air music moon safari

How Air’s ‘Moon Safari’ became an elegant masterpiece of '90s electronic music

Released in early 1998, Versailles duo Air’s debut album ‘Moon Safari’ was a gentle antidote to the wave of French Touch at the time. With an emphasis on melody and mood, it became a ubiquitous soundtrack to the end of the 20th century, and still sounds inspired today. Here, Ben Cardew explores its legacy

This feature was originally published by DJ Mag North America in 2019

So much electronic music is dominated by rhythm: the 4/4 stomp of techno; the woozy pulse of dubstep; the clattering breaks of jungle and drum and bass. However, some of the best electronic music — from Kraftwerk to Daft Punk, Masters at Work to Underground Resistance — is based on a wonderful understanding of melody, creating those hooks that stick in your head at the end of the night when the legs have been reduced to a mushy pulp. 

To this list we might add Air, the silkily nerdish duo from Versailles, who combine classical melodies with heady atmospherics, Serge Gainsbourg-esque élan and more than a hint of sex. Their music laid a framework for a generation of magenta-hued chill–out bands to idle out of the woodwork in their wake.

1998’s ‘Moon Safari’ was Air’s debut album, and, to date, their defining act. If you were young at the end of the 1990s and had anything more than a passing interest in electronic music you will have heard it, soundtracking dinner and after parties, school runs, chill-out rooms and 1,001 stodgy TV dramas. So ubiquitous did ‘Moon Safari’ become, in fact, and so many terrible bands did it inspire, that Air became almost persona non grata in the 2000s, their career hobbled by the intolerable omnipresence of their debut.

And yet, when you consider everything Air had against them, it was a minor miracle they even made their breakthrough. Air weren’t particularly fashionable, for a start. Even in the mid ’90s, when Parisian music was riding the sizzling wave of French Touch, band members Nicolas Godin and Jean-Benoît Dunckel resembled more the architecture and maths students they had so recently been than the fashionable men around town their peers aspired to. 

“It was the late 1990s and Paris suddenly had this incredible electronic music scene: all these clubs were opening up. I didn’t get to go to all the parties, though, because I was generally at home with my wife taking care of Solal, our baby,” Dunckel told The Guardian in 2016. “We were poor. I knew our livelihood depended on Air being successful.”

Air dreamed to be different, both visually and sonically. There was nothing edgy or unconstrained about the band, no whiff of rebellion to get the heart strings pounding, and little in the way of beats to dance to. Most of all, as a stylistic decision, Air chose to be quiet: a gentle Gallic nuzzle to the ear rather than a voluptuous bear hug.

‘Sexy Boy’, the first single to be taken from ‘Moon Safari’, is typical of the duo’s individualistic approach to songwriting, marked by an androgynous, indistinct vocal. "If we’d sung ‘sexy girl’, it would have been a disaster. ‘Sexy Boy’ felt different,” Godin told The Guardian. “The song was about who we wanted to be; we weren’t handsome when we were younger; our friends always had more success with girls.”

So Air were big, unfashionable softies in a musical decade marked by innovation, ambition and noise. It would have been easy for Air to spanner together disco samples and filters to create a French House tune that would temporarily captivate the Parisian nightclubs. What Air did was to rely on melody and timbre to make their hugely elegant point. ‘Moon Safari’ was the epitome of this, the album’s 10 tracks forming a closed loop of such melodic brilliance and galactic ambience that listening to anything else afterwards felt like scraping muddy boots on a silk-lined boudoir. These are melodies that stick in the brain like glue, suspended in zero G by a velvety ambience of Fender Rhodes, clavinet, vocoder, strings and Moog.

Countless articles have been written about the recording of ‘Moon Safari’, and you can see why: the album pulled off the difficult task of sounding both futuristic and retro, its mixture of vocoders, synths and Serge Gainsbourg bass resembling a 1960’s vision of the gilded future, a combination best heard on the impossibly lush string and vocoder jam ‘Remember’.

Album opener ‘La Femme d’Argent’ is a wonderful example of Air’s insouciant melodic brilliance. The track also features stunning bass work, sporting the kind of bassline that carries the song on its back and leaves you singing in the shower.

Air were classically trained musicians who wore their hearts on their sleeves. The atmosphere of their music was balanced by the human emotion in their songwriting. ‘You Make It Easy’, a glittering highlight, spoke of the magic of falling in love, Beth Hirsch’s vocal soaked in emotion, while ‘New Star in the Sky (Chanson pour Solal)’ seemed to inject a whole galaxy of love and wonder into four tightly-packed lines with the ultra efficiency of a haiku.

