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Stereolab

January 11, 2023

Stereolab are an Anglo-French avant-pop band formed in London in 1990. Led by the songwriting team of Tim Gane and Lætitia Sadier, the group's music combines influences from krautrock, lounge and 1960s pop music, often incorporating a repetitive motorik beat with heavy use of vintage electronic keyboards and female vocals sung in English and French. Their lyrics have political and philosophical themes influenced by the Surrealist and Situationist movements. On stage, they play in a more feedback-driven and guitar-oriented style. The band also draw from funk, jazz and Brazilian music, and were one of the first artists to be dubbed "post-rock". They are regarded among the most innovative and influential groups of the 1990s.

Stereolab
Stereolab performing at the London Pitchfork Festival in 2021
Background information
OriginLondon, England
Genres
Years active1990–2009, 2019–present
Labels
Members
Past members
  • Joe Dilworth
  • Martin Kean
  • Gina Morris
  • Mary Hansen
  • Sean O'Hagan
  • Duncan Brown
  • Katharine Gifford
  • Richard Harrison
  • Morgane Lhote
  • Simon Johns
  • Dominic Jeffery
  • Joseph Walters
  • Julien Gasc
Websitestereolab.co.uk

Stereolab were formed by Gane (guitar and keyboards) and Sadier (vocals, keyboards and guitar) after the break-up of McCarthy. The two were romantically involved for fourteen years and are the group's only consistent members. Other longtime members included 1992 addition Mary Hansen (backing vocals, keyboards and guitar), who died in 2002, and 1993 addition Andy Ramsay (drums). The High Llamas' leader Sean O'Hagan (guitar and keyboards) was a member from 1993 to 1994 and continued appearing on later records for occasional guest appearances.

Throughout their career, Stereolab has had moderate commercial success. The band were released from their recording contract with Elektra Records due to poor record sales, and their self-owned label Duophonic signed a distribution deal with Too Pure and later Warp Records. After a ten-year hiatus, the band reunited for live performances in 2019.

History

1990–1993: Formation

 
The band's "Cliff" logo appeared in early releases. It was taken from the 1970 comic strip "Der Tödliche Finger" by Anton Holtz Portmann.[2]

In 1985, Tim Gane formed McCarthy, a band from Essex, England, known for their left-wing politics.[3] Gane met Lætitia Sadier, born in France,[4] at a 1988 McCarthy concert in Paris and the two quickly fell in love. The musically-inclined Sadier was disillusioned with the rock scene in France and soon moved to London to be with Gane and pursue her career.[1][4] In 1990, after three albums, McCarthy broke up and Gane immediately formed Stereolab with Sadier (who had also contributed vocals to McCarthy's final album), ex-Chills bassist Martin Kean and Gina Morris on backing vocals.[3][5][6] Stereolab's name was taken from a division of Vanguard Records demonstrating hi-fi effects.[7][8][9]

Gane and Sadier, along with future band manager Martin Pike, set up a record label called Duophonic Super 45s which, along with later offshoot Duophonic Ultra High Frequency Disks, would become commonly known as "Duophonic".[10] Gane said that their "original plan" was to distribute multiple 7 and 10-inch records "–to just do one a month and keep doing them in small editions".[11] The 10 inch vinyl EP Super 45, released in May 1991, was the first release for both Stereolab and the label, and was sold through mail order and through the Rough Trade Shop in London. Super 45's band-designed album art and packaging was the first of many customised and limited-edition Duophonic records. In a 1996 interview in The Wire, Gane calls the "do-it-yourself" aesthetic behind Duophonic "empowering", and said that by releasing one's own music "you learn; it creates more music, more ideas".[12]

Stereolab released the EP, Super-Electric in September 1991, and a single, titled Stunning Debut Album, followed in November 1991 (which was neither debut nor album). The early material was rock and guitar-oriented; of Super-Electric, Jason Ankeny wrote in AllMusic that "Droning guitars, skeletal rhythms, and pop hooks—not vintage synths and pointillist melodies—were their calling cards ..."[13] Under the independent label Too Pure, the group's first full-length album, Peng! was released in May 1992. A compilation titled, Switched On, was released in October 1992 and would be part of a series of compilations that anthologise the band's more obscure material.[14]

Around this time, the line-up consisted of Gane and Sadier plus vocalist and guitarist Mary Hansen, drummer Andy Ramsay, bassist Duncan Brown, and keyboardist Katharine Gifford. Hansen, born in Australia, had been in touch with Gane since his McCarthy days. After joining, she and Sadier developed a style of vocal counterpoint that distinguished Stereolab's sound.[5][7][15] Sean O'Hagan of the High Llamas joined as a quick replacement for their touring keyboardist, but was invited for their next record and "was allowed to make suggestions".[16]

1993–2001: Sign to Elektra

Stereolab introduced easy-listening elements into their sound with the EP Space Age Bachelor Pad Music, released in March 1993. The work raised the band's profile and landed them a major-label American record deal with Elektra Records. Their first album under Elektra, Transient Random-Noise Bursts with Announcements (August 1993), was an underground success in both the US and the UK.[5] Mark Jenkins commented in Washington Post that with the album, Stereolab "continues the glorious drones of [their] indie work, giving celestial sweep to [their] garage-rock organ pumping and rhythm-guitar strumming".[17] In the UK, the album was released on Duophonic Ultra High Frequency Disks, which is responsible for domestic releases of Stereolab's major albums.[10]

 
Stereolab performing in London in 1994

In January 1994, Stereolab achieved their first chart entry when the 1993 EP Jenny Ondioline, entered at number 75 on the UK Singles Chart. (Over the next three years, four more releases by the band would appear on this chart, ending with the EP Miss Modular in 1997.) Their third album, Mars Audiac Quintet, was released in August 1994. The album contains the single "Ping Pong", which gained press coverage for its explicitly Marxist lyrics.[18][19][20] The band focused more on pop and less on rock, resulting in what AllMusic described as "what may be the group's most accessible, tightly-written album".[21] It was the last album to feature O'Hagan as a full-time member. He would continue to make guest appearances on later releases.[22] The group issued an EP titled Music for the Amorphous Body Study Center in April 1995. The EP was their musical contribution to an interactive art exhibit put on in collaboration with New York City artist Charles Long.[23] Their second compilation of rarities, titled Refried Ectoplasm (Switched On, Vol. 2), was released in July 1995.

The band's fourth album, Emperor Tomato Ketchup (March 1996), was a critical success and was played heavily on college radio.[5] A record that "captivated alternative rock", it represented the group's "high-water mark" said music journalists Tom Moon and Joshua Klein, respectively.[24][25] The album incorporated their early krautrock sound with funk, hip-hop influences and experimental instrumental arrangements.[26] John McEntire of Tortoise also assisted with production and played on the album. Katharine Gifford was replaced by Morgane Lhote before recording, and bassist Duncan Brown by Richard Harrison after.[5] Lhote was required to both learn the keyboards and 30 of the group's songs before joining.[27]

Released in September 1997, Dots and Loops was their first album to enter the Billboard 200 charts, peaking at number 111. The album leaned towards jazz with bossa nova and 60's pop influences.[28] Barney Hoskyns wrote in Rolling Stone that with it the group moved "ever further away from the one-chord Velvets drone-mesh of its early days" toward easy-listening and Europop.[29] A review in German newspaper Die Zeit stated that in Dots and Loops, Stereolab transformed the harder Velvet Underground-like riffs of previous releases into "softer sounds and noisy playfulness".[30] Contributors to the album included John McEntire and Jan St. Werner of German electropop duo Mouse on Mars.[5][31] Stereolab toured for seven months and took a break when Gane and Sadier had a child.[32] The group's third compilation of rarities, Aluminum Tunes, was issued in October 1998.

