Stereolab - Chemical Chords

One of the most widespread myths among critics regarding Stereolab is that all of the band's albums sound the same. An exaggerated version goes that Stereolab, throughout their career, has only recorded one song over and over again. Such statements are present not only in the recent reviews where the critics curse the band for "lack of ideas" or "repeating themselves" (ergo, the typical sins veteran bands get scolded for). Even years ago, when Stereolab was supposedly at the peak of their powers, it was assumed that all Stereolab's songs sound the same.

This is a blatant exaggeration that needs little else for rebuttal than the process of listening to two Stereolab albums from disparate eras in a row: for example, one can contrast Transient Random Noise Bursts With Announcements from 1993 (from the early kraut-inspired noise-pop period) with 2001's Sound Dust (a curious blend of lounge, avantgarde and Chicago school of post-rock).

It serves to prove that Stereolab is still a fairly eclectic band, combining various intriguing styles into a unique whole, that on one hand shamelessly refers to an obscure act or two (who have came in vogue among the alternative music circles largely thanks to guitarist/composer/record collector Tim Gane's meritorious propaganda), while doing it in such a unique manner that we can speak of Stereolab's signature sound. A lot of critics have failed to realize that the Groop progresses slowly but surely, in its own tempo, while ignoring trends and balancing consistency with changes.

True, Fab Four Suture from 2006, a collection of seven inch singles, refered to the dearth of ideas, considering how similar it sounded to the 2004's Margerine Eclipse (first Stereolab album missing the late Mary Hansen). Fortunately, on Chemical Chords, Stereolab does not try too hard to sound like a classic(ist) Stereolab. New Lab sounds poppier, more concise and focused than before. There's also less emphasis on the usual analog synth sounds and Sean O'Hagan has returned with his arrangement expertise for strings and brass. Live instruments are clearly more emphasized on this album.

It is true that Chemical Chords does not sound as innovative or avantgarde as Stereolab's previous albums. Nonetheless, the band deserves admiration for staying true to themselves, especially when they perform in their own style well, which they certainly do on this album. Here, there are hints to both early, rock oriented Stereolab ("Valley Hi" and the instrumental "Pop Molecule") as well as the loungier period (the title track, "Self Portrait With 'Electric Brain'", "Fractal Dream of a Thing"). First and foremost we find prime Stereolab styled pop ("Neon Beanbag", "Three Women" etc), but also a few eccentric moments such as "Nous Vous Demandans Pardon" with its militarist machine like syncopated beat or "Daisy Click Clack" with its ragtime piano. A beauty on its own is the album closer "Vortical Phonotheque" with its Sound Dust meets Abbey Road vibe. A well done work from the veteran avant-pop group.