Mlle Caro and Franck Garcia Pain Disappears

[Buzzin’ Fly; 2008]

Rating: 4/5

Styles: European electronica, indie-pop, microhouse
Others: Fujiya and Miyagi, Air, the Erlend Øye {DJ-Kicks} album

"Oh shit, oh shit... she'll be here any minute. How do I look? Fuckcrap! I shouldn't have shaved -- I look too much like a little boy now. Oh well, I guess I won’t tuck my shirt in either because it’s nice, and I want her to keep guessing whether I’m the sweet, responsible guy or the unpredictable, dangerous guy. Oh yeah, keep her guessing until she has trouble walking! (Self high five) Okay, I placed my guitar and travel pictures strategically, swept and dusted, hid all of my questionable videos, put out some Trader Joe's snacks, have a bottle of wine (reluctantly from Trader Joe’s) chilling... and I think I have everything set for her first apartment visit except for the music. Alright, let’s go to the ol’ iPod to find some appropriate tunes. I want something sexy that doesn’t sound “too sexy”; and it shouldn't be obnoxious, but interesting enough that it can adequately fill in the inevitable awkward silences. Maybe even something brooding, but still hopeful. (Scrolling through iPod) No. No. No, that’s too embarrassing. Wait! Wait a freaking second! Ah, here we go, perfect! The new Pain Disappears album by Mlle Caro and Franck Garcia is exactly what I’m looking for! The purposeful restraint of this album could relegate it as suitable ‘background music’ during wine-drinking or making out. Ha, hopefully at the same time! (Another self high five) But all of the songs are crafted differently and structured creatively – there is a lot going on here, and maybe we can just sit and chill and like… feel content laying and smoking cigarettes. Plus, I can tell her that Mlle stands for Mademoiselle, and she’ll think I’m cultured. Awesome! (Combination self-choke and pelvic thrusting)

Ah, wonderful. Another date saved by the most recent hybrid of indie-rock song structures and microhouse beats – the ultimate 21st-century urbanite aphrodisiac. Sarcasm aside, the allure of Pain Disappears stems from the inherent tension produced when tempering differing styles and musical elements without sounding like a jerky, fusion mish-mash. Restraint is sexy, and the collaborative French duo of Mademoiselle Caroline Leher and Franck Garcia exercise much of it to prevent the album from sounding too Kompakt Records or too 4AD Records. One of the standout electro-pop albums of the year, it has already gotten the Parisian beat scene buzzing and will very soon barge its way into American DJs’ setlists. Switching between sinister atmospheric tracks and mysterious afterhours jams, the album in its entirety would make the perfect soundtrack for a trendy, misunderstood character in a Brett Easton Ellis novel.

The album opens with “Always You,” a gloomy, mid-tempo bass track kept afloat by a catchy descending guitar riff and washes of string synths. In addition to being the first Pain Disappears song to be remixed (by Ewan Pearson at the close of the record), Caro and Garcia establish their trademark vocal style: succinct man-on-top-of-woman melodies in nihilistic unison. Although this reviewer’s poor ass has not been to Europe in the past few months, it can only be assumed that “Dead Souls” is proving itself to be a major crossover hit. With its driving guitar chords (kind of like a less distorted Bloc Party or The Walkmen), remixes of this song are undoubtedly getting those bastards across the Atlantic grinding on the dance floor.

One of the major drawbacks of the album are the shudder-inducing lyrics – on “Hold Me,” the duo sings, “I could give everything/ To be with you/ Can you believe me/ You know it’s true.” But come on, has there ever been a beat-driven electronic album that hasn't stolen its lyrics from some 7th grade love note? Somehow, the sophomoric lyrics are appropriate for the record’s ‘lonesome lovers’ aesthetic, especially when delivered nonchalantly and with thick accents.

In any event, Pain Disappears will likely have more lasting power than your standard electro-pop record because it expertly melds its disparate musical influences and establishes a distinct, distinguishable sound. A solid too-cool-for-school record, expect songs from this duo to hang around ultralounges, fashion shows, and perfumed bachelor pads for awhile.

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