1 post tagged “lists”
Forgive the dangerously high levels of scene in this post, but sometimes, a little Stereolab hits the spot like a fresh vanilla latte at your local indie coffee shop. And, while the quality of the band varies from album to album, they still always manage to be charmingly introverted, well-layered, and cohesive.
Their albums, by the way, are all pretty amazing, but their strongest offerings are, IMHO, Sound-Dust, Emperor Tomato Ketchup, and (don't pelt me with rocks here) Margerine Eclipse.
So here's a list of twenty songs, in no particular order, that you should be able to enjoy whether you're a longtime fan of the band or have never heard of them, spanning their discography. Put them together and they're sure to make a good mix tape. ;)
20. Visionary Road Maps (Fab Four Suture - 2006)
Fab Four Suture was in many ways a disappointing album - there wasn't anything WRONG with it, per se, but there wasn't a lot that was memorable, either. It was generally an exhibition of cool ideas more akin to a jam band but without too many memorable hooks - a pleasant listen, but not on par with their previous offerings. But Visionary Road Maps stands out and gives you the vocal layers and plain old rock you crave.
19. Brakhage (Dots and Loops - 1997)
The opener to Dots and Loops is a charming Zen round about needing too many things in our lives. The vocal counterpoint between Laeticia Sadier and Mary Hansen (prior to the poor woman's death by bus) is one of early Stereolab's most charming features, and blends charmingly here with vibraphone loops, guitar, synths, and a really really good groove.
18. K-Stars (Peng - 1992)
This subdued little number about alienated, lazy Parisian twentysomethings not only resonates with an alienated, lazy, Angeleno twentysomething like myself, but also happens to be a gorgeous synth-and-organ-heavy number that draws you into its depths as you listen. This simple song is as evocative of traditional chansons as it is hypnotic and beautiful.
17. Pack Yr Romantic Mind (Transient Random Noise-Bursts With Announcements - 1993)
Ignoring that both the title, and at least one song, of this album references those extremely creepy numbers stations, the second track on Transient Random Noise-Bursts With Announcements is a repeating chorus with your typical assortment of vocal layers, weird synths, and subdued yet powerful lyrics. Again, this song is kind of a one-off jam, but with the right subtle beauty.
16. French Disko (Refried Ectoplasm - Switched On, Vol. 2 - 1995)
Just in case you suspect that this rock band can't rock, enter French Disko, which hits you like a train. Still a simple vamp on a single chord figure with a repeating chorus, it's a well-harmonized, simple, and splendid number. Actually, perhaps it's outdone by its simplicity - occasionally Stereolab likes to shed its skin and get back down to the simple rock of it all.
15. Italian Shoes Continuum (Cobra and Phases Group Play Voltage in the Milky Night - 1999)
Cobra and Phases Group Play Voltage in the Milky Night was totally panned by Pitchfork Media, which is perhaps why I think it's such a good album. This entire song floats along on dreamy harmonies, sweeping vocal effects, lush horns, and quirky samples, and that's why I love it. Oh, also, halfway through it falls apart and becomes this totally weird, oversampled upbeat number. This is typical of Stereolab Songwriting Method #2, which is to write two songs and string them together loosely.
14. Ping Pong (Mars Audiac Quintet - 1994)
While Mars Audiac Quintet isn't a particularly memorable Stereolab album for me, Ping Pong stands out as a sweet and plain-ol' rock number with a nice vocal breakdown. It's just good. I can't really say anything else about it. Also the lyrics seem violently leftist, just for fun.
13. The Man With 100 Cells (Margerine Eclipse - 2004)
This strange waltz/shanty swims around you in organs and synthesizers, using overdub to accomplish what they once would've used Mary Hansen for. The feel of it is dark and tumultuous, and the nautical storm metaphor doesn't help matters. When the storm kicks in, you really feel it.
12. You Little Shits (Peng! - 1992)
This 7/4 repeat plays a bit like a meditative mantra, with metaphysical lyrics and Indian-scale sitar-emulating guitar solos. It's kinda funny; when you need to close your eyes and breathe, you don't usually expect to do so to a song called "You Little Shits."
11. Puncture in the Radak Pernutation (Cobra and Phases Group Play Voltage in the Milky Night - 1999)
This song is one of Stereolab's swirliest, with horns, vibraphone, marimba, and ba-ba-de-doos in the vocals surrounding you at all times. Mary Hansen's lead vocals give the song a more mystic feel through the chant portion before Laeticia Sadier takes control in in the upbat 6/8 part, taking a more commanding and chaotic tone. Did I mention there's a vocoder and a marimba?
10. Cybele's Reverie (Emperor Tomato Ketchup - 1996)
The most straightforward Stereolab possibly in ever, this chanson-like rock ballad is evocative of the 60s jet-set era, with its charming French lyrics, strings, and thick jazz harmonies. Of course, the breakdown is a little more spacy, synthy, and Stereolabby, but it goes back to the A section like a pro. It reminds me a little of Pizzicato Five's Romantique '96 - a France-themed, string-heavy album that came out that same year.
