Stereolab

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Stereolab
Stereolab performing in London (1994)
Stereolab performing in London (1994)
Background information
OriginLondon, England
Genres
Years active1990–2009
Labels
Members
Past members
  • Mary Hansen
  • Sean O'Hagan
  • Duncan Brown
  • Joseph Walters
  • Katharine Gifford
  • Morgane Lhote
  • Dominic Jeffery
  • Richard Harrison
  • Joe Dilworth
  • Martin Kean
  • Gina Morris
Websitestereolab.co.uk

Stereolab are an English-French avant-pop band formed in 1990 by songwriting team Tim Gane (guitar/keyboards) and Lætitia Sadier (vocals/keyboards/guitar), both of whom remained at the helm across many line-up changes. Other long-time members include Mary Hansen (backing vocals/keyboards/guitar), who joined in 1992 and remained in the line-up until her accidental death in 2002, and Andy Ramsay (drums), who joined in 1993 and is still in the official line-up. Sean O'Hagan of the High Llamas was a member from 1993 to 1994, and continued appearing on later records for occasional guest appearances.

Stereolab's music, which was termed as "post-rock",[1] incorporates a repetitive "motorik" beat with heavy use of vintage electronic keyboards and female vocals sung in English and French. Stereolab's primary musical influence was 1970s krautrock, which they combined with lounge, 1960s pop, and experimental pop music. Their lyrics incorporate socio-political themes which had been alleged of carrying a strong Marxist message,[2] while both Gane and Sadier cite the Surrealist and Situationist cultural and political movements as influences. Stereolab rejected labels such as "Marxist pop" with Gane stating that they do not cross the line into "sloganeering".

Although many of Stereolab's albums have been underground hits, they never found larger commercial success. Stereolab were released from their recording contract with Elektra Records reportedly due to poor record sales, when Elektra, an inprint of Warner Bros. Records folded; and their self-owned label, Duophonic Records, had signed a distribution deal with Too Pure. Duophonic hold the copyrights to Stereolab's recordings; and many of their limited-edition records had been released under the label. In 2009, Stereolab announced via their website that they were going on indefinite hiatus.

History

1990–1993: Formation

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 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.[5] 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) and ex-Chills bassist Martin Kean.[6] Stereolab's name was taken from a division of Vanguard Records demonstrating hi-fi effects.[7]

Gane and Sadier, along with future Stereolab manager Martin Pike, created a record label called Duophonic Super 45s which, along with later offshoot Duophonic Ultra High Frequency Disks, would become commonly known as "Duophonic".[8] 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".[9] Other independent bands such as Tortoise, Broadcast, and Labradford would also release material on Duophonic.

Stereolab released the EP, Super-Electric in September 1991, and a single, titled Stunning Debut Album, was released 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 ..."[10] Under the independent label Too Pure, Stereolab's first full-length album, Peng! was released on 26 May 1992, and a compilation of their earliest material Switched On, was released in October 1992. 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.[11] After a concert in the early 1990s, the band was introduced to Sean O'Hagan, who had recently formed the band the High Llamas. He recalled: "we got on very well. Their keyboard player left and they needed a quick replacement for a tour. I filled in but then was invited in on [their next] record. I was allowed to make suggestions and the fun started."[12]

"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".[13]
Problems playing this file? See media help.

Beginning with their EP Space Age Bachelor Pad Music, released on 22 March 1993, Stereolab incorporated easy-listening elements into their sound. The EP raised Stereolab's profile and landed them a major-label American record deal with Elektra Records, where they were signed by Elektra's VP of A&R Terry Tolkin, also responsible for signing Luna, The Afghan Whigs, and Charles Douglas. Stereolab's next album, Transient Random-Noise Bursts with Announcements, released on 24 August 1993, was their first American release under Elektra, and became an underground hit in both the US and the UK.[14] Mark Jenkins commented in The 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".[15] In the UK, the album was released on Duophonic Ultra High Frequency Disks, which is responsible for domestic releases of Stereolab's major albums.[8] Additionally, Crumb Duck, an EP which was a collaboration with Nurse With Wound, was released in October 1993.

