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Review: Stereolab’s “Chemical Chords”

August 25, 2008 12:59 PM

  If there’s one word you can use to describe Stereolab, it’s consistent.  Every album they’ve done since their 1996 landmark turning point, “Emperor Tomato Ketchup” has played off roughly the same style.  If you like one of their records, chances are, you’ll like them all.  Some, of course, are better than others.  “Dots and Loops” (from 1997) stands as a classic, whereas “Sound-Dust” (from 2001) is merely solid, but all their albums are enjoyable. 

“Chemical Chords” is their latest entry into their catalogue of kitschy, loungy, farfisa-fueled hipster grooves.  Lead singer, Laetitia Sadier’s distinctive delivery style is still intact.  Her lyrics are still cryptic whether in English or in French.  Her style works, though because she sort of fades into the background as if she is another instrumental layer.  Not many people probably listen to Stereolab for their lyrics, but she is an absolutely essential aspect to their sound. 

This record is one of their brightest and most animated endeavors.  It’s evident right from the opening, ringing notes of “Neon Beanbag.”  The rhythm is snappy, the organ dances along and the horn section is glorious.  The whole track sounds like it is flowing over with happiness.  “There is nothing to be sad about,” Sadier sings.  This is a celebration and a joyous renewal.  It’s the start of something bright and shiny. 

“Three Women” starts off with some nice play between the drums and a funky bassline.  It’s one of their more danceable tracks.  Quickly, guitar, horns, and organ flesh the track out.  Stereolab may always have their unique sound, but it’s one that is sonically complex.    This track changes on a dime.  Layers are added and taken away.  It’s almost as if they are more of an orchestra than a traditional band. 

“One Finger Symphony” is a two minute groover.  The band has a newly found bounce in its rhythm section.  Sadier sings in French as the beat chugs along.

On this album’s title track, they owe a huge debt to the Beach Boys’ “Pet Sounds.”  That source has always stuck as a key influence.  Here, a string section adds a stately elegance.  At the same time, there’s an airy, dreaminess present.  It’s as if the track is floating across your ears. 

“The Ecstatic Static” picks up the speed once more as a signature, rhythmic stomp begins.  Again, strings are brought in for great effect.  Organs and assorted keyboards also bring in bold doses of texture, while the horns come and go at will. The arrangement is skillfully bold. 

“Valley Hi!” sounds like Stereolab’s attempt at two minute pop and it’s bound to put a smile on your face.  Once again, the beat is an accessible, groovy part of the mix within the four-chord boogie. 

“Silver Sands” is another song with the fast-paced, stomping rhythm.  It is defined by a part that sounds like some sort of xylophone.  The organs chord along, while the guitars and horns sound as if they are from a vintage sixties classic. 

“Pop Molecule” may just be the most ear-catching piece on the album.  That’s surprising because it’s a rather brief instrumental.  A backwards bassline ushers the song in until it bursts with perhaps the hardest rocking guitar part since the band’s earlier, more experimental days.  They haven’t rocked out like this in years.  Again, layering is used as an effective and engaging sonic tool. 

“Self Portrait With ‘Electric Brain’” sounds like a lounge number from the sixties.  It’s like Nico singing something somewhere between Bacharach and Motown.

“Nous Vous Demandons Pardon” takes a marching rhythm and a low fuzz-synth bassline and turns it into something bright.  As Sadier sings, the beat changes to something more straight-forward and it continues to switch back and forth throughout. 

“Celluosesunshine” is a catchy, muted go-go number.  Again, the sixties influence is evident. 

“Fractal Dream of a Thing” begins with a woozy keyboard, before a pleasantly tripped-out beat takes us for a ride.  Sadier is singing here at a near whisper. When the chorus comes up, it’s as if the beat catches up with itself and a new poppiness is discovered.  When the song changes again, the beat that was once trippy instead has a funky strut. 

“Daisy Clickclack” plays like a vaguely electro-take on a tinpan-alley classic.  You almost expect a tap dancer to come out for a solo. 

“Vortical Phonotheque” closes the record with a vibe similar to the Beatles’ “Dear Prudence.”  It has a funkier backbeat and some nice outbursts of random fuzz in the mix. 

Stereolab’s sound isn’t for everyone, but if you are indeed a fan, this record is an exceedingly strong example of their work.  It never drags and it’s always appealing.  It’s well worth adding to your collection.   

August 25, 2008 | Permalink | User Comments (1)

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Posted by: Me | Apr 8, 2009 6:56:56 PM

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