Having released countless albums with Stereolab and a further three with her other band, Monade, Laetitia Sadier now embarks upon her very first solo album proper. Just as there was a certain amount of similarity between those two aforementioned projects, Sadier's approach on The Trip is grounded in familiar terrain. Though ostensibly a singer-songwriter album of sorts, this new record features French musicians Julien Gasc and Emmanuel Mario (previously heard on the final Monade album, Monstre Cosmic) as well as fellow songwriter Richard Swift, plus Rebecca Gates and April March. Undoubtedly Sadier's sound takes a more economical turn for the arrangements on The Trip, revealing the skeletal components of her writing in a far more unfettered state than you could really imagine on any recent Stereolab album. In addition to the expected prog-pop ornature of 'The Natural Child' and the krautrocking fun of 'One Million Year Trip' the album also delivers one or two pleasing changes of direction, such as the bubbly electronic confection 'Un Soir, Un Chien', which is a lot of fun - quite unexpectedly taking inspiration from Serge Gainsbourg-style sophisticated lounge sounds.
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Having released countless albums with Stereolab and a further three with her other band, Monade, Laetitia Sadier now embarks upon her very first solo album proper. Just as there was a certain amount of similarity between those two aforementioned projects, Sadier's approach on The Trip is grounded in familiar terrain. Though ostensibly a singer-songwriter album of sorts, this new record features French musicians Julien Gasc and Emmanuel Mario (previously heard on the final Monade album, Monstre Cosmic) as well as fellow songwriter Richard Swift, plus Rebecca Gates and April March. Undoubtedly Sadier's sound takes a more economical turn for the arrangements on The Trip, revealing the skeletal components of her writing in a far more unfettered state than you could really imagine on any recent Stereolab album. In addition to the expected prog-pop ornature of 'The Natural Child' and the krautrocking fun of 'One Million Year Trip' the album also delivers one or two pleasing changes of direction, such as the bubbly electronic confection 'Un Soir, Un Chien', which is a lot of fun - quite unexpectedly taking inspiration from Serge Gainsbourg-style sophisticated lounge sounds.
Having released countless albums with Stereolab and a further three with her other band, Monade, Laetitia Sadier now embarks upon her very first solo album proper. Just as there was a certain amount of similarity between those two aforementioned projects, Sadier's approach on The Trip is grounded in familiar terrain. Though ostensibly a singer-songwriter album of sorts, this new record features French musicians Julien Gasc and Emmanuel Mario (previously heard on the final Monade album, Monstre Cosmic) as well as fellow songwriter Richard Swift, plus Rebecca Gates and April March. Undoubtedly Sadier's sound takes a more economical turn for the arrangements on The Trip, revealing the skeletal components of her writing in a far more unfettered state than you could really imagine on any recent Stereolab album. In addition to the expected prog-pop ornature of 'The Natural Child' and the krautrocking fun of 'One Million Year Trip' the album also delivers one or two pleasing changes of direction, such as the bubbly electronic confection 'Un Soir, Un Chien', which is a lot of fun - quite unexpectedly taking inspiration from Serge Gainsbourg-style sophisticated lounge sounds.
Having released countless albums with Stereolab and a further three with her other band, Monade, Laetitia Sadier now embarks upon her very first solo album proper. Just as there was a certain amount of similarity between those two aforementioned projects, Sadier's approach on The Trip is grounded in familiar terrain. Though ostensibly a singer-songwriter album of sorts, this new record features French musicians Julien Gasc and Emmanuel Mario (previously heard on the final Monade album, Monstre Cosmic) as well as fellow songwriter Richard Swift, plus Rebecca Gates and April March. Undoubtedly Sadier's sound takes a more economical turn for the arrangements on The Trip, revealing the skeletal components of her writing in a far more unfettered state than you could really imagine on any recent Stereolab album. In addition to the expected prog-pop ornature of 'The Natural Child' and the krautrocking fun of 'One Million Year Trip' the album also delivers one or two pleasing changes of direction, such as the bubbly electronic confection 'Un Soir, Un Chien', which is a lot of fun - quite unexpectedly taking inspiration from Serge Gainsbourg-style sophisticated lounge sounds.
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Having released countless albums with Stereolab and a further three with her other band, Monade, Laetitia Sadier now embarks upon her very first solo album proper. Just as there was a certain amount of similarity between those two aforementioned projects, Sadier's approach on The Trip is grounded in familiar terrain. Though ostensibly a singer-songwriter album of sorts, this new record features French musicians Julien Gasc and Emmanuel Mario (previously heard on the final Monade album, Monstre Cosmic) as well as fellow songwriter Richard Swift, plus Rebecca Gates and April March. Undoubtedly Sadier's sound takes a more economical turn for the arrangements on The Trip, revealing the skeletal components of her writing in a far more unfettered state than you could really imagine on any recent Stereolab album. In addition to the expected prog-pop ornature of 'The Natural Child' and the krautrocking fun of 'One Million Year Trip' the album also delivers one or two pleasing changes of direction, such as the bubbly electronic confection 'Un Soir, Un Chien', which is a lot of fun - quite unexpectedly taking inspiration from Serge Gainsbourg-style sophisticated lounge sounds.