1994–2001: Underground success

On 8 January 1994, Stereolab achieved their first chart entry when the EP Jenny Ondioline, released on 27 December 1993, 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 on 8 August 1994. Stereolab 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".[16] Mars Audiac Quintet makes heavy use of vintage electronic instruments, and also contains the single "Ping Pong", released on 18 July 1994. The single gained press coverage for its allegedly explicitly Marxist lyrics.[17] It was the last album to feature O'Hagan as a full-time member. He would continue to make guest appearances on later releases.[18] Stereolab released an EP titled Music for the Amorphous Body Study Center on 17 April 1995. The EP was their musical contribution to an interactive art exhibit put on in collaboration with New York City artist Charles Long.[19] Their second compilation of rarities titled, Refried Ectoplasm (Switched On, Vol. 2), was released in July 1995.

Stereolab performing with Mary Hansen and Lætitia Sadier in Central Park, New York City (1995)

Stereolab's fourth album, Emperor Tomato Ketchup, released on 18 March 1996, was a critical success and was played heavily on college radio.[14] A record that "captivated alternative rock", it represented Stereolab's "high-water mark" said music journalists Tom Moon and Joshua Klein, respectively.[20] The album incorporated their early krautrock sound with hip-hop influences and experimental instrumental arrangements.[21] Stephan Davet of French newspaper Le Monde claimed to see musical influences as diverse as The Velvet Underground, Burt Bacharach, and Françoise Hardy on Emperor Tomato Ketchup.[22] 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.[14] On the same year, Stereolab collaborated with Herbie Mann on the song "One Note Samba/Surfboard" for the AIDS-Benefit album, Red Hot + Rio, produced by the Red Hot Organization.[23]

Stereolab's fifth album, Dots and Loops, was released on 22 September 1997, and was Stereolab's first album to enter the Billboard 200 charts, peaking at number 111. Barney Hoskyns wrote in Rolling Stone that with the album, the group moved "ever further away from the one-chord Velvets drone-mesh of its early days" toward easy listening and Europop.[24] 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".[25] Contributors to the album included John McEntire, along with Sean O'Hagan of The High Llamas and Jan St. Werner of German electropop duo Mouse on Mars.[14] A second Nurse With Wound collaboration, Simple Headphone Mind, was released in 1997. Stereolab's third compilation of rarities, Aluminum Tunes, was released on 20 October 1998. Stereolab collaborated with French avant-garde singer and poet Brigitte Fontaine in the single "Calimero" on the same year.

Stereolab took a break from touring while Gane and Sadier had a child.[14] Their sixth album, Cobra and Phases Group Play Voltage in the Milky Night, was released on 21 September 1999, co-produced by McEntire and American producer Jim O'Rourke. The album received mixed reviews for its lighter sound, and peaked at number 154 on the Billboard 200.[26] 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."[27] In a 1999 The Washington Post article, 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."[28] Stereolab recruited a new bassist, Simon Johns, for their Cobra and Phases Group ... tour.[14] Stereolab's seventh album, Sound-Dust, was released on 28 August 2001, and rose to number 178 on the Billboard 200. The album also featured producers McEntire and O'Rourke. Although Sound-Dust received more positive reviews, like Cobra and Phases Group Play Voltage in the Milky Night, reviews were still mixed.[30] 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." Klein also commented that "never has it been harder to discern just what [Sadier] is singing, but rarely has her gibberish sounded so pleasant."[29]

2002–2008: Mary Hansen's death

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 8 October. On the same year, Gane and Sadier's romantic relationship ended.[31] As the year was coming to a close, tragedy struck.

