But Stereolab have already been there, and those points have already been made many times over.1.Īctually, the shortness and directness of these songs could be seen as a bigger experiment for the band than their frequent lockgrooves and hypnotic passages with those trimmed, presents a version of 's sound that is just as vivid as their earlier output, but fizzing with immediacy and urgency. I only wish I were using those examples as a springboard for a counterattack encompassing how everyone else “just doesn’t get it, maaan” and how the band is exploring intricate interlocking melodies and psychedelia through repetition, etc. Look up a few recent reviews for Chemical Chords and you’ll find statements including “yup, still sounds like Stereolab” and “it’s actually hard to say anything significantly new about Stereolab” (from Cokemachineglow and Dusted, respectively). But when an album’s most notable feature is its track length, it’s pretty apparent that we’re all running out of things to talk about in regards to Stereolab’s sound. Compare that to “Dear Marge” or “Space Moth,” which hover around the seven- to eight-minute mark. The longest song on here is the aforementioned “Chemical Chords,” which clocks in at 5:13. (See Mahogany’s Connectivity!).If this album does anything different, it can be found in its ability to reign in some of the length and repetition found on relatively recent albums like Sound Dust and Margerine Eclipse.
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