Pocket Symphony

French duo Nicolas Godin and Jean-Benoit Dunckel "Air" return with their new album "Pocket Symphony".

This is the fourth studio album proper and the follow up to 2004's "Talkie Walkie". It's co-produced by long time collaborator Nigel Godrich.

Made up of 12 songs that were recorded over the last 18 months, the album features vocals by Dunckel and Godin themselves but also from Jarvis Cocker and Neil Hannon (Divine Comedy).

Air once again achieve that rare supernova of artistic vision that dares to reconcile palpable, unapologetic ambience with unpretentious soulful simplicity. They create the alternate now, an environment that begs escapism without denying humanity.

Despite being a distinct step away from orthodox pop modes, Pocket Symphony is described as a return to some of "Moon Safari"'s pastoral atmospherics.

Nicolas puts it thus: "This album is different. We decided to go back to the soundtrack music-style, with more instrumentals and less songs".

And yet paradoxically, it's a far cry from the series of Top 20 pop hits they enjoyed in 1998, with clear notes of minimalism among the clingy hooks and deceptively complex piano lines.

While conventional instruments continue to play a great role, Air have fashioned several tracks from the new album with the addition of Far East classical instruments which Godin learnt to play from an Okinawa master - namely the Koto (usually referred to as a Japanese floor harp) and the Shamisen, a 3-stringed instrument which is one of Japan's most popular classical instruments & resembles the banjo. Working their way throughout the album as musical ricochets, these unearthly sounds of an alien nature add another motif to Air's sonic architecture.

"Pocket Symphony" is immediately palatable and aesthetic with some pleasing instrumentals, yet their ambient soundscapes often drift by without any memorable note.

My favourite tracks are : "Once Upon a Time", "Left Bank", "One Hell Of a Party" and "Somewhere Between Waking and Sleeping".

Air can be relied on to stick to a signature sound -- lush and dreamlike -- and still be able to wedge in a bit of new material.

In the case of "Pocket Symphony," they stick pretty much to the same formula as their previous release, "Talkie Walkie" -- sweet, slightly symphonic electropop that sounds like something to dream to Yeah, same ol'. Yet somehow that does't interfere with the enjoyability of this pretty, satiny music.

It opens with a hollow tapping and a soft acoustic riff melted into a piano melody. By the time the soft waves of synth kick in, the little melody is quietly hypnotic, as it expands into a shimmering little piano-synth epic... only to coil back up into its piano melody and hollow drumming.

That's "Space Maker," and it's only the warmup for the remaining songs. Air trips softly through a series of songs that are mainly gentle electropop, but with a few classical flourishes sprinkled throughout it. Piano, strings and a bit of horn all make their way into the music.

And they manage a few odd twists, which break the music out of its somnolent sound, and keep it from sounding monotonous -- rippling piano laced with twinkly synth, twisty synthpop, glitchy balladry, and an acoustic ballad or two with some soft keyboard. They even have the spare, twangy Asian-inspired sound of "One Hell of a Party."

Basically, "Pocket Symphony" has Air's trademark sound, which hasn't change substantially since the less soothing electronics of "10,000hz Legend," but they can spice it up with some unexpected twists and new sounds. Not a huge surprise, but very beautiful and soothing nonetheless.

The music itself is a shimmering weave of instrumentation and synth. The latter is pretty flexible, providing some ragged glitches, smooth waves, twiddles and twinkles. And it's wrapped around like a satin blanket over the soft guitar, a dash of horns and bells, and a sweep of soft strings just under the synth.

Not to mention that brilliant piano -- it can jab and ripple through the music. And the musicians have gained some new skills as well. Apparently Nicolas Godin learned to play some Japanese instruments, the koto and the shamisen, which add an exotic, angular edge to the smooth melodies.

"Pocket Symphony" doesn't go many new places, but it upholds Air's reputation for smooth, sophisticated electropop with the odd little moment of experimentation. Definitely a good listen.