 |
  |
Stereolab's Chemical Chords
The poetic charms of French
Paris
03/09/2008 -
Stereolab, a group fronted by French vocalist Laetitia Sadier, have reigned as one of the top acts on Britain's indie pop scene for over fifteen years. In the process, the London-based fivesome have experimented with oblique wordplay and quirky French vocals as they throw together their mix of weird and wonderful beats. All of these Stereolab characteristics come smoothly together on the band's ninth studio album, Chemical Chords. Rfi musique hooks up with Laetitia Sadier to find out more.
Those who dismiss contemporary pop music as a cut-and-paste rehash of old formulas and run-of-the-mill themes, should take a listen to the amazingly diverse albums Stereolab have served up in the course of their career. From the release of their "Velvet" rock-inspired debut Peng! (back in 1992), the fivesome have committed themselves to all sorts of far-fetched sonic experimentations. And in the process, they have worked their way through retro-electro and jazz-infused beats to a catchy psychedelic pop sound, releasing the brilliant dance-influenced Emperor Tomato Ketchup in 1997. "We enjoy making things a bit difficult for ourselves", explains Laetitia Sadier, Stereolab's songwriter and co-leader (alongside her British counterpart, composer Tim Gane). "As soon as we feel ourselves slipping into some sort of comfort zone, we instinctively take more of a risk and put ourselves in danger", she says.
Stereolab, now recognised as one of the pioneering forces of post-rock and lounge music, have cultivated their own original sound in the course of their nine albums to date. And this sound might best be described as sumptuously orchestrated sixties-style pop coupled with hypnotic groove, slick melodies and Laetitia Sadier's distant, but mesmerizing sing-song vocals. "There's been a guiding idea behind each and every one of our albums", Laetitia points out. So how would she define the group's latest offering Chemical Chords? "Rhythmic loops inspired by Motown used as a basis for constructing much tighter, shorter songs", she replies.
The fact that the majority of the songs on Chemical Chords are short does not stop the tracks from being incredibly dense and intense, packed as they are with a shower of strings, brass, keyboards and loops (arranged by the Irish guitarist and songwriter Sean O’Hagan, leader of The High Llamas). The lushness of O'Hagan's arrangements can sound a little overwhelming at first, but after a few listens the harmonies inevitably shine through and you find yourself marvelling at the addictive nature of stand-out tracks like Three Women and Vortical Phonothèque. Laetitia's compelling vocals, often tucked discreetly just below the surface of the music, add an edge of mystery or an uplifting touch at times. Laetitia's vocals are quite unusual, but Stereolab's French 'chanteuse' insists that "I always try and keep as close to my natural voice as possible, without using any form of affectation or special effects". Her role models, in terms of non-showy vocal divas, she says, are France Gall (in her pre-Berger period) "because of the sheer simplicity of her vocals", Carmel and particularly Brigitte Fontaine. "I really came to discover myself through Brigitte", Laetitia enthuses. "She counts as a highly significant encounter in my life, both on an artistic and a personal level."
Cryptic song titles and political messages
Stereolab's lyrics - frequently as mystifying in English as they are in French - have also played a major role in placing the group in their own songwriting stratosphere. Stereolab songs typically feature the most cryptic titles (One Finger Symphony, Self Portrait with Electric Brain) whilst thematically they roam freely from the myth of Sisyphus (Valley Hi!) and the existence of sea monsters (Three Women) to a discussion of atomic molecules. Laetitia insists on "always trying to infuse Stereolab songs with a note of hope and optimism". "I'm a great adept of Shiatsu," she says "I really believe there's a link between the thoughts running through our brains and physical matter. I believe we have the power to influence reality in a positive way."
Influencing reality in a positive way includes the group taking an openly political stance on Nous vous demandons pardon, a song on which Ms. Sadier demands that "a monument to all Algerians", "all those we have harmed" should be erected in a prominent position in Paris. (This unexpected reference to the Algerian War of Independence surely ranks as a first in the annals of indie rock!) Despite having built up an almost exclusively English-speaking fanbase over the years, Stereolab have maintained French - actually in the majority on Chemical Chords - as their "cultural exception". "It's a natural fact", says Laetitia, (who also happens to be the frontwoman of Bordeaux-based outfit Monade), "I couldn't imagine singing only in English. It would just sound forced and unnatural. A few Stereolab songs have never been played on the radio because of this, but that's the price we've paid for our freedom!"
Ironically, Stereolab have chosen to maintain their bold linguistic stance at a time when an increasing number of French rock bands have actually stopped using their mother tongue (also in the name of freedom!) "Insisting on singing exclusively in English when you're French - and, what's more, performing in front of a French-speaking audience - is just absurd!" insists Laetitia. "The question as to what language rock should be in is a completely false debate. Gainsbourg, Gall and Hardy all proved that you can make French sound very poetic in pop music. What's important is that lyrics should echo what's in your heart and in your mind whatever language you choose to sing in." All that remains now is for French fans to start taking an interest in Stereolab's linguistic and musical forays. For the moment, the band remain better known on the other side of the Channel than they do in Laetitia's homeland.
Stereolab are currently on tour in the United States. They will be in Europe in September and in Paris, at La Cigale, 26 November.
Jérôme Pichon
12/01/2005 -