On 9 December, Mary Hansen, a longstanding member of Stereolab was killed when hit by a truck while riding her bicycle.[32] Music journalist Pierre Perrone said that Hansen's "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 laid dormant as the members grieved. They eventually decided to continue. (Future album and concert reviews would mention the effects of Hansen's absence.)[33]

"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."[34]

Sadier in a 2004 interview

The EP Instant 0 in the Universe, released on 7 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".[35] On the same year, Sadier's side-project, Monade, released its debut album Socialisme Ou Barbarie: The Bedroom Recordings.[36] Stereolab's eighth album, Margerine Eclipse, was released on 27 January 2004 with generally positive reviews, and peaked at number 174 on the US Billboard 200.[38] 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."[31] Sadier continued, "Our dedication to her on the album [2004's Margerine Eclipse] 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."[31] 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."[39] Kelefa Sanneh commented in Rolling Stone that Margerine Eclipse was "full of familiar noises and aimless melodies".[40] Margerine Eclipse was Stereolab's last record to be released on American label Elektra Records, which shut down that same year.[41] Future material would be released on Too Pure, the same label which had released some of the band's earliest material.[42]

Stereolab performing in 2006

Oscillons from the Anti-Sun; a three-CD and one-DVD retrospective of the group's rarer material was released on 25 April 2005. Monade's second album, A Few Steps More, was also released in the same year.[43] In 2005 and 2006, Stereolab released six limited-edition singles which were anthologised in the compilation Fab Four Suture, released on 6 March 2006, and contained material which Mark Jenkins thought continued the brisker sound of the band's post-Hansen work.[44] Serene Velocity, a "best-of" compilation focusing on the band's Elektra years, was released on 29 August 2006. By June 2007, Stereolab's line-up comprised Tim Gane, Lætitia Sadier, Andy Ramsay, Simon Johns, Dominic Jeffrey, Joseph Watson, and Joseph Walters. The band had finished the production of their next album, entitled Chemical Chords, which was released on 24 June 2008 under the label 4AD. The release was followed by an autumn tour in Europe and the United States.[45]

2009–present: Indefinite hiatus

They toured Australia in February 2009 as part of the St Jerome's Laneway Festival. In April 2009, Stereolab's manager Martin Pike announced a pause in their activities for the time being. After 19 years, he said that it was time for them to take a rest and move on to new projects.[46]

On 16 November 2010, Not Music was released; a collection of unreleased material recorded at the same time as Chemical Chords.[47]

Lætitia Sadier in 2013

At a performance on 21 June 2013 at the All Tomorrow's Parties festival held at Pontins in Camber Sands, Cavern of Anti-Matter, a trio featuring former Stereolab members Tim Gane and Joe Dilworth, were joined onstage by Lætitia Sadier for a performance of "Blue Milk" from the album Cobra and Phases Group Play Voltage in the Milky Night, thus effecting a partial Stereolab reunion. The song is mentioned repeatedly in the festival programme as being highly influential on the work of festival curators Deerhunter, and band member Bradford Cox also joined the group onstage for this performance.

Musical style

Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing-song female vocals and pop melodies. It has been generally described as avant-pop,[48][49] indie pop,[14][50] art pop,[51] indie electronic,[52] indie rock,[53] post-rock[53] experimental rock,[50] and experimental pop.[54] Their records are heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust.[55] Tim Gane has supported the comparison: "Neu! did minimalism and drones, but in a very pop way."[2] Funk, jazz, and Brazilian music were additional inspirations,[56] and 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.[29] Regarding their later work such as Instant 0 in the Universe (2003) and Margerine Eclipse (2004), critics have compared the releases to their earlier guitar-driven style.[57] Stereolab's style also incorporates easy-listening music of the 1950s and '60s. Joshua Klein in The Washington Post said that, "Years before everyone else caught on, Stereolab was referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach."[29]

Lætitia Sadier playing a Moog synthesizer; Stereolab often use vintage Moog synthesizers.

Stereolab make use of vintage electronic keyboards and synthesizers from brands such as Farfisa and Vox and Moog. The 1994 album Mars Audiac Quintet prominently feature Moog synthesizers.[58] Gane has praised these older 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."[59]

"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 this file? See media help.

