They were founded in 1990 by songwriters Tim Gane (guitar, keyboards), formerly of the band McCarthy, and Laetitia Sadier (sometimes credited as Seaya Sadier; vocals, keyboards, trombone, guitar), who is from France and sings in both English and French.
Over the years, Gane and Sadier have enlisted a large number of other musicians to accompany them on stage and on record. The initial line-up featured Martin Kean, formerly of The Chills, on bass, and Joe Dilworth (from their Too Pure label-mates Th’ Faith Healers) on drums, with Russell Yates (of Moose) and Mick Conroy (ex-Modern English) also appearing at early live shows. In 1993 they recruited Andy Ramsay (drums), who has remained in the group line-up ever since, and Mary Hansen (vocals, guitar, keyboards, percussion). Hansen’s distinctive backing vocals became an important aspect of the Stereolab sound, and she remained a regular feature of the line-up until her death in a cycling accident on December 9, 2002. Multi-instrumentalist Sean O’Hagan of The High Llamas has also been a frequent contributor, particularly with string, brass and keyboard arrangements to the band’s studio albums. John McEntire (Tortoise) has also contributed keyboard, electronic effects and studio help over the years. Other members have come and (in some cases) gone over the years, including Duncan Brown, Dave Pajo (from Tortoise), Richard Harrison and Simon Johns (all bass); Gina Morris (vocals); and Katharine Gifford and Morgane Lhote (both on keyboards).
Early Stereolab material displayed a heavy influence of krautrock sounds, particularly Neu! and Faust, characteristically relying on droning, repetitive guitar or keyboard riffs, with or without vocals. Early heavy use of distorted Farfisa combo-organ sounds were also reminiscent of early recordings by The Modern Lovers. As the band developed, they incorporated new instrumentation, and an increasingly complex sense of rhythm and structure, frequently making use of irregular time signatures as well as unorthodox chord progressions and melodic intervals. The band has often made copious use of female backing vocal lines.
Lyrically, Stereolab’s music is quirky (song titles evoke memories of 1950s science fiction stories, and are often borrowed directly from old films and records of the period, but have nothing to do with the song’s content), but highly politically and philosophically charged, sometimes with a decidedly Surrealist or Situationist bent. (Sadier notes the libertarian Marxist theoretician Cornelius Castoriadis as a particular inspiration.) Sadier’s lyrics, in both French and English, often read like highly condensed sociological texts, standing in deliberate and distinct counterpoint to the lush hedonic pop sound of the band. A prime example would be “Ping Pong” from Mars Audiac Quintet, which is an explicit restating of Marxist theory concerning the relationship between economic cycles and war cycles.
Stereolab earned a minor place in the Britpop movement, with their sound proving influential to bands like Blur: occasional keyboard-driven b-sides and singer Damon Albarn’s love of retro keyboards showed the influence, and in recognition Laetitia Sadier was invited to provide vocals on “To The End” from Parklife.
Despite the band’s fan base and critical acclaim, Stereolab has not achieved high levels of financial or popular success. On June 7, 2004, suits at the Warner Music label (to whom the band was signed in the U.S.) announced they were dropping Stereolab in response to the poor sales (40,000 to that date) of Margerine Eclipse. This was part of an ongoing effort by Warner to cut costs; The Breeders and Third Eye Blind were also dropped from the label for this reason. Laetitia Sadier is now also a member of Monade, which is essentially expressive of her own singular musical goals.
Golden Ball
Stereolab Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Put against the uniform that...
..fit
Deep into the ball of which it's part
The only way it can communicate
To accentuate
What we have in common
That can illuminate
..fragments
Put against the uniform that...
..fit
Deep into the ball of which it's part
The only way it can communicate
And so divisions open words
What is above, what is below
And in amongst the language
An energy can end it
What we have in common
We have nothing common
That can illuminate
The way to communicate
Within...
The only (viable sun? )
The only (guidable sun? )
The uniforms...
Golden ball (album)
The only (viable sun? )
What we have in common
We have nothing common
Within...
..
It can illuminate
Within...
To illuminate
To accentuate
To illuminate
To accentuate
..
Illuminate
..
From visible to invisible
Into...
That illuminates each fragment of the screen
Put into the ball of which it's part
Observe...
There's no above, there's no below
Two...
The only...
The song "Golden Ball" by Stereolab is a complex exploration of communication, identity, and division. The first verse speaks to the idea of an individual needing to distinguish themselves from a larger uniform or group, while still being deeply connected to that group. Communication becomes essential in this situation, but the singer argues that there is nothing "common" that can truly illuminate the individual's unique qualities or intentions. The second verse continues this exploration of communication, suggesting that divisions and hierarchies can create barriers to understanding, but that ultimately an "energy" can overcome those barriers. The final lines of the song return to the theme of illumination, suggesting that through observation and attention, even the smallest fragments can be seen and understood.
One interesting fact about the song is that it first appeared on Stereolab's album "Mars Audiac Quintet" in 1994, but has since been reissued on other albums and compilations. The song has been noted for its use of experimental electronic elements, including loops and distortion, which complement the reflective and introspective lyrics. Another interesting element of the song is the repeated use of the phrase "golden ball", which is open to interpretation but can be seen as a metaphor for the self, the planet, or a celestial object. The song has been interpreted as a critique of capitalism and globalization, as well as an expression of personal and existential struggles.
The chords for "Golden Ball" are not widely available online, but the song can be played using a combination of basic chords such as F, G, and C, as well as more experimental and dissonant chords that reflect the song's experimental nature. Musicians have noted the song's unique time signature and use of unexpected changes, which can make it challenging to play but also rewarding.
Overall, "Golden Ball" is a rich and rewarding song with a complex set of themes and influences. Whether listened to as a reflection on individual identity or as a critique of societal structures, the song invites listeners to explore their own relationships to communication and connection.
Line by Line Meaning
To accentuate
To give emphasis or highlight
Put against the uniform that...
Placed among things that are similar
..fit
Properly suited or matched
Deep into the ball of which it's part
Embedded within the whole entity
The only way it can communicate
The sole medium possible for interaction
What we have in common
Shared features or attributes
We have nothing common
No similar aspects or characteristics
That can illuminate..fragments
That can shed light on the individual pieces
And so divisions open words
Separation creates gaps in language
What is above, what is below
Height or levels don't determine significance
An energy can end it
A force has the power to bring closure
The only (viable/guidable) sun?
The only source of guidance or direction
The uniforms...Golden ball (album)
The outfits in the Golden Ball album
Within...
Inside or contained by
It can illuminate
It can make things clearer
To illuminate
To shine light on
From visible to invisible
Going from easily seen to hidden
Into...That illuminates each fragment of the screen
Transforming into something that brightens every part of the surface
Observe...
To perceive or notice
There's no above, there's no below
All things are equal or equivalent
Two...
More than one, but not yet specified
The only...
The lone or singular
Lyrics © DOMINO PUBLISHING COMPANY, Universal Music Publishing Group
Written by: LAETITIA SADIER, TIMOTHY JOHN GANE
Lyrics Licensed & Provided by LyricFind