Sebastien Tellier - Universe (Lucky Number)
4/5
By: Keri Kennedy
If you've seen Sofia Coppola's astounding 'Lost in Translation' (one of my favourite films ever - useless info from Tom H), you will know Sebastien Tellier, albeit subliminally, as much of his work featured in her 2003 film. Again, anyone familiar with Air will feel a distinct familiarity on listening to their once fellow label mate's exclusive UK release. 'Universe' is a compilation of sorts; it combines tracks from Telliers 'Sessions' (a recent I-Tunes No. 1 in France, no less) and his recent soundtrack to the cult film 'Narco'.
There's a distinct difference between tracks depending on their origin, the 'Sessions' tracks are stripped down versions of songs from Tellier's previous albums ('Politica' and 'L'Incroyable Verite'), while the 'Narco' selections are the more accessible, particularly 'La Ritournelle', which was released as a Mr. Dan remix in 2005. With its rolling piano, twinkling xylophone, strings and acoustic guitar it builds and builds into a beautiful wall of sound, with a sweet vocal atop it all, aping the essence of Massive Attack's classic 'Unfinished Sympathy'. 'La Ballade Du Georges' has a trademark French feel, with a laid back bass that emanates Air again - put it this way, if listening blind I would have said 'La Ballade...' was Air without a shadow of a doubt.
'Black Douler' follows, and although it's merely a stripped bare piano, bass and vocal track, it still piles on the sound as it progresses, although not on the same scale as 'La Ritournelle'. 'Dixi' is like a song Badly Drawn Boy could have written for Sesame Street - the flute, the sporadic stop start sections, the cheesy 'ahh' and the thumb cymbals would be a perfect backdrop to learning to count with some Muppets.
'Fantino' is the famous track from the aforementioned film, with it's haunting piano and lo-fi guitar you can instantly picture Bill Murray riding in a cab through Tokyo in the early hours. 'Le Demon Pupkin' should follow straight from 'Fantino', beginning with the same piano, yet it transforms into a retro rendition of the future with squelching Moogs and soaring strings rising to an abrupt end.
While there is a difference between tracks, they all come together and fit like they are meant to be on one album, as if they were never birthed apart in the first place. If you weren't aware this was a 'compilation', you'd be none the wiser. Tellier fills your head with cinematic and often fantastical soundscapes, on a contrast with the bare bones of a singer-songwriter on piano, uniting both schools seamlessly.
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