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Various Artists – Underground French Pop: The Sound of Freaksville 2006-2016

Freaksville

Underground French Pop: The Sound of Freaksville 2006-2016This comes from a world that feels very familiar to being a teenager listening to indie radio, but also not. There was a lot of this kind of stuff around — retro-ish fetishists for ersatz ’70s string arrangements and Rhodes pianos

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An interview with Laetitia Sadier

Alan Holmes speaks to Laetitia Sadier about her second solo album.

One of the most played records at our house so far this year has been Silencio, the second solo release by former Stereolab front woman [post=laetitia-sadier-silencio text=”Laetitia Sadier”]. It’s a record that releases its charms slowly, each listening revealing new and wondrous depths. This subtlety is counterbalanced by the direct political nature of the lyrics, harking back to the approach she took in Stereolab’s early days. After repeated plays of the record and a [post=laetitia-sadier-silencio text=”review”] for Freq, I asked Laetitia about Silencio:

Freq: The two solo records seem to be more direct than anything you’d released for years. Did a pressure in Stereolab to avoid repetition lead to ever more intricate records? After twenty years,

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Laetitia Sadier – Silencio

Drag City

It’s mandatory when reviewing [post=laetitia-sadier-interview text=”Laetitia Sadier“] to glibly remark on how everything she does sounds a bit the same, so let’s get that bit over to start with. Silencio isn’t sonically a million miles away from 2010’s The Trip, or indeed most Stereolab or Monade releases if it comes to that. The familiar elements are present: retro-futurist electronica, lushly arranged textures, “exotic” rhythms, sophisticated melodies and of course that curiously detached yet intimate and airy voice, floating like a liberated red balloon over the rooftops of her intricately-constructed universe. In truth, she has developed a musical language over the past twenty years that is quite at odds with the familiar vocabulary of rock ‘n’ roll. As a result, she always sounds

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