Their sixth album, Cobra and Phases Group Play Voltage in the Milky Night, was released in September 1999. It was co-produced by McEntire and American producer Jim O'Rourke, and was recorded with their new bassist, Simon Johns.[32] The album received middling reviews from critics and peaked at number 154 on the Billboard 200.[33][34] An unsigned NME review said that "this record has far more in common with bad jazz and progressive rock than any experimental art-rock tradition."[35] In a 1999 article of Washington Post, Mark Jenkins asked Gane about the album's apparent lack of guitars; Gane responded, "There's a lot less upfront, distorted guitar ... But it's still quite guitar-based music. Every single track has a guitar on it."[32]

Stereolab's seventh album, Sound-Dust (August 2001), rose to number 178 on the Billboard 200. The album also featured producers McEntire and O'Rourke. Sound-Dust was more warmly received than Cobra and Phases Group….[24][36] Critic Joshua Klein said that "the emphasis this time sounds less on unfocused experimentation and more on melody ... a breezy and welcome return to form for the British band."[24] Erlewine of Allmusic stated that the album "[finds the group] deliberately recharging their creative juices" but he argued that Sound-Dust was "anchored in overly familiar territory."[37]

2002–2008: Death of Hansen and later releases

In 2002, as they were planning their next album, Stereolab started building a studio north of Bordeaux, France. ABC Music: The Radio 1 Sessions; a compilation of BBC Radio 1 sessions was released in October.[38] In the same year, Gane and Sadier's romantic relationship ended.[39]

Losing Mary is still incredibly painful ... But it's also an opportunity to transform and move on. It's a new version. We've always had new versions, people coming in and out. That's life.[40]

—Sadier, 2004

On 9 December 2002, Hansen was killed when hit by a truck while riding her bicycle in London.[1] She was 36. Writer Pierre Perrone said that her "playful nature and mischievous sense of humour came through in the way she approached the backing vocals she contributed to Stereolab and the distinctive harmonies she created with Sadier."[7] For the next few months, Stereolab lay dormant as the members grieved. They eventually decided to continue. Future album and concert reviews would mention the effects of Hansen's absence.[8][41][42][43]

The EP Instant 0 in the Universe (October 2003) was recorded in France, and was Stereolab's first release following Hansen's death. Music journalist Jim DeRogatis said that the EP marked a return to their earlier, harder sound—"free from the pseudo-funk moves and avant-garde tinkering that had been inspired by Chicago producer Jim O'Rourke".[41]

Stereolab's eighth album, Margerine Eclipse, was released on 27 January 2004 with generally positive reviews,[44] and peaked at number 174 on the US Billboard 200. The track "Feel and Triple" was written in tribute to Hansen; Sadier said, "I was reflecting on my years with her ... reflecting on how we sometimes found it hard to express the love we had for one another."[39] Sadier continued, "Our dedication to her on the album says, 'We will love you till the end', meaning of our lives. I'm not religious, but I feel Mary's energy is still around somewhere. It didn't just disappear."[39] The Observer's Molloy Woodcraft gave the album four out of five stars, and commented that Sadier's vocal performance as "life- and love-affirming", and the record as a whole as "Complex and catchy, bold and beatific."[45] Kelefa Sanneh commented in Rolling Stone that Margerine Eclipse was "full of familiar noises and aimless melodies".[46] Margerine Eclipse was Stereolab's last record to be released on American label Elektra Records, which shut down that same year.[47] Future material would be released on Too Pure, the same label which had released some of the band's earliest material.[48]

 
Stereolab performing in Pomona, California in 2008

The group released six limited-edition singles in 2005 and 2006, which were anthologised in the 2006 compilation Fab Four Suture, and contained material which Mark Jenkins thought continued the brisker sound of the band's post-Hansen work.[49] By June 2007, Stereolab's line-up comprised Tim Gane, Lætitia Sadier, Andy Ramsay, Simon Johns, Dominic Jeffrey, Joseph Watson, and Joseph Walters.[50] In 2008, the band issued their next album under the label 4AD titled, Chemical Chords, which "[downplays] their arsenal of analog synths in favor of live instrumentation".[51] The release was followed by an autumn tour in Europe, the United States and Canada.[52] In February 2009, they toured Australia as part of the St Jerome's Laneway Festival.[53]

2009–2019: Hiatus and reunion

In April 2009, Stereolab manager Martin Pike announced a pause in their activities for the time being. He said that it was an opportune time for the members to move on to other projects.[54] Not Music, a collection of unreleased material recorded at the same time as Chemical Chords, was released in 2010.[55] In 2013, Gane and Sadier, who both focused on Cavern of Anti-Matter and solo work respectively, performed at the All Tomorrow's Parties festival held at Pontins in Camber Sands.[56]

In February 2019, the group announced a tour of Europe and the United States to coincide with expanded, remastered reissues of several of the albums released under Warp Records.[1] Stereolab were part of the lineup for 2019's Primavera Sound festival, taking part on the weekend of 30 May in Barcelona, Spain, and the following weekend in Porto, Portugal. It was the group's first live performance since 2009.[57][58][59]

Musical style

 
"Jenny Ondioline"
Sample of "Jenny Ondioline", from Transient Random-Noise Bursts with Announcements (1993). Critic Heather Phares called it "the most ambitious—and definitive—moment of Stereolab's early years".[60]
"Motoroller Scalatron"
Sample of "Motoroller Scalatron", from Emperor Tomato Ketchup (1996). This clip illustrates the vocal interplay between Lætitia Sadier and Mary Hansen.
Problems playing these files? See media help.

Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing-song female vocals and pop melodies, and has also made use of unorthodox time signatures.[61] It has been generally described as avant-pop,[62][63] indie pop,[5][64] art pop,[65] indie electronic,[66] indie rock,[67] post-rock,[1][67] experimental rock,[64] and experimental pop.[68][69] Sadier remarked in 2015 that "[the band's] records were written and recorded very quickly… we would write 35 tracks, sometimes more".[70]

The band have played on vintage electronic keyboards and synthesizers from brands such as Farfisa and Vox and Moog.[9] Gane has praised the instruments for their versatility: "We use the older effects because they're more direct, more extreme, and they're more like plasticine: you can shape them into loads of things."[71] The 1994 album Mars Audiac Quintet prominently features Moog synthesizers.[12][18]

Lætitia Sadier's English and French vocals have been a part of Stereolab's music since the beginning,[5] and she would occasionally sing wordlessly along with the music.[24] In reference to her laid-back delivery, Peter Shapiro wrote facetiously in Wire that Sadier "display[ed] all the emotional histrionics of Nico",[12] while some critics have commented that her vocals were unintelligible.[24][72] Sadier would often trade vocals with Mary Hansen back-and-forth in a sing-song manner that has been described as "eerie" and "hypnotic", as well as "sweet [and] slightly alien".[7][60] After Hansen's death in 2002, critic Jim Harrington commented that her absence is noticeable on live performances of Stereolab's older tracks, and that their newer songs could have benefited from Hansen's backing vocals.[42]

In interviews, Gane and Sadier have discussed their musical philosophy. Gane said that "to be unique was more important than to be good."[73] On the subject of being too obscure, he said in a 1996 interview that "maybe the area where we're on dodgy ground, is this idea that you need great knowledge [of] esoteric music to understand what we're doing." Sadier responded to Gane, saying that she "think[s] we have achieved a music that will make sense to a lot of people whether they know about Steve Reich or not."[12] The duo were up-front about their desire to grow their sound: for Gane, "otherwise it just sounds like what other people are doing",[74] and for Sadier, "you trust that there is more and that it can be done more interesting."[75]

Influences

Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust.[12][24] Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way."[76] Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones".[77] Funk, jazz, and Brazilian music were additional inspirations for the band.[32][39] Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup (1996) had musical influences such as Burt Bacharach, and Françoise Hardy.[78] The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night.[24][79] Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach."[24] Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to the band's earlier guitar-driven style.[41][43]

Live performances

Stereolab toured regularly to support their album releases. In a 1996 Washington Post gig review, Mark Jenkins wrote that Stereolab started out favouring an "easy-listening syncopation", but eventually reverted to a "messier, more urgent sound" characteristic of their earlier performances.[80] In another review Jenkins said that the band's live songs "frequently veer[ed] into more cacophonous, guitar-dominated territory", in contrast to their albums such as Cobra and Phases Group…[81] In the Minneapolis Star Tribune Jon Bream compared the band's live sound to feedback-driven rock bands like the Velvet Underground, Sonic Youth and My Bloody Valentine.[82] Jim Harrington of The Oakland Tribune argued that "Sadier often sounded like a third percussion instrument more than a lead vocalist", further stating in regard to her switching between singing in English and French that "a Stereolab show is one of the few concerts where it's hard to find even the biggest fans mouthing along with the lyrics."[42] Regarding being onstage, Gane has said that "I don't like to be the center of attention ... I just get into the music and am not really aware of the people there. That's my way of getting through it."[32] Remarking of the band's 2019 reunion tour, he added that "[Stereolab] never were really a festival band… We’re not like, 'Hey, how you all doing?' and all that stuff.”[83]

Lyrics and titles

"Basically, I want to change the world. I want to make people think about how they live every day, shake them a bit."[4]

Sadier in an interview with Melody Maker (1991)

Stereolab's music is politically and philosophically charged.[76] Dave Heaton of PopMatters said that the group "[uses] lyrics to convey ideas while using them for the pleasurable way the words sound."[84] Lætitia Sadier, who writes the group's lyrics, was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord,[8] and her anger towards the Iraq War.[85] The Surrealist, as well as other Situationist cultural and political movements were also influences, as stated by Sadier and Gane in a 1999 Salon interview.[73]

Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist.[12][32][75][76] Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart".[76] The 1994 single "Ping Pong" has been put forward as evidence in regard to these alleged views. In the song, Sadier sings "about capitalism's cruel cycles of slump and recovery" with lyrics that constitute "a plainspoken explanation of one of the central tenets of Marxian economic analysis" (said critics Reynolds and Stewart Mason, respectively).[19][76]

Band members have resisted attempts to link the group and its music to Marxism. In a 1999 interview, Gane stated that "none of us are Marxists ... I've never even read Marx." Gane said that although Sadier's lyrics touch on political topics, they do not cross the line into "sloganeering".[32] Sadier also said that she had read very little Marx.[73] In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking.[86][87] The name of her side project, Monade, and its debut album title, Socialisme ou Barbarie, are also references to the work of Castoriadis.[75][88]

Stereolab's album and song titles occasionally reference avant-garde groups and artists. Gane said that the title of their 1999 album Cobra and Phases Group… contains the names of two Surrealist organisations, "CoBrA" and "Phases Group",[73] The title of the song "Brakhage" from Dots and Loops (1997), is a nod to experimental filmmaker Stan Brakhage.[73] Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched-On Bach,[89] and the 1993 song "Jenny Ondioline", a portmanteau of inventor Georges Jenny and his instrument the Ondioline.[90]

Legacy

 
Stereolab were credited for reviving the use of vintage analogue instruments.

Stereolab have been called one of the most "influential" and "fiercely independent and original groups of the Nineties" by writers Stephen Thomas Erlewine and Pierre Perrone respectively;[5][7] as well as one of "the decade's most innovative British bands." by Mark Jenkins.[91] Simon Reynolds commented in Rolling Stone that the group's earlier records form "an endlessly seductive body of work that sounds always the same, always different."[76] In a review for the 1992 single "John Cage Bubblegum", Jason Ankeny said that "No other artist of its generation fused the high-minded daring of the avant-garde and the lowbrow infectiousness of pop with as much invention, skill, and appeal."[92] In The Wire, Peter Shapiro compared the band to Britpop bands Oasis and Blur, and defended their music against the charge that it is "nothing but the sum total of its arcane reference points."[12] They were one of the first groups to be termed post-rock—in a 1996 article, journalist Angela Lewis applied the "new term" to Stereolab and three other bands who have connections to the group.[93] Stylistically, music journalist J. D. Considine credits the band for anticipating and driving the late 1990s revival of vintage analogue instruments among indie rock bands.[94] Stephen Christian, a creative director of Warp Records, said that the group "exists in the gap between the experimentation of the underground and the appeal of the wider world of pop music".[1]

The group have also received negative press. Barney Hoskyns questioned the longevity of their music in a 1996 Mojo review, saying that their records "sound more like arid experiments than music born of emotional need."[95] In Guardian, Dave Simpson stated: "With their borrowings from early, obscure Kraftwerk and hip obtuse sources, [Stereolab] sound like a band of rock critics rather than musicians."[96] Lætitia Sadier's vocals were cited by author Stuart Shea as often being "indecipherable".[72]

A variety of artists, musical and otherwise, have collaborated with Stereolab. In 1995 the group teamed up with sculptor Charles Long for an interactive art show in New York City, for which Long provided the exhibits and Stereolab the music.[23] They have released tracks by and toured with post-rock band Tortoise, while John McEntire of Tortoise has in turn worked on several Stereolab albums.[97] In the 1990s, the group collaborated with the industrial band Nurse With Wound and released two albums together, Crumb Duck (1993) and Simple Headphone Mind (1998),[98] and Stereolab also released "Calimero" (1998) with French avant-garde singer and poet Brigitte Fontaine.[98] The band worked with Herbie Mann on the song "One Note Samba/Surfboard" for the 1998 AIDS-Benefit album, Red Hot + Rio, produced by the Red Hot Organization.[99]

Stereolab alumni have also founded bands of their own. Guitarist Tim Gane founded the side project Cavern of Anti-Matter and also formed Turn on alongside band member Sean O'Hagan, who formed his own band the High Llamas.[100][101] Katharine Gifford formed Snowpony with former My Bloody Valentine bassist Debbie Googe.[91][102] Sadier has released three albums with her four-piece side-project Monade, whose sound Mark Jenkins called a "little more Parisian" than Stereolab's.[103] Backing vocalist Mary Hansen formed a band named Schema with members of Hovercraft and released their eponymous EP in 2000.[104]

As of August 1999, US album sales stood at 300,000 copies sold.[105] Despite receiving critical acclaim and a sizeable fanbase, commercial success eluded the group.[47][106] Early in their career, their 1993 EP Jenny Ondioline entered the UK Singles Chart, but financial issues prevented the band from printing enough records to satisfy demand.[106][107] According to Sadier, however, the band "[avoided] going overground" like PJ Harvey, Pulp and the Cranberries, all of whom quickly rose from obscurity to fame, adding: "This kind of notoriety is not a particularly good thing, [and] you don't enjoy it anymore."[1] When Elektra Records was closed down by Warner Bros. Records in 2004, Stereolab was dropped along with many other artists, reportedly because of poor sales.[47] Tim Gane said in retrospect that the group "signed to Elektra because we thought we would be on there for an album or two and then we'd get ejected. We were surprised when we got to our first album!"[11] Since then, Stereolab's self-owned label Duophonic has inked a worldwide distribution deal with independent label Too Pure.[48] Through Duophonic, the band both licenses their music and releases it directly (depending on geographic market). Gane said, "... we license our recordings and just give them to people, then we don't have to ask for permission if we want to use it. We just want to be in control of our own music."[10]

Members

Current members

  • Tim Gane - guitar, keyboards (1990–2009, 2019–present)
  • Lætitia Sadier - lead vocals, keyboards, guitar, percussion, trombone (1990–2009, 2019–present)
  • Andy Ramsay - drums (1992–2009, 2019–present)
  • Joseph Watson - keyboards, vibraphone, backing vocals (2004–2009, 2019–present)
  • Xavier Muñoz Guimera - bass guitar, backing vocals (2019–present)

Former members

  • Joe Dilworth - drums (1990–1992)
  • Martin Kean - bass guitar (1990–1992)
  • Gina Morris - backing vocals (1991)
  • Mick Conroy - keyboards (1992)
  • Mary Hansen - backing and lead vocals, guitar, keyboards, percussion (1992–2002) (died 2002)
  • Sean O'Hagan - keyboards, guitar (1993)
  • Duncan Brown - bass guitar (1993–1995)
  • Katharine Gifford - keyboards (1993–1995)
  • Morgane Lhote - keyboards (1995–2000)
  • David Pajo - bass guitar (1995)
  • Richard Harrison - bass guitar (1996–1998)
  • Simon Johns - bass guitar (1999–2009)
  • Dominic Jeffery - keyboards (2001–2006)
  • Joseph Walters - french horn, guitar, keyboards (2004–2008)
  • Julien Gasc - keyboards, backing vocals (2008–2009)

Timeline

Discography

Main article: Stereolab discography

Stereolab released many non-LP tracks that they later anthologised as compilation albums.[14]