And it was this, ultimately, that separated ‘Moon Safari’ from the music that came in its wake. Among the trends that the album inspired were an international Serge Gainsbourg revival, a renewed interest in film soundtracks, and the career of Sofia Coppola, with the band scoring her directorial debut The Virgin Suicides the year after ‘Moon Safari’s’ release. You can hear the album’s influence in the work of acts like Kid Loco, Bent, Röyksopp, Crustation, Tim “Love” Lee, Cibo Matto, Sébastian Tellier and more. But what few of these acts seemed to grasp, in their search for ever lusher melodic beds, was at the centre of Air’s artifice was a beating heart. Rather than the clatter of drums, this was the rhythm that ‘Moon Safari’ moved to.

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Air's Moon Safari is an era-defining French album worth celebrating, 25 years on

There's no telling how many special moments have been soundtracked by Moon Safari, the acclaimed 1998 debut album from French duo Air.

An era-defining record of pristine, space-age lounge music delivered with cinematic atmosphere and a distinctively French je ne se quios , Moon Safari was a universal critical and commercial success upon release.

The lush easy-listening music was perfectly suited to post-club comedowns, hip cafes, and make-out sessions: smooth and dreamy enough to be played in the background, but singular and masterfully crafted enough to reward close listening.

It proved highly influential, too. But the wave of mellow, down tempo imitators and 'chill out' CD compilations it spawned struggled to surpass Air's chic, exquisitely woozy beauty.

'It was not meant to be played live'

Jean-Benoît Dunckel, one half of Air alongside Nicolas Godin, never expected Moon Safari's enduring success.

"We never imagined this album could work that way worldwide," he tells Karen Leng on Double J Lunch. 

"It took time, it took decades, [but] the success is not by us, the audience made [it]."

This year, the duo has been playing Moon Safari in full around the world on their first tour in seven years, including Australia.

"It was not made to be played live," says Dunckel. 

"We had to adapt it for the live [setting]. That is what the people want to get — this special feeling they heard the first time… to live again these feelings."

Having played two nights at the Sydney Opera House as part of Vivid Live , Air will live-stream their show at London's Royal Albert Hall this weekend.

"It's a beautiful venue," says Dunckel, who is keen to preserve a pristine performance of the album online for future access.

"It's really important to do that because… people can also discover the band live. Some people appreciate the live versions more than the recorded versions."

Performing as a trio, alongside drummer Louis Delorme, Air play inside an oblong box adorned with dazzling lights and visuals, which morph from swathes of minimalist colour to the perspective of a spaceship enjoying interstellar travel.

"We play in a box of light. It looks a bit like the studio on the cover of 10 000 Hz Legend," says Dunckel, referencing the band's second studio album — a weirder, wilder reaction to Moon Safari.

"It could be a home, it could be our world, our head, our architectural concept. It helps for people to enter into a world… people like [that] intimacy."

Dunckel says people often ask: "Are you not bored to play these songs you play for 20 years now?"

"Sometimes I struggle — because you have to concentrate, and you have to play. But I'm never bored. It's always a pleasure."

Moon Safari is a product of its era, but it's also aged beautifully.

It's an evocative listening experience, from the moment lengthy opener 'La femme d'argent' ushers you in with the sounds of water and slinky bassline, through to the weightless pop and robot-voiced melodies of 'Kelly Watch The Stars' and 'New Star in the Sky'.

In 1998, its retro-futuristic arrangements already sounded timeless. 25 years later, its ability to transport your mind and imagination elsewhere hasn't dated one iota.

"It could be a journey, a love story," remarks Dunckel. "That's why we're really attached to it. I think the audience is searching for that, too.

"It helps human relationships in every way," adds Dunckel. Over the years, Air fans have shared "so many stories" of what the album means to them.

"Most of the time it's for love. It's always, 'I met my girlfriend or wife this time'."

Back in 1998, Dunckel told triple j that while hiking in Iceland, his guide revealed Moon Safari was his love-making soundtrack.

There's "probably" plenty of babies in the world with some of the album's DNA in them since, Dunckel estimates of a new generation discovering Air for the first time.

"As we are getting old now, it's becoming that people say, 'oh yeah, my parents were listening to Moon Safari when we were travelling in a car; this family time'."

Sexy Boy, the surprising queer anthem

For many, debut single 'Sexy Boy' was their first introduction to Air. A seductive slice of synth-pop that brought vocoder back to the pop charts and sung in both French and English.

It's a seemingly simple song but Dunckel notes there's "a lot of tolerance and freedom" embedded in it.

"Sexy Boy, first of all, is a strange title because it breaks a certain taboo. The taboo is that heterosexual boys can check out other boys," he explains.

"Also, it became a gay slogan in a way. A gay anthem."

