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.
Low Fi
Stereolab Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Homme aux cheveux d'or
C'est là qu'il a apparu
C'est là qu'il a disparu
C'est là qu'il a apparu
Et puis il a disparu
Inutile de presser le pas
Attendez donc un peu
Attendez sous l'étoile
Attendez donc un peu
Attendez sous l'étoile
Si l'enfant, aux cheveux d'or
S'il ne répond pas
Quand on l'interroge
Vous saurez bien qui il est
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Vous saurez bien qui il est
Il croit qu'il est revenu
Il m'a pas laissé tomber
The lyrics of Stereolab's song "Low Fi" paint a picture of a mysterious figure known only as "Petit homme aux cheveux d'or" or "Homme aux cheveux d'or," which translates to "Little man with golden hair" or "Man with golden hair." The lyrics describe how this figure has appeared and disappeared in a certain location, and if one happens to pass by there, they are encouraged to wait under the star for this person to return. The lyrics suggest that this mysterious figure may not always respond when questioned but that those who encounter him will know exactly who he is.
The song's lyrics are evocative of fairy tales or folklore, in which an otherworldly creature appears and disappears without explanation, leaving those who witness it with a sense of wonder or awe. The lyrics also suggest that this figure may believe he has returned and that he hasn't let the singer down. The meaning of the song is left up to interpretation, but it could be seen as a commentary on the nature of truth and mystery, or it could be viewed as an exploration of the power of belief.
Line by Line Meaning
Petit homme aux cheveux d'or
This line describes a person with golden hair who is small in size.
Homme aux cheveux d'or
This line simply describes a person with golden hair. It is repeated for emphasis and to start the song.
C'est là qu'il a apparu
This line means 'that's where he appeared.' It suggests that the man with golden hair suddenly showed up in a specific place.
C'est là qu'il a disparu
This line means 'that's where he disappeared.' It suggests that the man with golden hair vanished from the same place where he appeared.
Et puis il a disparu
This line means 'and then he disappeared.' It further emphasizes that the man suddenly disappeared after appearing.
Si vous arrive de passer par là
This line means 'if you happen to pass by there.' It addresses the listener and invites them to imagine being in the same place where the man with golden hair appeared and disappeared.
Inutile de presser le pas
This line means 'there's no need to hurry.' It invites the listener to take their time and enjoy the moment.
Attendez donc un peu
This line means 'so wait a little.' It implies that there's something worth waiting for.
Attendez sous l'étoile
This line means 'wait under the star.' It suggests that there's a specific spot where the listener should wait, and that it's related to the man with golden hair.
Si l'enfant, aux cheveux d'or
This line means 'if the child with golden hair.' It refers to the man with golden hair as a child, which may suggest that he's innocent or naive.
S'il ne répond pas
This line means 'if he doesn't answer.' It suggests that the man with golden hair is quiet or distant.
Quand on l'interroge
This line means 'when he's questioned.' It implies that people are trying to understand the man with golden hair and his unusual behavior.
Vous saurez bien qui il est
This line means 'you'll know who he is.' It suggests that there's a mystery surrounding the man with golden hair, but it will be revealed eventually.
Il croit qu'il est revenu
This line means 'he thinks he's come back.' It implies that the man with golden hair has a sense of nostalgia or longing for something.
Il m'a pas laissé tomber
This line means 'he didn't let me down.' It implies that the man with golden hair is trustworthy or reliable, at least in the eyes of the singer.
Lyrics © OBO APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
Far-Away-So-Close
I can appreciate their whole catalogue, as they evolved. In the early work, like this, you can hear the influence of Velvet Underground on the young band -- the contrast of rough and garage-y instrumentation with the deadpan female vocals.
Robert H
I honestly preferred their early stuff to their mid-career stuff from 94-99 - it was only with Sound Dust that I really started loving it again, looking back now, I love it all, but I think Mary's passing really hit them, I think they were on the up with Sound Dust, it felt really lovely and coherent. Margerine Eclipse is an album I hold dear, and I do, despite what others think, think is one of Stereolab's best, but it would've been better with Mary. [EDIT - As a coda, I met Mary in late 94 when she was touring, I was at a relatively empty bar in the Limelight in Belfast and she came over and ordered beside me - what can I say? Lovely person, chatted with me for 5 mins about the band and her background in Queensland - I was just some half-drunk fan - I was only 18 at the time too so her patience was commendable, but she just came across as being such a nice person. I wish she was still here.]
ifheavenwashuman
Thank you.
Far-Away-So-Close
@TS Yes, you can hear that too.
TS
krautrock - like can
Robert H
That unnamed song at the end of Elektro is glorious! And possibly the first instance of Stereolab just stopping one piece of music and starting another in the same song. I love it when they do that - Captain Easychord an obvious example.
Hugo Paz
Stereolab, the BEST Band!!⚡🎹🎸🌟
Clark Blumenstein
My favorite EP from their early works. Transcendent sounds live herein.
Andrew R
I still have the EP in its resealable satchel. Absolute gold and their best work for mine.
Oleksii Shekhovtsov
The first track is a mix of the Velvet Underground with 'Heroes'-era Bowie... I love it!