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Stereolab  

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Stereolab hit a sweet overlap between sugary pop and adventurous experimentalism, rooted in tranced-out psychedelic drone that was both wonderfully modern and bathed in stylistic trends and instrumental sounds of the sixties and seventies. Early shows were based on their touchstone sound: a pulsing simple beat, guitar chug, and bubbling vintage analog synthesizers which can feel very kindred to recordings of the "Krautrock/Motorik" style pioneered in Germany by acts like Neu! and early Kraftwerk, or any garage band which had discovered that playing one riff or even just one note repetitively and toying with texture and dynamics makes for a very different sort of musical journey.

Except on this one there is a French woman singing pop melodies and harmonies. Overlaying Tim Gane's guitar chug-a-lug with the exquisite voices of Laetitia Sadier and Mary Hansen made for an infectious brand of pop-retro-futurism that, just like Krautrock, later evolved into an electronica-flavored style of gadget-oriented sound as modern technology began allowing for more innovative sounds. Sometimes associated with more retro lounge, tropicalia, and psychedelic genres, Stereolab often references its influences quite directly but always has its own identifiable voice and is ultimately predominantly remembered and filed as an indie rock band, and live shows were always clearly just that: rock.

Collaborations with Sean O'Hagan resulted in many gorgeous lushly orchestrated records (unfortunately seen less often in their live performances), Mouse on Mars gave them a playful electronic club sound, and influential producers John McEntire and Jim O'Rourke always made their records impeccable sonic adventures. Live, the rock foundation of their catalog always leapt out and kept audiences moving. There is a reason collectors obsess over each recording this band released, as though each song is often stylistically similar to a lot of other releases in their catalog, the pop sensibility makes every melody a delectable piece of candy, and you want to gorge on more.

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Only brilliant memories from Stereolab concerts. Like when German Krautrockers FAUST opened for them, and weren't too shy to set off a smoke grenade at the end of their gig. Everybody chokingly left the venue, only to return later for an awesome Stereolab gig.

When they opened for Sonic Youth, seemingly c*r*u*s*h*i*n*g the headliner in an exhilarating 50 minutes (SY still managed to top this off, though).

First fell for them at the 2nd stage of Lollapalooza '94, their drone sound is unsurpassed and their shows are rocking hard.

Perfect concert! I even had an autograph from Laetitia after!! The house was crowded and it was a very nice atmosphere! I went back 18 years ago, when I attended their concert in Cine Iris, Rio de Janeiro/Brasil. I just have missed my favorite song, Free Design, because they already performed the night before!

An amazing show. I have wanted to see Stereolab for so long and after all that waiting I'm happy you to say that they did not disappoint me in the least. I would happily see them again!! If you have the chance to see them DO IT!! You will not be disappointed!!

They still got it! Amazing show. Great energy from the band which in turn energized the crowd. Spanned the years with a fantastic setlist. Would go see them again in a heartbeat.

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One of the most distinctive alternative bands to emerge in the 90s, Stereolab either celebrated forms of music that were on the fringe of rock, or more...

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• November 14, 2021 Setlist

Stereolab Setlist at Roundhouse, London, England

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• Brakhage Play Video
• Ping Pong Play Video
• Infinity Girl Play Video
• Metronomic Underground Play Video
• Need to Be Play Video
• Miss Modular Play Video
• French Disko Play Video
• Rainbo Conversation Play Video
• Percolator Play Video
• Super-Electric Play Video
• Lo Boob Oscillator Play Video
• Fluorescences Play Video
• John Cage Bubblegum Play Video

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5 activities (last edit by HyperbolicMan , 7 Dec 2021, 00:12 Etc/UTC )

Songs on Albums

• Miss Modular
• Rainbo Conversation
• Metronomic Underground
• French Disko
• John Cage Bubblegum
• Infinity Girl
• Fluorescences
• Super-Electric
• Lo Boob Oscillator

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Pitchfork Music Festival London 2021 setlists

Stereolab Gig Timeline

• Sep 03 2021 Trades Club Hebden Bridge, England Add time Add time
• Sep 04 2021 Manchester Psych Fest 2021 Manchester, England Add time Add time
• Nov 14 2021 Pitchfork Music Festival London 2021 This Setlist London, England Add time Add time
• Sep 06 2022 Marathon Music Works Nashville, TN, USA Start time: 9:20 PM 9:20 PM
• Sep 07 2022 The Eastern Atlanta, GA, USA Add time Add time

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Tour Update

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Please note the above timings relate to doors (opening and closing times). Performance times may vary.