The song took on a new meaning in late 90s Paris when the electronic music scene's wider acceptance of the LGTBQI+ community led to more club and techno nights dedicated to queer punters and DJs emerging.

"There was a lot of gay parties," says Dunckel. "Homosexuality is everywhere in the world, and it's always existed, always there. So, it was important to liberate this movement."

Originally, the song's titular phrase was inspired by Parisian fashion culture.

"People are checking each other out all the time… In Paris, when a couple is meeting another couple, the girl is not going to check out the boy. She's going to check out the other girl: analyse what she wears, how she behaves, what is the fashion or type of the boyfriend.

"Sexy Boy is speaking about that. The fact a man wants to be a pretty man and he is checking [out] other boys."

A popular soundtrack choice, featured in teen rom-com 10 Things I Hate About You and noughties TV drama Queer As Folk, 'Sexy Boy' is also a testament to youth.

The French verses are "celebrating that golden age of being young," Dunckel explains.

"When you're young you don't realise you're at the top of your life. You have a lot of power, actually… because you're beautiful. Your skin, hair, you feel great, you have a lot of energy."

The makings of a classic

Despite its iconic status, Moon Safari was actually the last roll of the dice for Dunckel and Godin.

Raised in the conservative suburb of Versailles, the pair began making music together after meeting at school. But after having their demo tapes rejected by every record label they approached, they quit music and instead focused on their studies.

Each had established careers — Godin in architecture, Dunckel in mathematics — when an opportunity presented itself in a close friend landing a role with Virgin Records imprint Source.

They landed a deal with the label but ditching their jobs for a full-time career in music to support their burgeoning families was a gamble.

"We were 26 years old. We were not sure we come be musicians for the rest of our life," remembers Dunckel. "I was already working [as] a physics teacher… I had a baby."

Thankfully, their risk was rewarded when their debut album became a breakout international hit. Air was swiftly lumped alongside a fresh wave of Parisian artists reinventing the electronic music scene in the late 90s.

Dubbed French touch, the movement included Cassius, St. Germain, Étienne de Crécy, and Daft Punk, who recorded their breakout 1997 album Homework down the street from where Air made Moon Safari.

"There was a kind of energy circulating all over Paris," recalls Dunckel. "Paris is kind of small; all the media, artists and business part of it [were] working all together."

The worlds of music, fashion, contemporary art, cinema — "everything was mixed," Dunckel says.

"At this time, new generations of young people coming from the suburbs are even inside Paris and mixing all these rich, futuristic concepts together with new machines, samplers, computer programs to make music."

A fond farewell to youth

Despite being poster boys for the future of French music, Moon Safari was an evocative, nostalgia-drenched ode to Dunckel and Godin's past.

"In a way it was the end of my youth… That's why the songs [on Moon Safari], there are a lot of regrets and it's a goodbye to our youth and the innocence of it.

"It's full of vibrations from teenage times."

Although labelled an electronic act, Air's music wasn't rooted in beats and house music. Instead, they armed themselves with analogue Moog and Korg synthesizers, vintage drum machines, vocoders and the trusty Rhodes piano.

The resulting compositions bore the esprit of Serge Gainsbourg, electronic pioneers like Jean-Michel Jarre, and the 1970s film and TV soundtracks of Dunckel's childhood.

There's a fondness for the psychedelic grandeur of Pink Floyd and ELO. But also, Burt Bacharach arrangements, particularly in the wistful French horn topline of ''Ce matin là' (This morning) and the easy-going 'You Make It Easy' and 'All I Need', both featuring the lyrics and vocals of Godin's then-neighbour, Beth Hirsch.

From its lush, otherworldly sounds right down to its title, Moon Safari gives rise to cosmic ideas and conducive to escapism. That spirit is central to Air's entire ethos.

"I think music exists in paradise and you can feel this [album] is in a strange interface between our world and something else."

Such ephemeral expressions might be surprising coming from a former physics teacher, but Dunckel says "both sides of your brain help" when it comes to making emotive art.

"There is a mathematic aspect of music, that analyses and helps you perform and conceive music. But there is something else happening, your heart is talking.

"As a musician you're organising the vibrations of your heart and the feelings into music… vibrations travelling into space and air."

"When I do a song, it's all about 'what do I feel?'" Dunckel concludes.

"For me, good means it affects me. No good means I don't feel anything… if it affects me, it's going to affect others, too. They're going to feel the feelings I do, too."

Air live-stream their performance at London's Royal Albert Hall on Saturday 1 June. Details here .

Hear Karen Leng hosting  Lunch on Double J from midday Monday to Thursday.

