Stereolab-Chemical Chords

Stereolab Chemical Chords

What is there left for Stereolab to do?  They’ve released nine albums and a collection of virtually countless EP’s and singles.  They’ve bounced back from the tragic death of guitarist Mary Hansen with 2004’s underrated Margerine Eclipse.  Stereolab has actually mixed away at their unusual tapestry of influences, from Krautrock to lounge jazz, to the degree that they already sound familiar- perhaps even classic.

Chemical Chords shows that an original band, doesn’t need to reinvent their wheels to stay fresh.  Drawing on their Anglo/Franco hip arsenal of bubbling synthesizers, driving repetition, bi-lingual vocals and graceful melodies the album is not a game changer, but it is so damn joyous.  Laetia Sadier has grown a powerful command of the English language through her poetic lyrics.  The years have been good to her distinctive voice as it slides effortlessly from falsetto to a rich contra-alto.  “Ecstatic Static” details an other-worldly pimp; “He went around switching the people’s hearts off, promising to deal with reality.  We bought it….”  The lyrics are rattled off over a sweeping string section that feels both stylized and cinematic.

The bands top-drawer rhythm section continues to inject a clockwork edge to songs that could easily become lethargic due to their dreamlike qualities.  Andy Ramsay continues to pin the songs up with drum beats you can set a clock to.  Bassist Simon Johns shines with a precise minimalism that is both ego-less and effective.  The two reach an especially kinetic synergy under the rapid textural changes of “Three Women” providing continuity to the tunes otherwise schizophrenic instrumental exchanges.

The use of horns and strings is consistent with prior albums, but never has the bands arrangements sounded so thoughtful and effective.  The title track is augmented by a kitschy and dramatic bombast as it straddles the line between orchestral pop and r&b.  The mixture seems perfect for a 007 movie soundtrack.  It’s the perfect metaphor (Chemical Chords) for the bands euphoria inducing music.   This time around the euphoria is enhanced not by the band stretching out, but tightening up.  And why not?  They’ve already connected continents, both culturally and aurally. 

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On teaching…..

Today I had to half-heartedly reprimand a student for defacing a Time Magazine with Sarah Palin on the cover.  He had given her a moustache and warts.  I simply said that the magazine was classroom property which is not to be destroyed.  The reaction from onlookers was “Yeah, but that’s Sarah Palin.”

Apparently the GOP can be glad that inner-city school children aren’t allowed to vote.

Deerhoof- Offend Maggie

 

“The Tears of Music and Love” kicks off Deerhoof’s latest full-length Offend Maggie like the Rolling Stones being force-fed into a blender.  When the sedate vocals of Satomi Matsuzaki pipe up you know your in Deerhoof territory.  Equally characteristic is Greg Saunier’s frantic powerhouse drumming.  Relying on a drumset that contains only a kick drum, a snare and a handful of cymbals Saunier coaxes infinite nuance and patterns out of minimal ingredients.  This coupled with the outstanding production of Ian and Joe Pellicci at Tiny Telephone Studios in San Francisco makes for a listen that is at once jarring and beautiful.

None of this would come as a surprise to a seasoned Deerhoof fan.  The band has been combining Who-like guitar assaults with mathematical drumming and Dadaist lyrics for over ten years, typically knocking out a record a year.  What makes Offend Maggie special is just how beautiful they made their post-modern blend this time around.  The title track is easily the most gorgeous tune the group has written to date.  The acoustic guitar overlaps arpeggios with the electric, sounding like rock music from the far East.

Heart-on-the-sleeve lyrics would be an easy fit to such emotive sounds.  But, that just wouldn’t be Deerhoof.  Matsuzaki colors Offend…with her playful surrealism; “Do you know me, calling your number?  Do I know you?  Don’t call this number.”  There is an obvious interest in human connection there, but songs like “Basketball Get Your Groove Back” don’t offer a whole lot of signposts.  Instead Matsuzaki just irritatingly repeats “Basketball, basketball, bounce.  Bunny jump, bunny jump.”  You might think it comes from an outsider’s grasp on the English language (Matsuzaki moved over from Japan in the mid 90’s).  But then again, Deerhoof has never appeared to be weird on accident.  These guys are smart.

 

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