Stereolab

After a hiatus of two years, a virtual ice age in Stereolab’s chronology, the band is set to release a new CD. The new disc was recorded in Winter 98/99 in Brixton, London, and is splendidly titled “Cobra and Phases Group Play Voltage In the Milky Night.”

All 15 songs were written by founding members Tim Gane and Laetitia Sadier, while recording and mixing is shared between the group and John McEntire (who also co-produced Stereolab’s two previous efforts) and, for the first time, Jim O’Rourke. O’Rourke has worked with a dizzying array of people including Faust, Sonic Youth, Oval and Plush and this year released his own mesmerizing solo outing “Eureka.” His string arrangements on this record are quite breathtaking.

Guest musicians on “Cobra and Phases…” are new bass player Simon Johns, Stereolab regular multi-keyboardist and High Llama, Sean O’Hagan, who also undertook brass arrangements, McEntire and O’Rourke, in addition to, Dominic Murcott (vibes and marimbas) and cornet player Rob Mazurek of the Chicago Underground Trio and Isotope 217. Mention should also be made of Kevin Hopper , once of the uncompromisingly original Stump, who contributes musical saw to the proceedings.

“Cobra and Phases…” may well be Stereolab’s most fully fledged record to date. While adhering to the subtler moods of “Dots and Loops,” this time around they address their own history to a far greater extent. The blend of Stereolab’s more mellow side and that trademark experimental side has produced their most consummate sound yet. In short, Stereolab have gone back to their own basics as a means to move forward once again.

After a series of changes and adaptations in personnel over the years, by the middle of the decade Stereolab settled into a stable line up of Tim Gane, Laetitia Sadier, Mary Hansen, Morgane Lhote, Andrew Ramsay and Duncan Brown. This was the Stereolab that recorded the acclaimed 1996’s “Emperor Tomato Ketchup,” although soon after, Richard Harrison took over as bassist from Brown. The current recordings and live shows feature a new bassist in Simon Johns.

“Emperor Tomato Ketchup” was a breakthrough in as much as it brought the group their widest recognition thus far. This was as much due to the growing acceptance of Stereolab as to the more colorful, funkier aspect of the music. The trend continued with “Dots and Loops,” released in September 1997.

Founded by Tim Gane and Laetitia Sadier in 1991, Stereolab have consistently fulfilled and confounded people’s expectations. While the critics have mused and abused, from the outset the band has attracted one of the most loyal audiences around through an instant positive reaction to the mixture of glamorous and musical determination that is the group’s chosen ground. The band has also always pursued a ferocious touring pattern alongside that dizzying series of releases. Through it all, Stereolab has built a remarkable fan base throughout Europe, Japan and in America. Signed to Elektra in 1993, the band has never compromised or fallen prey to the ‘major label syndrome.’

“Emperor Tomato Ketchup” saw the process of recognition and acceptance expand even further. Their ensemble efforts on the CD were augmented with arrangements by High Llama Sean O’Hagan (once a full member of the group and a regular contributor since 1992). This time around Stereolab also re-located to Chicago to complete the record under the auspices of Tortoise’s John McEntire. This resulted in a record whose layered sounds and moods swung from string soaked arrangements to out and out funky grooves and futuristic jazz.

“Dots and Loops” was equally addictive and this time with an equal emphasis on exotic brass as luscious strings. It, too, was part recorded in Chicago with John McEntire but also, this time, part recorded in Dusseldorf with Mouse On Mars Andi Toma and Jan St. Werner. The end result was Stereolab at their subtle genre-bending best, it was also easily their most widely accessible. The influence of mood music and muzak, sixties French pop and warm mellow jazz much more to the fore than in the past, highlighted by the chantcuse like singing of Sadier and Australian born co-singer Mary Hansen. “Dots and Loops” was testament, once again, to their empathy as musicians, writers, and true visionary artists.