Studio albums

Compilation albums

References

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  2. ^ Dale, John (17 February 2016). "The complete guide to Stereolab". Fact. Retrieved 16 January 2021.
  3. ^ a b Sutton, Michael. "Biography (McCarthy)". AllMusic. Retrieved 30 May 2007.
  4. ^ a b c Arundel, Jim (26 October 1991). "Stereolab". Melody Maker. from the original on 28 September 2007. Retrieved 26 May 2007.
  5. ^ a b c d e f g h i Phares, Heather. "Biography (Stereolab)". AllMusic. from the original on 12 January 2021. Retrieved 25 May 2007.
  6. ^ Dale, Jon (9 November 2018). "Stereolab - Switched on Volumes 1-3". Uncut. from the original on 12 January 2021. Retrieved 13 February 2019.
  7. ^ a b c d e Perrone, Pierre (13 December 2002). . The Independent. Archived from the original on 16 October 2007.
  8. ^ a b c Harvey, Eric (23 July 2017). "Stereolab: Dots and Loops Album Review". Pitchfork. from the original on 12 January 2021. Retrieved 19 March 2018.
  9. ^ a b Grunebaum, Dan. . Metropolis. Archived from the original on 19 November 2006. Retrieved 29 May 2007.
  10. ^ a b c H2O. . Chunklet, Issue 14. Chunklet. Archived from the original on 23 November 2010. Retrieved 26 May 2007.
  11. ^ a b McGonical, Mike (August 2006). "Stereolab / Serene Velocity". (compilation Album Booklet) R2 79533.
  12. ^ a b c d e f g Shapiro, Peter (July 1996). . The Wire. The Wire Magazine Ltd. Archived from the original on 30 June 2007.
  13. ^ Ankeny, Jason. "Review (Super-Electric)". AllMusic. Retrieved 30 May 2007.
  14. ^ a b Phares, Heather. "Review (Fab Four Suture)". AllMusic. Retrieved 25 May 2007.
  15. ^ DeRogatis, Jim (14 October 1993). . Chicago Sun-Times. Sun-Times News Group. Archived from the original on 3 November 2012.
  16. ^ Popshifter (30 January 2011). . Popshifter. Archived from the original on 25 December 2017.
  17. ^ Jenkins, Mark (12 November 1993). . The Washington Post. Archived from the original on 5 October 2007.
  18. ^ a b DeRogatis, Jim (7 August 1994). . Chicago Sun-Times. Sun-Times News Group. Archived from the original on 3 November 2012.
  19. ^ a b Mason, Stewart. "Song Review (Ping Pong)". AllMusic. Retrieved 25 May 2007.
  20. ^ Reynolds, Simon (16 July 1994). . Melody Maker. Archived from the original on 28 September 2007.
  21. ^ Phares, Heather. "Review (Mars Audiac Quintet)". AllMusic. Retrieved 1 June 2007.
  22. ^ McClintock, J. Scott. "Sean O'Hagan". AllMusic. from the original on 12 January 2021. Retrieved 25 December 2017.
  23. ^ a b Reynolds, Simon (1 May 1995). "Plasticine and Heard. (Interactive Exhibit)". Artforum. Artforum International Magazine. from the original on 12 January 2021. Retrieved 26 May 2007.
  24. ^ a b c d e f g h Klein, Joshua (29 August 2001). "What the Bleep? Stereolab Does Some Actual Tunes". The Washington Post. from the original on 12 January 2021. Retrieved 10 October 2019.
  25. ^ Moon, Tom (20 April 2004). . Philadelphia Inquirer. Philly Online, LLC. Archived from the original on 3 November 2012.
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Book sources

  • Taylor, Timothy (2001). Strange Sounds: Music, Technology and Culture (1st ed.). Routledge. ISBN 978-0-415-93684-2.

Chart data

  • "Stereolab Chart History". (US Chart Data). Billboard. Retrieved 29 March 2018.
  • "STEREOLAB | full Official Chart History". (UK Chart Data). Official Charts. Retrieved 29 March 2018.

External links

 
Wikimedia Commons has media related to Stereolab.
  • Official website  
  • Stereolab at Curlie
  • Stereolab discography at Discogs

