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Their sources are varied, yet the pleasure isn't recognizing the different sonic elements, but in relishing their almost supernatural co-exist
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Expanding and improving upon their already striking debut, No Way Down is a stunning accomplishment on so many levels: the amount of care and attention to detail that so clearly went into its creation; its stylistic uniqueness; and its sheer, subjective beauty.
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Seriously, if there’s one thing on No Way Down that doesn’t at least momentarily hook you, even in the basest, more familiar way, where do your roots go and where do your loyalties lie, eh? Maybe in that sub-dermal nostalgia something about this EP truly resonates, well beyond its frugal runtime.
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The moody brass of 'Maundy Thursdays,' the loveless female narrator who opens 'June Evenings,' and the restless whispering in 'Never Content' are all touches that keep the billowing instrumental opulence tethered, affectingly, to humans on the ground.
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UncutTheir primitive dance beats and carefree, nostalgic melodies recall Saint Etienne, and their endearingly earnest efforts to summer upon tracks such as 'No Excuses' and 'June Evenings' are a joy to behold. [Jan 2009, p.85]
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New album No Way Down is one of the year's best so far; its title apt for vertiginous synths and strings that litter the mix like vapour trails on pure blue sky.
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The results are pleasant enough, if you're paying attention, but there appears to be something about Air France's music that inspires a waking form of narcolepsy.
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No Way Down’s panpipes and ‘Windmill Wedding’s' outro menagerie racket are so gap-year utopian they make you want to ram joss sticks up Air France’s noses. Mighty peculiar.
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MojoA musical sub-genre rebooted. [May 2009, p.104]
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Q MagazineNo Way Down mischievously demands to be consumed whole at hazy after-hours sojourns. [May 2009, p.107]