Stereolab Albums (11)
What The Critics Say
At times, Stereolab's music seems so unchanging that it feels more like it was generated by a laser-guided, lounge pop-meets-Krautrock machine than an actual "groop," but the small tweaks they make to their master plan on each album end up making a big impact. On Chemical Chords, Stereolab's 4AD debut, they take a much more pop-focused approach than their immediately previous work -- which is saying something, since neither Fab Four Suture nor Margerine Eclipse were among their more experimental moments in the first place. Actually, the shortness and directness of these songs could be seen as a bigger experiment for the band than their frequent lockgrooves and hypnotic passages; with those trimmed, Chemical Chords presents a version of Stereolab's sound that is just as vivid as their earlier output, but fizzing with immediacy and urgency. "Neon Beanbag" jumps in hooks first, opening the album with a surprisingly swift rhythm and Laetitia Sadier's more familiar, bopping backing vocals. "One Finger Symphony"'s animated brass, guitars, and percussion suggest gears rotating and levers lifting and falling in playful but somewhat sinister fashion; "Daisy Click Clack" swishes in on brisk drums and a quaint melody that could be borrowed from a piano rag. Despite its name, Chemical Chords actually features some of Stereolab's most organic-sounding music in some time, downplaying their arsenal of analog synths in favor of live instrumentation -- the burbling synths on "Self Portrait with Electric Brain" support the song's snazzy brass and strings rather than dominating them. Likewise, Stereolab's version of "going pop" means looking beyond what "pop" means in the moment. A strong '60s feel permeates much of the album, but the way the band reconfigures these sounds prevents it from sounding archaic. "Three Women"'s rock-solid bass and tambourine shout out to Motown's heyday, but its buzzing organs and bongos feel like they were channeled from a long-lost exotic novelty album. "Cellulose Sunshine"'s gorgeous lysergic chamber pop could be a throwback, if it weren't so modishly sleek, and "Pop Molecule"'s massive synths and big, backward drums offer a futuristic take on acid rock. The band also revisits its own pop heyday on "Valley Hi!" and "Nous Vous Demandons Pardons," boasting the clever counterpoint and fuzzy Moogs of the Mars Audiac Quintet era. Chemical Chords manages to be even more concisely charming than that album, sacrificing little of Stereolab's distinctive sound for its immediacy. ~ Heather Phares, All Music Guide
What The Critics Say
An album and a singles collection at the same time, Fab Four Suture stitches together four limited-edition EPs Stereolab released in the fall of 2005 and spring of 2006. Over the years, the group has made a reputation for having EPs and singles -- and therefore, singles collections -- that are just as good, if not better, than their albums, as comps like Switched On and Aluminum Tunes attest. Stereolab has also always been very democratic about making sure fans can get their hands on nearly all of their more obscure releases in some form or another; while Fab Four Suture is a little different than their other collections in that it was designed to form an album upon the completion of the EP series, in terms of its quality, it's on par with the band's most enjoyable comps. By combining the looser, more experimental feel of their EPs with the album format, Fab Four Suture ends up being more organic-feeling than Stereolab's previous album, the lovely but occasionally distant Margerine Eclipse. Indeed, the best moments here are more immediate than anything the band has done in a long time. "Interlock" boasts funky brass and basslines that are echoed by "Excursions into 'Oh, A-Oh,'" a driving motorik with fiery guitars that recalls the glory of Transient Random Noise Bursts with Announcements. "Plastic Mile" and "Eye of the Volcano" are examples of their sparkling, delicately dramatic pop at its finest, while "Visionary Road Maps" is lovely and mysterious, changing gears two-thirds of the way through from a insistent yet somehow bittersweet groove to a slower, slightly spooky coda. The more experimental and downright playful moods of Stereolab are also represented, respectively, by "Widow Weirdo," a quick-shifting track that has an odd, almost ugly little guitar lick as its only constant, and the fizzy, revved-up "Vodiak." After hearing Fab Four Suture in its album form, the EPs tend to feel like puzzle pieces without any instructions; on their own EP, the two parts of "Kybernetica Babicka" felt slight and disappointing, but they work well as the album's opening and closing themes. Even more than Margerine Eclipse, Fab Four Suture sounds like Stereolab has adapted -- if not fully healed -- from the loss of Mary Hansen, and it's fitting that the group's first full-length album for Too Pure in over a decade finds them consolidating their strengths rather than completely reinventing their sound. ~ Heather Phares, All Music Guide
