tereo Total prides themselves in being European. As minor Euro dance stars, they can indulge in the most gratuitous arty leanings, as well as perform songs in multiple languages. The album is a combination of sample based pop as well as more punked-out explorations of the song form. The variation between the types of songs and languages helps each song on this album remain distinct. But while the songs are unique, the album remains a solid statement- a celebration of life.

“L’amour a Trois” captures this aspect of Stereo Total. Over the backing of what sounds like some guy laughing and obligatory synth work, singer Françoise Cactus recalls the weathered precociousness of chanteuse Françoise Hardy. Talking about a ménage a trois, she makes a little list: ‘c’est sexie, ecstatique, crazy, eccentrique, animale, romantique’. The multiple-orgasm breakdown doesn’t excite as much as it enlightens. And while it doesn’t capture the excitement of the rest of the album, the song sets the tone. It almost feels like a breath, before the band lapses into the heavier activity that makes up most of the rest of the album.

“Ma Radio” captures the essence of teen pop princess France Gall. Only the future that Gall channeled in her album 1968 is more of a retro mishmash here. The stuttering keyboard line and French lyrics compliment the sample of repeated German lyrics in a distinctly euro-trash manner. “Nationale 17”, on the other hand, is a mellow guitar affair between Cactus and a tape-recorded French man sounding very much like a documentarian. The moment the real song begins the documentarian sings for just a second and then hands it over. The song bloops and blips along until it explodes with the addition of several very distorted guitars before returning to blissful Casio kisses.

“Kleptomane” marches along with a tinny disco approximation plunking away in the background, as clarinet and ghostly organ follow Cactus’ vocal line with thirty percent accuracy. Bass and clarinet splash dissonance against the canvas playfully as the song progresses. “Je Suis un Poupee” mixes fuzzed out bass with a clicky drum line and a Moog synthesizer melody that jumps up and down. The song is very exciting, both the idea and execution are fresh, and perhaps most importantly the group sounds like they are having a great time as they do it.

Musique Automatique captures both the vibrant spirit of Europe as well as the feel of modern pop to create a wonderful album. While it does contains a ton of hyperactive pop (that may drag on for some), it is a great cultural statement. And honestly, what more can we ask from pop music?