9. Infinity Girl (Cobra and Phases Group Play Voltage in the Milky Night - 1999)
This song is downright funky, with a sweet bassline and nice, swimming vibraphone harmonization. Like all Stereolab songs, it relies heavily on a blend of sound-patterns and loops, and does it splendidly.
8. Lo Boob Oscillator (Switched On - Refried Ectoplasm, Vol. 2 - 1995)
This is the Stereolab song that was in Hi Fidelity, in case you remember that scene. This mellow, jaunt is classic Stereolab - same chord repetition, French lyrics, ample exploitation of Laeticia Sadier's low range, choral harmonies, bleepy little accent, and a good fundamental base.
7. Motoroller Scalatron (Emperor Tomato Ketchup - 1996)
I love this song. It reads like a socialist 7/4 chant with amazing rhythms, splendid vocal harmonies and a buzzy synth for good measure. The lyrics are easy to get around and the background vocals are great. "What's society built on? / It's built on bluff / What's society built on? / It's built on words" may not seem all that profound, but it's transformed rhythmically so as to be splendid.
6. The Free Design (Cobra and Phases Group Play Voltage in the Milky Night - 1999)
This upbeat and schizoid waltz is a splendidly positive experience. Immersive horns, soaring vocals, vibes, weird percussion, organs, topped off with a weird jazz flute. The blending of vocal and horn sampling before boogieing down with some real brass is the instrumental climax of the song.
5. "Sudden Stars..." (Margerine Eclipse - 2004)
Margerine Eclipse (and for the record, they do spell it that way) was perhaps Stereolab's greatest test - could they release an album without Mary Hansen? The second vocalist's death was not only traumatic to them, but challenged their sound, especially as far as their vocal counterpoint and overlays were concerned. Many fans wondered if they'd ever be the same. When the album came out, it easily assuaged those fears, and the vocal treatment is very evident in this song: Enter the overdub. This song swims around you and draws you in before rocking just enough. A dreamy but upbeat number, it's carried heavily by the ambient guitar and overdubbed vocals of Sadier. The hole in music's heart left by Mary Hansen's death can still be felt, but the album and the song alike are splendidly crafted.
4. The Noise of Carpet (Emperor Tomato Ketchup - 1996)
One of Stereolab's best - and most famous - songs, The Noise of Carpet gets back to the rock and is as edgy and confrontational as five passive-aggressive French introverts can possibly be. The lyrics convey the feeling of being in someone's corner, even when you're fed up with them. This song is totally guilty of the Stereolab One-Chord Method of Songwriting, by the way, and vamps out on the same chord for about twelve years. It's a strong testament to how well it's done that that doesn't even bother me.
3. Baby Lulu (Sound-Dust - 2001)
It hasn't been adequately represented in this list of 15 years of Stereolab, so you probably wouldn't guess that Sound-Dust is my favorite Stereolab album, not to mention one of my favorite albums of all time. And, as such, this is one of my favorite songs. Everything about it is exceptional - the horns, marimba, organ, and creepy reverse cymbals, not to mention the ambient percussion and vocals in the introduction, all giving way to an amazing triple-compound section that carries you. And, then, harp samples, horns, and mystic vocals, of course. However, it's the trombones that make this song as amazing as it is.
2. Vonal Declosion (Margerine Eclipse - 2004)
This song is so good, I can forgive them for cannibalizing the drum intro to another one of their songs to start it off. As the first song on Margerine Eclipse, Vonal Declosion was essentially tasked with the burden of proof vis-a-vis Stereolab's ability to continue rocking after suffering a terrible loss. It delivered, and sent an impression to last the album. Although this has every complicated layer, sweet synth, overlaid vocal, and charming guitar you'd expect from a Stereolab song, it is just so friggin' rad. The lead/synth combo, not to mention the airy string synth in the bridge, compliment Sadier's vocals splendidly. In fact, the only downside to this song is that it fades out rather abruptly, when you're anything but ready to let it go.
1. Captain Easychord (Sound-Dust - 2001)
Although I should stress that this list is in no way a ranking, all the same, here it is: the best Stereolab song ever.
Words can't do it justice, so here is my review:
Hopefully you'll seek out these and other songs and give the band a listen if you haven't before. Or make a mix tape comprised of these songs.
BONUS MENTION: Jenny Ondioline (Transient Random Noise Bursts With Announcements - 1993)
If you listen to a lot of early Stereolab, one question you might have is "how long can they keep playing the same chord?" Answer: Eighteen minutes and eight seconds. It may be too big to fit on most mix CDs (although it is perfect if the theme of your mix tape is "eighteen-minute-long songs by pretentious French-British bands," in which case I would like a copy of your mix), and it's a very simple rock song with another very simple rock song ("Exploding Head Movie" from Refried Ectoplasm, incidentally) fading in. So it's kind of like a medley, but it's weird, because it is and it isn't, you know?
-Tommy
