French Lyrics & Experimentation Lead To Musical Innovation. Stereolab.
Written: Apr 22 '02 (Updated Apr 22 '02)
Product Rating:
Pros: Brilliant musical construction. Noise of Carpet & Motoroller Scalatron.
Cons: Very strange and very new...not for all ears.
The Bottom Line: Stereolab is brilliant. With no fear of experimentation , Emperor Tomato Ketchup could have been a trite failure. Instead it helped pave the way for artists everywhere.
lambchops's Full Review: Emperor Tomato Ketchup by Stereolab
Accepted critically as one of the most important bands of the 1990’s, it strikes me as strange that I hadn’t been exposed to Stereolab until recently.
Since the band’s formation in London in 1991, they have created multi-layered music with strong leaning toward art-rock and Krautrock. Stereolab also managed to bring somewhat forgotten areas of music into the limelight, thus allowing similar bands that followed a means by which to be better accepted.
Debuting with 1992’s Peng!, Stereolab (led by founder and guitarist Tim Gane and French vocalist Laetitia Sadier) introduced the world to a sound that would become one of the most musically distinctive of the decade. Relying heavily on a moog synthesizer, brooding sounds, and dreamy yet melancholic lyrics. The early sound was more pop than later releases, but it still proved a good primer.
1993 marked the band’s major label debut on Elektra with Transient Random-Noise Bursts With Announcements. Markedly ‘Krautrock,’ the album and song contained showed no tendency toward selling out. As an extension of their debut, the album witnessed an evolution of Stereolab. This same year, the band released another independent album…Groop Played Space Age Bachelor Pad Music.
Stereolab returned to their strange pop formula with Mars Audiac Quintet. In calling the band pop, it must be stated that the melodies are sensual pop although the band’s overall sound is eccentric and inviting.
It was with 1996’s Emperor Tomato Ketchup that the band was at their highest career point. Surreal, with deep layers, Stereolab shines on this release named one of the essential albums of the 1990’s by Spin Magazine. The thing that is most isolating about the album is Sadier’s vocals sung almost totally in French. At times and English word or two slips in but unless you understand Francais, it seems that much of the lyrics are gibberish. Gibberish, yes, but the album is emotional and intelligent. If you consider her voice as an instrument Emperor Tomato Ketchup is rewarding and accessible.
On the surface, Stereolab’s songs sound as though there is very little going on. A single chord generally with sing-song lyrics. But, on tracks like Les Yper-Sound it’s extraordinarily important to listen even closer. There are a variety of musical layers not just those initially apparent on the surface. The peculiar track is representative of the band’s musical style in that there are multiple, and often counter, melodies. The drum machines, synthesizer, and Sadier’s at times uncomfortable vocals make the song.
The easiest songs to introduce new listeners to the band are certainly Cybele’s Reverie and The Noise of Carpet. Both are brilliant experiments in layered influences and pop, yet I find myself more drawn to the latter of the two. Stereolab infuses rock guitars with dub and an exceptionally catchy melody. At first listen, the track is simple and repetitive. But, as I’ve already said the band is known for their counter melodies. This song is no exception. Listen closely, there’s more than meets the virgin ear here.
There isn’t any need to go through each song individually. Each is experimental and each leans at times toward a bit of hip hop while still remaining effectively strange…very much unlike anything else I’ve ever heard. The layers are what prove remarkable. Each time I hear a song I find something else new and different out about it. Other important and aurally appealing tracks are Metronomic Underground, Motoroller Scalatron, and Tomorrow Is Already Here. Stereolab seems to be having a great deal of fun, but aside from their personal enjoyment the varied layers and obvious musical ability make this an important album and very much worthy of the critical acclaim awarded the band.
From what I’ve read, Stereolab owes much to 1970’s German duo Neu!. I’ve never heard the band, so I can’t honestly comment on the relationship. What I can talk about is that Stereolab assembles their songs carefully and artistically. This tendency is what has best allowed the sounds they create to open musical doors previously sealed by years (if not decades) of sound-alike-music. There are scads of followers, yet Stereolab reminds my unacquainted ears most of a more challenging Morcheeba. Since the overwhelmingly good reception of Emperor Tomato Ketchup, the band has released three more albums: Dots and Loops, Cobra and Phases Group Play Voltage in the Milky Night, and Sound-Dust. Each proved at times meritorious although Cobra… wasn’t as brilliant as critics were accustomed.
My main suggestion would be to listen to either Cybele’s Reverie or The Noise of Carpet. These are the easiest introductions to Stereolab’s overall experimental (though luminous) appeal. Emperor Tomato Ketchup is an easy 5/5 stars. Although I do offer this warning…you’ve never heard anything like this before. Their ability to risk and to experiment is surely what landed them on that Spin list and a similar Rolling Stone grouping. Your ability as open-minded listener is what really seals the deal. Check out Stereolab if you think you can.
Track Listing:
1. Metronomic Underground
2. Cybele’s Reverie
3. Percolator
4. Les Yper-Sound
5. Spark Plug
6. Olv 26
7. The Noise of Carpet
8. Tomorrow Is Already Here
9. Emperor Tomato Ketchup
10. Monstre Sacre
11. Motoroller Scalatron
12. Slow Fast Hazel
13. Anonymous Collective
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