Lætitia Sadier's English and French vocals have been a part of Stereolab's music since the beginning;[14] Sadier would also occasionally sing wordlessly along with the music.[29] In reference to Sadier's laid-back delivery, Peter Shapiro wrote facetiously in The Wire that she "display[ed] all the emotional histrionics of Nico".[9] Sadier would often trade vocals with Mary Hansen back-and-forth in a sing-song manner that has been described as "eerie" and "hypnotic".[7] After Hansen's death in 2002, critic Jim Harrington commented that Hansen's absence is noticeable on live performances of Stereolab's older tracks, and that their newer songs could have benefited from her backing vocals.[60]

In interviews, Gane and Sadier have discussed their musical philosophy. Gane said that, "to be unique was more important than to be good."[61] 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."[9] The duo were up-front about their desire to grow their sound: for Gane, "otherwise it just sounds like what other people are doing,"[62] and for Sadier, "you trust that there is more and that it can be done more interesting."[63]

On stage

Stereolab toured regularly to support their album releases. In a 1996 The 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.[64] 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 Play Voltage in the Milky Night.[65] 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.[66] Stereolab's stage presence would be negatively received by critics, commenting that Sadier's vocal delivery was too subdued and that the band tended to play instead of perform its music.[67] 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."[28]

Lyrics and titles

Stereolab's music is politically and philosophically charged. Lætitia Sadier, who writes the group's lyrics, has reportedly been inspired by her anger towards the Iraq War.[68] The Surrealist and Situationist cultural and political movements were also influences, as noted by Sadier and Gane in a 1999 Salon.com interview.[61] Stewart Mason commented in an AllMusic review that the lyrics from the 1997 song "Miss Modular" "sound influenced by the Situationist theory of the 'spectacle'."[69]

"Basically, I want to change the world. I want to make people think about how they live every day, shake them a bit."[5]

Sadier in an interview with Melody Maker (1991)

Critics have seen Marxist allusions in the band's lyrics, and have gone so far as to call the band members themselves Marxist.[71] Music journalist Simon Reynolds commented that Sadier's lyrics tend to lean towards Marxist social commentary rather than "affairs of the heart".[2] "Ping Pong", a 1994 single included on the album Mars Audiac Quintet, has been noted for its alleged Marxist lyrics. 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 Simon Reynolds and Stewart Mason, respectively).[70]

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".[28] Sadier also said that she had read very little Marx.[61] In contrast, Cornelius Castoriadis, a radical political philosopher but strong critic of Marxism, has been cited as a marking influence in Sadier's thinking.[72][73] The name of her side project, "Monade" and its debut album title, "Socialisme ou Barbarie", are also references to the work of Castoriadis.[36]

Stereolab's album and song titles occasionally reference avant-garde political groups and artists. Gane said that the title of their 1999 album, "Cobra and Phases Group Play Voltage in the Milky Night" contains the names of two Surrealist organisations, "CoBrA" and "Phases Group".[61], "Brakhage", the title of the first song on the 1997 album Dots and Loops, is a nod to experimental filmmaker Stan Brakhage.[61] Other examples are the 1992 compilation Switched On, named after Wendy Carlos' 1968 album Switched on Bach, and the 1992 single "John Cage Bubblegum", named after experimental composer John Cage.[74]

Legacy

Stereolab have been called one of the most, "influential", and "fiercely independent and original groups of the Nineties," by critics Stephen Thomas Erlewine and Pierre Perrone respectively; [14][7] as well as one of "the decade's most innovative British bands." by Mark Jenkins.[75] 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."[2] 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."[9] Stereolab 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.[1] The band's 1996 album Emperor Tomato Ketchup, their "high-water mark" according to critic Joshua Klein,[29] was a critical success and underground hit.[14] Stereolab 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."[76] In The 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."[77] Lætitia Sadier's vocals were cited by author Stuart Shea as often being "indecipherable."[78]

Lætitia Sadier with her side project Monade in 2008

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.[19] 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.[79] In the 1990s Stereolab and veteran industrial band Nurse With Wound released two limited-edition records together; both contained Nurse With Wound remixes of original tracks provided by Stereolab.

