Originally from Luxembourg and Scandinavia respectively, Catherine Kontz and Henri Vaxby are now London based. With rave reviews tucked away for their debut album - released under their former name of Cartridge - they resurface with a new long-player and two additional words to their name, having adopted FRENCH FOR CARTRIDGE from a side-project called Une Cartouche - which you would be correct in surmising is French ... for cartridge.
With that kind of lateral thinking, it is no real surprise to learn that this ten-track album is full of varied, creative, slightly 'off the wall' unique and quirky sounds.
Opening with the dark and dramatic 'Oooh!' (released as a single towards the end of 2009 and reviewed elsewhere on this site) the marker and standard is set early. Catherine's vocals are almost childlike, but are set against the threatening music with eerie choruses and chilling piano lines.
By way of contrast, 'Loosening The Structures' has a relaxed feel with Henri adopting the lead vocalist role this time. When Catherine joins in for the choruses, there are echoes of early Prefab Sprout in the hushed harmonies, but with added quirkiness by way of discordant piano lurking towards the back.
'Twice As Nice' takes the form of a sort of Sixties inspired psychedelic folk ballad with a whining violin providing the pathos. However, as nothing is quite as it would seem on this album, there are momentary injections of pace and volume, just to ensure the listener keeps their wits about them. Following track 'A Hundred And One' is very atmospheric as it also visits a sort of dark place. It does drone on a little and perhaps lacks the spark and excitement of the other songs.
Take 'TV Dinner' for instance. Its more conventional rocking opening belies what is to follow. Great use is again made of the piano to create a rather sinister atmosphere and the drama is provided by a thumping bass line that runs through most of the song. The pace and volume drop in places to allow Catherine's vocals more prominence, before the song breaks off into what can best be described as a free-style jazz session with only the bass line remaining constant whilst the piano and everything else seem to collide in a glorious cacophony of discordant noise.
'Sitting And Reading' has the waltzy feel of the fairground but as it progresses and the vocals seem increasingly manic, it becomes as if all the toys in the cupboard have come to life and are engaging a celebratory dance. Spooky!
'Picture Negative' was the B-side to the last single. Again, a more relaxed feel is evidenced, but with a really pleasant and catchy chorus. 'Two Feet In The Water' is relaxed to the point of being barely alive, though. Possibly a great Soundtrack song, it needs some imagery to maintain the listener's attention - well, THIS listener, at least. It's a bit of a dirge, I'm afraid.
'Little People' lightens the mood a bit with its bouncy refrain and dulcet, hushed vocals leading to an instrumental breakdown with a sort of samba rhythm. Final track 'Silhouettes' builds, rises and falls and takes a few listens to fully appreciate. The slow pace, especially at the start, is worth a bit of patience as it grows almost imperceptibly into a song of anthemic proportions with, dare I say it the feel of Coldplay and Oasis at various points in the chorus.
(Released through Dinner with Daisy Records on 14th February 2010)
(8.5 / 10)