Stereolab — Dots and Loops

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Part of Stereolab’s legacy was to expose the orthodoxy of indie rock by embracing stuff indie rockers would have found desperately uncool: space-age pop, cocktail jazz, elevator music. Where 1996’s <i>Emperor Tomato Ketchup</i> retained a punk edge (if you squinted, at least), <i>Dots and Loops</i>, released only a year later, was the full fruitcake. Compare the band’s 1993 epic “Jenny Ondioline”, a three-chord, 18-minute trance of noisy guitars and socialist incantations (“I don’t care, democracy’s being fucked”), with “Refractions in the Plastic Pulse”, which shifts from lounge waltz to variety-show jazz to synthesiser étude to funk-lite—a complex, almost pointedly corny descent into music that sounds less like the work of bonded mammals than some faceless corporation.<br /> That, of course, is part of the point: Marxist-socialist-materialists that they were, the band advanced the idea that all this manufactured stuff was in fact the real music of our mostly manufactured times: the swingin’ '60s window dressing of “Miss Modular”, the soothing breakbeats of “Parsec”, the greet-the-day vibraphones of “Brakhage”—all of it sounded curiously prefabricated, musical MREs for enterprising youths on the go. Light, colourful, and effortlessly complex, <i>Dots and Loops</i> mapped the future the band had been searching for from the start.

Артист

Stereolab

Треки

  1. Brakhage 5:30
  2. Miss Modular 4:29
  3. The Flower Called Nowhere 4:55
  4. Diagonals 5:15
  5. Prisoner of Mars 4:03
  6. Rainbo Conversation 4:46
  7. Refractions in the Plastic Pulse 17:32
  8. Parsec 5:34
  9. Ticker-tape of the Unconscious 4:45
  10. Contronatura 9:03