Monstre Cosmic

Monade

Too Pure / Duophonic

2008-02-18

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If Laetitia Sadier was a Taboo answer then at the top of the list or words you couldn’t use to describe her would be “chanteuse”. She’s a singer, she’s a she, and hey, she’s French too — parfait! Best known for her singing work with experimental-indie outfit Stereolab, Sadier’s soft, affecting voice and ability to create some classically cool-sounding songs have also been put to work on a couple of Monade records by now, with new entry Monstre Cosmic being the third.

The first, Socialisme Ou Barbarie, was written and bedroom recorded by Sadier and Rosie Cuckston of Pram over a period of several years and finally released in 2003. A year or so later came A Few Steps More, this time with a band being put together and a more polished, cohesive sound coming out. Three members who recorded half of A Few Steps More, Marie Merlet, Nicolas Etienne and David Loquet, continue their work with Sadier here — although other French players Julien Gasc and Emmanuelle Mario (who perform elsewhere together as Momotte) also feature on several of Monstre Cosmic’s songs.

Monstre Cosmic offers some wonderful melodies, both vocally and instrumentally

For those in any way familiar with either Stereolab or Monade, Monstre Cosmic is not going to surprise, although that is not to say it will disappoint. Although Stereolab with their experimental nature have always been an at least vaguely shapeshifting creature, their sound can still be simplified to draw constants including a focus on vintage keyboard instruments and kraut-influenced smooth and steady motorik grooves, as well as intelligent, sometimes political lyrics. With Monade Sadier has built on and continued the trend for dreamy lounge music found in Stereolab, creating track after track of intelligent yet sounding-effortless, summery music.

Monstre Cosmic offers some wonderful melodies, both vocally and instrumentally and in tracks like “Lost Language” display awesome songwriting, flitting between tight, punchy atmospheres, relaxed jams and upbeat moods with an impassioned abandon, referencing classic 60s European Soundtrack composers such as Michel Legrand and Ennio Morricone (or perhaps Jodorowsky — see “Elle Topo”), the krautrock canon, as previously mentioned, jazz-inflected post-rock such as performed by Tortoise and ilk, and more. The experimental nature and constant shifts work well on the record though because it’s all held in within the general ‘Monade sound’ and doesn’t try to stray too far. It’s focused and appealing and if you’ve not delved before then this could win you on to the group, as well as Sadier’s other work. And if you’re already a fan, though it’s not going to blow you away it’ll almost certainly please. In fact with repeat listens it proves more and more capturing.