Monade
Monstre Cosmic
(Too Pure, 2008)

There was a period of time when I felt that, among non-mainstream bands, the best music around was coming from Belle & Sebastian, which began in 1996, and Stereolab, who started out in 1990. Both groups hailed from across the pond, were clearly influenced by an odd mix of ’60s musical styles, and quickly produced many highly successful spin-off projects. One of Stereolab’s incarnations is Monade. Fronted by Stereolab’s French singer-songwriter, Laetitia Sadier, Monade also includes Marie Merlet, Nicolas Etienne, and David Loquier, and counts Joe Watson as a collaborator. The group’s latest album, which also features Julien Gasc and Emmanuel Mario from Momotte, Rachel Ortas from Luna Parker, and the string players from the Bordeaux Conservatoire, is its third and best album to date.

Naturally, with most of the various members of this ad-hoc group hailing from France, it’s no surprise that Monade, as on its previous two albums, recorded its latest near Sadier’s home in Bordeaux. As good as the group’s two previous outings were, this is clearly the most cohesive effort. The group’s first album, Socialisme OuBarbaire, also known as the Bedroom Recordings and more of a collection of Sadier’s solo recordings, almost seemed like it would just be a one-off project. The second album, A Few Steps More, seemed like a more polished work; yet, as good as it was, it didn’t expand significantly on the group’s debut.

This new release flows together beautifully and has the feeling of various interconnected musical suites. Although Sadier admits to having been influenced by seeing David Lynch’s Inland Empire and the classic sci-fi film Forbidden Planet, the group does not simply resort to making music for films. The album is a pleasing mix of the exotic and the whimsical, with enough of an edge and an occasional dance groove to give it a sound that is both modern and timeless. Those unfamiliar with either Stereolab or Monade may be tempted to compare them to such recent artists as Feist, Keren Ann, or Carla Bruni; in fact, they have more in common with the poppier of Ivy, St. Etienne, and, at times, Pizzicato Five.

There is a winsome, yet warm feel on tracks like “Noir-Noir”, and a more pronounced guitar sound on “Elle Toppo”, which also has an obvious Velvet Underground and Nico undercurrent, as does “Messe Joyeuse.” Understated brass touches make a nice counterpoint to the avant-garde melancholy of “Regarde” and “Invitation.” “Tout En Tout Est Un”, like some of the music on the group’s first two releases, sounds like the soundtrack to a French spy spoof from the ’60s, with the music sometimes a sophisticated and modern blend of the Swingle Singers and Astrud Gilberto.

It’s hard to imagine that the members of a group as good as Stereolab could find the time, inspiration, and imagination to have a side project this wonderful. But in fact, they have yet another spin-off group: Imitation Electric Piano. Magnifique!

Listen:  Various Tracks [at myspace.com]