Stereolab тобының тарихы мен шығармашылығы

English French avant pop band

Lætitia Sadier
Andy Ramsay
Joseph Watson
Xavier Muñoz Guimera]]
In 1985, Tim Gane formed McCarthy, a band from Essex, England, known for their left wing politics. Gane met Lætitia Sadier, born in France, at a 1988 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. Stereolab's name was taken from a division of Vanguard Records demonstrating hi fi effects. Gane said that their "original plan" was to distribute multiple 7 and 10 inch records "–to just do one a month and keep doing them in small editions". 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 45s 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". Stereolab released the EP Super Electric in September 1991, and a single, titled "Stunning Debut Album" (which was neither debut nor album), followed in November 1991. 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  " Under the independent label Too Pure, the group's first full length album, Peng!, was released in May 1992. A compilation titled Switched On was released in October 1992 and would be part of a series of compilations that anthologise the band's more obscure material. 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. Sean O'Hagan of the High Llamas joined as a quick replacement for their touring keyboardist, but was invited for their next record and "was allowed to make suggestions".

Stereolab introduced easy listening elements into their sound with the EP Space Age Bachelor Pad Music, released in March 1993. The work raised the band's profile and landed them a major label American record deal with Elektra Records. Their first album under Elektra, Transient Random Noise Bursts with Announcements (August 1993), was an underground success in both the US and the UK. In the UK, the album was released on Duophonic Ultra High Frequency Disks, which is responsible for domestic releases of Stereolab's major albums. The band 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". It was the last album to feature O'Hagan as a full time member. He would continue to make guest appearances on later releases. The group issued an EP titled Music for the Amorphous Body Study Center in April 1995. The EP was their musical contribution to an interactive art exhibit put on in collaboration with New York City artist Charles Long. Their second compilation of rarities, titled Refried Ectoplasm (Switched On, Vol. 2), was released in July 1995. The band's fourth album, Emperor Tomato Ketchup (March 1996), was a critical success and was played heavily on college radio. The album incorporated their early krautrock sound with funk, hip hop influences and experimental instrumental arrangements. 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. Released in September 1997, Dots and Loops was their first album to enter the Billboard 200 charts, peaking at number 111. The album leaned towards jazz with bossa nova and 60's pop influences. Barney Hoskyns wrote in Rolling Stone that with it the group moved "ever further away from the one chord Velvets drone mesh of its early days" toward easy listening and Europop. 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". Contributors to the album included John McEntire and Jan St. Werner of German electropop duo Mouse on Mars. Stereolab toured for seven months and took a break when Gane and Sadier had a child. 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." In a 1999 article of Washington Post, 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." Stereolab's seventh album, Sound Dust (August 2001), rose to number 178 on the Billboard 200. The album also featured producers McEntire and O'Rourke. Sound Dust was more warmly received than Cobra and Phases Group 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." Erlewine of Allmusic stated that the album "[finds the group] deliberately recharging their creative juices" but he argued that Sound Dust was "anchored in overly familiar territory."

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 October. In the same year, Gane and Sadier's romantic relationship ended. On 9 December 2002, Hansen was killed when hit by a truck while riding her bicycle in London. The EP Instant 0 in the Universe (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". 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. 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." Kelefa Sanneh commented in Rolling Stone that Margerine Eclipse was "full of familiar noises and aimless melodies". Margerine Eclipse was Stereolab's last record to be released on American label Elektra Records, which shut down that same year. Future material would be released on Too Pure, the same label which had released some of the band's earliest material. The group released six limited edition singles in 2005 and 2006, which were anthologised in the 2006 compilation Fab Four Suture, and contained material which Mark Jenkins thought continued the brisker sound of the band's post Hansen work. By June 2007, Stereolab's line up comprised Tim Gane, Lætitia Sadier, Andy Ramsay, Simon Johns, Dominic Jeffrey, Joseph Watson, and Joseph Walters. In 2008, the band issued their next album under the label 4AD titled, Chemical Chords, which "[downplays] their arsenal of analog synths in favor of live instrumentation". The release was followed by an autumn tour in Europe, the United States and Canada. In February 2009, they toured Australia as part of the St Jerome's Laneway Festival.

