Au Revoir Simone, Move in Spectrums, Moshi Moshi
Four years after their last studio album, Still Night, Still Light, left the world quietly, resonating dream pop trio Au Revoir Simone have returned with Move in Spectrums. The Brooklynites have continued where they left off. They are still a keyboard and drum machine only band; still less a popular beat combo than a 64bit it takes ages to get this good console combo, and they still do nostalgia-synth better than anyone else.
Move in Spectrums is a weirdly visual record. Tracks like ‘Hand Over Hand’ practically have lens flare. Imagine the colour-play of refracted light from a stained glass window onto an off-white carpet. Kind of like that.
Comparisons to bands such as Camera Obscura are relevant: Heather D’Angelo, Annie Hart and Erika Spring have a sweet lightness in their harmonies and vocal interweaving. Au Revoir Simone have cut loose enough on this record, however, to dilute the potential of too much tweeness. Closer ‘Let the Night Win’ is an explosion of pixelated polytones. It could double up easily as Super Mario Sisters level up music.
The trio have a love of film which is evident, somehow embedded, in the sound of this record. It’s not difficult to imagine a Sofia Coppola film using this music. New video for stand-out track ‘Crazy’ sees Au Revoir Simone recreating fellow New Yorker, Martin Scorsese’s ‘After Hours’.
There are quieter, more headphones-music, moments on this record as well. ‘Just Like a Tree’ builds gently and softly. Move in Spectrums does just that, it is a spectrum of moods and tones. It’s an accomplished record by women who know what they’re about.