This year, Stereolab will play a series of UK and European dates across October, November and December. The run of shows will end in London on Dec 3rd with a takeover of both stages at EartH. Stereolab will be performing live alongside four other acts – to be announced soon. They will be playing across the concert hall and theatre, followed by the UltraDisco, with Tim, Laetitia and Martin playing disks in the main room until 3am.

All attendees of the UltraDisco will also receive a Duophonic Super 45s gift.

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Here’s every song on the ‘One Day’ soundtrack

Stereolab announce 2022 uk and eu tour dates, stereolab’s lætitia sadier returns with a new song, ‘new moon’, pitchfork music festival heading to london for five-day event this november, hot chip, sleaford mods and stereolab to headline end of the road festival 2021, stereolab share rare song ‘household names’ ahead of ‘electrically possessed’ compilation, listen to early take of stereolab classic as influential legends announce tour and major reissues, album review: stereolab – not music (duophonic uhf disks), stereolab announce new album title, tracklisting and release date, stereolab go on hiatus.

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Stereolab, Britain’s Clever Post-Rock Innovators, Want to Capture Ears Again

By Craig McLean

• May 10, 2019

LONDON — On a bright spring afternoon, Stereolab ’s Tim Gane stood on a quiet back street south of the River Thames, gazing quizzically at a church that once held Blackwing Studios, the storied recording complex inside a deconsecrated 19th-century house of worship. The early British electronic artists Depeche Mode and Yazoo made records there, in what Gane described as a “small, dark, somber” space, before he and his bandmate and writing partner Laetitia Sadier brought their group to Blackwing nearly three decades ago to record its second album, “Transient Random-Noise Bursts With Announcements.”

That 1993 record — a blend of Krautrock, Muzak, electronic experimentation and pop melodies, with Sadier singing about consciousness and politics in a mix of English and French — would cement Stereolab as innovators relentlessly pushing the boundaries of rock. And what kind of atmosphere did the cloistered studio bring to the mix? “Well, it was a bit gloomy,” Gane said brightly.

A dose of cheekiness was always central to Stereolab’s mission, and “Transient Random-Noise Bursts With Announcements” kick-started its ascent as the band that perhaps best embodied the D.I.Y., artful, anti-mainstream British music scene of the early ’90s. Its combination of Minimalism, pre-70s easy listening and cutting-edge studio techniques was simultaneously nostalgic and forward-looking, making the band sound both out-of-time and timeless.

But after a 19-year run that endured the death of the multi-instrumentalist and singer Mary Hansen and the end of its core duo’s romantic relationship, the group went on hiatus in 2009. This month, its nearly decade-long slumber came to an end.

“All along, I’ve seen that people were just waiting for us to come back,” Sadier said over ale and salt-and-vinegar chips at a nearby pub. “And I feel really joyful that we can give it again to people, one more time. But it’s a shared enjoyment. I love this music and I’m so keen to be singing it and performing it again.”

The reunion was stoked by the efforts of the pioneering U.K. electronic label Warp, which bought the rights to the LPs Stereolab released on the major label Elektra in the United States. Warp then began discussions with the band and its longtime manager, Martin Pike, about making the albums freshly available in physical formats — only appropriate for a band that the writer Simon Reynolds called “the ultimate record collection rockers,” whose endless list of influences and interests shifted from album to album, even moment to moment.

Seven albums — including the heralded trio of “Mars Audiac Quintet” from 1994, “Emperor Tomato Ketchup” from 1996 and “Dots and Loops” from 1997 — are being reissued with bonus tracks and packaging extras. And the band — which now includes the drummer Andy Ramsay, the keyboard player Joe Watson and the bassist Xavier Muñoz Guimera — is heading out on tour, starting in Europe this month before arriving in the U.S. in July.

Gane, 54, said the band didn’t want to celebrate those albums, exactly, but “give them some sort of way to exist in the modern world, in 2019.”