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Air Announce Moon Safari North American Tour Dates

By Nina Corcoran

Air have been playing their 1998 classic Moon Safari on tour in Europe, and the French duo has now announced the North American leg of the anniversary tour. The shows in Canada and the United States take place in the fall. See all of Air’s upcoming tour dates below.

It’s been over a decade since Air last released an album of new material. After putting out Le voyage dans la lune in 2012—a soundtrack for the restored version of Georges Méliès’ iconic silent film—the duo did share the compilation LP Twentyyears four years later, and it included the two previously unreleased songs “Roger Song” and “Adis Abebah.”

See which album Air’s Nicolas Godin picked for a list of “ 33 Musicians on Their Favorite Albums of the Last 25 Years .”

All products featured on Pitchfork are independently selected by our editors. However, when you buy something through our retail links, we may earn an affiliate commission.

03-07 Paris, France - L’Olympia 03-08 Amsterdam, Netherlands - Paradiso 03-24 London, England - London Coliseum 05-30 London, England - Royal Albert Hall 05-31 London, England - Royal Albert Hall 06-02 Zurich, Switzerland - Unique Moments Festival 06-14 Barcelona, Spain - Sónar Barcelona 06-21 Rome, Italy - Cavea 06-22 Ferrara, Italy - Summer Vibez 06-24 Paris, France - Days Off Festival at the Philharmonie 06-26 Halifax, England - The Piece Hall 06-27 Southampton, England - The Guildhall Square 06-30 Dublin, Ireland - Trinity College 07-05 Gdynia, Poland - Open’er Festival 07-09 Cascais, Portugal - Cool Jazz Festival 07-16 Luxembourg, Luxembourg - Neïmenster 07-18 Gent, Belgium - Gent Jazz Festival 07-19 Gent, Belgium - Gent Jazz Festival 07-21 Berlin, Germany - Spandau Citadel 07-23 Vienna, Austria - Metastadt Open Air 09-25 Vancouver, British Columbia - Queen Elizabeth Theatre 09-27 Seattle, WA - Benaroya Hall 09-29 Los Angeles, CA - The Orpheum Theatre 09-30 Los Angeles, CA - The Orpheum Theatre 10-02 San Francisco, CA - The Masonic 10-04 Denver, CO - Bellco Theatre 10-06 Minneapolis, MN - State Theatre 10-08 Chicago, IL - Auditorium Theatre 10-10 Detroit, MI - Fox Theatre 10-12 Toronto, Ontario - Massey Hall 10-13 Montreal, Quebec - Place Bell 10-15 Boston, MA - MGM Music Hall at Fenway 10-17 Philadelphia, PA - The Met 10-18 Washington, D.C. - The Anthem 10-21 New York, NY - Beacon Theatre 10-24 Atlanta, GA - Tabernacle 10-26 Miami Beach, FL - The Fillmore Miami Beach 10-29 Dallas, TX - Music Hall at Fair Park 10-30 Austin, TX - Moody Amphitheatre

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AIR PLAY MOON SAFARI

Air Plot North American Tour to Mark 25th Anniversary of Debut Album ‘Moon Safari’

By Althea Legaspi

Althea Legaspi

Electronic French duo Air are marking the 25th anniversary of their debut album, Moon Safari , with a tour. Launching this fall, the trek will feature them playing the album in its entirety for the first time, as they did on their recent European tour.

The 19-date tour kicks off in Vancouver on Sept. 19 in Vancouver at Queen Elizabeth Theatre, before venturing down the West Coast with stops in Seattle, San Francisco, and two shows in Los Angeles. Midwest dates include Minneapolis, Chicago, and Detroit before they head to the East Coast and then south, culminating in Austin at Moody Amphitheatre on Oct. 30.

Tickets go on sale March 8 at 10 a.m. local time, with presale available on March 7 at 10 a.m. local time.

Kendrick Lamar Performs 'Not Like Us' for the First Time at Juneteenth Concert

Dr. dre, tyler, the creator, yg, and others ‘pop out’ at kendrick lamar’s juneteenth concert, louisiana to require poster-size display of ten commandments in every public classroom, here's everything that happened at kendrick lamar's juneteenth concert in l.a..

The original album made Rolling Stone ’s “ 100 Best Albums of the ‘90s ” list, describing their space-pop debut as “a truly obsessive  hommage  to easy listening, a sublime Eurocheese omelet. They built their music out of classic Sixties French schlock: bongos, castanets, vintage electric piano, dream-weaver synths, and shag-carpet organ straight from the soundtracks of movies like  Un Homme et Une Femme .”