January 11, 2023
stereolab, anglo, french, avant, band, formed, london, 1990, songwriting, team, gane, lætitia, sadier, group, music, combines, influences, from, krautrock, lounge, 1960s, music, often, incorporating, repetitive, motorik, beat, with, heavy, vintage, electronic,. Stereolab are an Anglo French avant pop band formed in London in 1990 Led by the songwriting team of Tim Gane and Laetitia Sadier the group s music combines influences from krautrock lounge and 1960s pop music often incorporating a repetitive motorik beat with heavy use of vintage electronic keyboards and female vocals sung in English and French Their lyrics have political and philosophical themes influenced by the Surrealist and Situationist movements On stage they play in a more feedback driven and guitar oriented style The band also draw from funk jazz and Brazilian music and were one of the first artists to be dubbed post rock They are regarded among the most innovative and influential groups of the 1990s StereolabStereolab performing at the London Pitchfork Festival in 2021Background informationOriginLondon EnglandGenresAvant pop post rock indie pop electronicYears active1990 2009 2019 presentLabelsDuophonic Elektra Too Pure American 4AD Slumberland Drag City WarpMembersTim Gane Laetitia Sadier Andy Ramsay Joseph Watson Xavier Munoz Guimera 1 Past membersJoe Dilworth Martin Kean Gina Morris Mary Hansen Sean O Hagan Duncan Brown Katharine Gifford Richard Harrison Morgane Lhote Simon Johns Dominic Jeffery Joseph Walters Julien GascWebsitestereolab wbr co wbr ukStereolab were formed by Gane guitar and keyboards and Sadier vocals keyboards and guitar after the break up of McCarthy The two were romantically involved for fourteen years and are the group s only consistent members Other longtime members included 1992 addition Mary Hansen backing vocals keyboards and guitar who died in 2002 and 1993 addition Andy Ramsay drums The High Llamas leader Sean O Hagan guitar and keyboards was a member from 1993 to 1994 and continued appearing on later records for occasional guest appearances Throughout their career Stereolab has had moderate commercial success The band were released from their recording contract with Elektra Records due to poor record sales and their self owned label Duophonic signed a distribution deal with Too Pure and later Warp Records After a ten year hiatus the band reunited for live performances in 2019 Contents 1 History 1 1 1990 1993 Formation 1 2 1993 2001 Sign to Elektra 1 3 2002 2008 Death of Hansen and later releases 1 4 2009 2019 Hiatus and reunion 2 Musical style 2 1 Influences 2 2 Live performances 3 Lyrics and titles 4 Legacy 5 Members 6 Discography 7 References 7 1 Book sources 7 2 Chart data 8 External linksHistory Edit1990 1993 Formation Edit The band s Cliff logo appeared in early releases It was taken from the 1970 comic strip Der Todliche Finger by Anton Holtz Portmann 2 In 1985 Tim Gane formed McCarthy a band from Essex England known for their left wing politics 3 Gane met Laetitia Sadier born in France 4 at a 1988 McCarthy concert in Paris and the two quickly fell in love The musically inclined Sadier was disillusioned with the rock scene in France and soon moved to London to be with Gane and pursue her career 1 4 In 1990 after three albums McCarthy broke up and Gane immediately formed Stereolab with Sadier who had also contributed vocals to McCarthy s final album ex Chills bassist Martin Kean and Gina Morris on backing vocals 3 5 6 Stereolab s name was taken from a division of Vanguard Records demonstrating hi fi effects 7 8 9 Gane and Sadier along with future band manager Martin Pike set up a record label called Duophonic Super 45s which along with later offshoot Duophonic Ultra High Frequency Disks would become commonly known as Duophonic 10 Gane said that their original plan was to distribute multiple 7 and 10 inch records to just do one a month and keep doing them in small editions 11 The 10 inch vinyl EP Super 45 released in May 1991 was the first release for both Stereolab and the label and was sold through mail order and through the Rough Trade Shop in London Super 45 s band designed album art and packaging was the first of many customised and limited edition Duophonic records In a 1996 interview in The Wire Gane calls the do it yourself aesthetic behind Duophonic empowering and said that by releasing one s own music you learn it creates more music more ideas 12 Stereolab released the EP Super Electric in September 1991 and a single titled Stunning Debut Album followed in November 1991 which was neither debut nor album The early material was rock and guitar oriented of Super Electric Jason Ankeny wrote in AllMusic that Droning guitars skeletal rhythms and pop hooks not vintage synths and pointillist melodies were their calling cards 13 Under the independent label Too Pure the group s first full length album Peng was released in May 1992 A compilation titled Switched On was released in October 1992 and would be part of a series of compilations that anthologise the band s more obscure material 14 Around this time the line up consisted of Gane and Sadier plus vocalist and guitarist Mary Hansen drummer Andy Ramsay bassist Duncan Brown and keyboardist Katharine Gifford Hansen born in Australia had been in touch with Gane since his McCarthy days After joining she and Sadier developed a style of vocal counterpoint that distinguished Stereolab s sound 5 7 15 Sean O Hagan of the High Llamas joined as a quick replacement for their touring keyboardist but was invited for their next record and was allowed to make suggestions 16 1993 2001 Sign to Elektra Edit Stereolab introduced easy listening elements into their sound with the EP Space Age Bachelor Pad Music released in March 1993 The work raised the band s profile and landed them a major label American record deal with Elektra Records Their first album under Elektra Transient Random Noise Bursts with Announcements August 1993 was an underground success in both the US and the UK 5 Mark Jenkins commented in Washington Post that with the album Stereolab continues the glorious drones of their indie work giving celestial sweep to their garage rock organ pumping and rhythm guitar strumming 17 In the UK the album was released on Duophonic Ultra High Frequency Disks which is responsible for domestic releases of Stereolab s major albums 10 Stereolab performing in London in 1994 In January 1994 Stereolab achieved their first chart entry when the 1993 EP Jenny Ondioline entered at number 75 on the UK Singles Chart Over the next three years four more releases by the band would appear on this chart ending with the EP Miss Modular in 1997 Their third album Mars Audiac Quintet was released in August 1994 The album contains the single Ping Pong which gained press coverage for its explicitly Marxist lyrics 18 19 20 The band focused more on pop and less on rock resulting in what AllMusic described as what may be the group s most accessible tightly written album 21 It was the last album to feature O Hagan as a full time member He would continue to make guest appearances on later releases 22 The group issued an EP titled Music for the Amorphous Body Study Center in April 1995 The EP was their musical contribution to an interactive art exhibit put on in collaboration with New York City artist Charles Long 23 Their second compilation of rarities titled Refried Ectoplasm Switched On Vol 2 was released in July 1995 The band s fourth album Emperor Tomato Ketchup March 1996 was a critical success and was played heavily on college radio 5 A record that captivated alternative rock it represented the group s high water mark said music journalists Tom Moon and Joshua Klein respectively 24 25 The album incorporated their early krautrock sound with funk hip hop influences and experimental instrumental arrangements 26 John McEntire of Tortoise also assisted with production and played on the album Katharine Gifford was replaced by Morgane Lhote before recording and bassist Duncan Brown by Richard Harrison after 5 Lhote was required to both learn the keyboards and 30 of the group s songs before joining 27 Released in September 1997 Dots and Loops was their first album to enter the Billboard 200 charts peaking at number 111 The album leaned towards jazz with bossa nova and 60 s pop influences 28 Barney Hoskyns wrote in Rolling Stone that with it the group moved ever further away from the one chord Velvets drone mesh of its early days toward easy listening and Europop 29 A review in German newspaper Die Zeit stated that in Dots and Loops Stereolab transformed the harder Velvet Underground like riffs of previous releases into softer sounds and noisy playfulness 30 Contributors to the album included John McEntire and Jan St Werner of German electropop duo Mouse on Mars 5 31 Stereolab toured for seven months and took a break when Gane and Sadier had a child 32 The group s third compilation of rarities Aluminum Tunes was issued in October 1998 Their sixth album Cobra and Phases Group Play Voltage in the Milky Night was released in September 1999 It was co produced by McEntire and American producer Jim O Rourke and was recorded with their new bassist Simon Johns 32 The album received middling reviews from critics and peaked at number 154 on the Billboard 200 33 34 An unsigned NME review said that this record has far more in common with bad jazz and progressive rock than any experimental art rock tradition 35 In a 1999 article of Washington Post Mark Jenkins asked Gane about the album s apparent lack of guitars Gane responded There s a lot less upfront distorted guitar But it s still quite guitar based music Every single track has a guitar on it 32 Stereolab s seventh album Sound Dust August 2001 rose to number 178 on the Billboard 200 The album also featured producers McEntire and O Rourke Sound Dust was more warmly received than Cobra and Phases Group 24 36 Critic Joshua Klein said that the emphasis this time sounds less on unfocused experimentation and more on melody a breezy and welcome return to form for the British band 24 Erlewine of Allmusic stated that the album finds the group deliberately recharging their creative juices but he argued that Sound Dust was anchored in overly familiar territory 37 2002 2008 Death of Hansen and later releases EditIn 2002 as they were planning their next album Stereolab started building a studio north of Bordeaux France ABC Music The Radio 1 Sessions a compilation of BBC Radio 1 sessions was released in October 38 In the same year Gane and Sadier s romantic relationship ended 39 Losing Mary is still incredibly painful But it s also an opportunity to transform and move on It s a new version We ve always had new versions people coming in and