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12 of 12 people found the following review helpful:
5.0 out of 5 stars
Tahiti 80 "Wallpaper For the Soul" in the band's words, October 12, 2002
TAHITI 80
WALLPAPER FOR THE SOUL "It's a definition of all music," Tahiti 80 frontman Xavier Boyer says, deconstructing the title of the poptastic Paris combo's second album, WALLPAPER FOR THE SOUL. "Imagine your heart as a house. Music is a way to decorate, to bring colors to your life." In that case, Tahiti 80 is the sonic equivalent of 64-count Crayola. Wallpaper for the Soul is a dazzling kaleidoscope of giddy hooks and airy beauty. Melody and song craft are the primary colors, amidst a dazzling rainbow of orchestral strings, atmospheric electronics and an overall vibe that's both swinging and reflective. "We always say we make more than pop," Xavier (pronunced, Ex-avee-ay) says. "We love '60s music, but we incorporate newer elements to make it interesting, whether it's R&B, hip-hop, jazz or reggae. Other bands do that too, but we try to make our own personal blend." On Wallpaper for the Soul, the recipe includes everything from the woozily rhythmic title track and the joyous bounce of "1000 Miles" to the majestic mope of "Happy End" and the punchy ear-candy of "Soul Deep." Tahiti 80 got its unofficial start in 1993, when singer/guitarist Boyer and Portuguese-born bassist Pedro Resende met at the University of Rouen near Normandy. Classes were often skipped in favor of listening to records and learning how to play. A year later, guitarist Mederic Gontier came on board, while Sylvain Marchand, a childhood friend of Boyer's, joined up on drums in 1995. They were inspired by not just the Beatles and the Beach Boys but the Left Banke and the Zombies, not just Serge Gainsbourg but Sergio Mendes -- though the name was not an homage to Brasil '66 (it came off a t-shirt Xavier's parents brought back from holiday). The band built its following at home with two EPs, then caught the attention of Minty Fresh, which issued 2000's full-length debut Puzzle, produced by Ivy's Andy Chase. "Timeless and lovley pop as refreshing as a cool aperitif," The New Yorker said of the disc, which was highlighted by the college radio hit "Heartbeat" (later remixed by Cornelius) and the wry, affectionate "Mr Davies" (which essentially re-imagines the Kinks legend as a character in one of his own songs). "Boyer has discovered a secret history of rock where harmony, big production and bah-bah-bahs rule and every lyric is undertowed by a darkness...Bad sunshine for the soul," MOJO gushed, while others dropped names like Stereolab, Oliva Tremor Control and Soulwax (also a T80 remixer, as was house legend Todd Terry). Besides winning over critics and fans across North America and Europe, Tahiti 80 has become especially, pardon the expression, big in Japan - Puzzle went gold there, and
anticipation is already high for the new one." "They think it's better than the first one," a relieved Boyer reports. "We really wanted Wallpaper... to be different from Puzzle, he continues. "Different direction, different dynamics, different voicings, different lyrics. We were more focused on experimentation, because we had more ideas about what to do this time." Even on Puzzle, the band had left behind its original guitar-based, Stone Roses/Teenage Fan Club template for more sophisticated instrumentation, with all four members branching out on keyboards or programming. Having a comfort zone in the studio allowed the band to take its sonic adventuring up another level. This time, they produced as well, in partnership with Chase. "He's like the fifth member of the band," Boyer says. "In the band, but also outside it, so you always have perspective on the tracks." One of the most thrilling aspects of recording Wallpaper... was a collaboration with arranger Richard Hewson, a one-time George Martin associate. "We were big fans of the first James Taylor record, which was released on Apple, and always wanted to work with him," Boyer says. "It was only after we contacted him that we found out he also worked on Let It Be. Hewson did his magic on five songs, recorded at hallowed Olympic Studios in London, host to Hendrix, the Stones and many others back in its heyday. The band also found themselves recording in New York City, Portland and a seaside country house in France. "The travel made it a good human experience too," Boyer says. "We crossed the Atlantic and the Channel many times. When we look back at this record there will be a lot of great memories." And a lot of great songs. The heart-swelling, horn-swollen "Soul Deep" stands out as a single-of-the-year candidate, with a joyous Stax-meets-bubblegum feel that's part Memphis Flyers, part Boo Radleys. "It's definitely a take on soul music," Boyer says, "but at the same time soul music can be Daniel Johnston, or Wire - anything that sends an emotion to the listener." Of course, that's what Boyer wants to do as well. "This very personal story may only make sense to me," he croons on the album-closer "Memories of the Past," but his vivid, heartfelt, sometimes downbeat words have quite the opposite effect. Boyer himself feels the lyrics on Wallpaper... are more mature and better crafted than earlier attempts. He has said that pop music simply sounds better in English, just like bossa nova sounds better in Portuguese, but also finds writing in a second language more creatively intriguing. "It's easier for me to express my feelings in English. There are no rules, I can say whatever I want. I'm like another person." Ultimately, "Memories of the Past" dissolves into a reprise of the title track, which serves to frame the album's informal concept -- "a day in the life" of music, sound and soul. "Every song talks about a different feeling," Boyer says. "With Wallpaper... it's like you're in a dream, then with "1000 Times," you're waking up, the day starts. After that, all the songs are different emotions you would feel in one day. By 'Memories of the Past,' you're back home, about to go to bed, facing the ceiling alone in the dark. And then it ends again with Wallpaper... -- back to the dream."
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by Tahiti 80 