Air Moon Safari North American Tour Dates Sept. 25 – Vancouver, BC @ Queen Elizabeth Theatre Sept. 27 – Seattle, WA @ Benaroya Hall Sept. 29 – Los Angeles, CA @ Orpheum Sept. 30 – Los Angeles, CA @ Orpheum Oct. 2 – San Francisco, CA @ The Masonic Oct. 4 – Denver, CO @ Bellco Theater Oct. 6 – Minneapolis, MN @ State Theatre Oct. 8 – Chicago, IL @ Auditorium Theatre Oct. 10 – Detroit, MI @ Fox Theatre Oct. 12 – Toronto, ON @ Massey Hall Oct. 13 – Montreal, QC @ Place Bell Oct. 15 – Boston, MA @ MGM Music Hall at Fenway Oct. 17 – Philadelphia, PA @ The Met Oct. 18 Washington DC @ The Anthem Oct. 21 – New York, NY @ Beacon Theatre Oct. 24 – Atlanta, GA @ Tabernacle Oct. 26 – Miami Beach, FL @ Fillmore Miami Beach Oct. 29 – Dallas, TX @ Music Hall at Fair Park Oct. 30 – Austin, TX @ Moody Amphitheatre

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Air play Moon Safari review: Spectacular, unique, and still revolutionary

W hen Air released their 1998 debut Moon Safari , there was nothing else like it. The French duo – Jean-Benoît Dunckel and Nicolas Godin – had conjured an electronic masterpiece full of refined retro-futuristic pop and gentle psychedelia that became essential listening across all sorts of disparate groups, from comedown ravers to the middle-class dinner party set via Radio 1 and film soundtracks. It was utterly of the moment, inspiring countless imitators. That it was all conducted with a chic Parisian insouciance only added to the allure.

But if the record was a unique achievement, it is similarly hard to think of anything quite like their spectacular recreation of the album on the UK debut of a belated 25th anniversary tour. Last night in the opulent setting of London’s magnificent Coliseum, Air brought to life their grand statement in thrilling, emotive, transformative fashion.

Ever the aesthetes, the staging was immaculate. In keeping with the album’s themes – nostalgia for the pair’s 70s childhood and the promised new space age that never materialised – Air, dressed all in white, performed from inside a white rectangular box, a sleek and sophisticated base from which tasteful lighting and otherworldly visuals could emerge. It often brought to mind Kraftwerk recreating 2001: A Space Odyssey .

The immersive setting enhanced the sense of wide-eyed wonder in the music. Air were joined by an impressively agile and powerful drummer and Moon Safari ’s inventiveness came to the fore. Opener “La femme d’argent” began as a lounge track, unfurling leisurely above Godin’s typically precise yet loose bassline before Dunckel added layers of noise. By the end, it had become a swirling psychedelic onslaught.

The hits – a sumptuous “Sexy Boy” and giddy “Kelly Watch the Stars” – sounded invigorated. It was a reminder of how ahead of the curve Air were: at the time, vocoded vocals were still rare in popular music; Moon Safari pre-dated Cher’s “Believe” by nine months. That said, Godin used a vocoder to sing the luxurious ballad “You Make it Easy” (its original singer, Beth Hirsch, was absent), and it was the only moment that didn’t enhance the feeling of the record (the cut-up sampling of Hirsch’s voice for “All I Need” worked far better).

If past Air concerts were a bit too nonchalant for their own good, then last night a sense of occasion brought out, if not quite showmanship, a certain personality that hasn’t always been evident. Dunckel, stationed between two sets of keyboards, often faced the crowd and played both at the same time in an impressively offhand manner. For his part Godin strayed around the stage as he swapped guitars, all smiles and lost-in-the-moment grooves. When an excited audience member shouted “we love you!” during the twinkling intro to “New Star in the Sky”, it could have killed the moment stone dead. Standing at his keyboards, Godin smiled and raised a fist in salute. After album closer “Le voyage de Pénélope” – a wavey, frantic finale – the pair could barely contain their joy at the standing ovation.

Bleachers' Jack Antonoff is a pop Springsteen

After the success of Moon Safari ,Air were so desperate not simply to remake it that, in recording the divisive 2001 follow-up 10,000Hz Legend , they locked all their previous equipment in a cupboard and threw away the key. A wisely chosen second set, then, plucked the highlights from the rest of their catalogue (notably nothing later than 2004). The melodious alt-pop songs of 2004’s Talkie Walkie – the wistful “Cherry Blossom Girl” and guitar-led “Surfing on a Rocket” – are some of their very best; from 10,000Hz Legend , the Krautrock-goes-prog “Don’t be Light” was exhilarating, as was the closing Kraftwerkian manifesto “Electronic Performers”, which ended with an onslaught of dark noise.

But it’s the Moon Safari set that will live long in the memory: an extraordinary performance of an extraordinary album.

