Darkel

Shot through with attention to detail and the lush production typical of Dunkel’s main concern, Darkel might have its moments of archness but it knows how to shake it’s booty, too.

Sometimes Darkel seems in danger of floating away on its flights of fancy, suggesting that Godin gives some of Dunckel's more whimsical ideas some grounding when they work together as Air. Nevertheless, this is a lovely working holiday, full of songs as shimmery and delicate as bubbles, and their slightness doesn't make them any less enjoyable.

Sure, some of the songs are simplistic (“Beautiful Women”), but Dunckel keeps things light, fluffy, and catchy enough to resist having to skip to the next track. [#15]

The whiff of soft-rock schmaltz is occasionally close to overpowering. [16 Sep 2006, p.36]

Suffers slightly from pasteurized cheese. [Oct 2006, p.120]

Generally there's a lightness here he'd do well to retain. [Oct 2006, p.118]

If the naivity and high-pitched voice don't grate, chances are the shifting soundscapes will still leave you charmed.

This isn't Air, but something quirkier. [Jan 2007, p.106]

When Dunckel moves away from pop immediacy, the results are often puzzling.

It sounds like Air divided by two, but it's all too easy to hear what's missing.

Even when Dunckel stays closer to type, here he usually relies on unremarkable downtempo beats to support unfortunate space-hippie mewlings.

Without his band's usual deep-pile arrangements, these twinkling melodies and synth-prog twiddles sound rather insubstantial.

Sometimes moody, sometimes optimistic, this doesn’t feel sure of what it wants to be and instead feels a little like an Air outtakes album.

So faceless that it'll make you hanker for Dirty Vegas deep cuts. [Oct 2006, p.96]

The pappy, throwaway nature of the tunes undermines any serious intent. [Oct 2006, p.124]

What is blatantly obvious is that Mr Dunckel should politely be steered away from the microphone at all future recording sessions.