To take heed to early Saint Etienne data is to be taken over by the promise of youth: the sound of three wide-eyed arrivals to the large metropolis benefiting from their pop desires. The enjoyment of Bob Stanley and Pete Wiggs’ manufacturing stems from its refusal of straightforward escapism, charting a intelligent, side-winding path the place slice-of-life appeal runs parallel to outré pop fantasy. Out of date or half-imagined zones like Finisterre, Tiger Bay, and Foxbase Alpha mapped onto the real-life texture of the Dwelling Counties, West Nation, and London itself. Sarah Cracknell leverages the simple intimacy of her voice to navigate the highs and lows of this sometimes-vivid, sometimes-cardboard surroundings, her glamorous, comforting presence main the best way via Wiggs and Stanley’s fireworks.
However time has a pitiless approach of telescoping out, and you may nearly cry on the band’s era-specific optimism and the misplaced world that impressed it: London nonetheless welcoming and inexpensive, the UK nonetheless part of Europe, ecstasy and Concorde flights and Englishness as sources of breezy pleasure reasonably than vein-bursting response. “Once you’re 20 or 21,” Cracknell intones with an unmistakable grain in her voice on the opening monitor of the group’s eleventh studio album, The Night time, “You’ve gotten a lot power and perception.” One may learn the tune’s title, “Settle In,” two methods: as a wet night at residence, or as ready out the remainder of your life. On The Night time, Saint Etienne mood their boundless creativeness with a way of finality and grownup knowingness, maintaining the fireplace glowing with a full consciousness of the fast-approaching chilly and darkish.
The Night time looks like an extension and refinement of the downbeat melancholy of 2021’s I’ve Been Making an attempt to Inform You. That file, which wove sleepy dub manufacturing and elliptical samples into mournful circles, dwelled on repetition with out ever totally articulating the plain disappointment at its heart. In distinction, The Night time’s pivot towards ambient music dovetails with a deep world-weariness. Stanley and Wiggs evoke nocturnal scenes with an ear for creepy resonance, foregrounding the creaks, aches, and eerie frequencies that go unheard through the day. Their palette is each detailed and impressionist, conjuring a dense fog and studding it with place-markers that sparkle and recede together with the music. On “By means of the Glass” and “Northern Counties East,” the group soundtrack a patter of endless rainfall, rounding out the gloom with discovered percussion, pained harpsichord, and subdued guitar. At instances the murk is so dense, you’d be forgiven for considering you’d placed on The Caretaker or a latter-day Burial file.
