Chrominance Decoder

April March - Chrominance Decoder

Chrominance Decoder
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CD Details

Artist: April March
Edition: Music CD
CD Release Date: 1999-02-02
Music Label: Mammoth / Pgd
Soundtracks:
  1. Garden Of April
  2. Sugar
  3. Knee Socks
  4. Charlatan
  5. Mignonette
  6. Chrominance Decoder
  7. Garcon Glacon
  8. Mickey Et Chantal
  9. Pas Pareil
  10. Mon Petit Ami
  11. Mon Petit Cowboy
  12. Martine
  13. Ideal Standard
  14. Keep In Touch
  15. Superbagneres
  16. Nothing New (English)
  17. Nothing New (Remix)
  18. Sugar (Remix)
  19. No Parachute

Music reviews of Chrominance Decoder

Music Review: Paris of the Mind
Rating: 5 Stars

I've tried to figure out what it is that draws me to the music of this petite chanteuse, and I think perhaps that it is the stirring of childhood memories: of a world ruled by reruns of ancient cartoons, of squirming in the back seat of the car, listening to the light pop vocal hits of the mid-60's. Only now, the songs are in French as well as English, and include two pieces reminiscent of the scratchy lilt of cartoon music. All of this comes together to engender a feeling of sly sentimentality that comforts my black soul, and leaves me dwelling in my own little Paris of the Mind. April March (A.K.A. Elinor Blake) lays on the spells with such songs as Charlatan and Garcon Glacon, which charm me with their - well, with their Frenchness, while her clear, soft, and intimate vocals set my hormones to trembling. The lush orchestration on Mignonette/No Parachute verges on a kind of transcendent distortion, as Herb Alpert-like horns hone in to keep the pace. Keep in Touch, one of many tracks written by producer Bertrand Burgalat, creates a sense of drifting around, alternately approaching and then retreating from the singer. The singsong approach of Mon Petit Ami makes me think of a chorus of fiercely loyal French school children belting out a personal anthem.

Her affection for the medium of animation comes through clearly in Garden of April, a happy, peppy composition that conjures up images of a chorus of singing flowers swaying in the sun, and Mon Petite Cowboy, a bouncy, fluffy instrumental retake of the Mon Petit Ami theme that inspires visuals of an animated cowboy riding the range on a lopsided horse. These two tracks bring to mind the manic musical explorations of Raymond Scott, the deeply strange and innovative composer who inadvertently scored the soundtrack to our childhood.

Peppered throughout are a few numbers with darker themes: Sugar, a song of lost innocence, Knee Socks, a metaphoric look at girls teetering on the edge of that loss, and Ideal Standard, a darkly humorous stab at a bad marriage gone comfortable.

If you're in need of that warm fuzzy sixties feeling without the attendant nausea of overplayed standards, if you have a childish sense of fun balanced with a finely honed sarcastic sensibility, go out and buy this recording. Let's support Elinor Blake in the style to which she should become accustomed.

James B. Upright, Geekly Post-Dispatch

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Description of Chrominance Decoder

Japanese Version featuring a Bonus Track.
This entirely original and strange record ultimately seduces with a quirky grace. Where does one begin to describe what's contained within Chrominance Decoder? A melange of '60s girl pop, Yé Yé, garage rock, Beach Boys harmonies, Gainsbourgian crooning, spy-movie soundtracks, cheezy jazz, Japanese "idoru" preening, trip-hop grooves, Lolitaesque come-ons, loungy dithers, and cartoon ditties--the genius behind this delicious concoction is Elinor ("April March isn't my Christian name," she coos), a California girl by way of New England who sings in both French and English with unconscious ease. Wow. --Tod Nelson
Using faux French '60s lounge pop as the starting point for her sonic discourse, Elinor Blake, a.k.a. April March, displays plenty of musical savvy and the rare ability to come up with a good hook. As April March, she uses her kittenish voice in the style of Parisian chanteuses like Françoise Hardy. French producer Bertrand Burgalat lends a spare, sophisticated musicality to the record, arranging delicate layers of electronics and horns around March's slick studio ensemble. With heady instrumental interludes, fragile acoustic ballads, and Stereolab-style rock flourishes, March seems to be a substantial musical enterprise as well as an interesting alter ego for the talented Blake. A warning, though: she sings pure pop in French, and the whole vibe here is extremely precious. --Mitch Myers

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