In April 2009, Stereolab manager Martin Pike announced a pause in their activities for the time being. He said that it was an opportune time for the members to move on to other projects. Not Music, a collection of unreleased material recorded at the same time as Chemical Chords, was released in 2010. In 2013, Gane and Sadier, who both focused on Cavern of Anti Matter and solo work respectively, performed at the All Tomorrow's Parties festival held at Pontins in Camber Sands. In February 2019, the group announced a tour of Europe and the United States to coincide with expanded, remastered reissues of several of the albums released under Warp Records.

Stereolab's music combines a droning rock sound with lounge instrumentals, overlaid with sing song female vocals and pop melodies, and has also made use of unorthodox time signatures. It has been generally described as avant pop, indie pop, art pop, indie electronic, indie rock, experimental rock, Sadier remarked in 2015 that "[the band's] records were written and recorded very quickly we would write 35 tracks, sometimes more". The band have played on vintage electronic keyboards and synthesizers from brands such as Farfisa and Vox and Moog. Gane has praised the 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." The 1994 album Mars Audiac Quintet prominently features Moog synthesizers. Sadier would often trade vocals with Mary Hansen back and forth in a sing song manner that has been described as "eerie" and "hypnotic", as well as "sweet [and] slightly alien". In interviews, Gane and Sadier have discussed their musical philosophy. Gane said that "to be unique was more important than to be good." 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." and for Sadier, "you trust that there is more and that it can be done more interesting."

Their records have been heavily influenced by the "motorik" technique of 1970s krautrock groups such as Neu! and Faust. Dave Heaton of PopMatters said that their music also had "echoes of bubblegum, of exotica, of Beach Boys and bossa nova", with their earlier work "bearing strong Velvet Underground overtones". Funk, jazz, and Brazilian music were additional inspirations for the band. 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. Stereolab's style also incorporates easy listening music of the 1950s and '60s. Joshua Klein in Washington Post said that, "Years before everyone else caught on, Stereolab [were] referencing the 1970s German bands Can and Neu!, the Mexican lounge music master Esquivel and the decidedly unhip Burt Bacharach." 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 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. Jim Harrington of The Oakland Tribune argued that "Sadier often sounded like a third percussion instrument more than a lead vocalist", further stating in regard to her switching between singing in English and French that "a Stereolab show is one of the few concerts where it's hard to find even the biggest fans mouthing along with the lyrics."

Stereolab have been called one of the most "influential" and "fiercely independent and original groups of the Nineties" by writers Stephen Thomas Erlewine and Pierre Perrone respectively; 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." 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." 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. Stephen Christian, a creative director of Warp Records, said that the group "exists in the gap between the experimentation of the underground and the appeal of the wider world of pop music". In 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." Lætitia Sadier's vocals were cited by author Stuart Shea as often being "indecipherable". In the 1990s, the group collaborated with the industrial band Nurse With Wound and released two albums together, Crumb Duck (1993) and Simple Headphone Mind (1998), and Stereolab also released "Calimero" (1998) with French avant garde singer and poet Brigitte Fontaine. Stereolab alumni have also founded bands of their own. Guitarist Tim Gane founded the side project Cavern of Anti Matter and also formed Turn on alongside band member Sean O'Hagan, who formed his own band the High Llamas. Katharine Gifford formed Snowpony with former My Bloody Valentine bassist Debbie Googe. Sadier has released three albums with her four piece side project Monade, whose sound Mark Jenkins called a "little more Parisian" than Stereolab's. Backing vocalist Mary Hansen formed a band named Schema with members of Hovercraft and released their eponymous EP in 2000. As of August 1999, US album sales stood at 300,000 copies sold. Despite receiving critical acclaim and a sizeable fanbase, commercial success eluded the group. 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. According to Sadier, however, the band "[avoided] going overground" like PJ Harvey, Pulp and the Cranberries, all of whom quickly rose from obscurity to fame, adding: "This kind of notoriety is not a particularly good thing, [and] you don't enjoy it anymore." 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. Tim Gane said in retrospect that the group "signed to Elektra because we thought we would be on there for an album or two and then we'd get ejected. We were surprised when we got to our first album!" Since then, Stereolab's self owned label Duophonic has inked a worldwide distribution deal with independent label Too Pure. Through Duophonic, the band both licenses their music and releases it directly (depending on geographic market). Gane said, "  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."