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reviews
Stereolab begins with beat, and builds from there
source: Boston Globe
by Jim Sullivan
1996-05-28
Remember the scene in "Seven," where the detective played by Morgan Freeman hurls his metronome - a symbol of his staid, too-settled life - against the wall in frustration?
Stereolab would never do that. It would be a betrayal of their roots. In fact, one of the gems they played near the end of Sunday's packed show at Mama Kin Music Hall was called "Metronomic Underground," the opening track from their new *Emperor Tomato Ketchup* disc. These three gals and two guys with Paris/London roots enjoy a good metronomic beat, from drummer Andy Ramsey, as much as the Velvet Underground did. It's what Stereolab puts on top of the beat - Eno-esque Moog squalls from singer-synthesist Laetitia Sadier, Farfisa organ riffs from Morgane Lhote and scratchy guitar licks from Tim Gane and singer-guitarist Mary Hansen. Some of the best songs, "Anomorphose," "Lo Boob Oscilator" and "Superelectric," unfold for glorious interludes of eight minutes-plus and take you on a layered, droning, heady journey a la Hawkwind or Kraftwerk, but without the sci-fi shtick.
The word "mesmerize" is without doubt one of the most overused in rock criticism, but it applies here. Stereolab may be pop minimalists - as the cheeky song at the close of the regular set, "John Cage Bubblegum," suggests - but they're more than capable of transporting an audience into another (better) world. The vocals of Sadier and Hansen - both harmony and separate, in English and French - are a part of this, but, in concert at least, the lyrics aren't so much. On record, there are sly, oblique, leftist jabs; live, they function more as sound a la Polyrock or Yo La Tengo. There's a semi-spooky, Nico-esque quality as well, but without the aura of doom and decay. The between-song demeanor of Hansen and Sadier was whimsical.
Truth be told, the folks in Stereolab display zero emotion while playing, but their music is rather uplifting - almost motivational. Some of it comes imbued with a certain, cheesy cocktail music subtext - and, yes folks, they were way ahead of that game. There are times when their music beckons you to nod off - this is a good thing, dreams and escape being what they are - and there are times when they will deliver sharp shocks to the system.
This was an outgrowth on what we saw and heard when they played the Middle East in 1994. Stereolab are still masters of the trance, but they're incorporating more quirky elements and arrangements into what they do. It's what they term a ``jazz'' influence; you might also call it injection of the madcap into the sonic mix, as evidenced by "Cybele's Reverie," "Percolator" and the quasi-funky "Metronomic Underground." Let it be said, though, that Stereolab never strays too far from the organ riffs that underpin the early Modern Lovers.
This was the last gig of a 10-date US tour, with most every one sold out. The Boston sellout occurred with minimal commercial airplay, but with strong college radio play, press and word of mouth. It's a good sign that the underground lives and that Boston is not just a bunch of alt-rock sheep.
Stereolab's label, Elektra, is contemplating whether to pick up their contract. They are, face it, a cult band, in no danger of knocking Zep-rocking Soundgarden or Stone Temple Pilots off the air. But they're a band of exquisite, post-modern charms, possessed of a Zen-like buoyancy. The band's return swing through the States will likely depend on what Elektra does. You might consider voting with your wallet or telephone.
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