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 Expectations
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 of "High Expectations" by Stereolab seem to be about the complicated nature of relationships and the difficulty of navigating them. The song starts by asking the listener if they really want to love someone who doesn't love them back. This suggests the pain and heartbreak that can accompany unrequited love. It then takes a darker turn as it asks if the listener wants to stab their enemy in the back or in front, implying that revenge may be on their mind. However, the repeated "I don't" suggests that the singer is not interested in either option.

The next stanza asks if the listener wants to be the offshoot of delusion or if they think anyone will mind their decision, perhaps alluding to the pressure to conform to societal norms or the fear of being judged for their choices. Again, the repeated "I don't" suggests a reluctance to seek validation in this way. The song ends with a final question about whether the listener feels they owe their errant foe anything at all, but the answer is still the same: "I don't."

Overall, "High Expectations" seems to explore the ambiguity and uncertainty of human relationships, and the difficulty of trying to reconcile conflicting emotions and desires.

Line by Line Meaning

Do you really want To love someone Who does not love you
Are you willing to invest your love in someone who won't reciprocate it?

Do you really want To stab your Enemy in the back Stab him in front
Are you considering acting against someone who you see as your enemy, and if so, are you willing to confront them openly?

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.
Repeatedly expresses a refusal to do what was previously asked or suggested, implying that the singer does not wish to follow the paths mentioned before.

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.
Asks the listener if following the paths previously mentioned is really what they want. The artist responds by reiterating a refusal to follow those paths.

Do you want to be the offshoot of delusion Do you think they'll mind your decision I'm sorry
Asks if the listener is willing to be an ancillary product of their own self-deception, and if they think others will be bothered by their choice. The artist expresses regret over the situation, implying that they themselves may have been in that position before.

Do you feel you owe the errant foe Anything at all
Are you obligated to help someone who has wronged you, despite their misdeeds?

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.
Repeatedly expresses a refusal to do what was previously asked or suggested, but with a new expression of regret this time, implying that the singer wishes they could follow through with what is being asked of them.

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.
Reiterates the previous question, asking if the listener feels a sense of duty towards someone who has wronged them. The artist once again expresses regret over the situation and continued refusal to comply with the request or expectation.

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

Lyrics Licensed & Provided by LyricFind

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