Melody's Echo Chamber - Melody's Echo Chamber

Listening to Parisienne Melody Prochet's debut offering after Tame Impala's latest, you can tell a mile off there are similarities without knowing any background on the link between them. Two years ago Prochet, who has a typically French pop voice and is multi-instrumentalist for My Bee's Garden, came across a Tame Impala show and was transfixed. After hooking up with that band's Kevin Parker, who has already got his off-the-wall side-project Pond, Prochet has a debut full of Parker's signature psych-pop sounds a her sweet and airy French-pop vocal twist.

The tangy, twangy guitar intro and dreamy, reverbed vocals on single 'I Follow You' lead into the swooping bass of 'Crystallized', with it's sing-along-melody and fuzzy, eletro, Krautrock ending. Self-depricating as it is, 'You Won't Be Missing That Part of Me' (a tale of being a heartbreaker) is quite a beautiful track, with echoing synths and a repetitive beat.

The point with this album is that Parker hasn't pushed Prochet to experiment with her genre too much, just to become beautiful within it. It's like a love story in music. The key to every song is the floating vocal melodies. Prochet is stuck in classical ways, which Parker has gently blended with twee guitar, soft basslines and some typical psych-sound oddities.

'Bisou Magique' and 'Endless Shore' bring a typical French-pop rest to the middle of the album, slow-paced and light-on-the-fuzz, whilst 'Quand Vas Tu Rentrer' and 'Mount Hopeless' are full of shards of synth and sample sounds again. 'Is That What You Said' jumps sraight back in at the experimental deep-end, sounding like someone is playing the record backwards.

However, the ridiculously high-pitched singing on 'Snowcapped Andes Crash' lacks the strength of other tracks, and seems lazy in comparison. But the cheeky and bouncy 'Be Proud Of Your Kids' ends the album on a high, every successful element of the album in one song, complete with a Sesame Street-style sample of a child babbling.

Prochet's voice sits perfectly alongside other French popsters, and Parker's production secures the record's depth and immersiveness in all things 60s, it's layers of echoing, spacey sound, it's contrasting textures and feelings in each song. Grand things, really. She seems incredibly happy with this album, and who wouldn't be - working with a producer you've had your eye on for some time, prancing about in a house in Australia recording what he's done with your music, with the final output filled with the rolling drums and classical tendencies you love. Sounds like a match made in heaven.