out That s life 40 Sadier 2004 On 9 December 2002 Hansen was killed when hit by a truck while riding her bicycle in London 1 She was 36 Writer Pierre Perrone said that her playful nature and mischievous sense of humour came through in the way she approached the backing vocals she contributed to Stereolab and the distinctive harmonies she created with Sadier 7 For the next few months Stereolab lay dormant as the members grieved They eventually decided to continue Future album and concert reviews would mention the effects of Hansen s absence 8 41 42 43 The EP Instant 0 in the Universe October 2003 was recorded in France and was Stereolab s first release following Hansen s death Music journalist Jim DeRogatis said that the EP marked a return to their earlier harder sound free from the pseudo funk moves and avant garde tinkering that had been inspired by Chicago producer Jim O Rourke 41 Stereolab s eighth album Margerine Eclipse was released on 27 January 2004 with generally positive reviews 44 and peaked at number 174 on the US Billboard 200 The track Feel and Triple was written in tribute to Hansen Sadier said I was reflecting on my years with her reflecting on how we sometimes found it hard to express the love we had for one another 39 Sadier continued Our dedication to her on the album says We will love you till the end meaning of our lives I m not religious but I feel Mary s energy is still around somewhere It didn t just disappear 39 The Observer s Molloy Woodcraft gave the album four out of five stars and commented that Sadier s vocal performance as life and love affirming and the record as a whole as Complex and catchy bold and beatific 45 Kelefa Sanneh commented in Rolling Stone that Margerine Eclipse was full of familiar noises and aimless melodies 46 Margerine Eclipse was Stereolab s last record to be released on American label Elektra Records which shut down that same year 47 Future material would be released on Too Pure the same label which had released some of the band s earliest material 48 Stereolab performing in Pomona California in 2008 The group released six limited edition singles in 2005 and 2006 which were anthologised in the 2006 compilation Fab Four Suture and contained material which Mark Jenkins thought continued the brisker sound of the band s post Hansen work 49 By June 2007 Stereolab s line up comprised Tim Gane Laetitia Sadier Andy Ramsay Simon Johns Dominic Jeffrey Joseph Watson and Joseph Walters 50 In 2008 the band issued their next album under the label 4AD titled Chemical Chords which downplays their arsenal of analog synths in favor of live instrumentation 51 The release was followed by an autumn tour in Europe the United States and Canada 52 In February 2009 they toured Australia as part of the St Jerome s Laneway Festival 53 2009 2019 Hiatus and reunion Edit In April 2009 Stereolab manager Martin Pike announced a pause in their activities for the time being He said that it was an opportune time for the members to move on to other projects 54 Not Music a collection of unreleased material recorded at the same time as Chemical Chords was released in 2010 55 In 2013 Gane and Sadier who both focused on Cavern of Anti Matter and solo work respectively performed at the All Tomorrow s Parties festival held at Pontins in Camber Sands 56 In February 2019 the group announced a tour of Europe and the United States to coincide with expanded remastered reissues of several of the albums released under Warp Records 1 Stereolab were part of the lineup for 2019 s Primavera Sound festival taking part on the weekend of 30 May in Barcelona Spain and the following weekend in Porto Portugal It was the group s first live performance since 2009 57 58 59 Musical style Edit Jenny Ondioline source source Sample of Jenny Ondioline from Transient Random Noise Bursts with Announcements 1993 Critic Heather Phares called it the most ambitious and definitive moment of Stereolab s early years 60 Motoroller Scalatron source source Sample of Motoroller Scalatron from Emperor Tomato Ketchup 1996 This clip illustrates the vocal interplay between Laetitia Sadier and Mary Hansen Problems playing these files See media help Stereolab s music combines a droning rock sound with lounge instrumentals overlaid with sing song female vocals and pop melodies and has also made use of unorthodox time signatures 61 It has been generally described as avant pop 62 63 indie pop 5 64 art pop 65 indie electronic 66 indie rock 67 post rock 1 67 experimental rock 64 and experimental pop 68 69 Sadier remarked in 2015 that the band s records were written and recorded very quickly we would write 35 tracks sometimes more 70 The band have played on vintage electronic keyboards and synthesizers from brands such as Farfisa and Vox and Moog 9 Gane has praised the instruments for their versatility We use the older effects because they re more direct more extreme and they re more like plasticine you can shape them into loads of things 71 The 1994 album Mars Audiac Quintet prominently features Moog synthesizers 12 18 Laetitia Sadier s English and French vocals have been a part of Stereolab s music since the beginning 5 and she would occasionally sing wordlessly along with the music 24 In reference to her laid back delivery Peter Shapiro wrote facetiously in Wire that Sadier display ed all the emotional histrionics of Nico 12 while some critics have commented that her vocals were unintelligible 24 72 Sadier would often trade vocals with Mary Hansen back and forth in a sing song manner that has been described as eerie and hypnotic as well as sweet and slightly alien 7 60 After Hansen s death in 2002 critic Jim Harrington commented that her absence is noticeable on live performances of Stereolab s older tracks and that their newer songs could have benefited from Hansen s backing vocals 42 In interviews Gane and Sadier have discussed their musical philosophy Gane said that to be unique was more important than to be good 73 On the subject of being too obscure he said in a 1996 interview that maybe the area where we re on dodgy ground is this idea that you need great knowledge of esoteric music to understand what we re doing Sadier responded to Gane saying that she think s we have achieved a music that will make sense to a lot of people whether they know about Steve Reich or not 12 The duo were up front about their desire to grow their sound for Gane otherwise it just sounds like what other people are doing 74 and for Sadier you trust that there is more and that it can be done more interesting 75 Influences Edit Their records have been heavily influenced by the motorik technique of 1970s krautrock groups such as Neu and Faust 12 24 Tim Gane has supported the comparison Neu did minimalism and drones but in a very pop way 76 Dave Heaton of PopMatters said that their music also had echoes of bubblegum of exotica of Beach Boys and bossa nova with their earlier work bearing strong Velvet Underground overtones 77 Funk jazz and Brazilian music were additional inspirations for the band 32 39 Stephan Davet of French newspaper Le Monde said that Emperor Tomato Ketchup 1996 had musical influences such as Burt Bacharach and Francoise Hardy 78 The sounds influenced by minimalist composers Philip Glass and Steve Reich can be found on the 1999 album Cobra and Phases Group Play Voltage in the Milky Night 24 79 Stereolab s style also incorporates easy listening music of the 1950s and 60s Joshua Klein in Washington Post said that Years before everyone else caught on Stereolab were referencing the 1970s German bands Can and Neu the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach 24 Regarding their later work such as Instant 0 in the Universe 2003 and Margerine Eclipse 2004 critics have compared the releases to the band s earlier guitar driven style 41 43 Live performances Edit Stereolab toured regularly to support their album releases In a 1996 Washington Post gig review Mark Jenkins wrote that Stereolab started out favouring an easy listening syncopation but eventually reverted to a messier more urgent sound characteristic of their earlier performances 80 In another review Jenkins said that the band s live songs frequently veer ed into more cacophonous guitar dominated territory in contrast to their albums such as Cobra and Phases Group 81 In the Minneapolis Star Tribune Jon Bream compared the band s live sound to feedback driven rock bands like the Velvet Underground Sonic Youth and My Bloody Valentine 82 Jim Harrington of The Oakland Tribune argued that Sadier often sounded like a third percussion instrument more than a lead vocalist further stating in regard to her switching between singing in English and French that a Stereolab show is one of the few concerts where it s hard to find even the biggest fans mouthing along with the lyrics 42 Regarding being onstage Gane has said that I don t like to be the center of attention I just get into the music and am not really aware of the people there That s my way of getting through it 32 Remarking of the band s 2019 reunion tour he added that Stereolab never were really a festival band We re not like Hey how you all doing and all that stuff 83 Lyrics and titles Edit Basically I want to change the world I want to make people think about how they live every day shake them a bit 4 Sadier in an interview with Melody Maker 1991 Stereolab s music is politically and philosophically charged 76 Dave Heaton of PopMatters said that the group uses lyrics to convey ideas while using them for the pleasurable way the words sound 84 Laetitia Sadier who writes the group s lyrics was influenced by both the Situationist philosophy Society of the Spectacle by Marxist theorist Guy Debord 8 and her anger towards the Iraq War 85 The Surrealist as well as other Situationist cultural and political movements were also influences as stated by Sadier and Gane in a 1999 Salon interview 73 Critics have seen Marxist allusions in the band s lyrics and have gone so far as to call the band members themselves Marxist 12 32 75 76 Music journalist Simon Reynolds commented that Sadier s lyrics tend to lean towards Marxist social commentary rather than affairs of the heart 76 The 1994 single Ping Pong has been put forward as evidence in regard to these alleged views In the song Sadier sings about capitalism s cruel cycles of slump and recovery with lyrics that constitute a plainspoken explanation of one of the central tenets of Marxian economic analysis said critics Reynolds and Stewart Mason respectively 19 76 Band members have resisted attempts to link the group and its music to Marxism In a 1999 interview Gane stated that none of us are Marxists I ve never even read Marx Gane said that although Sadier s lyrics touch on political