By Nate "Igor" Smith
By Abel Folgar
By Kat Bein
By Jacob Katel
By Karli Evans
By Jose D. Duran
By Pablo Chacon Alvarez
Why do Euro-electronica acts tease us with sexy albums we can get down to, only to follow them up with moody, dark albums we can't? Massive Attack did it with Mezzanine, the followup to Protection. Portishead did it with its self-titled followup to Dummy. Tricky, well, who knows where his head was at after Maxinquaye. And now Air. It's almost as if the bands -- tired of dealing with the nuisance that comes with newfound success -- decide that a slight change in sound (read: dark) will shock fans and critics alike.
Air's new album, 10,000 Hz Legend, finds the French duo of Nicolas Godin and Jean-Benoît Dunckel picking up where their original score for the Sofia Coppola film, The Virgin Suicides, left off. The sound? Picture yourself in a Pink Floyd-ish dream state where your eyes are heavy with sleep. On Air's seductive debut album, Moon Safari, the hipper-than-thou pair relied heavily on Moogs, Rhodes, and sexy vocal distortions. On 10,000 Hzthey reference Kraftwerk and Cream while combining their trademark digital sound with acoustic guitars and full orchestra.
Godin and Dunckel may have cast aside their infatuation with that Seventies retro feel, but they're still very much stylish, sarcastic, sexy French guys. If Moon Safari was the album for the body, then 10,000 Hz is the album for the mind. Air's new acoustic-electronica fusion works well on tracks like "Sex Born Poison," which features Sugar and Yumiko of Buffalo Daughter. The more rocking "Radio #1," sounding very much like a reject from a Blur album, is simply cheesy and ridiculous ("If you need some fun, some good stereo gum, radio #1"). But there are more moments of delight: The ghostly "Radian" features harps and sweeping flutes while "People in the City" is more pop. On the Kraftwerkian "Electric Performers," the band pokes fun at the stiffness of the electronic genre. A digital voice sings, "We are the synchronizers/Machines give me some freedom." Right.
Air worked on its new urban-bohemian sound of folk guitars and computer effects for six months in a Paris studio. The group put the finishing touches on the album in L.A., hooking up with Beck and two members of his band (bassist Justin Meldal-Johnsen and keyboardist Roger Joseph Manning) who played with Air on its last tour. On "The Vagabond" L.A.'s quintessential Loser contributes twangy vocals, singing, "I feel loose, I feel haggard, don't know what I'm looking for/Something true, something lovely, that will make me feel alive." His laughter fades out the track. The same sentiment could be applied to Air's darker turn.