Yann Tiersen - Dust Lane

Wonder. That is the sensation that Yann Tiersen’s work conjures up. His soundtrack to the magical film Amelie (which also made Audrey Tatou a heartthrob in the cinemas and bedrooms of teenagers alike) is the kind of music that makes you want to go and pick daisy chains and string them round kittens. They’re that wonderful. His latest album, Dust Lane, has on its cover a very retro-looking car surrounded by autumnal colours and the songs themselves are mellow and contemplative as well.

If this sounds like I’ve written this from a manual titled 'How to be Pretentious', then Yann & co seem to have realised this about their own work; the last song titled ‘F**k me’, in which the charming phrase is repeated for quite a length of time, cheekily punctures many of the affectations given to them. Yet for about 40 minutes Dust Lane is simply a wonderful collection of songs. The opening song ‘Amy’ is like a warm breeze that gradually gathers in volume, hazy vocals swirling over the music like steam out of a particularly milky hot chocolate. Midway through ‘Dark Stuff’ a distinctive piano arpeggio straight out of Ludvico Einaudo asserts itself over the muffled roar of fuzz and leads the song into a beautiful wave of noise. By far the best song is ‘Palestine’, which leads to a cacophonous, yet beautiful conclusion, with some stunning violin work.

This is not an album for everyone. There is not a song where everything ‘starts’ so to speak, like Arcade Fire, nor will it get people jumping up and down in clubs. If, for example, Franz Ferdinand is a racing car throttling round Silverstone, this is a Vauxhall Vectra cruising through the countryside in third gear. I would say to all but the most stuck-in-their-ways cynic to load up this album and give it a go. If you're having a day when you have the essay blues and need some stress removal then this will suit you fine.

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