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We join Love 2's opening track Do The Joy already in progress, as we did La Femme d'Argent
over a decade ago. But whereas the sliding of the master level
on the intro to Air's classic debut Moon Safari revealed light hand-drumming
and a groovy, agreeable bass line, the expos� is far more ominous on
electronic extraordinaires Jean-Beno�t Dunckel and
Nicolas Godin's sixth opus, Love 2.
A lurking bass, somewhat akin to Tool's Forty Six And 2, a
howling Moog, unsettling dissonance and robotic utterances about
extinction make for a rather inauspicious beginning.
This is familiar terrain, mind you, as the duo has frequently
exhibited a flair for the melancholic, not least their
masterful work on The Virgin Suicides soundtrack. But on Love 2,
are the pair once again embracing apocalypse and madness, as they did
on 10,000Hz Legend?
Au contraire, mon fr�re.
Happily nestled in their new Parisian lair, Atlas, and vastly
outnumbered by faithful friends animated by the flow of
electric current rather than blood, a now hermetic Air opt for
simplicity, freshness, pleasure and, of course, love in what becomes
a sound denunciation of the bleak and worrisome. Do The Joy basically
presents the ailment that the subsequent 11 tracks aim to
salve.
This is not to say they've completely reverted to the
vintage peachiness of old, nor that eschewing outside help
(save the percussive assistance of "Close Up" tour mate Joey
Waronker and mixing contributions by St�phane "Alf" Briat) signals
an overhauling of their approach to musical composition. Left to
their own devices, Air choose instead to rely on their basic suite of electronic
instruments, idiosyncratic melodic sequences and oft-processed vocals
that have defined their sound since their inception.
Air's immersive soundscapes continue to be defined by
their characteristic array of synthesized instruments and primarily
smooth, melodious rhythms. Coupled with the processed, gender-bending
vocals of the two men themselves, the texture and pulse of Love 2 is
immediately recognizable, distinctly 1970s and instantly captivating.
The setting for Love is a sumptuous, dimly lit lounge in which only
the title or distant, synthesized tones may be sung. Meanwhile,
simple, ticking beats and bass underscore lushly echoed
piano and playful flutes and quickly melt the tension created by the
opening track. Later they switch to harmonica and acoustic guitar for the mellow
pop gems Heaven's Light and Sing Sang Sung.
Only the digitized buzzes atop the luscious brass, lively
recorders, synthesized strings and rolling piano lines in Tropical
Disease preclude the song from being mistook for the backing of a
35-year-old soap opera's closing credits. Even the warbling,
hazy tones evident as the track shifts to its gentler close, as well
as various parts of the remainder of the album, do well to
artificially date the material.
The pace quickens as the action-thriller-like Be A Bee and Eat My Beat showcase dizzyingly aggressive
electronic musings, as well as opportunities for Waronker to exhibit some control over the
metrical sequences with fills and dramatic shifts in
rhythm. This is especially true of the former which, with its haunting, synthetic background vocals and eerie,
synthesizer-based sirens, calls to mind Dead Bodies from The Virgin Suicides.
Love 2 is a triumph, effectively representing a now veteran act capable
of returning to its roots yet managing still to produce novel results. With a distinct sound and inventiveness
that have distinguished them throughout their career, as well as
newfound independence and inspiration in hand, Dunckel and Godin have
succeeded in creating an album that is both
instantly engaging and worthy of countless repeat listens.
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