More goodness from the Wigleur in France (in conjunction with Folkwit in the UK) and this is in the genre of chamber pop which they have a good track record with already.
For those of you unfamiliar with the genre, think orchestrated pop music and 'suites', think Brian Wilson and the Beatles and latterly the likes of Fugu if you follow this label. Whilst chamber pop may not be my own personal choice of tipple, I can hand on heart say that this is an album I would play to someone to get them into it.
It is a hugely impressive collection of songs that work very effectively together but equally as well in isolation. Eighteen songs and only one over three minutes may also help you to frame it. 'Paper Dance 2' is the best opening track to an album I have heard in a long time, it is a beautifully crafted introduction to this 'suite' of songs. Thankfully this artist (Julien Lonchamp) has the talent to back up his intro with the classic weekend pop of 'Talking Loud' and so it goes on.
Through the piano led 'Little Things', the groovy 'I Think I'm Dancing', 'Chicory Salad' (hi-brow or what!), 'Dinner At The Andersons', 'Saharian Sands' and 'Le Cygne Aux Yeux Bleus (beautiful melancholia), the bar that was set is never once ducked (quack quack) under or swanned over in the case of this song. They are all perfectly formed and exquisitely performed. They exist as planets in their own right but also orbit each other in perfect harmony.
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One wonders just how long this much quality can continue for?
After the 'Interlude' we are off and running again with 'A Few Facts' (instrumental) and then the songs come again. 'Melody Cycle 1' (a muse on the creative muse) simply says, "actually that first half was just a warm up watch me show off now!". Banjo led 'Secret Part Of Town', 'Entropy And Me', 'Snowy Days', 'Countryside' (city folk going to the country ha ha), 'The Duchess' Latest Whim' (harpsichord?), 'Days On The Run' and finally, 'Minimalist Life' (art pop statement?).
I have not mentioned the clever lyrics, intricate melodies and detailed instrumentation and the unshowy but perfectly adapted harmonies but they are all here for you to burrow down into if you choose to do so. I guess my personal take on 'chamber pop' is that it can get a bit too whimsical, sickly sweet and cloying at the best of times but I have to say that this album is an exception to that rule.
This album will be up there with the best of the year for me and given that it probably won't shift a whole load of units, it probably deserves the accolade "future classic" as well.
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