Artist- Charlotte Gainsbourg
Album- IRM
Record Label- Elektra Records
2 out 5 Pitchforks

For a French pop heiress, Charlotte Gainsbourg gives a disappointing performance with her new release, “IRM.” Gainsbourg, who can be recognized as Stephanie in the film “The Science of Sleep,” shows signs of sorrow on this album. Her 2007 release, “5:55,” featured a lot more piano and had a more uplifting tone. However, “IRM” gets a credibility boost from Beck, who produced the record.

The album kicks off with the breathy whispers of “Master’s Hands.” The twanging of the banjo is enough to prevent distraction from the song. Joining “Master’s Hands” on the list of the album’s dull tracks are “Vanities,” an ambient song with undulating string riffs that give the song some appeal and “Time of the Assassins,” which is composed of more of the same dull whispering.

Gainsbourg sticks with her signature delicate mood on another song as well. The xylophone riffs on the album’s shortest song, “In the End,” gives the air of a lullaby.

Two other tunes bring in the sounds of other artists. “Heaven Can Wait” opens with a twanging guitar and loud drums that sound like thunder claps. The vocals of Beck are a pleasant surprise. Furthermore, the shake of a tambourine helps roll in the calm of the storm that was the song’s obnoxious commencement. Likewise, the vocals on the track “Me and Jane Doe” have a similar sound to many songs on the “Juno” soundtrack. Thank goodness the background vocalists who sound similar to Fleet Foxes add a little life to the song and give it some sense of redemption.

It’s a shame that most of Gainsbourg’s maximum potential doesn’t show until close to the end of this record. The song “Greenwich Mean Time” is a bit of an upgrade. Although Gainsbourg sounds a little whiney, the vocal effects make this song stand out.

The upbeat title track features somewhat monotonous low-key vocals. The song features a break when all instruments drop out and a shaker and resounding vocals are introduced before the song resumes its previous tempo. The powerful drums that rescue the track will get feet tapping by the end of the song.

“Dandelion” is an exceptionally quiet song until horns make a sneaky entrance. It’s a good driving song.

Gainsbourg steps up her game with the major highlights, “Trick Pony” and “Voyage.” The combination of prominent bass and echoing vocals on “Trick Pony” make this song engaging. “Voyage,” a French tune, is the track that finally takes the listener for a ride. The African-style drum beat and the guitar that keeps a catchy, almost Latin rhythm makes this song a favorite.

Gainsbourg also showcases her heritage on two other tracks. “Le Chat Du Café Des Artistes” is a pretty change of pace in that the exclusively French lyrics direct the focus to the instrumental aspect of the tune. Violins add extra flavor. The strings and piano on the closing track, “La Collectionneuse,” provide a light ending that lets the listener part with the album in a good mood.

Even though whispering is part of Gainsbourg’s trademark style, filling the album with track after track of soft voices doesn’t make much of a lasting impression. Props to Gainsbourg for taking risks, though — even though many of the tracks weren’t winners.

Reach the reporter at lenni.rosenblum@asu.edu