13 Songs, 45 Minutes

EDITORS’ NOTES

While the advent of Parisian electro-pop acts like Phoenix and Air has spawned similar-sounding acts throughout the world, there’s nothing like the real thing. The Paris-based duo Jupiter oozes the musical chemistry of a quintet, starting with the sultry “One O Six,” where honey-voiced Amélie De Bosredon serenades her vintage Roland Juno-106 synthesizer in a played-up coquettish inflection. With its white-funk bass lines, neon keyboard tones, Vocoder, and vintage drum machines, “Elliot Uppercut” sounds like something out of the early '80s, save for modern production that shimmers with crystalline fidelity. A menacing melody in “Set the Course of the Nile” effortlessly blends disco and funk with indie-electro and synth-pop to create a gem that would rest perfectly between Studio 54–era mirror-ball soundtracks and the birth of new wave. But as period-correct as songs like the fetching “Saké” sound (even the video plays like a bygone Benetton commercial), it’s the band’s energy, confidence, and undying allegiance to this genre that let it pull this off with the feckless aplomb of its Parisian peers.

EDITORS’ NOTES

While the advent of Parisian electro-pop acts like Phoenix and Air has spawned similar-sounding acts throughout the world, there’s nothing like the real thing. The Paris-based duo Jupiter oozes the musical chemistry of a quintet, starting with the sultry “One O Six,” where honey-voiced Amélie De Bosredon serenades her vintage Roland Juno-106 synthesizer in a played-up coquettish inflection. With its white-funk bass lines, neon keyboard tones, Vocoder, and vintage drum machines, “Elliot Uppercut” sounds like something out of the early '80s, save for modern production that shimmers with crystalline fidelity. A menacing melody in “Set the Course of the Nile” effortlessly blends disco and funk with indie-electro and synth-pop to create a gem that would rest perfectly between Studio 54–era mirror-ball soundtracks and the birth of new wave. But as period-correct as songs like the fetching “Saké” sound (even the video plays like a bygone Benetton commercial), it’s the band’s energy, confidence, and undying allegiance to this genre that let it pull this off with the feckless aplomb of its Parisian peers.

TITLE TIME
3:08
3:28
3:12
3:33
5:04
3:39
4:14
2:55
3:43
3:16
3:14
6:25

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