RIYL: Stereolab / Broadcast / Mild High Club / High Llamas / United States of America
Label: Elefant Records
Majestic, moody pop-melodiesÂ expanded throughÂ playful, sonic trickery!
Le SuperHomard first appeared from the French vines with the mini-album “Maple Key” back in 2016, an exquisiteÂ piece of indie/baroque-popÂ with a tapÂ in the vein of Stereolab, Broadcast and The High Llama himself, Mr. Sean O’Hagan.
Much like how Stereolab perfected their 60’s/70’s-vibe lounge inspired Space Age Bachelor Pad Music throughout the 90’s and early 2K’s,Â a big part of theÂ Homard’sÂ soundÂ seems to be aÂ result of having a lot of fun playing around in the studio with allsorts of analogue artistry in the production while arranging clever, beautiful 3d melodies. I was immediately hooked when I first tuned into their debut-EP, and so happy to find them releasing new sounds! Prior toÂ Christmas they dropped the amazingÂ “Springtime” EPÂ onÂ 500 numberedÂ Pink Vinyl 7″sÂ (grab that here, asap!)Â and February 22nd marks the release of their first full-length album “Meadow Lane Park”,Â both via Elefant Records (ESP).
Pour yourself a nice longdrink, let the sunshine in and tune into the sounds of the SuperLobster.Â Get breezy!
LP (White Colour Vinyl - Limited Edition)
ships out on or around February 22, 2019
1. In The Park
3. Door After Door
4. Paper Girl
7. Meadow Lane Park
8. Elephant In The Room
10. Black Diamond
12. Back To Meadow Lane
â€śMeadow Lane Parkâ€ť is the first full-length album from the French quintet LE SUPERHOMARD, after releasing a few EPs on the Japanese label Rallye and the British label Megadodo, and after the advance Single â€śSpringtimeâ€ť, released with Elefant Records. This is an album that, right from the cover and the titles of some of the songs, shows us its bucolic vocation. Just put on the song that opens the album, â€śIn The Parkâ€ť, and we can see that the landscapes they show us are injected with acid, flooded with stardust, with lysergic caresses, sweet and tremendously pleasant. We havenâ€™t heard anything like this since that â€śThe Noise Made By Peopleâ€ť by BROADCAST.
The thing is, under the play of the synthesizers, under the psychedelic-style muted bases, strings and guitars aimed at lounge, they create an irresistible atmosphere that the album manages in a very special way. We already knew about the danceable roughness of â€śSpringtimeâ€ť. â€śDoor After Doorâ€ť tells us how strawberry fields would be if they had been discovered today, or how the dreaminess of Syd Barret would be. But â€śPaper Girlâ€ť sets up the first game: with the same elements we find a song that could have been a huge hit by ABBA arranged by Laetitia Sadier and Tim Gane. â€śKaraokingâ€ť develops a more classical concept of a song, with a piano presiding and arrangements that remind us somehow of the goldsmithing of another distinguished Frenchman close to Elefant, Mehdi Zannad. And the marvelous voice of Julie Big taking us toward sonic paradises. â€śSnowflakesâ€ť takes us back to Trish Keenanâ€™s band, or even to those marvelous THE UNITED STATES OF AMERICA. Landscapes colored with notes from outer space, or a new test of the power of music: how can a song be capable of painting the marvels of an unknown planetâ€™s nature in your head. You donâ€™t know where you are, but welcome.
â€śMeadow Lane Parkâ€ť was another advance, with the lyrical strenght of its strings and the kraut rhythm of the powerful mellotrons. â€śElephant In The Roomâ€ť makes it clear how much of Burt Bacharach there is in these songs. Delicious. Majestic. Designed to break hearts without even talking about it. â€śSDVBâ€ť and â€śBlack Diamondâ€ť put the synthesizers back in the starring role, as well as the arpeggiators, bringing us close to the eighties without betraying the essence of what we have heard so far, and continuing to give us great string arrangements and powerfully evocative details. â€śRefuelâ€ť dives back into kraut, jazz, astral worlds, submarine journeys. The capacity of the songs to excite our imagination is incredible, especially when it is closed by another instrumental â€śBack To Meadow Laneâ€ť: overflowing with lyricism, but at the same time visited by martian harmonies. This is all a musical banquet given to use by the band led by Christophe Vaillant.
LE SUPERHOMARD have made an important album, a descendent of a sound that almost was orphaned because of how difficult it is to build it: mixing these different elements and successfully waking up infinite worlds in the listener is a task that not everyone is capable of. But finally, the SuperLobster is here. There is nothing left to fear.
releases February 22, 2019
- Maybe Buy
- Not My Style
- Too Expensive