22:22

パリ出身のデュオによる待望のニューアルバム

忘れられない音楽の旅となる待望のアルバム【22:22】。以前のアルバム『Caravelle』と『Cyclorama』は、その魅力的なメロディーと革新的なサウンドスケープで称賛され大成功を収めた。今作はサントロペのロマンススリラーやリオデジャネイロの恋する若者を彷彿とさせる夏らしい音楽となっている。

Its been over a decade since Paul Armand-Delille and Alexandre Grynszpan pooled their resources to become Polo & Pan, resident bon vivants of European house music. Not unlike fellow Frenchmen Air, Polo & Pan are musical polymaths who, though tethered to the electronic genre, are relatively unencumbered by it. Over numerous singles, almost a dozen EPs, and two albums, theyve built a distinctive world of tuxedoed luxury that is cinematic and playful. On 22:22, their third full-length, the duo make a more conscious shift toward straight-up songwriting, with plenty of live instrumentation, and a clutch of new collaborators from outside their usual field. Its a gentle though notable evolution. Longtime fans will be drawn in by "Pareidolies," a lush, semi-Balearic cut bearing Polo & Pans signature bounce and sung by the duo themselves. After this, the parade of guests begins. A new emphasis on Anglophone collaborators brings a fresh perspective on the Metronomy-assisted "Disco Nap" and the pseudo-soul of "Petite Etoile," featuring American singer Beth Ditto. Polo & Pan sound almost American themselves on the breezy, West Coast "Summer is Almost Over," an unassisted standout that benefits from having only one line. More successful among the collaborations is "Nenuphar," a stylish bit of string-adorned electro-disco led by the international, all-female collective I.M. YONI. "Bluetopia," with French indie poppers Kids Return, is another highlight that emphasizes the duos brighter pop side. Though slightly less cohesive than previous releases, there is plenty to love amid 22:22s undeniable grooves. ~ Timothy Monger

Its been over a decade since Paul Armand-Delille and Alexandre Grynszpan pooled their resources to become Polo & Pan, resident bon vivants of European house music. Not unlike fellow Frenchmen Air, Polo & Pan are musical polymaths who, though tethered to the electronic genre, are relatively unencumbered by it. Over numerous singles, almost a dozen EPs, and two albums, theyve built a distinctive world of tuxedoed luxury that is cinematic and playful. On 22:22, their third full-length, the duo make a more conscious shift toward straight-up songwriting, with plenty of live instrumentation and a clutch of new collaborators from outside their usual field. Its a gentle though notable evolution. Longtime fans will be drawn in by "Pareidolies," a lush, semi-Balearic cut bearing Polo & Pans signature bounce and sung by the duo themselves. After this, the parade of guests begins. A new emphasis on Anglophone collaborators brings a fresh perspective along with a handful of clunky lines. The Metronomy-assisted "Disco Nap" has enough pluck to overcome its weak lyrics, while the pseudo-soul of "Petite Etoile," featuring American singer Beth Ditto, feels slightly overwrought. Polo & Pan sound almost American on the breezy, West Coast "Summer is Almost Over," an unassisted standout that benefits from having only one line. More successful among the collaborations is "Nenuphar," a stylish bit of string-adorned electro-disco led by the international, all-female collective I.M. YONI. "Bluetopia," with French indie poppers Kids Return, is another highlight that emphasizes the duos brighter pop side. 22:22 is a little uneven and doesnt play as cohesively as Polo & Pans two earlier records, but there is plenty to love amid its undeniable grooves. ~ Timothy Monger

次世代の仏シーンを担うプロデューサー・デュオによる約4年ぶり3作目は実に彩り豊か。メトロノミーを迎えた哀愁味溢れるダンス・ポップ"Disco Nap"やファットなビートのエレクトロ"The Mirror"など、適度にエスプリを効かせながらさまざまな客演陣と共に〈旅〉をするような内容だ。フランス語詞の楽曲の雰囲気も手伝って、これからの季節にピッタリ。
bounce (C)野村有正