Sean O'Hagan with the High Llamas in 2008

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.[80] Indie rock band Pavement (who also toured with Stereolab) acknowledged the group's sound on their song "Half A Canyon."[81] Stereolab alumni have also founded bands of their own. Guitarist Sean O'Hagan formed The High Llamas, while keyboardist Katharine Gifford formed Snowpony with former My Bloody Valentine bassist Debbie Googe.[82] Sadier has released three albums with her four-piece side-project Monade, whose sound Mark Jenkins called a "little more Parisian" than Stereolab's.[83] Australian band Turnstyle sampled "OLV 26" from Emperor Tomato Ketchup on their debut album and going as far as using Andy Ramsay to mix and master their reunion album "Time equals Function".

Despite receiving critical acclaim and a sizeable fanbase, commercial success eluded the group.[84] 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.[85] 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.[41] Since then, Stereolab's self-owned label Duophonic has inked a worldwide distribution deal with independent label Too Pure.[42] Through Duophonic, the band both licenses their music and releases it directly (depending on geographic market). According to Tim Gane, "... 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."[8]

Artists covering Stereolab's songs have included Iron & Wine ("Peng! 33"), Editors ("French Disko"), The Raveonettes ("French Disko"), and The Flowers of Hell ("Super-Electric")[86]

Selected discography

Main article: Stereolab discography

Stereolab released 13 studio albums, 15 EPs, and 16 singles over their career. They made it a practice to make almost all of their more obscure material widely available by anthologising non-LP tracks as compilation albums.[87]

Studio albums

Compilation albums

As of August 1999, US album sales stand at 300,000 copies sold.[88]