THE BRITISH GANE and the French Sadier met in Paris in 1988, when Gane’s previous band, the political indie-guitar four-piece McCarthy, performed there. They became a couple and, after relocating to London, Sadier contributed vocals to McCarthy’s third and final album, “Banking, Violence and the Inner Life Today” in 1990. McCarthy split that same year, and Gane and Sadier formed Stereolab and its own label, Duophonic, to release its records. Both musicians played an array of guitars, organs and synths; Sadier handled lyrics. (“Life on Earth is a bloody hazard, it’s a fact,” she began the 18-minute epic “Jenny Ondioline” in 1993. “The immutable system is so corrupt,” she later continued, before repeating “We got to keep the lift, hope and struggle” again and again.)

The band’s cleverness and facility with both pop culture and political references immediately set them apart. The musician and producer John McEntire first met Stereolab in Chicago in 1993, when his then band Gastr Del Sol opened on its first American tour. In a phone interview he said he was instantly struck by Gane’s “totally encyclopedic knowledge of everything — and that is not exaggeration at all.” He went on to produce four of Stereolab’s albums.

“We were never part of any particular scene,” Pike, still the group’s manager, said in a phone interview. “We had our own label in the U.K. and just did our own thing — which meant we didn’t have to satisfy the British music press.” He noted that Elektra afforded the band complete creative freedom, too: The band would deliver music and artwork, “and it was released, no questions asked.”

At the pub, Sadier discussed how self-determination was central to the band’s aesthetic: “I would go so far as to say we were avoiding going overground. Because, you know, it’s a pain,” said the singer, 50, whose arrival at the church earlier in the day was eased by a pair of Nordic walking poles. (She recently underwent surgery on the meniscus in her right knee: “I carried too much heavy equipment — cables and pedals. It’s a rock ’n’ roll injury,” she said self-mockingly.)

She referenced PJ Harvey, Pulp and the Cranberries — artists who, at one point, were on the same level as Stereolab before attracting a wider audience. “This kind of notoriety is not a particularly good thing,” she added. “You don’t enjoy it anymore. You don’t enjoy what you do.”

Fame, it is clear, was not a priority; keeping up ceaseless exploration was the focus. But it, too, eventually took its toll.

The occasionally fretful Gane, who resembles Thom Yorke’s equally rumpled older brother, and the mostly sanguine Sadier agreed that having a son, Alex, in 1998 didn’t derail their workaholism. Sadier, however, admitted to feeling like she was on a hamster wheel of “writing, recording, touring,” and experienced crushing fatigue while touring with an infant. In 2002, Hansen — whose vocal interplay with Sadier became a signature of Stereolab’s sound — was struck and killed by a bus while bicycling in London. Then Gane and Sadier’s relationship came to an end.

Discussing the band’s hiatus, which came after the release of its last full studio album, “Chemical Chords,” the duo revealed vastly differing perspectives on its trajectory.

“I was tired of touring,” Gane said. “But the main reason was, I couldn’t see a way [the music] would develop. And I didn’t have the spontaneity to make it work any more. I felt the next record we made would be bad.”

Sadier’s explanations were more rooted in personal dynamics. “I felt that the ambience in the band was really crappy, and very stifling, and I had no enjoyment being around the people in the band,” she said. “There was too much alcohol being consumed. Too much jadedness. Too many miserable people to be doing this.”

Gane disagreed, and the pair had a brief, tense back-and-forth that ended with Sadier recalling how she ended the group’s last show of its pre-hiatus tour “in tears in a bar in Tokyo. I was bawling.”

For a moment, it became easier to see how the tensions that encouraged the band’s explorations and tenacity could also push the group to the brink.

IN THE NINE years since the band’s break, Gane formed a group called Cavern of Anti-Matter with the former Stereolab member Joe Dilworth and Holger Zapf. Sadier, who had previously played in the side project Monade, put out four solo albums, sang on Tyler, the Creator’s song “PartyIsntOver/Campfire/Bimmer” and collaborated with Deerhoof.

But during the gap, said Stephen Christian, a creative director in Warp’s London offices, the dormant band’s music was “resonating with a younger generation.” Stereolab “exists in the gap between the experimentation of the underground and the appeal of the wider world of pop music,” he said, citing Pharrell Williams and Tyler, the Creator.

