"SUICIDE UNDERGROUND" AIR (2000)

This month, I’m jumping into the #APlaceInTheSong challenge from @JukeboxJohnny2. Great songs have that special ability to describe places in a way that makes us feel like we’re right there. Each day, I’ll pick a track that I think accomplishes that feat.

The French ambient duo Air wouldn’t be where they are today without Sofia Coppola. The director’s decision to include the band’s songs on her movie soundtracks – including The Virgin Suicides, Lost In Translation and Marie Antoinette – gave them unprecedented exposure. For The Virgin Suicides, Air also got the green light to develop the music score, which got the attention of critics and is considered one of the finest scores composed in the modern era.

There are a couple of relatively well-known tracks on it, including “Playground Love” and “Highschool Lover”, but the whole score is worth listening to from the opening track to its closer, “Suicide Underground”. The spoken word narration on this track adds a gravitas that cannot be achieved by standard vocals. Air’s meandering bass line, acoustic guitar and mesmerizing synth notes offer a sterile backdrop for the words to soar on top of. It’s not a standout Air track by any means, but it’s a powerful end statement for an exceptional music score.

“Fleeing from the house, we forgot to stop at the garage.”

"ALONE IN KYOTO" AIR (2004)

This month, I’m looking back at movies and tv shows to rediscover songs that graced the screen. The scenes and the music are inseparable. They’re engrained in our heads and our hearts. And they’re proof that the best music we have doesn’t exist in isolation. It attaches itself to a moment or an experience. #SceneSongs

Movie: Lost In Translation

The Lost in Translation soundtrack is a rare gem. It celebrates established revered acts like dream pop pioneers The Jesus & Mary Chain and My Bloody Valentine. It also gives us an early look at two bands – both from France, but representing opposite ends of the electronic spectrum. One is Phoenix on the synth pop side, the other is Air on the ambient side. My favorite track on the soundtrack is Air’s “Alone In Kyoto”.

“Alone In Kyoto” is a powerful reminder of the simplicity and beauty of an instrumental. With no lyrics to hide behind, every single note and texture is perfect. Every element is critical, not fluff. “Alone In Kyoto” took a classical approach to ambient, painting a rich, delicate soundscape that captured the feelings of isolation stewing throughout the movie, as Charlotte strolled by Kyoto’s beauty on her own.

"MER DU JAPON" AIR (2007)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Pocket Symphony (2007)

Air built its momentum from soundtracks off of three Sofia Coppola films: The Virgin Suicides, Lost in Translation and Marie Antoinette. They are chill-out at times and dance floor-ready at other times. But all of their musical output is subtle, intricate and sophisticated no matter which end of the electronic spectrum they choose to lean into. Pocket Symphony is one of my favorite Air albums because it adds an unexpected layer of traditional Japanese instruments beyond the drum machines, synthesizers and assorted percussion instruments that are part of Air’s known arsenal. My favorite track off the album is “Mer Du Japon”.

Rather appropriately, many Air tracks create a sense of buoyancy and depth. On “Mer Du Japon”, it feels like we’re cruising along the surface of the Japanese Sea at breakneck speeds in one moment, diving deep toward the sea floor in another, and gasping for air in another. The koto, a Japanese floor harp, joins forces with the shimmery synth waves, pristine piano arpeggios and menacing bass line. The sound of waves sashaying along the shoreline can be faintly heard toward the end, signifying that our little trip has also come to an end. We have reached land.

“J'EN PERDS LA RAISON DANS LA MER DU JAPON.”

"MER DU JAPON" AIR (2007)

For the month of October, I’m taking the #OctAtoZBandChallenge challenge. The premise is simple. Pick a band starting with the day’s assigned alphabet letter and then choose a song from that band.

Day 1

Air got its leggings from soundtracks off of three Sofia Coppola films: The Virgin Suicides, Lost in Translation and Marie Antoinette. They are chill-out at times and dance floor-ready at other times. But all of their musical output is subtle, intricate and sophisticated no matter which end of the electronic spectrum they choose to lean into. Pocket Symphony is one of my favorite Air albums because it adds an unexpected layer of traditional Japanese instruments beyond the drum machines, synthesizers and assorted percussion instruments that are part of Air’s known arsenal. My favorite track off the album is “Mer Du Japon”.

Rather appropriately, many Air tracks create a sense of buoyancy and depth. On “Mer Du Japon”, it feels like we’re cruising along the surface of the Japanese Sea at breakneck speeds in one moment, diving deep toward the sea floor in another, and gasping for air in another. The koto, a Japanese floor harp, joins forces with the shimmery synth waves, pristine piano arpeggios and menacing bass line. The sound of waves sashaying along the shoreline can be faintly heard toward the end, signifying that our little trip has also come to an end. We have reached land.

“J'en perds la raison dans la mer du Japon.”

"MER DU JAPON" AIR (2007)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

Air got its leggings from soundtracks off of three Sofia Coppola films: The Virgin Suicides, Lost in Translation and Marie Antoinette. They are chill-out at times and dance floor-ready at other times. But all of their musical output is subtle, intricate and sophisticated no matter which end of the electronic spectrum they choose to lean into. Pocket Symphony is one of my favorite Air albums because it adds an unexpected layer of traditional Japanese instruments beyond the drum machines, synthesizers and assorted percussion instruments that are part of Air’s known arsenal. My favorite track off the album is “Mer Du Japon”.

Rather appropriately, many Air tracks create a sense of buoyancy and depth. On “Mer Du Japon”, it feels like we’re cruising along the surface of the Japanese Sea at breakneck speeds in one moment, diving deep toward the sea floor in another, and gasping for air in another. The koto, a Japanese floor harp, joins forces with the shimmery synth waves, pristine piano arpeggios and menacing bass line. The sound of waves sashaying along the shoreline can be faintly heard toward the end, signifying that our little trip has also come to an end. We have reached land.

“J'en perds la raison dans la mer du Japon.”

"ALONE IN KYOTO" AIR (2003)

Exceptional soundtracks can make good movies great. They can also take on a life of their own, becoming a greater highlight than their respective films. In this series, I’m selecting some of my favorite soundtrack songs. While quite a few are well-known recordings, I’m also including a few that have flown under the radar over the years.

The rarely mentioned Lost in Translation soundtrack is a bit underrated in my opinion. There’s some gold in there — with early Phoenix, a Jesus & Mary Chain staple and a My Bloody Valentine distortion fest. But my pick is an underrated song from an underrated soundtrack: Air’s “Alone in Kyoto”.

“Alone in Kyoto” is a powerful reminder of the simplicity and beauty of an instrumental. With no lyrics to hide behind, every single note has to be perfect. Every single note has to be critical, not fluff. “Alone in Kyoto” took a classical approach to ambient, painting a rich, delicate soundscape that captured the feelings of isolation stewing throughout the movie.