Air perform Moon Safari at the Royal Albert Hall on 30-31 May. Then touring

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Air: "Moon Safari changed our lives, but it was the death of our innocence"

The French duo will perform on July 9th at Ageas Cooljazz. We interviewed Nicolas Godin, who says it took decades for him to accept the songs as they were recorded.

Air will bring to Cascais the tour celebrating the 25th anniversary of Moon Safari , the iconic album with which they debuted in 1998. This album established them as a cult band and influenced many others in various electronic subgenres. The French duo is one of the main highlights of Ageas Cooljazz, in an edition where the festival also celebrates a milestone – its 20th anniversary. The concert is scheduled for July 9th, the same day Marwan and Lana Gasparøtti will perform (tickets cost between 30€ and 35€). In light of this special return to Portugal, we interviewed Nicolas Godin, who forms Air with Jean-Benoît Dunckel.

With this tour, you are celebrating the 25th anniversary of *Moon Safari*. Obviously, it was a major milestone for you. Did this album completely change your lives?

Yes, it changed everything. Let's say that black turned to white [laughs]. Before *Moon Safari*, I was a student, I had never performed a concert in my life, I knew nothing about the music industry, and suddenly we had made this huge album. It was a big shock to discover all of this and go on tour, start giving interviews to the press... Because I was more of a studio guy. It was a huge life change.

Was it something you expected when the album was finished?

I think I was feeling something... On the night we made "Sexy Boy", I said to myself: this is it, this is what's going to change everything. The album was released four or five months later, but during that period I already knew we were going to have great success, that it would be incredible. You could feel the energy in the studio, in the speakers, you could sense that something was happening that was bigger than us.

Was there a moment early on that made you realise, after the release, that the album would go far and become as significant as it has?

No, we were just discovering things. We were a group of friends. We were still in a small, familiar world amid this big milestone. Our agent was a friend from Versailles, other artists like Daft Punk and Phoenix were our friends, so we were still integrated into a small group of people who were friends and trusted each other a lot. It was like a team. And it wasn't very commercial music, so it was very surprising. It was a good time when you could make slightly special music and still have commercial success. It was a good era for the music world because there was space for a middle class like us. You didn't have to be a big star. You could do your own style of music and it was something good. I don't think that exists anymore.

And was that the moment you realised you were going to make music your life?

Yes, for some reason I could feel within myself that I would have inspiration for more albums – and that's what happened. After that, we couldn't stop our musical flow. Maybe until *Pocket Symphony* (2007) or the album with Charlotte Gainsbourg, *5:55* (2007). After that, it became more difficult to create. But until then, it was very smooth and easy.

What inspired you to compose and create Moon Safari? What were your references?

I think it was really the nostalgia of childhood. An innocent time. But it's a paradox because, in making Moon Safari, we knew we were ending our innocence. Moon Safari was the death of our innocence, and yet it is a testament to it. It ended up destroying it, which was very cruel.

It became an acclaimed album, considered a pioneering work that laid the foundations for downtempo and other electronic and ambient music genres. Do you feel that the recognition has been fair over the years?

Yes. At the beginning, sometimes, we were just considered a band with some hype... There were even people who thought we were just DJs. But then it was understood that we were good musicians and composers. Right now, I don't feel misunderstood, but in the beginning, there were moments when I did feel that way. That's why we did the soundtrack for *The Virgin Suicides* [Sofia Coppola's film, 1999] after Moon Safari, with very obscure music, to show that we also had a dark side and weren't just that hotel lounge music.

Was it a matter of time?

The good thing about time is that, when I made Moon Safari, I wanted to build something timeless. And now, over 20 years later, you have that answer. Because it's still refreshing, it has proven to be truly timeless. Time is the confirmation that I made the right decision when I was recording Moon Safari.

And how has it been to play these songs live again, with this special tour?

It's very strange because when you make an album, you start with your best song. But when you do a concert, you usually put your best song at the end. And we, when we go on stage, do exactly the opposite. That is, we start with “La Femme D’Argent,” “Sexy Boy,” or “Kelly Watch The Stars”... The best ones. After that, it becomes very strange [laughs]. But since the album is so iconic, people stay with us until the end, so it's all good.

And, obviously, some of these songs never left your concert setlist; but there are others that have returned now.

Yes, it is very strange to play some of these songs for the first time. It's good because, in the last two tours we did, we were more or less always playing the same setlist, so it was very refreshing to play different songs now.

For artists like you, who have always remained active in search of new sounds and possibilities, how do you feel about nostalgia? Because not everything is necessarily positive when you're more connected to the past. Sometimes there are albums so iconic they can overshadow the rest of the work built over the years.