topics they do not cross the line into sloganeering 32 Sadier also said that she had read very little Marx 73 In contrast Cornelius Castoriadis a radical political philosopher but strong critic of Marxism has been cited as a marking influence in Sadier s thinking 86 87 The name of her side project Monade and its debut album title Socialisme ou Barbarie are also references to the work of Castoriadis 75 88 Stereolab s album and song titles occasionally reference avant garde groups and artists Gane said that the title of their 1999 album Cobra and Phases Group contains the names of two Surrealist organisations CoBrA and Phases Group 73 The title of the song Brakhage from Dots and Loops 1997 is a nod to experimental filmmaker Stan Brakhage 73 Other examples are the 1992 compilation Switched On named after Wendy Carlos 1968 album Switched On Bach 89 and the 1993 song Jenny Ondioline a portmanteau of inventor Georges Jenny and his instrument the Ondioline 90 Legacy Edit Stereolab were credited for reviving the use of vintage analogue instruments Stereolab have been called one of the most influential and fiercely independent and original groups of the Nineties by writers Stephen Thomas Erlewine and Pierre Perrone respectively 5 7 as well as one of the decade s most innovative British bands by Mark Jenkins 91 Simon Reynolds commented in Rolling Stone that the group s earlier records form an endlessly seductive body of work that sounds always the same always different 76 In a review for the 1992 single John Cage Bubblegum Jason Ankeny said that No other artist of its generation fused the high minded daring of the avant garde and the lowbrow infectiousness of pop with as much invention skill and appeal 92 In The Wire Peter Shapiro compared the band to Britpop bands Oasis and Blur and defended their music against the charge that it is nothing but the sum total of its arcane reference points 12 They were one of the first groups to be termed post rock in a 1996 article journalist Angela Lewis applied the new term to Stereolab and three other bands who have connections to the group 93 Stylistically music journalist J D Considine credits the band for anticipating and driving the late 1990s revival of vintage analogue instruments among indie rock bands 94 Stephen Christian a creative director of Warp Records said that the group exists in the gap between the experimentation of the underground and the appeal of the wider world of pop music 1 The group have also received negative press Barney Hoskyns questioned the longevity of their music in a 1996 Mojo review saying that their records sound more like arid experiments than music born of emotional need 95 In Guardian Dave Simpson stated With their borrowings from early obscure Kraftwerk and hip obtuse sources Stereolab sound like a band of rock critics rather than musicians 96 Laetitia Sadier s vocals were cited by author Stuart Shea as often being indecipherable 72 A variety of artists musical and otherwise have collaborated with Stereolab In 1995 the group teamed up with sculptor Charles Long for an interactive art show in New York City for which Long provided the exhibits and Stereolab the music 23 They have released tracks by and toured with post rock band Tortoise while John McEntire of Tortoise has in turn worked on several Stereolab albums 97 In the 1990s the group collaborated with the industrial band Nurse With Wound and released two albums together Crumb Duck 1993 and Simple Headphone Mind 1998 98 and Stereolab also released Calimero 1998 with French avant garde singer and poet Brigitte Fontaine 98 The band worked with Herbie Mann on the song One Note Samba Surfboard for the 1998 AIDS Benefit album Red Hot Rio produced by the Red Hot Organization 99 Stereolab alumni have also founded bands of their own Guitarist Tim Gane founded the side project Cavern of Anti Matter and also formed Turn on alongside band member Sean O Hagan who formed his own band the High Llamas 100 101 Katharine Gifford formed Snowpony with former My Bloody Valentine bassist Debbie Googe 91 102 Sadier has released three albums with her four piece side project Monade whose sound Mark Jenkins called a little more Parisian than Stereolab s 103 Backing vocalist Mary Hansen formed a band named Schema with members of Hovercraft and released their eponymous EP in 2000 104 As of August 1999 US album sales stood at 300 000 copies sold 105 Despite receiving critical acclaim and a sizeable fanbase commercial success eluded the group 47 106 Early in their career their 1993 EP Jenny Ondioline entered the UK Singles Chart but financial issues prevented the band from printing enough records to satisfy demand 106 107 According to Sadier however the band avoided going overground like PJ Harvey Pulp and the Cranberries all of whom quickly rose from obscurity to fame adding This kind of notoriety is not a particularly good thing and you don t enjoy it anymore 1 When Elektra Records was closed down by Warner Bros Records in 2004 Stereolab was dropped along with many other artists reportedly because of poor sales 47 Tim Gane said in retrospect that the group signed to Elektra because we thought we would be on there for an album or two and then we d get ejected We were surprised when we got to our first album 11 Since then Stereolab s self owned label Duophonic has inked a worldwide distribution deal with independent label Too Pure 48 Through Duophonic the band both licenses their music and releases it directly depending on geographic market Gane said we license our recordings and just give them to people then we don t have to ask for permission if we want to use it We just want to be in control of our own music 10 Members EditCurrent members Tim Gane guitar keyboards 1990 2009 2019 present Laetitia Sadier lead vocals keyboards guitar percussion trombone 1990 2009 2019 present Andy Ramsay drums 1992 2009 2019 present Joseph Watson keyboards vibraphone backing vocals 2004 2009 2019 present Xavier Munoz Guimera bass guitar backing vocals 2019 present Former members Joe Dilworth drums 1990 1992 Martin Kean bass guitar 1990 1992 Gina Morris backing vocals 1991 Mick Conroy keyboards 1992 Mary Hansen backing and lead vocals guitar keyboards percussion 1992 2002 died 2002 Sean O Hagan keyboards guitar 1993 Duncan Brown bass guitar 1993 1995 Katharine Gifford keyboards 1993 1995 Morgane Lhote keyboards 1995 2000 David Pajo bass guitar 1995 Richard Harrison bass guitar 1996 1998 Simon Johns bass guitar 1999 2009 Dominic Jeffery keyboards 2001 2006 Joseph Walters french horn guitar keyboards 2004 2008 Julien Gasc keyboards backing vocals 2008 2009 TimelineDiscography EditMain article Stereolab discography Stereolab released many non LP tracks that they later anthologised as compilation albums 14 Studio albums Peng 1992 Transient Random Noise Bursts with Announcements 1993 Mars Audiac Quintet 1994 Emperor Tomato Ketchup 1996 Dots and Loops 1997 Cobra and Phases Group Play Voltage in the Milky Night 1999 Sound Dust 2001 Margerine Eclipse 2004 Chemical Chords 2008 Not Music 2010 Compilation albums Switched On 1992 Refried Ectoplasm Switched On Vol 2 1995 Aluminum Tunes Switched On Vol 3 1998 ABC Music The Radio 1 Sessions 2002 Oscillons from the Anti Sun 2005 Fab Four Suture 2006 Serene Velocity A Stereolab Anthology 2006 Electrically Possessed Switched On Vol 4 2021 Pulse of the Early Brain Switched On Vol 5 2022 References Edit a b c d e f g McLean Craig 10 May 2019 Stereolab Britain s Clever Post Rock Innovators Want to Capture Ears Again The New York Times Archived from the original on 12 January 2021 Retrieved 13 May 2019 Dale John 17 February 2016 The complete guide to Stereolab Fact Retrieved 16 January 2021 a b Sutton Michael Biography McCarthy AllMusic Retrieved 30 May 2007 a b c Arundel Jim 26 October 1991 Stereolab Melody Maker Archived from the original on 28 September 2007 Retrieved 26 May 2007 a b c d e f g h i Phares Heather Biography Stereolab AllMusic Archived from the original on 12 January 2021 Retrieved 25 May 2007 Dale Jon 9 November 2018 Stereolab Switched on Volumes 1 3 Uncut Archived from the original on 12 January 2021 Retrieved 13 February 2019 a b c d e Perrone Pierre 13 December 2002 Obituary Mary Hansen The Independent Archived from the original on 16 October 2007 a b c Harvey Eric 23 July 2017 Stereolab Dots and Loops Album Review Pitchfork Archived from the original on 12 January 2021 Retrieved 19 March 2018 a b Grunebaum Dan In Person Don t call us retro Metropolis Archived from the original on 19 November 2006 Retrieved 29 May 2007 a b c H2O Tim Gane Duophonic UHF Disks Chunklet Issue 14 Chunklet Archived from the original on 23 November 2010 Retrieved 26 May 2007 a b McGonical Mike August 2006 Stereolab Serene Velocity compilation Album Booklet R2 79533 a b c d e f g Shapiro Peter July 1996 Laboratory Secrets Stereolab The Wire The Wire Magazine Ltd Archived from the original on 30 June 2007 Ankeny Jason Review Super Electric AllMusic Retrieved 30 May 2007 a b Phares Heather Review Fab Four Suture AllMusic Retrieved 25 May 2007 DeRogatis Jim 14 October 1993 Great Chemistry Stereolab Concocts a Unique Mix of Sounds Chicago Sun Times Sun Times News Group Archived from the original on 3 November 2012 Popshifter 30 January 2011 Painters Paint The Definitive Career Spanning Interview to date With The High Llamas Sean O Hagan Snowbug and Buzzle Bee Popshifter Archived from the original on 25 December 2017 Jenkins Mark 12 November 1993 Acting on Pulse Shimmery Stereolab The Washington Post Archived from the original on 5 October 2007 a b DeRogatis Jim 7 August 1994 Stereolab Stands Alone With Hypnotic Drone Chicago Sun Times Sun Times News Group Archived from the original on 3 November 2012 a b Mason Stewart Song Review Ping Pong AllMusic Retrieved 25 May 2007 Reynolds Simon 16 July 1994 Stereolab Separation Terrorists Melody Maker Archived from the original on 28 September 2007 Phares Heather Review Mars Audiac Quintet AllMusic Retrieved 1 June 2007 McClintock J Scott Sean O Hagan AllMusic Archived from the original on 12 January 2021 Retrieved 25 December 2017 a b Reynolds Simon 1 May 1995 Plasticine and Heard Interactive Exhibit Artforum Artforum International Magazine Archived from the original on 12 January 2021 Retrieved 26 May 2007 a b c d e f g h Klein Joshua 29 August 2001 What the Bleep Stereolab Does Some Actual Tunes The Washington Post Archived from the original on 12 January 2021 Retrieved 10 October 2019 Moon Tom 20 April 2004 Latest album from Stereolab continues high tech tradition Philadelphia Inquirer Philly Online LLC Archived from the original on 3 November 2012 Erlewine Stephen Thomas Review Emperor Tomato Ketchup AllMusic Retrieved 1 June 2007 Mason Rachel 13 June 