What The Critics Say
Stereolab's music is so consistent, and so consistently pretty, that it has become nearly criticism-proof; the band do what they do so completely that it's almost a matter of accepting or rejecting their music whole instead of analyzing it. But while Stereolab's mix of '50s and '60s lounge, vintage electronic music, and Krautrock may have crossed over into easy listening indie pop a few albums ago, they still can't be dismissed easily. Margerine Eclipse, the band's tenth full-length, can sound a bit like a collage of pieces from their nine other albums, but the overall effect is more retrospective than repetitive. It's arguably the most direct work Stereolab have done since Emperor Tomato Ketchup (and at just under 54 minutes, it's one of the shortest of their later albums) and it continues Sound-Dust's trend of gathering the sounds the band explored on their previous work and tweaking them slightly. All of this is to say that Margerine Eclipse is a strong album, even if the nagging feeling that the band aimed a little low with their artistic goals takes a small amount of pleasure out of listening to it. The album trades in the bright yet somehow bittersweet pop at which the group have always excelled, albeit in a more streamlined form than it's taken over the course of their past few albums. The busy beats, whimsical noises, unconventional melodies, and, of course, lovely harmonies that define Stereolab are all present and accounted for, and they're all very pretty, even if many of them are pretty similar to each other. But Margerine Eclipse's best songs are good enough that they resemble a greatest-hits collection from an alternate universe: "...Sudden Stars" is as coolly lovely as it was on the Instant 0 in the Universe EP, with its delicate, measured synth and vocal lines rising and falling in graceful arcs of sound. "Vonal Déclosion"'s twangy guitars and lush strings nod to Sean O'Hagan's involvement, and the layers of Laetitia Sadier's vocals are seamless, but on songs like this, Mary Hansen's voice is missed more than ever ("Feel and Triple" is a sweet tribute to her). "Cosmic Country Noir" is another of Margerine Eclipse's standout tracks, and indeed one of the best Stereolab songs in a long time; on paper, its percolating percussion, chiming synths and guitars, and simple lyrics about the pleasures of the country might not seem all that special, but in practice it's exceptionally beautiful. Perhaps Margerine Eclipse's greatest accomplishment is that it isn't nearly as overcooked as some of Stereolab's other recent work. None of the songs bring the album to a halt; the closest Margerine Eclipse comes to the band's previous noodly excursions is "La Demeure," a fascinating but somewhat formless track mixing Raymond Scott-like synth sparkles with brass and unpredictable rhythmic and melodic shifts. Just as importantly, the fizzy "Margerine Rock" and "Hillbilly Motorbike," which sounds like the theme to a very stylish game show, restore some of the effortless fun that informed all of Stereolab's work before Dots and Loops. Likewise, "Bop Scotch"'s mix of surf rock and synths -- as well as the sassiest vocals from Sadier in a long while -- suggests that there's still plenty of life in Stereolab. O'Hagan's presence on the album is used judiciously, adding some warmth to the production but not indulging his own noodly tendencies either. Margerine Eclipse's final track, "Dear Marge," is heavily influenced by O'Hagan's work, both with the High Llamas and his previous collaborations with Stereolab. Its languid guitars and silky vocals threaten to slide off into a blissful haze, but then the band reprises the surprisingly convincing disco interlude they introduced on Instant 0 in the Universe's "Mass Riff." It would've been nice to hear that part of the song developed into a full-fledged track, but it still makes the song one of the freshest on the album. Margerine Eclipse can't really be called a return to form since Stereolab didn't really deviate from the form to begin with, but it still offers a reinvigorated sound that rewards the patience of fans who have stuck with the band this long. ~ Heather Phares, All Music Guide
'Cobra and Phases Group Play Voltage in the Milky Night'
Release Date 9/21/1999
Tracks 15
Label Elektra
See Album Tracklist and Review
What The Critics Say
