tad over-produced. But if you’re prepared for a full frontal
attack of the senses, then simply sit back and revel in the glow of the
Stereolaby “Mount Hopeless”, the headswirling, backward-masked calliope sounds
of “Is That What You Said”, and the heaven-on-earth dreampop masterpiece “Some
Time Alone, Alone” which grafts an unforgettable little tune onto an expressive
film track along the lines of what Francis Lai might’ve concocted back in his
glorious 70’s heyday. Merveilleux, avec certaines réserves.
Review made by Jeff Penczak/2013
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http://psychedelicbaby.blogspot.com/2013
http://psychedelicbaby.blogspot.com/2013
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