Stereolab – Not Music
Drag City: 2010
With an album name like Not Music, one might convince their inner buyer not to explore the uncharted territory of Stereolab’s most recent experiment. But buyers not beware; Stereolab is a veteran of the ’90s, Warner Bros. Records and the advent of healthy competition, much of which owes credit toward Stereolab’s history in musical exploration. With their latest album, Not Music, Stereolab takes this history, and the tools of experience to build a nuclear submarine, rather than arc. This vessel is complex, complete with state-of-the-art electronics, an accurate targeting system and a payload large enough to blow a hole through a shield of expectations.
Stereolab still contains fossils and artifacts from the rise in 90s post rock with moments of motorik instrumental breakdowns and unpredictable time changes. It’s a characteristic in Sterolab’s music that is both desirable and jarring. If you don’t like what you hear, wait a minute and the track will implode and reassemble like an image in a kaleidoscope. But it should be noted, “Pop Molecules” is an odd exception, which stands on an awkward stilt, 2 minutes and 4 seconds high, with an abrupt dissident pause. It’s the harsh wind that precede a much larger storm—the track “Neon Beanbag”, the crescendo of Not Music, ends the album by pulling the listener back though the minimalist sound of 1999’s Cobra and Phases Group. But take note, “Neon Beanbag is an Atlas Sound remix, previously released. It’s questionable whether or not this was a planned 13th track, or a superfluous addition to an already grand house.
“Silver Sands” is a perfect example of this album through the eyes of one complete track. It progresses and evolves as through professionally composed. At nearly 11 minutes in length, this track has more than enough space for Stereolab to flex their muscles and recap on the last 20 years in post rock—as they should. The album doesn’t slack in tension or disappoint on any depreciating level. Pop overtones help deteriorate the bands lounge music hyperboles, often associated with past albums.
If you’re wondering, Laetitia Sadier still has a beautiful and unforgettable voice—and the lyrics are something of a discovery.
It should be repeated, Sterolab is not in the business of building arcs, but rather destroying islands. If this is their last album, so be it. We’ve had fun, and this is album is good as any to retire one of the most prominent names in post rock. But of course, no one will complain if they venture forth.
4 out of 5