In the beginning, it was very difficult for me to play the songs as they existed on the album because I was always looking for new experiences and different sounds. It's only in the last five, six, or seven years that I have really accepted the way things were recorded. Only now do I accept that it was done that way and that there is nothing we can change, and it would be stupid to alter things now. But on the first Moon Safari tour, we were playing the tracks in a completely different way. The 1998 tour was quite disappointing because people didn't recognise the songs as they existed on the album. I was told it would be impossible to recreate the album. So, to hell with it, I'll play it differently. But maybe that was a mistake because people were frustrated. Not anymore though. Now we play them with the original arrangements from the recording, but it took me 20 years to accept that these were the best arrangements for the songs.

Are you excited to bring these songs to Cascais?

Of course, I did my studies with a Portuguese friend who now lives in Lisbon but studied with me in Versailles. He’s one of my closest friends, I was with him last week in London, he came to see us at the Royal Albert Hall and he’ll also be in Cascais. And my wife is Brazilian, her family speaks Portuguese, so I’m always with her family... I know Brazil is not Portugal, but there is a connection because of the language. And I also talk to my dog in Portuguese [laughs]. My wife speaks to the dog that way, so I just repeat the same words [laughs].

Ageas Cooljazz, Hipódromo Manuel Possolo, Cascais. Wed, 31st of July. 30€-35€

Been there, done that? Think again, my friend.

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French duo Air's debut album is a superlatively happy collection of experimental disco-mood sound nestled between ambient soundscape and breathy pop. It's jazzy and melodic, and mostly laid-back, but not excessively so. There are a few shake-it, shake-it numbers, too, like the absurdly daft hit "Sexy Boy." It's snap your fingers and hang out (while reading) music or dance around sexy-slow with your mate music. It's also the perfect music to do your ironing or some other chore to; it's hypnotizing wallpaper music. It slips in and out of your consciousness, forcing you to move around with a relaxed smile before you even realize it. Oh, and contrary to sampler fashion, Nicolas Godin and Jean Benoit Dunckel played the instruments themselves. Bravo. --Mike McGonigal

This French duo works the territory between sleazy blaxploitation grooves, naive rave-culture idealism, and pop songcraft. . . . -- Entertainment Weekly

Product details

• Is Discontinued By Manufacturer ‏ : ‎ No
• Product Dimensions ‏ : ‎ 4.88 x 5.59 x 0.55 inches; 3.81 ounces
• Manufacturer ‏ : ‎ Parlophone
• Item model number ‏ : ‎ 1981065
• Original Release Date ‏ : ‎ 1998
• Date First Available ‏ : ‎ January 5, 2007
• Label ‏ : ‎ Parlophone
• ASIN ‏ : ‎ B000003S5H
• Number of discs ‏ : ‎ 1
• #32 in Ambient Pop
• #116 in French Music
• #161 in Trip-hop

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Aux Nuits de Fourvière de Lyon, Air rejoue "Moon Safari" et nous embarque dans une odyssée céleste nostalgique

Les Nuits de Fourvière ne craignent pas le grand écart. La veille, le Grand théâtre gréco-romain accueillait le tandem Justice , et ce flambeau de la French Touch 2.0 nous propulsait à grande vitesse dans le futur, avec un show dantesque et tapageur. Mardi 18 juin au soir, en ce même lieu, le duo Air, héros de la French Touch originelle, nous téléportait à l’inverse tout droit dans le passé, et sur coussin d’air s'il-vous-plaît, en rejouant son premier album, l’impérissable Moon Safari , paru en 1998.

Nicolas Godin et Jean-Benoît Dunckel, restés absents des scènes durant sept ans, ont embarqué en février pour une longue tournée internationale dans laquelle ils interprètent chaque morceau de ce classique, dans l’ordre, et de façon la plus fidèle possible au disque, un ovni de pop rétro-futuriste dont le succès fut immédiat, en particulier chez les Anglo-Saxons.

"C’est la première fois que nous jouons ces morceaux de la même façon que sur l’album. Parce que durant la première tournée, il y a 25 ans, on les jouait dans des versions différentes" , soulignent les deux musiciens, rencontrés peu avant le concert. " A l’époque, on voulait du nouveau chaque semaine. Aujourd’hui, on a une telle distance, un tel recul par rapport à l’œuvre, qu’on peut la jouer telle quelle. Moon Safari ne nous appartient plus. Il appartient au zeitgeist [ à l’air du temps ]. "

Alunissage en douceur

Dès les premières mesures de La Femme d’Argent , Nicolas Godin à la basse et Jean-Benoît Dunckel sur ses claviers, accompagnés du batteur de tournée Louis Delorme à l’efficacité discrète, nous projettent en douceur dans un hier voluptueux. Pour qui a usé cet album en son temps, impossible de ne pas sentir ses poils se hérisser d’émotion en retrouvant le point d’entrée de ces 45 minutes rêveuses qui ont bercé tant de nouveaux-nés et accompagné tant de levers et de couchers de soleil idylliques.