With a renewed crop of fans awaiting its return, is the band apprehensive about putting the show back on the road after a decade?

“What we might lack in a bit of technical proficiency, we’ve always lacked,” Gane said. “We’re going to be more rehearsed than we ever were for any previous tour. We can’t do more than that.”

As for Sadier, she remains as politicized as ever. She still wants to “change the world, big time,” she said. “But now I’m more realistic. I’m still a bit of a Marxist revolutionary: you have to put up a struggle, otherwise you’re going to get [expletive].” Referencing the current moment of societal and international division, and sharply polarized views on everything from climate change to economic inequality, she added, “We’re only going worse and worse and worse down this road. So I’ll still be singing my lyrics with all my heart. Because alas, nothing’s really changed positively.”

Plans beyond October are less clear. When asked if there was new Stereolab music in him, Gane replied: “Don’t know. Maybe. That’s the problem.” He explained, “There’s the music that, as an instigator of the music, I’m interested in doing. That might not sound anything like Stereolab music. But can it become Stereolab music? That’s the question.”

Would Sadier like there to be a new album? Equally true to form, she got to the point.

“What are the hours?” she replied with a coquettish look.

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Stereolab on november 17, 2023.

England / EU 2023

Electric Brixton, London, United Kingdom

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"Pulse Of The Early Brain" [Switched On Volume 5]

"Electrically Possessed" [Switched On Volume 4]

"Free Design"

"The Underground Is Coming"

"The In Sound"

"Aluminium Tunes"

"Miss Modular Remix"

"Dots and Loops"

"Laminations"

"Emperor Tomato Ketchup"

"Miss Modular"

"Fluorescences"

"The Noise Of Carpet"

"Cybele’s Reverie"

"Refried Electoplasm"

"Music For The Amorphous Body Study Center"

"The Long Hair Of Death"

"Wow and Flutter"

"Mars Audiac Quintet"

"Ping Pong"

"Inside Dave's Garage"

"Jenny Ondioline"

"Crumb Duck"

"Transient Random Noise Bursts With Announcements"

"Unrest/Stereolab"

"Space Age Bachelor Pad Music"

"Switched On Stereolab"

"Super-Electric"

"Spacewatch"

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Stereolab Announce 2022 North American Tour

By Allison Hussey

Stereolab have announced a 2022 North American tour. It starts in Nashville at the beginning of September, wrapping in Asheville, North Carolina in mid-October. See the full itinerary below.

In addition to the tour, Stereolab are set to appear at the first installment of Primavera Sound Los Angeles in September. Their most recent release is last year’s Electrically Possessed (Switched On Vol. 4) , an installment in their long-running series of non-album material. Band member Lætitia Sadier has a solo follow-up to 2017’s Find Me Finding You in the works. She shared “ New Moon ” from the project in October, but has not yet shared further details about the record’s release.

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09-06 Nashville, TN - Marathon Music Works 09-07 Atlanta, GA - The Eastern 09-09 Austin, TX ACL Live at The Moody Theater 09-10 Houston, TX - White Oak Music Hall 09-11 Dallas, TX - House of Blues 09-13 Denver, CO - Ogden Theatre 09-16 Los Angeles, CA - Primavera Sound Los Angeles 09-17 San Diego, CA - The Observatory North Park 09-19 San Francisco, CA - The Fillmore 09-23 Portland, OR - Roseland Theater 09-24 Vancouver, British Columbia - Commodore Ballroom 09-25 Seattle, WA - The Showbox 09-28  Minneapolis, MN - First Avenue 09-29 Chicago, IL - Riviera Theatre 09-30 Detroit, MI - Majestic Theatre  10-02 Montreal, Quebec - M Telus 10-04 Boston, MA - Roadrunner 10-05 Hudson, NY - Basilica Hudson 10-07 Philadelphia, PA - Franklin Music Hall 10-08 Washington, D.C. - 9.30 Club 10-10 Brooklyn, NY - Brooklyn Steel 10-14 Carrboro, NC - Cat’s Cradle 10-15 Asheville, NC - The Orange Peel

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