Le SuperHomard

AllMusic Review by Tim Sendra  [-]

After releasing the very promising MapleKey EP in 2016, the French band Le SuperHomard were positioned as the next great band in the tradition of Stereolab, Broadcast, and the High Llamas. 2019's Meadow Lane Park makes good on that promise and should please anyone who ever loved the kind of retro-looking, futuristic-sounding pop those bands made in their prime. With songs written, played, and produced by Christophe Vaillant, then sung by Julie Big in breathlessly soft tones, the album is a gentle musical hug that plays on nostalgic strings, but also adds something special -- and perhaps left over from his days playing power pop in the Strawberry Smell -- to the template. Despite their rounded edges and pillowy production, the songs on the album have hooks sharp enough to draw blood. Up-tempo tracks like "Paper Girl" or the title track have a snappy strut that's almost gleeful, the bouncy mid-tempo songs have a sweet, ambling appeal -- especially the lovely "Springtime," which feels like the soundtrack for snow melting and buds appearing on trees -- and the ballads have a pocket Bacharach feel about them that's quite alluring. The combination of the strings, vintage synths, burbling bass lines, and Big's aching vocal on "Door After Door" and "Refuel" show that the band really have a grip on how to construct a ballad for maximum sonic and emotional impact. Vaillant's skills as an arranger are evident throughout as he fills the mixes with just the right synth sound, stately piano run, clunky drum machine, or swooping organ line. It's about as lush as one could imagine, but also has a nice homemade feel, which isn't surprising considering he made the record after hours at the record shop where he works. Meadow Lane Park is unlikely to make anyone forget High Llamas or the Cardigans -- another fine band they are reminiscent of -- but any song here would sound drop-dead perfect next to them on a play list or mixtape. That's heady praise, but Le SuperHomard earn it.