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.

Puncture in the Radax Permutation
Stereolab Lyrics

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Lonely walker humanoid,
Listening to forgotten sounds
Tasting smells and colors,
Hiking mounts crossing rivers
Humble biped you've come undone,
You detached the mechanical
Freedom it inspires,
Fusing with your desire

Primal hiker lonely walker,
Rediscovering your own pace
Left here to go elsewhere,
Abandon all impatience

Repossess the senses,
Impression of freedom
Time doesn't know itself,
Has mingle path and dream
Animal survivor,
You belong to nature
Repossess the senses,
Impression of freedom
Time doesn't know itself,
Has mingle path and dream

Animal survivor,
You belong to nature
Repossess the senses,
Impression of freedom
Time doesn't know itself,
Has mingle path and dream
Animal survivor,
You belong to nature

Dreams of return to nature,
Barred with satellite dishes

Overall Meaning

The lyrics of Stereolab's song "Puncture in the Radax Permutation" seem to be reflecting on the idea of the human experience in nature. The song speaks of a "lonely walker humanoid" who is rediscovering their own pace and exploring the world around them through new senses. The walker is described as having "detached the mechanical", which could be interpreted as breaking free from the confines of modern society and finding freedom in the simplicity of nature. The lyrics suggest that this freedom is inspiring and fulfilling, as the walker fuses with their desire to explore and discover.

The song also touches on the idea that time is a human construct, and that nature operates outside of it. The lyrics mention that "time doesn't know itself" and that paths and dreams mingle. This seems to suggest that the walker is not bound by the expectations and pressures of society, but instead free to explore the natural world at their own pace and on their own terms.

The final verse speaks to the idea that humans belong to nature and that the desire to return to it is innate. The idea of being "barred with satellite dishes" implies that modern technology and the trappings of civilization can create a barrier between humans and nature. Overall, the song seems to be celebrating the beauty and freedom of the natural world, and suggesting that reconnecting with it can be a source of inspiration and fulfillment.

Line by Line Meaning

Lonely walker humanoid,
A solitary human walking on foot

Listening to forgotten sounds
Hearing noises that are long neglected

Tasting smells and colors,
Experiencing flavors and hues

Hiking mounts crossing rivers
Walking up mountains and crossing water bodies

Humble biped you've come undone,
Modest two-legged being, you have freed yourself

You detached the mechanical
You have separated from the man-made

Freedom it inspires,
This freedom encouraged you

Fusing with your desire
Merging with your wants

Primal hiker lonely walker,
Ancient explorer on foot alone

Rediscovering your own pace
Finding one's own rate of movement

Left here to go elsewhere,
Left this place to reach another location