Stereolab took an unprecedented two years between 1997's Dots & Loops and 1999's Cobra and Phases Group Play Voltage in the Milky Night, as they tended to personal matters. For a band that churned out limited-edition singles and EPs, along with an annual album, between 1992 and 1997, complete silence was a complete change of pace, but they happened to pick a good time to go into seclusion. During those two years, Stereolab's brand of sophisticated, experimental post-rock didn't evolve too much, even as their peers, colleagues, and collaborators tried other things: Tortoise got jazzier with TNT, Jim O'Rourke got irresistibly lush and complex with Bad Timing and Eureka, while the High Llamas fleshed out Sean O'Hagan's Beach Boys fetish with 'Lab highlights on Cold and Bouncy. With the exception of O'Rourke, who abandoned Gastr Del Sol's minimalism for grandiosity, they all offered slight expansions of what they did before instead of making great progress. Since each Stereolab album has offered a significant progression from the next, it would have been fair to assume that when they returned with Cobra, it would have been a leap forward, especially since it was co-produced with Tortoise's John McEntire and O'Rourke. Perhaps that's the reason that the album feels slightly disappointing. The group has absorbed McEntire's jazz-fusion leanings -- "Fuses" kicks off the album in compelling, free-jazz style -- and the music continually bears O'Rourke's attention to detail, but it winds up sounding like O'Hagan's increasing tendency of making music that's simply sound for sound's sake. Cobra may seem that way because its pacing is off, with the first half of the album filled with concise numbers that give way to the lengthy "Blue Milk" and "Caleidoscopic Gaze" toward the end; after those two set pieces, it snaps back into succinct mode for the final three songs. Throughout it all, Stereolab's trademarks remain in place, but they're augmented by rhythms, harmonies, horn arrangements, dissonance, muted trumpets, and electric keyboards all out of jazz from the late '60s, whether it's bossa nova or fusion. All fascinating in theory and often in practice, but Cobra still winds up being less than the sum of its parts. Maybe it's because the longer pieces drift, instead of hypnotize or develop; maybe it's because the songs sound like afterthoughts to the arrangements (a criticism leveled at Stereolab before but never really applicable until now); maybe it's just because of the odd pace of the album. In any case, Cobra never hits its stride, even as it offers a few miniature masterpieces along the way. Perhaps the time off led to the slight lack of focus, since many moments of the album illustrate that Stereolab is as fascinating as ever. But as an album, Cobra is their first record since Transient Random Noise Bursts to not be fully realized. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
On Emperor Tomato Ketchup, Stereolab moved in two directions simultaneously -- it explored funkier dance rhythms while increasing the complexity of its arrangements and compositions. For its follow-up, Dots and Loops, the group scaled back its rhythmic experiments and concentrated on layered compositions. Heavily influenced by bossa nova and swinging '60s pop, Dots and Loops is a deceptively light, breezy album that floats by with effortless grace. Even the segmented, 20-minute "Refractions in the Plastic Pulse" has a sunny, appealing surface -- it's only upon later listens that the interlocking melodies and rhythms reveal their intricate interplay. In many ways, Dots and Loops is Stereolab's greatest musical accomplishment to date, demonstrating remarkable skill -- their interaction is closer to jazz than rock, exploring all of the possibilities of any melodic phrase. Their affection for '60s pop keeps Dots and Loops accessible, even though that doesn't mean it is as immediate as Emperor Tomato Ketchup. In fact, the laid-back stylings of Dots and Loops makes it a little difficult to assimilate upon first listen, but after a few repeated plays, its charms unfold as gracefully as any other Stereolab record. ~ Stephen Thomas Erlewine, All Music Guide
'Emperor Tomato Ketchup'
Release Date 1/1/1996
Tracks 13
Label Elektra
See Album Tracklist and Review
What The Critics Say
Stereolab was poised for a breakthrough release with Emperor Tomato Ketchup, their fourth full-length album. Not only was their influence becoming apparent throughout alternative rock, but Mars Audiac Quintet and Music for the Amorphous Body Center indicated they were moving closer to distinct pop melodies. The group certainly hasn't backed away from pop melodies on Emperor Tomato Ketchup, but just as their hooks are becoming catchier, they bring in more avant-garde and experimental influences, as well. Consequently, the album is Stereolab's most complex, multi-layered record. It lacks the raw, amateurish textures of their early singles, but the music is far more ambitious, melding electronic drones and singsong melodies with string sections, slight hip-hop and dub influences, and scores of interweaving counter melodies. Even when Stereolab appears to be creating a one-chord trance, there is a lot going on beneath the surface. Furthermore, the group's love for easy listening and pop melodies means that the music never feels cold or inaccessible. In fact, pop singles like "Cybele's Reverie" and "The Noise of Carpet" help ease listeners into the group's more experimental tendencies. Because of all its textures, Emperor Tomato Ketchup isn't as immediately accessible as Mars Audiac Quintet, but it is a rich, rewarding listen. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