Notes

  1. ^ a b Lewis (1996)
  2. ^ a b c d Reynolds (1996)
  3. ^ Sutton (AMG: McCarthy)
  4. ^ She is sometimes known as "Seaya Sadier"; see Arundel (1991).
  5. ^ a b Arundel (1991)
  6. ^ Erlewine (AMG: Stereolab); Sutton (AMG: McCarthy)
  7. ^ a b c d Perrone (2002)
  8. ^ a b c H2O (Chunklet: Tim Gane)
  9. ^ a b c d Shapiro (1996)
  10. ^ Ankeny (AMG: Super Electric)
  11. ^ DeRogatis (1993); Erlewine (AMG: Stereolab); Perrone (2002)
  12. ^ 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.
  13. ^ Phares (AMG: Transient Random-Noise ...)
  14. ^ a b c d e f g h i j Erlewine (AMG: Stereolab)
  15. ^ Jenkins (1993)
  16. ^ Phares (AMG: Mars Audiac Quintet)
  17. ^ DeRogatis (1994); Mason (AMG: Ping Pong); Reynolds (1996)
  18. ^ McClintock, J. Scott. "Sean O'Hagan". AllMusic.
  19. ^ a b Reynolds (1995)
  20. ^ Klein (2001); Moon (2004)
  21. ^ Erlewine (AMG: Emperor Tomato Ketchup)
  22. ^ Davet (1996)
  23. ^ "Red Hot + Rio – Various Artists – Songs, Reviews, Credits". AllMusic. Retrieved 25 December 2017.
  24. ^ Hoskyns (1997)
  25. ^ "Review (Dots and Loops)". Die Zeit. 4 April 1997.
  26. ^ Erlewine (AMG: Cobra and Phases Group ...); Hoskyns (1999)
  27. ^ "Cobra And Phases Group Play Voltage in the Milky Night". NME. Archived from the original on 16 October 2007. Retrieved 11 June 2007. {{cite web}}: Unknown parameter |deadurl= ignored (|url-status= suggested) (help)
  28. ^ a b c Jenkins (5 November 1999)
  29. ^ a b c d e f Klein (2001)
  30. ^ Klein (2001); Walters (2001)
  31. ^ a b c McNair (2004)
  32. ^ McNair (2004); Saraceno (2002)
  33. ^ DeRogatis (2003); Harrington (2004); Wagner (2004)
  34. ^ Laban (2004)
  35. ^ DeRogatis (2003)
  36. ^ a b Fritch (2004); Phares (AMG: Monade)
  37. ^ Phares (AMG: Margerine Eclipse)
  38. ^ "Margerine Eclipse". Metacritic. Retrieved 6 June 2007.
  39. ^ Woodcraft (2004)
  40. ^ Sanneh (2004)
  41. ^ a b Eliscu (2004)
  42. ^ a b "Monade". Official Website. Beggars Group, USA. Archived from the original on 2 February 2007. Retrieved 26 May 2007.
  43. ^ Phares (AMG: Monade)
  44. ^ Jenkins (2006)
  45. ^ "Official Stereolab MySpace Page". MySpace Music. MySpace.com. Retrieved 2 June 2007.[non-primary source needed]
  46. ^ Pitchfork: Stereolab Go on Hiatus 2 April 2009
  47. ^ "Stereolab: Not Music Album Review". Pitchfork. Retrieved 25 December 2017.
  48. ^ Couture, François (2001). "Sucre 3". AllMusic.
  49. ^ Maloney, Sean L. (28 January 2016). "Album review: Your Friend, 'Gumption'". Boston Globe.
  50. ^ a b "Obituaries". Billboard. 114 (51): 54. 21 December 2002.
  51. ^ Adams, Gregory (18 September 2012). "Stereolab Reveal Vinyl Reissues of 'Emperor Tomato Ketchup' and 'Dots and Loops'". Exclaim!. Retrieved 28 February 2016.
  52. ^ "Indie Electronic – Significant Albums, Artists and Songs". AllMusic.
  53. ^ a b "Post-Rock". AllMusic. Retrieved 28 February 2016.
  54. ^ Cole, Matthew. "Album Review: Stereolab – Not Music". Slate. Retrieved 12 July 2016.
  55. ^ Klein (2001); Shapiro (1996)
  56. ^ Jenkins (5 November 1999); McNair (2004)
  57. ^ DeRogatis (2003); Wagner (2004)
  58. ^ DeRogatis (1994); Shapiro (1996)
  59. ^ Taylor (2001), p.110
  60. ^ Harrington (2004)
  61. ^ a b c d e Stark (1999)
  62. ^ Hoskyns (1999)
  63. ^ Fritch (2004)
  64. ^ Jenkins (1996)
  65. ^ Jenkins (13 November 1999)
  66. ^ Bream (1996)
  67. ^ Harrington (2004); Musgrove (2000)
  68. ^ Reynolds (1996); Stanley (2003)
  69. ^ Mason (AMG: Miss Modular)
  70. ^ a b Mason (AMG: Ping Pong); Reynolds (1996)
  71. ^ Fritch (2004); Jenkins (1999); Reynolds (1996); Shapiro (1996)
  72. ^ "Stereolab – Lataetia and Tim". Vanguard-online.co.uk. Retrieved 25 December 2017.
  73. ^ "High Five with Laetitia Sadier (Stereolab) – Reviler". Reviler.org. 16 September 2010. Retrieved 25 December 2017. {{cite web}}: Italic or bold markup not allowed in: |website= (help)
  74. ^ Morris (1997)
  75. ^ Jenkins (1998)
  76. ^ Hoskyns (1996)
  77. ^ Simpson (2001)
  78. ^ Shea (2002), pp.53,54
  79. ^ Jenkins (2003)
  80. ^ Considine (1997)
  81. ^ See:
    • Erlewine (AMG: Wowee Zowee) Australian band Turnstyle sampled "OLV 26" from Emperor Tomato Ketchup on their debut album and going as far as using Andy Ramsay to mix and master their album "Time Equals Function".
    • "Discography (French Disko)". Stereolab Official Site. Stereolab. Retrieved 26 May 2007.
  82. ^ Jenkins (1998); Unterberger (The High Llamas)
  83. ^ Jenkins (2005)
  84. ^ Eliscu (2004), Stevens (2003)
  85. ^ See:
  86. ^ Adams, Gregory (7 September 2012). "Flowers of Hell Reveal Odes Details". Exclaim!. Retrieved 9 September 2012.
  87. ^ Phares (AMG: Fab Four Suture)
  88. ^ Inc, Nielsen Business Media (28 August 1999). "ACTUAL ARTICLE TITLE BELONGS HERE!". Billboard. Retrieved 25 December 2017 – via Google Books. {{cite web}}: |last= has generic name (help)

References

Discographies
Chart data
Articles and reviews

External links

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