Melody’s Echo Chamber
Fat Possum Records
Melody Prochet was a French singer that, ultimately, no one had heard of until she met – and then hooked up with Kevin Parker (Tame Impala). And in much the way that Lenny Kravitz built an album for Vanessa Paradis steeped in 1960s sounds, so too, Parker has done for Prochet. So Melody’s Echo Chamber is the name of the album – and the band/project – Parker creating the sounds for Prochet to coo across. And, in a way, it’s also a fine description of the sound/tone/mood/feel/vibe of the musical project. Melody sends her missives out from the confines of the echo chamber…
And it’s a fantastic record.
Where Kravitz’s record for Paradis tried very hard to be hip and to swing – and, ultimately, managed neither, Parker carries on with the trick he’s nailed with Tame Impala, that being to reinvent shoegaze music by taking so liberally from 1960s pop music culture as for it to almost appear brand new. The brazen thievery is so brazen, so thieved, as to appear some strange new gift offered forward by the molly-hawk that’s been doing the pilfering.
Melody’s Echo Chamber is all Stereolab meets Francois Hardy; it’s the records Serge built for his lady-friends filtered through guitar squall and shiny shimmers of pop sheen.
It’s no gimmick. It’s no joke. It’s a great new/old sound of old/new ideas. Melody Prochet sounds fantastic. Kevin Parker gets to show that the love (and hype) around Tame Impala is no pure fluke. And Melody’s Echo Chamber is a legitimate thing to love.