MARGERINE ECLIPSE

The band's first full-length release of new compositions since the tragic death of Mary Hansen nearly two years before. Using an unusual and, of course, experimental engineering technique known as "dual mono" individual tracks are hard-panned to one of the two 'left' or 'right' channels giving them a mono feel despite the stereo sound. The effect of Lætitia Sadier covering all vocals, fore and background, is extraordinary for how little it makes Mary's loss seem. An extraordinary album on many levels.

1. "Vonal Declosion" (3:34) an amazing song with truly astonishing layers of vocals makes one confirm how important it is that Lætitia sing in her native French. Makes me realize how much I miss the "strings" and acoustic guitars of Dots and Loops and even Sound-Dust. (9.5/10)

2. "Need to Be" (4:50) the final minute downgrades an otherwise great song. (9/10)

3. "'...Sudden Stars'" (4:41) cool song with awesome Farfisa organ and complex keyboard weaves. (9/10)

4. "Cosmic Country Noir" (4:47) one of those stellar laid back groovin' tracks that has multiple parts, all equally charming and engaging. (9.5/10)

5. "La Demeure" (4:36) sparsely structured, this one, the 'Somewhere song', sneaks up on you. (9/10)

6. "Margerine Rock" (2:56) cheesy and too simple despite its overload of weird sound effects. Occasionally, even the gods show vulnerability. (6/10)

7. "The Man with 100 Cells" (3:47) smooth and soul-comforting. I'm a sucker for the Casiotone noises. Nice lyrics in English, too. (9/10)

8. "Margerine Melodie" (6:19) a kind of discofied ska beat supports a series of sensitive and pretty melodies--vocal and keyboard--but ultimately it fails to win over--despite its sublime midsection. (8.5/10)

9. "Hillbilly Motobike" (2:23) clavinet-based with a pop-click track, the opening section fails to engage and hypnotize, as was intended, and, uncharacteristically, it never really changes from there. (8/10)

10. "Feel and Triple" (4:53) slow guitar strums and drum machine support Lætitia's opening vocal before full drums and bouncy keys and bass pop in. Pretty nice groove. I like the instrumental sections, bridges and organ and lead guitar play best. (9/10)

11. "Bop Scotch" (3:59) another song with too many diverse ideas playing off (and, IMHO, against) each other. (7/10)

12. "Dear Marge" (6:56) First part (2:30) is okay. Second part is awesome. Third, ROLLING STONE "Miss You" section is tolerably good. (8/10)

An album that starts incredibly strongly but then looses its focus, magical chemistry and, ultimately, appeal. Seven great songs and five fair to middlin' ones do not a masterpiece make.

B-/a nice 3.5 star album; a nice addition to any progressive music collection that is recommended for its first half.