2016 Stereolab s Morgane Lhote Talks Video Games Daft Punk and New Project Hologram Teen Huffington Post Archived from the original on 12 January 2021 Retrieved 22 February 2019 Erlewine Stephen Thomas Review Dots and Loops AllMusic Archived from the original on 12 January 2021 Retrieved 12 August 2018 Hoskyns Barry October 1997 Stereolab Dots and Loops Rolling Stone Archived from the original on 12 January 2021 Retrieved 2 June 2007 Review Dots and Loops Die Zeit 4 April 1997 Archived from the original on 16 October 2007 Retrieved 12 June 2007 Cooper Neil 23 May 1999 Hold the front page Stereolab have learned a second chord The Sunday Herald Archived from the original on 16 October 2007 a b c d e f g Jenkins Mark 5 November 1999 Stereolab s Latest Experiment The Washington Post Archived from the original on 12 January 2021 Retrieved 28 December 2018 Pattison Louis October 2019 Stereolab Emperor Tomato Ketchup Dots and Loops Cobra and Phases Group Play Voltage in the Milky Night Uncut No 269 p 50 Ranta Alan 12 September 2019 Stereolab Cobra and Phases Group Play Voltage in the Milky Night Expanded and Remastered Exclaim Retrieved 14 March 2020 Cobra And Phases Group Play Voltage in the Milky Night NME Archived from the original on 16 October 2007 Retrieved 11 June 2007 Walters Barry 20 August 2001 Sound Dust Rolling Stone Archived from the original on 16 October 2007 Erlewine Stephen Thomas Review Sound Dust AllMusic Retrieved 1 June 2007 Mason Stewart Review ABC Music The Radio 1 Sessions AllMusic Retrieved 1 June 2007 a b c d McNair James Rock amp pop Total eclipse of the heart The Independent Archived from the original on 16 October 2007 Retrieved 30 January 2004 Laban Linda 9 April 2004 Stereolab changes with Eclipse Boston Herald Archived from the original on 3 November 2012 a b c DeRogatis Jim 5 October 2003 Stereolab Instant O in the Universe Elektra Chicago Sun Times Sun Times News Group Archived from the original on 3 November 2012 a b c Harrington Jim 1 April 2004 Stereolab won t let Hansen be forgotten Oakland Tribune Archived from the original on 16 October 2007 a b Wagner Lori 13 February 2004 Music Reviews A little old a little new from Stereolab Daily Break The Virginian Pilot Archived from the original on 3 November 2012 Margerine Eclipse Metacritic Archived from the original on 12 January 2021 Retrieved 6 June 2007 Woodcraft Molloy 1 February 2004 Stereolab Margerine Eclipse The Observer Archived from the original on 12 January 2021 Retrieved 11 June 2007 Sanneh Kelefa 5 February 2004 Margerine Eclipse Rolling Stone Archived from the original on 12 January 2021 Retrieved 15 September 2017 a b c Eliscu Jenny 3 June 2004 Warner to Ax Eighty Artists Rolling Stone Archived from the original on 16 October 2007 a b Monade Official Website Beggars Group USA Archived from the original on 2 February 2007 Retrieved 26 May 2007 Jenkins Mark 17 March 2006 STEREOLAB Fab Four Suture The Washington Post Archived from the original on 14 December 2018 Retrieved 11 December 2018 Stereolab Archived from the original on 7 July 2008 Retrieved 12 June 2019 via MySpace Phares Heather Chemical Chords Stereolab AllMusic Archived from the original on 12 January 2021 Retrieved 5 December 2018 Stosuy Brandon 11 June 2008 Stereolab Chew John Cage Bubblegum Play First Set in Over Two Years Take It on the Road Stereogum Archived from the original on 12 January 2021 Retrieved 1 September 2018 St Jerome s Laneway Festival line up 2009 FasterLouder 12 October 2008 Archived from the original on 12 January 2021 Retrieved 8 March 2018 Breihan Tom 2 April 2009 Stereolab Go on Hiatus Pitchfork Archived from the original on 12 January 2021 Retrieved 14 August 2018 Stereolab Not Music Album Review Pitchfork Archived from the original on 12 January 2021 Retrieved 25 December 2017 All Tomorrow s Parties curated by Deerhunter 2013 eFestivals Archived from the original on 12 January 2021 Retrieved 13 March 2018 Cush Andy 4 December 2018 Sounds Like Stereolab Are Coming Back Spin Archived from the original on 17 May 2019 Retrieved 17 May 2019 Reed Ryan 5 December 2018 Primavera Sound Cardi B Janelle Monae Interpol Solange Lead 2019 Lineup Rolling Stone Archived from the original on 12 January 2021 Retrieved 19 June 2019 Stereolab at Primavera Sound 2019 shrapnel org Archived from the original on 12 January 2021 Retrieved 19 June 2019 a b Phares Heather Review Transient Random Noise Bursts With Announcements AllMusic Retrieved 31 May 2007 Sherburne Phillip Stereolab Switched On Refried Ectoplasm Aluminum Tunes Pitchfork Archived from the original on 12 January 2021 Retrieved 11 February 2019 Couture Francois 2001 Sucre 3 AllMusic Archived from the original on 12 January 2021 Retrieved 21 April 2020 Maloney Sean L 28 January 2016 Album review Your Friend Gumption Boston Globe Archived from the original on 18 December 2016 Retrieved 28 November 2016 a b Obituaries Billboard Vol 114 no 51 21 December 2002 p 54 Adams Gregory 18 September 2012 Stereolab Reveal Vinyl Reissues of Emperor Tomato Ketchup and Dots and Loops Exclaim Archived from the original on 7 March 2016 Retrieved 28 February 2016 Indie Electronic Significant Albums Artists and Songs AllMusic Archived from the original on 1 April 2020 Retrieved 21 April 2020 a b Post Rock AllMusic Archived from the original on 1 April 2020 Retrieved 28 February 2016 Cole Matthew 15 November 2010 Album Review Stereolab Not Music Slate Archived from the original on 12 January 2021 Retrieved 12 July 2016 Reger Rick Stereolab s Catchy Artiness Chicago Tribune Archived from the original on 12 January 2021 Retrieved 13 February 2019 Laetitia Sadier Lecture 2015 Red Bull Music Academy Taylor 2001 p 110 a b Shea Stuart 2002 Rock amp Roll s Most Wanted The Top 10 Book of Lame Lyrics Egregious Egos and Other Oddities Potomac Books pp 55 56 ISBN 978 1574884777 a b c d e Stark Jeff 22 September 1999 Surrealist manifesto Salon Archived from the original on 8 February 2007 Hoskyns Barney September 1999 Stereolab Cobra and Phases Group Play Voltage in the Milky Night Duophonic Mojo a b c Fritch Matthew November December 2004 Stereolab Magnet Magnet Magazine Inc Archived from the original on 27 March 2006 a b c d e f Reynolds Simon 4 April 1996 Stereolab Simple Minds Rolling Stone Archived from the original on 12 January 2021 Retrieved 7 January 2019 Heaton Dave 20 September 2006 Stereolab Serene Velocity A Stereolab Anthology PopMatters Archived from the original on 12 January 2021 Retrieved 13 February 2019 Davet Stephane 6 April 1996 Stereolab Emperor Tomato Ketchup Le Monde Archived from the original on 7 January 2013 Hodgkinson Will 21 July 2001 Home entertainment Stereolab The Guardian Archived from the original on 12 January 2021 Retrieved 13 December 2016 Jenkins Mark 28 May 1996 Stereolab Concert Review The Washington Post Archived from the original on 3 November 2012 Jenkins Mark 13 November 1999 Stereolab s Velvet Fog The Washington Post Archived from the original on 3 November 2012 Bream Jon 9 May 1996 French British band Stereolab brings its diverse influences to First Avenue Star Tribune Archived from the original on 3 November 2012 Harvilla Rob 25 July 2019 The Anti Nostalgia of the Stereolab Reunion The Ringer Archived from the original on 12 January 2021 Retrieved 12 June 2020 Heaton Dave 27 August 2001 Sound Dust PopMatters Archived from the original on 12 January 2021 Retrieved 27 September 2018 Stanley Bob 17 October 2003 Stereolab starting at zero The Times Archived from the original on 17 May 2011 Stereolab Lataetia and Tim Vanguard online co uk Archived from the original on 28 February 2019 Retrieved 25 December 2017 Behm John 16 September 2010 High Five with Laetitia Sadier Stereolab Reviler Reviler Archived from the original on 26 December 2017 Retrieved 25 December 2017 Phares Heather Biography Monade AllMusic Retrieved 1 June 2007 Taylor 2001 p 108 Taylor 2001 p 109 a b Jenkins Mark 18 September 1998 Snowpony The Washington Post Archived from the original on 3 November 2012 Akeny Jason John Cage Bubblegum Eloge d Eros Stereolab AllMusic Archived from the original on 12 January 2021 Retrieved 26 September 2018 Lewis Angela 19 April 1996 Angela Lewis on pop The Independent Archived from the original on 3 November 2012 Considine J D 12 December 1997 Music so retro it s cutting edge The Milwaukee Journal Sentinel Archived from the original on 16 October 2007 Hoskyns Barry May 1996 The High Llamas Hawaii Stereolab Emperor Tomato Ketchup Mojo Emap Consumer Media Limited Archived from the original on 12 January 2021 Retrieved 27 May 2007 Simpson Dave 10 December 2001 Stereolab Manchester University The Guardian Archived from the original on 16 October 2007 Retrieved 11 June 2007 Jenkins Mark 25 April 2003 The Sea And Cake One Bed The Washington Post Archived from the original on 3 November 2012 a b Dale John 17 February 2016 The complete guide to Stereolab FACT Magazine Archived from the original on 12 January 2021 Retrieved 11 December 2018 Red Hot Rio Various Artists Songs Reviews Credits AllMusic Archived from the original on 12 January 2021 Retrieved 25 December 2017 Sherburne Philip Cavern of Anti Matter Void Beats Invocation Trex Pitchfork Archived from the original on 12 January 2021 Retrieved 11 December 2018 Erlewine Stephen Thomas Turn On Biography amp History AllMusic Archived from the original on 12 January 2021 Retrieved 11 December 2018 Unterberger Richie Biography The High Llamas AllMusic Retrieved 26 May 2007 Jenkins Mark 20 May 2005 Monade A Few Steps More The Washington Post Archived from the original on 3 November 2012 Couture Francois Schema Schema AllMusic Archived from the original on 12 January 2021 Retrieved 15 January 2018 Gidley Lisa 28 August 1999 Elektra Plugs Stereolab s Voltage Billboard Archived from the original on 12 January 2021 Retrieved 30 June 2018 via Google Books a b Stevens Andrew 2003 Stereolab Radio 1 Sessions 3 AM Magazine Archived from the original on 3 March 2016 Retrieved 26 May 2007 Discography Jenny Ondioline Stereolab Official Site Stereolab Archived from the original on 27 September 2007 Retrieved 26 May 2007 Book sources Edit Taylor Timothy 2001 Strange Sounds Music Technology and Culture 1st ed Routledge ISBN 978 0 415 93684 2 Chart data Edit Stereolab Chart History US Chart Data Billboard Retrieved 29 March 2018 STEREOLAB full Official Chart History UK Chart Data Official Charts Retrieved 29 March 2018 External links Edit Wikimedia Commons has media related to Stereolab Official website Stereolab at Curlie Stereolab discography at Discogs Retrieved from https en wikipedia org w index php title Stereolab amp oldid 1125304472, wikipedia, wiki, book, books, library,

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