With its full-length debut Peng!, Stereolab continued to develop a unique approach to experimental pop music, building on the seriously playful mix of Krautrock, dream pop, and lounge forged on the band's early singles. The album's first three tracks present the basic kinds of songs that the band would explore in the future: the tense, brooding "Super Falling Star" builds on simple keyboard drones and chilly, choral vocals; "Orgiastic" is a prototypically chugging, droning guitar and keyboard workout; and the sweet, bouncy melody and "ba ba ba" backing vocals of "Peng! 33" define Stereolab's early pop sound. "Perversion" mixes a heavy, dance-inspired beat with strummy, Velvet Underground guitars and Beach Boys harmonies, while "The Seeming and the Meaning" and "Stomach Worm" are two of the band's most dynamic, rock-oriented songs. Dreamy, melancholy songs like "K-Stars" and "You Little Shits" and the fuzzed-out "Mellotron" and "Enivrez-Vous" represent, respectively, the soft and loud aspects of Stereolab's more experimental side, and "Surrealchemist" manages to combine all of the aspects of the group's sound, with overtly Marxist lyrics to boot. While Peng! doesn't feature many of Stereolab's most instantly recognizable compositions, it defines the group's early style and reflects the eclectic directions pursued in later work. ~ Heather Phares, All Music Guide
What The Critics Say
By the time of 1994's Mars Audiac Quintet, Stereolab had already highlighted the rock and experimental sides of its music; now the band concentrated on perfecting its space-age pop. Sweetly bouncy songs like "Ping Pong" and "L' Enfer des Formes" streamline the band's sound without sacrificing its essence; track for track, this may be the group's most accessible, tightly written album. The groove-driven "Outer Accelerator," "Wow and Flutter," and "Transona Five" (which sounds strangely like Canned Heat's "Goin' Up the Country") reaffirm Stereolab's Krautrock roots, but the band's sweet synth melodies and vocal arrangements give it a pop patina. Even extended pieces like "Anamorphose" and "Nihilist Assault Group" -- which could have appeared on Transient Random Noise-Bursts With Announcements if they had a rawer production -- are more sensual and voluptuous than edgy and challenging. It's equally apparent on layered, complex songs such as "New Orthophony" and "The Stars Our Destination," as well as spare, minimal tracks like "Des Etoiles Electroniques," that the members of Stereolab focused their experimental energies on production tricks, vocal interplay, and increasingly electronic-based arrangements. The charming final track "Fiery Yellow" takes the band's fondness for lounge pop and experimentation to the limit; a delicate, marimba-driven piece featuring the High Llamas' Sean O'Hagan, it sounds like the kind of music Esquivel or Martin Denny would be proud to make in the '90s. While it's not as overtly innovative as some of Stereolab's earlier albums, Mars Audiac Quintet is an enjoyable, accessible forerunner to the intricate, cerebral direction the group's music would take in the mid- and late '90s. ~ Heather Phares, All Music Guide
'The Groop Played "Space Age Bachelor Pad Music"'
Release Date 1/1/1993
Tracks 8
Label Too Pure
See Album Tracklist and Review
What The Critics Say
Released in 1993, Space Age Bachelor Pad Music refined Stereolab's sound further and also showcased the increasingly experimental focus of the band's music. Split into two sides -- the gentle, intricate "Easy Listening" and the more upbeat "New Wave" -- this eight-song EP ranges from the bubbly keyboard piece "Space Age Bachelor Pad Music (Foamy)" to the defiant, driving groove of "We're Not Adult Orientated." The sweet, close harmonies on "Ronco Symphony" and "The Groop Play Chord X" edge closer to the sophisticated, lounge pop-inspired sound explored during the rest of Stereolab's career, while the vibes of "Avant Garde M.O.R." and the fizzy keyboards of "Space Age Bachelor Pad Music (Mellow)" spotlight the band's more texturally complex arrangements. However, the immediacy of "We're Not Adult Orientated (Neu Wave Live)" and the hypnotic, fuzzy guitars on "U.H.F. - MFP" prove that while Stereolab gained more polish and ambition on Space Age Bachelor Pad Music, the band didn't lose any of its kinetic edge. ~ Heather Phares, All Music Guide
