Con, Roedelius' sophomore solo effort was produced by Peter Baumann in his Paragon Studio, but that's where the similarities end. If Schnitzler took us on a gritty, urban train ride through industrial Germany, here Roedelius takes us on a gentle autumnal stroll through Paris or Vienna. Almost all in waltz-time, Jardin Au Fou is possibly Roedelius' most unabashedly romantic record, full of simple, sun-dappled melodies and perfect arrangements - loads of piano, becoming more fully electronic when necessary, and adding in well-placed cello shadings at key points in its second half.
The bouncy, multi-layered Fou Fou is about as uptempo as Roedelius gets here, other than the odd little trip to the fairground that is Rue Fortune. Otherwise, this album is a wonderfully mellow Sunday afternoon in the park watching (and smelling) the falling leaves, none more perfectly expressed than the birdsong-like ambience in Le Jardin - although Cafe Central is my absolute favourite here.