The last time Melody’s Echo Chamber was heard of in the music scene was with the release of her psychedelic “dream album” in 2012, a collaboration with Tame Impala‘s Kevin Parker.
The Parisian singer-songwriter returned in October 2014 with the release of her new single, Shirim. Written and produced by herself, the song shows a sophisticated refinement to her sound and a stylistic change far from her kaleidoscopic soundscapes.
Beginning with an oriental clarinet and drum solo, reminiscent of Moodoid, the song spins off into groovy R’n’B tinged with rock and electronics. Prochet retains her dreamy vocals but sounds less shy in front of the microphone as she sings a chorus straight out of the 70s. Although the single is Prochet’s own work, the guitar chords bring to mind the simplistic and groovy Daffodils created by the Parker/Ronson collaboration last year.
Of the single, Prochet stated,
”Shirim’ is very symbolic for me and I hope you enjoy it. I am recording more music now and I will release my second album in 2015. My band and I are very excited to play live again soon!’
A surprising and original change for Prochet, her upcoming album due later this year is to be eagerly anticipated.
The debut album from Melody’s Echo Chamber is a trip into the sounds of the psychedelic atmosphere. This collection of pop songs paint a myriad of scenes, from glistening beaches and their rollicking waves in slow motion, to echoing, dream-like lucidity in the space of sugary melodies. Such sounds, however, could not have been conceived without “song guru” Kevin Parker from Tame Impala.
The two met in 2010 when Tame Impala were touring in France. After their show, Prochet approached Parker about how he achieved his sound. “… I was blown away by it, and wanted to know nerdy things like what pedals he was using…” Parker, however, did not reveal his secrets, but Prochet still managed to give him a demo CD. Three days later, Prochet and her then-band My Bee’s Garden were invited by Parker on a European leg of Impala‘s tour. A friendship ensued and the two worked together halfway around the world in Parker’s “glorious mess” of a home studio. Due to her self-consciousness, however, the vocals were recorded along the French riviera in the house of Prochet’s grandparents. Notwithstanding, Prochet tore away from her habitually “pretty and dreamy songs” and achieved her psychedelic “dream sound.”
The sugary I Follow You opens the album, followed by the electrically pulsing and exploding Crystallised. You Won’t Be Missing that Part of Me is drenched in a shimmering palette of bubbly sounds, warbles and lasers.
The first recordings for Some Time Alone, Alone were created in the week Parker left Prochet for touring. He had stuck post-its on the equipment so that she could use them properly. When she went to record in the studio, she found the notes mixed up by a Pond member who had used the room previously. Left to her confounded own devices, Prochet plugged a guitar into the preamp and began recording the guitar sections. Although “wrong technically,” the guitar sections were used anyway as they were “uniquely textured.”
Bisou Magique eschews in a darker side to the album, helped by the foreign lyrics. Prochet stated in an interview that she sings in French when she brings up something painful and doesn’t want others to understand. “It’s my secret. It’s so personal. Everyone’s got a dark side, eh? All your things you don’t even tell yourself, your flaws. It’s intriguing.”
The ‘rising’ guitars and bright cymbals of Endless Shore depict the immense brightness and space of a beach in the morning. The intriguing Quand Vas tu Rentrer? follows and takes the album into an obscure atmosphere, while the seemingly slowed-down tempo and lucid vocals of Mount Hopeless carve into a state of languidness.
“This one we played with, we put it through filters, backwards and it sounded cooler,” said Prochet of Is That What You Said. The duo were strained for time at this point, so Prochet recorded the original playing backwards and at a faster tempo.
Aside from depicting cannibalism in isolation mountains, Snowcapped Andes Crash is the heaviest psychedelic track on this album. The instrumental section brims over with fiery explosions that progress into spacey recurrences of backward guitar chords and warbling sounds.
The child-like Be Proud of Your Kids finishes the album. The young girl featured in it is named Zelda, whom Prochet used to babysit in France. In an interview, Prochet explained, “She was singing this really weird song she learnt at school which was the most vulgar thing. I had a really big laugh and asked her to do it again and I recorded her, and at the end she says this really funny thing: “I announce to you that the radio is over.”” And with that, the colourful odyssey ends.
The Prochet/Parker collaboration behind Melody’s Echo Chamber heralds pop songs drenched in an orchestra of psychedelic sounds that take you on a journey through glistening beaches to obscure scenes in foreign soundscapes.