Accueilli par les cris de joie du public, le hit Sexy Boy , bien moins atmosphérique que son prédécesseur, reste d’une incroyable fraîcheur et fait se redresser les quatre mille deux-cents spectateurs comme un seul homme.

Amoureux et collectionneurs de longue date d’instruments analogiques avec une âme, ces fabuleux Moog, Korg, et autres Fender Rhodes, Jean-Benoît et Nicolas alternent tout du long avec les instruments digitaux, un mélange qui fait aussi le sel de leur musique depuis le début. Nicolas tient la basse et la guitare, mais aussi certains claviers et l’harmonica (sur Ce matin-là ), tandis que Jean-Benoît se tient souvent entre deux claviers, un pour chaque main.

Sur All I Need , la délicieuse chanteuse américaine Beth Hirsch est remplacée par le duo au vocodeur. L’exercice s’avère délicat et la charge émotionnelle du morceau s’en trouve diminuée. Beth Hirsch manquera encore cruellement sur You Make it Easy et ce sera le seul regret de ce concert, qui déroule avec grâce Kelly Watch The Stars et ses myriades sonores dédiées à la série Drôles de Dames , le somptueux Talisman et ses arrangements de cordes cinématiques, les célestes Remember et New Star in the Sky , et l’hommage enjoué aux shows télé pour petits tels les Barbapapa de Ce matin-là .

Aux portes du paradis perdu

Appuyer ainsi résolument sur la touche rewind est un geste plein de nostalgie, pour le groupe comme pour le public. Moon Safari apparaît comme un paradis perdu, un cocon sonore ouaté dans lequel il fait bon se lover en ces temps troublés. Pour autant, cet album aux mélodies aériennes est un intemporel. Il l’était dès sa parution et il le reste. Quant à la nostalgie, elle était présente dès l’origine. " Avec ce disque, on disait au revoir au monde de notre enfance", nous confirme Nicolas Godin. "On comprenait, on pressentait, que tout ce qu’on nous avait vendu, notamment l’an 2000, allait passer à la trappe. Moon Safari c’est un peu une vision nostalgique de ce rêve qu’on avait vers 7-8 ans."

Un fantasme des années soixante-dix, qui promettait à l'humanité de naviguer dans le cosmos, vêtue de tenues aussi immaculées que le trio ce soir, à bord d’engins spatiaux aux angles arrondis glissant sans bruit entre la Lune et les étoiles. Le dispositif scénique de cette tournée, à la fois simple et sophistiqué, retranscrit à merveille cette conquête spatiale à hauteur d’enfant.

Les musiciens évoluent dans une boîte rectangulaire, ouverte à l’avant, un antre lumineux doté d’un ingénieux dispositif de miroirs et d’écrans en fond de scène, avec une féerie de couleurs et d’effets – nuageux, étoilés, rougeoyants, graphiques, animés de bouches pop ou de jeux vidéo d'arcade. Le clin d’œil au vaisseau de 2001 l’Odyssée de l’espace devient particulièrement saisissant lors de la projection de planètes et de météorites s'approchant et s'éloignant lentement.

À l’issue des 45 minutes enchanteresses de Moon Safari , Air ne nous fausse pas lâchement compagnie. Au contraire. Il prolonge le plaisir en piochant dans ses albums Talkie-Walkie (beaucoup) et 10 000 HZ Legend (un peu), avec un détour par les B.O. des films de Sofia Coppola.

On n’aurait pas forcément fait les mêmes choix qu’eux, mais on applaudit le bouleversant Highschool Lover de Virgin Suicides et Alone in Kyoto entendu dans Lost in Translation, tandis que Don’t Be Light révèle toute son intrigante noirceur, sœur de celle de Tim Burton. Le très Kraftwerk Electronic Performers , dont la mélancolie hypnotique referme idéalement le show, sonne comme un message : bye-bye innocence, hello gravité. Une promesse de future tournée ?

Air poursuit sa tournée Moon Safari autour du monde, elle passe en France le 24 juin à Paris au festival Days Off à la Philharmonie, le 13 juillet à Montpellier au festival Radio France Amphi d'O et le 17 août à Saint-Malo à la Route du Rock.

Les Nuits de Fourvière se tiennent à Lyon jusqu'au 25 juillet 2024

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Moon Safari Rarities (25th Anniversary Edition)

Demos and live picks enhance the hazy moods of the duo’s spellbinding debut.

15 March 2024 9 Songs, 41 minutes ℗ 2024 Warner Music France

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