Stereolab are a UK-based band whose style, mixing 1950s–1960s pop and loung… Read Full Bio ↴Stereolab are a UK-based band whose style, mixing 1950s–1960s pop and lounge music with the “motorik” beat of krautrock, was one of the first to which the term “post-rock” was applied. People frequently refer to their style as being "avant-pop." They are noted for the use of vintage keyboard instruments like Moog synthesizers and Vox and Farfisa organs. Stereolab is also notable for founding their own record label, Duophonic Records, with a grant from UK charity The Prince’s Trust. The band is often referred to as “The Groop” by their fans (and in the title of their song “The Groop Play Chord X” on the album Space Age Batchelor Pad Music).

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.

High Expectation
Stereolab Lyrics

Jump to: Overall Meaning ↴ Line by Line Meaning ↴

Do you really want
To love someone
Who does not love you

Do you really want
To stab your
Enemy in the back

Stab him in front

I don't, I don't, I don't, I'm sorry.
I don't, I don't, I don't, I'm sorry.
I don't, I don't, I don't, I'm sorry.
I don't, I don't, I don't, I'm sorry.
I don't, I don't, I don't, I'm sorry.
I don't, I don't, I don't, I'm sorry.
I don't, I don't, I don't, I'm sorry.

Is it what you want
I don't, I don't, I don't, I'm sorry.
I don't, I don't, I don't, I'm sorry.
I don't, I don't, I don't, I'm sorry.

Do you want to be the offshoot of delusion
Do you think they'll mind your decision
I'm sorry
I don't, I don't, I don't, I'm sorry.
I don't, I don't, I don't, I'm sorry.
I don't, I don't, I don't, I'm sorry.

Do you feel you owe the errant foe
Anything at all

I don't, I don't, I don't, I sorry.
I don't, I don't, I don't, I sorry.
I don't, I don't, I don't, I sorry.

Do you want to be the offshoot of delusion
give in to resignation
I'm sorry.
I won't, I won't, I won't, I sorry.
I won't, I won't, I won't, I sorry.
I won't, I won't, I won't, I sorry.

Do you feel you owe the errant foe
Anything at all
I don't, I don't, I don't, I'm sorry.

I don't, I don't, I don't, I'm sorry.
I don't, I don't, I don't, I'm sorry.

Overall Meaning

The lyrics to Stereolab's "High Expectation" are introspective, questioning, and even a bit self-doubting. The first verse, "Do you really want to love someone who does not love you? / Do you really want to stab your enemy in the back / Stab him in front?," seems to be asking whether the desire for love and revenge is worth it when there may be no reciprocation or a lack of justification. The repetition of "I'm sorry" following each verse could be an acknowledgement of past actions or thoughts that they regret, or it could be a reluctance to take a definite stance on these heavy topics.

The second verse, "Is it what you want? / Do you want to be the offshoot of delusion / Do you think they'll mind your decision / I'm sorry," seems to be asking whether conforming to societal expectations and being considered a "delusional" outsider is worth the freedom to make your own choices. The third verse, "Do you feel you owe the errant foe / Anything at all," brings up the idea of obligation and whether it is justifiable to hold a grudge against someone who has wronged you.

Overall, the song seems to be questioning the motivations and consequences of our actions, and whether certain desires and expectations are worth pursuing. The repetition of "I'm sorry" and "I don't" adds a layer of uncertainty and self-reflection.

Line by Line Meaning

Do you really want To love someone Who does not love you
Do you truly desire to have affection for someone who does not reciprocate?

Do you really want To stab your Enemy in the back
Do you genuinely want to betray and harm an adversary in a dishonest manner?

Stab him in front
Confront your opponent with honesty and directness.

I don't, I don't, I don't, I'm sorry. I don't, I don't, I don't, I'm sorry. I don't, I don't, I don't, I'm sorry. I don't, I don't, I don't, I'm sorry. I don't, I don't, I don't, I'm sorry. I don't, I don't, I don't, I'm sorry. I don't, I don't, I don't, I'm sorry.
I refuse to engage in any of the aforementioned actions or behaviors, and apologize for any inconvenience.

Is it what you want
Are you sure this is what you truly desire?

Do you want to be the offshoot of delusion Do you think they'll mind your decision I'm sorry
Do you wish to be the consequence of a misguided belief, and do you think others will disapprove of your choices? My apologies.

Do you feel you owe the errant foe Anything at all
Do you believe that you have any obligation whatsoever to an adversary who has acted wrongly?

I won't, I won't, I won't, I sorry. I won't, I won't, I won't, I sorry. I won't, I won't, I won't, I sorry.
I absolutely refuse to comply with any such supposed obligation. My apologies.

Lyrics © DOMINO PUBLISHING COMPANY, Universal Music Publishing Group
Written by: LAETITIA SADIER, TIMOTHY JOHN GANE

Lyrics Licensed & Provided by LyricFind

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